The Hollywood strikes will affect all future creatives

For the first time in more than 60 years, the Screen Actors Guild, the American Federation of Television and Radio Artists and the Writer’s Guild of America are on strike simultaneously. Since July 14, it seems as though Hollywood has been shut down, and future young creatives hoping to make it big will feel the effects as well. 

At face value, it is easy to see that the strike directly affects both actors and writers, but looking between the lines, they are just the first dominoes to fall. Below-the-line workers — including makeup artists, hairdressers, costume designers, camera operators, carpenters and gaffers — have also had their careers come to a screeching halt because of the strike.

As a creative writing major, the news of the strike shocked me. There is always talk of the elite 1% of creatives that seemingly “make it”: the A-list actors and actresses, the scripts worth millions of dollars, the production designers with Emmy awards under their belts. But if the majority of creatives are barely getting paid and reasonably recognized for their work, what does this mean for everyone else involved in creating media, like the starting-out screenwriter or the hopeful college student?

One of the main issues on both sides of the strike is the use of artificial intelligence. Between 2023 and 2030, the AI market is expected to grow 37.3% annually, according to a recent Forbes report. However, AI in creative industries has been limited in the past. Fear that AI can scan and generate an actor’s likeness and perform scenes not previously discussed with the actors has been a critical component of the strike for SAG-AFTRA. 

Beyond this, the AI generation of creative works, including scripts, novels, short stories or even poems is on the rise. In an interview with National Public Radio, TV writer Lanet Tachell said, “We’re out here fighting so that the ‘Alexas’ and whatnot aren’t writing our stories. We’re not here to rewrite a machine.”

Along with AI, fair and increased wages have been a hot topic during the strike. According to a WGA survey, the median weekly pay for writer-producers decreased by 23% in the last decade. That doesn’t include staff writers who make a minimum weekly salary of $4,546. While this seems like a large number, their wages would have to increase by 10% to match inflation rates. Furthermore, below-the-line workers aren’t pulling these sorts of numbers on set: Typical hourly pay for a lighting operator at Paramount Pictures in California is $33.72, scraping at just over $1,800 a week. While it’s favorable to daydream about the luxurious life of Hollywood, it is certainly hard to ignore the facts. 

Participants in the strike have been brutally honest regarding their financial situations. Kimiko Glenn, who appeared in six seasons of the hit show “Orange Is the New Black,” posted a video on Instagram showing a royalty statement for only $27.30 in residuals. Grace Duah, who starred in the new reboot of “Gossip Girl,” revealed that she had to keep her job at a pilates studio during filming because she did not earn enough from the show. 

The reality of how Hollywood treats its employees is a harrowing thought. It’s tough to pursue a creative field knowing that even the cream of the crop is hardly getting paid. If I listen closely, I can practically hear the keyboard clicks of a graphic design major applying to transfer to Marshall. 

Furthermore, it’s not just Hollywood that is at a standstill — so are prospective internships and job opportunities. On a grander scale, with the lack of scripts coming in and halted production, college students nationwide are at risk of losing their internships.

“I could go and get another job because I do have my B.A. in Communication,” said Elizabeth Nesbitt, a student at Columbus State University, in an interview with KYMA. “But once the strike is over and productions are back up, I still have this 160 hours to complete [to graduate].”

Now more than ever, media is constantly consumed. From social media to streaming services to live entertainment, there is a constant need to be surrounded by creativity. For those hoping to be a part of these spheres, news of the strike and its impact on above and below-the-line workers does not only spark anger but discouragement.

We can only hope that the strike produces enough outrage to improve the industry for future creatives. But as of right now, it seems like studios don’t share this vision, as characterized by an anonymous executive’s interview with Deadline:

“The endgame is to allow things to drag on until union members start losing their apartments and losing their houses,” the executive said.