{"id":15482,"date":"2023-07-25T08:04:05","date_gmt":"2023-07-25T07:04:05","guid":{"rendered":"https:\/\/www.gfdesign.co.uk\/culture\/challenging-the-corporate-lords-of-film-and-tv\/"},"modified":"2023-07-25T08:04:05","modified_gmt":"2023-07-25T07:04:05","slug":"challenging-the-corporate-lords-of-film-and-tv","status":"publish","type":"post","link":"http:\/\/www.gfdesign.co.uk\/culture\/challenging-the-corporate-lords-of-film-and-tv\/","title":{"rendered":"Challenging the Corporate Lords of Film and TV"},"content":{"rendered":"

\"\"<\/p>\n

Hollywood writers and actors are on strike, the first time both unions have been on strike at the same time since 1960. It\u2019s thrown the industry into an uproar, as both groups are subverting some of the main precepts of not only the Hollywood film and television industry but the way work as a whole is constructed and managed in the digital age.<\/p>\n

The first precept being challenged is that unions and union solidarity is a dead letter in the era of Artificial Intelligence and the ever-increasing corporate power and prestige as the twin answers to solving the world\u2019s ills. The high profile of the two striking unions has drawn more attention and produced much more publicity for unions. The news stories in The New York Times<\/em>, for example, have doubled since the actors joined the writers on strike, with most major publications feeling the need to generate stories from the picket lines, where formerly the major news outlets concentrated mainly on the beginning and end of strikes.<\/p>\n

This has produced a kind of reverse Blacklist effect. In 1947 the House Un-American Activities Committee decided that it would launch its campaign against radical elements in the labour force by first attacking Hollywood, and thus ensuring maximum publicity in its campaign of fear. Here the opposite is happening. In the wake of the Occupy Movement, and using some of that language, the coverage of the strikes of the two unions, largely favourable in the press since its readers are avid followers of films and television series, have prompted more favourable coverage of other strikes. Teamsters and nurses have shown up on the picket lines<\/a> at the Hollywood studios, with the former helping to stop production in some cases, while the leaders of the Writers\u2019 Guild joined hotel workers in a July 4th<\/sup> strike for higher wages.<\/p>\n

Serfs serving corporate lords<\/strong><\/p>\n

On the actors\u2019 picket line Fran Drescher, President of the Actors\u2019 Guild, employed the Occupy language of the 1 percent to criticize executive salaries. She described one of the most powerful men in the industry, Disney\u2019s President Michael Iger who makes $27 million annually, as a dazzling example of the rampant inequality in pay structure. She claimed that she was on the line representing \u201cthe 99.9 percent of the membership who are working people who are just trying to make a living to put food on the table, pay rent and get their kids off to school\u201d while labelling the Hollywood executives as \u201cland barons of a medieval time<\/a>.\u201d This labelling not only echoes the language of the Occupy movement but is also drawn from a popular left characterization of a new Feudalism<\/a>, with the majority of the population now in the position of serfs serving corporate lords.<\/p>\n

\"1The<\/p>\n

The new feudalism<\/em><\/p>\n

One of the main claims of the writers is that they can no longer afford to live in a city they helped build, as Los Angeles rents skyrocket. This claim in similar to the hotel workers who say they have to live outside the city and sometimes travel 90 to 100 miles to work<\/a>. The writers\u2019 claim was validated by a studio executive who, anonymously, told Deadline <\/em>that the studio producers would \u201cbleed out\u201d writers and force them to \u201cstart losing their apartments.\u201d<\/a><\/p>\n

The second major tenant of Hollywood and the television industry which the strikes are challenging is the attempt to conceal profits and keep from paying residuals. For over 70 years the vast majority of television series operated on the principle of deficit financing. Producers and talent (writers, directors and actors) understood that the vast majority of money being made on any television series would come after the series was sold into syndication. The \u201cmagic number\u201d that would trigger these sales was 100 episodes. The show would then become profitable in perpetuity with its creators and financiers able to live off of these sales.<\/p>\n

Part of the drive toward online subscription services, where the studio or streamer locks content behind a solid wall, is the elimination of these residuals or the limiting of them since the creators can no longer track how their work is being monetized. The streamers, on the other hand, have much more data and can track viewer habits minutely, down to the second where the viewer continues to watch or tunes out. The old system, with the Nielsen Ratings and with syndicated contracts, was much more transparent and allowed creators to track profits, though the studios often tried to conceal their gains.<\/p>\n

A major demand of both strikes is finding a way to reclaim residuals in the age of streaming. The battle here goes beyond film and television writers and actors and encompasses the problems with monetizing digital work as a whole. Journalists, for example, often work for less or for nothing on internet publications while search engines such as Alphabet\u2019s Google and Microsoft\u2019s Bing accrue value by appropriating stories from news outlets and only reluctantly pay for this content.<\/p>\n

