What is Hollywood without screenwriters? No characters to play. No scripts to shoot. That’s as fundamental as it gets, writes Tribune critic Nina_Metz.
Last week the Writers Guild of America went on strike over issues of fair pay and limits to AI, as WGA members picketed in front of the iconic gates of Paramount Studios in Hollywood.
: “I am not in LA, so I cannot walk a picket line as I did in 1988, but I want to go on the record with my full and complete and unequivocal support of my Guild.”Also not filming are two shows from Apple TV+ pegged to themes that seem awfully ironic considering the real-world context:which is about workers organizing together to push back against an exploitative company, and “Loot,” the Maya Rudolph comedy about a billionaire who comes to realize it’s immoral to hoard wealth.
That’s not just an act of solidarity. Showrunners are writers, which means they are also members of the WGA alongside the screenwriters they hire. From top to bottom, everyone has experienced firsthand the studios’ budget-squeezing strategies.TV writers are paid weekly. Under the broadcast model, that’s usually 22 episodes a season. But for streaming, that number is closer to 8-10 episodes.
Residuals, or payment for the reuse of a credited writer’s work, are also a key issue. Historically, they have been enough to help float writers through extended lulls between jobs, which can sometimes be a year or longer. Currently though, residuals for shows on streaming pay pennies compared with the amounts paid when an episode reruns on network TV.
All of this is happening at a time when studios are boasting profits and CEO compensation is eye-popping in its multimillions. Somebody’s making money. For the most part, it isn’t writers — who also have agents and managers who typically get 10% of whatever they earn.
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