On May 2nd, 2023, the Writers Guild of America, the American labor union protecting 11,5000 writers in film, television, radio, and online media, went on strike, banning writers from “any writing, revising, pitching, or discussing future projects.” This follows protracted labor disputes with the Alliance of Motion Picture and Television Producers (AMPTP), a trade association representing nearly 400 of America’s largest film and television producers.
As we approach nearly the 60th day of the strike, I want to dig into the reasons behind the stoppage, the writers’ demands, and the impact this will have on the industry.
The Picket Line
The media sector is already a notoriously difficult space to work in, especially for ‘below-the-line’ talent like screenwriters. Long hours, low pay, toxic environments, and a constant fight for self-promotion. What, then, pushed the needle even further to prompt a strike?
The biggest answer: STREAMING.
This is not the first time streaming has upended the writing industry. The last time the WGA striked was in 2007, when there were no structures in place to fairly compensate writers on work released through the Internet. Their strike, which lasted 14 weeks and cost the economy of Los Angeles an estimated $1.5 billion, ultimately guaranteed compensation to writers for their work released on streaming, and required producers to hire Guild writers for streaming productions.
However, the groundwork laid in 2008 would be no match for the behemoth streaming has become in the media industry. The WGA is once again striking over claims that streaming rates have slashed the average writers’ income to a fraction of what it was a decade ago. The WGA estimated that its proposals would yield writers about $429 million a year, whereas the AMPTP's offer would yield $86 million.
HAL-9000
There’s one more issue at hand, another technology hovering on the horizon that could upend media just like streaming has: Artificial Intelligence.
WGA leaders are also demanding that AI tools like ChatGPT only be used as a tool that can help with research or facilitate script ideas, NOT as a tool to replace them.
So what?
Strikes like these grind not just Hollywood, but network TV, streaming services, radio, podcasts, and other outlets, to a halt. They can’t just run with their existing scripts either; writers are a crucial component of every stage of the production process.
This could position 2024 as one of the slowest years for film yet. Dozens of big-budget movies have already postponed their release, and those that haven’t are almost definitely going to take a hit in quality. While I don’t remember it personally, I’ve read a lot about how the 2007 strike crippled media for years. How the late night shows crumbled and eventually halted (as is happening now), how movies notably sucked, how TV shows plummeted in quality mid-season. You can see a list here.
But these strikes are necessary in holding streaming services and big-budget producers accountable, and protecting the people responsible for the art that makes them money.
IMAX-Language Models
To me, AI is one of the most interesting components of this strike. Sure, it might cut costs for producers, but at a serious artistic expense.
I shook my head upon reading about these demands – surely AI is too far off to seriously displace writers? But the biggest names in Hollywood are already using AI for their work. The Russo Brothers expect a ‘fully AI’ movie within the next two years (this article is actually sinister). Marvel’s newest show, Secret Invasion, used AI to fully generate its opening credits sequence. Netflix using AI to engineer match cuts in editing.
There’s no sign of the strike stopping anytime soon, with producers refusing to come to the negotiating table. But at this pivotal moment for the entire industry, the negotiations made between the WGA and the AMPTP could shape the rest of Hollywood’s history and survival.
WEEKEND STREAMING RECOMMENDATION
Joan is Awful (Black Mirror S6E1), Available on Netflix
The first episode of Black Mirror’s newest season directly tackles how AI might turning streaming into a dystopian hellscape. It digs into the world of streaming (specifically Netflix) in a way that I found both funny and clever. And for as absurd as the premise may seem, here’s a quote from Joe Russo about his future of movies:
One version is “a constantly evolving story, either in a game or in a movie, or a TV show,” or it could be your own self-insert platform. “‘Hey, I want a movie starring my photoreal avatar and Marilyn Monroe’s photoreal avatar. I want it to be a rom-com because I’ve had a rough day,’” and it renders a very competent story with dialogue that mimics your voice. It mimics your voice, and suddenly now you have a rom-com starring you that’s 90 minutes long. So you can curate your story specifically to you.”
See you all again next week. Until then, please get in touch if you have any thoughts or suggestions you’d like to share. If you want to keep up with what I’m watching, follow me on Letterboxd @atharv_gupta.
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