Scripted Chaos: Hollywood’s Writers’ Strike and Its Lessons for African Film Industries

Two weeks ago, upon arriving in Los Angeles, I sensed a shift in the air. While the usual traffic on the 101 and 405 freeways remained, I observed unexpected congestion on other major streets. Having come from Lagos, where traffic woes are commonplace, I couldn’t help but wonder about the cause of this sudden bottleneck in LA. Little did I know that my arrival coincided with an impending strike between the Writers’ Guild of America (WGA) / Screen Actors Guild — American Federation of Television and Radio Artists (SAG-AFTRA) and the Alliance of Motion Pictures and Television (AMPTP). As a creative, this revelation prompted deep reflection on the strike’s implications for the government, the sector, and the artistic community.”

The Writers Guild initiated the strike on May 2, 2023. The momentum intensified on July 14, 2023, when SAG-AFTRA joined in solidarity with the writers. The unified action was prompted by various reasons, including disputes over streaming residuals, the regulation of self-tape auditions, concerns about AI potentially replacing actors’ jobs, and issues with contract renewals.

The guilds brought AMPTP member companies to a halt, impacting writing, revising, pitching, and future projects. The strike’s impact reverberates from LA streets to our screens, causing chaos in America’s TV industry. It’s more than just a strike; it’s a metaphorical battle against injustice, paving the way for a fairer and more entertaining entertainment landscape. Buckle up, folks.

The Financial Impact of the Strike on Hollywood’s Creative Sector: Understanding its Significance:

Ah, déjà vu strikes anew! Fifteen years ago, in 2018, Hollywood was rattled off its glamorous perch, yielding an astounding loss of $3 billion — ouch! Delving into the details is Jack Kyser, the Chief Economist for the LA County Economic Development Corp: $981 million vanished from scripted TV series production spending, $1.3 billion bade adieu to caterers, valets, and other industry-linked enterprises, the Golden Globe Awards witnessed a $60 million contraction, and writers and crew suffered a staggering wage reduction of $772 million. A true financial body blow!

Hold onto your popcorn, folks! Experts are warning that the strike’s impact might be even worse this time. Beloved TV shows face airplay disruptions, movies have incomplete scripts, and jobs are suddenly on hiatus. Hollywood’s in for a rough ride, and California’s economy feels the sting. One major film production’s daily contribution of $250,000 to the State’s economy is now a distant memory due to this relentless strike. Cash crunch, anyone?

As the strike looms larger, it could leave a trail of destruction, potentially affecting 20,000 workers across 600 productions. Approximately $81 billion in direct wages from 800,000 jobs in the film and TV industry might vanish into thin air if this strike drags on. Kevin Klowden from the Milken Institute shares similar concerns: “Could we see more? Absolutely.”

Television’s essence relies on brilliant writers creating unforgettable characters and captivating stories, brought to life by talented actors delivering powerful performances. The strike emphasizes their indispensable contributions as they advocate for improved terms in collaboration with studios and networks. The absence of these creative professionals significantly impacts the entire entertainment industry, including American movie productions abroad. For instance, Shonda Rhimes, writer/producer of Bridgerton, a UK-based series, joins the strike, stating, “I’m a writer on strike, so for the next few months or however long it goes, I won’t be putting pen to paper.”

Residuals and the Writers’ Quest for Equity:

Residuals are vital for many writers, especially as consumption patterns in the entertainment industry evolve. Hollywood figures, such as the creators of Stranger Things, Matt and Ross Duffer, have supported this claim. They tweeted, “Writing does not stop when filming begins.” Meredith Stiehm, President of the Writers’ Guild of America, emphasized in an open letter to Netflix and Comcast the need for payment reviews for writers, stating, “Shareholders should send a message to Comcast that if the company could afford to spend $130 million on executive compensation last year, it can afford to pay the estimated $34 million per year that writers are asking for in contract improvements and put an end to this disruptive strike.”

Job security amidst the development of A.I:

Technology’s disruptive force extends to America’s film industry as well. Today, many writers work multiple jobs to support themselves and their families while holding onto their writing jobs. As Artificial Intelligence (AI) gains prominence, studios consider integrating tech writing into the scriptwriting process for greater flexibility. However, the union actively seeks protection against it.

