Dear Gossips,
The writers’ strike is on, and here’s where we’re at three days in.
UK-based writers want more clarity on how to work with studios during the strike, while Canadian and Aussie writers are siding with the WGA, not working on projects from US-based studios that are “struck” as part of the WGA’s work stoppage. International cooperation is sticky—non-US unions have not voted for strike action—but essential, as studios and streamers are undoubtedly relying on those non-US productions to keep up the content firehose during the strike (and thus pressure writers to bend, lest all their jobs be outsourced).
Meanwhile, disabled writers support the strike, whether they’re in the guild or not. They are systemically underrepresented and stand to lose an estimated $2 million in contractual work during the stoppage, but they are standing firm. As one writer put it: “I have nothing to lose and everything to gain from a WGA strike. I have been actively trying to get staffed for eight years, and I still haven’t been able to grab that final brass ring.”
On the other side of the fence, AI looms as a prospective labor replacement tool. I understand using it for assistive functions like research, copy editing, even idea generation (the number of times I have used random name generators while writing fiction…), but turning to AI for full-blown creative endeavor seems like the “pivot to video” cliff the media industry jumped off ten years ago.
It’s based on nothing more than a tech dream of a world without human labor, and while AI will undoubtedly integrate more and more into our lives, something tells me art and creative industry is one realm where the human touch will remain most desirable. Also, have you ever used something like ChatGPT? It’s only so useful. I would actually like to see someone make a movie based on an AI script, just to see what the worst movie in history looks like.
It’s no surprise that the studios and networks are threatening to use AI to replace striking screenwriters, though, nor is it a surprise suddenly everyone is announcing new seasons of shows that have already filmed, or that networks are “reassuring” people their schedules won’t be affected for months. These are all shots at writers, a sort of taunt that the studios have so much content lined up for the firehose they don’t even need writers.
Yet, buddy. You don’t need them YET. Or at least, you think you don’t. You actually do, because some of us remember how funky and weird film and TV got during the 2007-8 strike, but it’s important to note the people running the networks and studios are almost entirely different now. There are only a few people—Bob Iger, notably—around in top positions who were negotiating back during that strike, too. The new class thinks they can win this with international productions and AI. But AI isn’t up to the task, not yet, and if the international writers stand with the WGA, those non-US productions will start slowing down, too. And then where will we be? Back at the negotiating table.
Attached: Padma Lakshmi helps Hollywood writers strike on May 3, 2023.
Live long and gossip,
Sarah