\"4AI<\/p>\n

AI Eats Brains\u00a0<\/em><\/p>\n

The third major precept which the strikes are challenging is the parceling of work, a trend that is going on throughout industry as a whole and which is being exacerbated by experiments with Artificial Intelligence and programs such as ChatGPT. The idea of breaking all kinds of work into tasks has of course been around since the Taylorist experiments with assembly lines in the 1920s. What is new, or as the owners say \u201cinnovative,\u201d is the potential ability, once the work is broken down into its component parts, to have labourers replaced with robotic replicators of their work, or to reduce work to \u201csmaller, more degraded, poorly paid jobs<\/a>.\u201d\u00a0<\/p>\n

From careers to gig work<\/strong><\/p>\n

One of the complaints of the actors, echoed even more strongly by the writers, is that their careers have been turned into gig work. The meteoric rise in streaming has been fed by the work of writers creating television series of high quality and moving themselves into all aspects of production, to make sure, like the Hollywood directors of old, that all aspects of the series (costuming, makeup, set construction) form a seamless whole. This expansion fuelled the rise of more and better showrunners, responsible for the overall concept of the series.<\/p>\n

Instead, the producers are attempting to limit the writers to just their time in the writing room, and then release them. Their preferred model is to pay a single creator an exorbitant salary (Shonda Rhimes-Bridgerton<\/em>, Ryan Murphy-American Horror Story<\/em>, Taylor Sheridan- Yellowstone<\/em>) and dispense with the rest. The Writers\u2019 Guild has been tracking this trend and says that writers\u2019 time on a series has decreased because they are let go faster and that in 2022 over half of the writers, stripped of their producing jobs, are being paid at the weekly minimum<\/a>, as opposed to one-third eight years ago.<\/p>\n

\"3Tom<\/p>\n

Tom Cruise vs. The Entity<\/em>\u00a0<\/p>\n

Contrary to the Tom Cruise version of AI in Mission Impossible \u2013 Dead Reckoning <\/em>where an all-powerful \u201cEntity\u201d threatens a machine takeover of the earth, the real challenge of AI, which this Hollywood fantasy version conceals, is that it will be used to un-employ workers in all kinds of industries as well as forcing them to work harder through its monitoring capacities. Thus, warehouse workers describe being tracked minutely, pressuring them to skip breaks, while setting them up for disciplinary actions if their goals are not met. The personal touch of service workers, who one worker described as providing \u201ca kind of therapy\u201d<\/a> to their clients, is discounted as their work is automated. A recent Biden administration summit<\/a> to \u201cregulate\u201d AI rather than impose restrictions allowed the seven major makers of the service to voluntarily agree to guidelines. None of the restrictions even mentioned AI\u2019s power to eliminate, tame and discipline the U.S. workforce.<\/p>\n

\"2Maverick\"<\/p>\n

Maverick<\/em><\/p>\n

A long-term goal for Hollywood\u2019s use of AI is potentially to use the machine to grind out scripts that are then \u201ccreated\u201d not by the writer, but by the studio\/streaming service. The scenario for this goal involves the studio plugging in a basic concept with AI or ChatGPT which then churns out a (highly unworkable) script. A writer would then be hired to turn the script into a workable scenario but the credit, and the profits, would then go to the studio. This is an attempt to turn television production back to the 1950s when, for example, Warners cheated the \u201cshowrunner\u201d Roy Huggins out of the \u201cCreated By\u201d credits for both Maverick <\/em>and 77 Sunset Strip<\/em>, two shows which kept the studio afloat<\/a>. For Maverick<\/em>, the studio bought the rights to a book that a plot turn in the pilot employed and thus claimed it owned the property. With 77 Sunset Strip<\/em>, Warners screened the pilot in a cinema outside the U.S. and claimed the studio then owned the rights to \u201cthe film.\u201d Huggins himself addressed this ignominy in his next contract with Universal which granted him the \u201cCreated By\u201d credit and established it as a norm for the industry.<\/p>\n

An actor on the picket line described AI as \u201ca tool to generate wealth,\u201d noting that the main task of the \u201cEntity\u201d was \u201ccutting jobs for corporate profit.\u201d While another writer\u2019s guild member summoned up the end game as \u201ccreating material in the cheapest, most piecemeal, automated way possible<\/a>\u201d so that \u201cone layer of high-level creatives take the cheaply generated material and turn it into something.\u201d The demand of the Actors\u2019 and Writers\u2019 Guilds to have control of how this process is used, is a crucial attempt to counter this thrust.<\/p>\n","protected":false},"excerpt":{"rendered":"

Hollywood writers and actors are on strike, the first time both unions have been on strike at the same time since 1960. It\u2019s thrown the industry into…<\/p>\n","protected":false},"author":472,"featured_media":15473,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1649],"tags":[2805,2803,2806,2807,2804],"class_list":["post-15482","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tv-radio-internet","tag-actors-guild","tag-ai","tag-hollywood","tag-huac","tag-writers-guild"],"_links":{"self":[{"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/posts\/15482","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/users\/472"}],"replies":[{"embeddable":true,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/comments?post=15482"}],"version-history":[{"count":0,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/posts\/15482\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/media\/15473"}],"wp:attachment":[{"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/media?parent=15482"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/categories?post=15482"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/tags?post=15482"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}