Uncovering the Core Issues:

The Writers’ strike centers around the demand for improved residuals from streaming media, the inclusion of all types of media in the latest Minimum Basic Agreement (MBA), “Mandatory Staffing” and “Duration of Employment” terms in their contract, as well as access to Pension and Healthcare funds for all members. Prominent show writers like Tina Fey, Quinta Brunson (Abott’s Elementary), and Debra J Fisher (showrunner- Ginny and Georgia) have joined the strike. Similarly, over 1,000 SAG members have also joined the strike, including esteemed A-listers like Lupita Nyong’o, Rachel McAdams, and Bob Odenkirk.

Today’s television landscape has evolved to embrace diverse forms of visual media. Writers now specialize in streaming, digital media (vlogs, etc.), and other mainstream platforms that align with current audience consumption habits. However, despite adding new coverage assets, writers’ paychecks have seen a significant drop of 23% over the last decade due to inflation spates. The guild highlights, “The companies have used the transition to streaming to cut writers’ pay and separate writing from production, worsening working conditions for series writers at all levels.”

Harmonizing all Writers’ interests:

Franchesca Ramsey, a TV writer, addresses a common misconception about the writers’ strike, revealing that not all film and television writers are wealthy. She describes writers’ struggles, particularly with their income impacted by streaming services. Ramsey mentions ‘The Bear’ on FX, where a new staff writer, Alex O’Keefe, earned very little during the nine-week writer’s room. Despite a $5,000 minimum weekly payment, after expenses for managers (10%), agents (10%), lawyers (5%), business managers (5%), and taxes (4%), writers are left with only about $30,000 to cover living expenses for an uncertain period. The unpredictable nature of show success and the disappointingly low streaming residuals further add to the challenges writers face in sustaining themselves.

“Then The Bear comes out on TV and it’s a huge hit on streaming and when the residual check comes, it’s nothing because you barely get any money for residuals on streaming. So this is what the Writer’s Strike is fighting for. Fixed residual income based on streaming viewership. Restrictions on mini rooms so that you aren’t overworked and you aren’t underpaid,” she explained.

The strike’s impact reaches beyond Los Angeles, as the television industry is a global enterprise with shows captivating audiences across borders. The writers’ strike showcases the interconnectedness of the entertainment ecosystem, where creativity and talent transcend geographical boundaries. Its resolution could serve as a model for addressing labor disputes in other regions, inspiring worldwide conversations about fair compensation and creative rights.

Learning Opportunities for African Film Industries:

Exploring the implications of the writers’ strike provides valuable insights for African film industries. New shows may stagnate without writers, leading to a dearth of fresh content. However, amidst this challenge lies an opportunity to leverage global markets and gain recognition. Vibrant film industries in Nigeria, South Africa, and other African nations brim with unique stories eager to be shared with the world.

“Queen Sono” (South Africa), “King of Boys” (Nigeria), “The Fisherman’s Diary” (Cameroon), and “I am not a Witch” (Zambia), and others exemplify the power of excellent writing in African productions. These narratives captivate global audiences, transcending cultural boundaries and reshaping perceptions of African storytelling.

The persistence of these issues in Hollywood from the early 1900s should serve as a beacon for us in Africa to enhance our movie industries’ structure. As we strive to make our film industries a global export, it is essential to unite and align the interests of actors, writers, producers, and directors in the development of African cinema- understanding that these things take time. Change is progressive.

As we maneuver through the complexities of the writers’ strike and its far-reaching implications for television’s future, it’s imperative that we transpose these valuable insights to the African film industries. Establishing a standardized framework within the sector is pivotal for African cinema to fully unlock its potential, thereby enhancing the caliber and resonance of African productions to captivate a global audience.

Emulating the practices of our innovative counterparts, film organizations across Africa should proactively introduce policies that cultivate a harmonious and conducive environment for all stakeholders. Drawing inspiration from the successful paradigm shift of the Advertising Practitioners of Nigeria (now known as ARCON), which effectively standardized advertising operations through levies and the promotion of local content in August 2022, African movie entities can adopt analogous strategies to propel the growth of our creative industry.

You’ve Made It to the End. Here’s a Little Something: Watch Celebrities at Picket Lines 🎥 Here.