If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.
“Execsplain” has become my new favorite word in this brave new era of CEOs proving the need for guillotines and machetes; and I plan to incorporate it into my diction post-motherfuckin-haste.
Even better if those machetes are wielded by Frans Drescher, just imagine the last thing a ceo hears is her doing her “nanny” voice.
Hollywood looks like it might be next.
Good.
I am skeptical this strike will come to much, though I wouldn’t complain at being proven wrong. The last big writer’s strike I remember was in 2008ish, and that strike killed off a lot of shows and (anecdotally, at least) resulted in a large uptick in what we foolishly refer to as “reality TV”.
I would not be surprised even a little if I were to discover that this strike has caused executives and producers to turn to AI-generated content right now, as opposed to sometime down the line. The first “written by AI” show is bound to get a lot of initial attention, and as with all things dealing with automation-- it doesn’t have to be perfect, just better than humans.
The pessimist/pragmatist in me agrees with you, that this strike probably won’t come to any real meaningful changes.
However, the one big difference now is, actors and writers today have been earning such paltry amounts that almost all of them have full-time side hustles, so nobody is going hungry. I have a lot of friends who work as actors and writers in LA, and even if they do that “full-time” they all have full-time side careers too, as the pay for acting/writing is so crazy low and LA’s COL is so high. So if the studios hope to wait it out until people lose their houses and can’t afford food, they may be waiting a long time.
The ones hurting the most in LA are the mid-level and senior producers, who earn a good 6 figures, but not millions. They don’t have side hustles, and they have mortgages on million dollar homes, and also no income coming in. And they’re on the studios’ side, so they may actually be the first to fall before anyone from WGA/SAG.
I know I’m being a debbie downer, and my mostly-off topic follow up question is going to be in the same vein: Are you implying that these actors with second jobs can pay all their bills with only their second jobs? Does acting really pay so little; that’s nearly “hobby” territory.
There’s a pretty wide gap between A/B listers that are household names making a guaranteed 7+ figures per role and people that fight for every small role they can get, often going weeks between roles, and often only earning SAG minimums.
Sorry, I didn’t mean to give the impression that I thought all actors were the mega-rich ones; only that if acting pays so little, it’s the second job, if you ask me.
There are some articles floating around (I’ll try to dig them up when I have time later) where actors actually discuss how much they make and it really is that little. Think like 2k for a one-time spot which sounds great, but that then gets cut by taxes, fees to agents and other representatives. Also not including the time for auditioning, at-home work preparing for the actual rehearsals and filming. It’s wild. I work in the arts but not film, and I thought I had it bad.
Correct, the vast, vast majority of SAG actors earn so little money that even if it’s their “full” time job, it’s usually a secondary or tertiary one in terms of percentage of household income. There’s an article floating around right now which says that something like 80% or 90% of SAG actors earn so little money per year that they don’t even qualify for the SAG healthcare.
The reason that they earn so little is that pay for non A-list actors is really small, but perhaps the bigger issue is that non A-list actors don’t get cast very often, it’s a really difficult business to get noticed and cast. A “successful” SAG actor would be one who gets cast in a 3-5 episode guest star role each year, and maybe 5 day player roles too. Most don’t even get that. And with residuals being so small, the money for all that work is pretty small, especially for a HCOL city like LA, where you have to be based as a struggling actor, because casting directors want to see you in person.
It’s a bit different for writers in WGA, there you have to get a certain amount of writing credits to even get into the guild, and getting them initially is really hard, you have to intern or PA for established writing rooms, and then a certain percentage of episodes must be written by non guild members each season, so those will be given to the interns/PAs. But since streaming does 8-10 episodes rather than 22 like it was in the 90s, and there are no more traditional writing rooms for streaming, there’s no more pipeline for young writers to get in, and established writers are expected to write all 8 episodes but get paid for only 1 (the pilot). Even if you get into the guild, you’ll be lucky to be tapped to write 2-3 episodes for an established show each year, and the pay is tiny.
