Writer Tony Gilroy grabbed a microphone on the streets of New York last weekend to talk about the future of Hollywood. “We are the content,” he said. “We’re tired of being strip-mined.”
on a New York City sidewalk to tell the story of how the “Writers Guild and SAG linked arms … and that sacrifice was to win all this shit we take for granted.” He also spoke of how previous Hollywood strikes—those after 1960—tried to wrest residuals for the sales of VHS, on-demand, and cable. At each turn, thewriter argued, the studios would counter that some new technology—DVDs, streaming—had disrupted the industry and that writers should wait while the studios adjusted.
During the last big writers' strike, the one that ended in 2008 after 100 days, the Writers Guild of America and the Alliance of Motion Picture and Television Producers reached agreements that gave the guild some jurisdiction over compensation for content streamed online. Writers got about 1 to 2 percent of the gross, depending on factors like whether the content was rented on iTunes or streamed on an ad-supported platform.
“In 2007,” Gilroy said, “they asked us to pretend we didn’t know what the internet was. That shit’s over; that show is done.” Gilroy would know, particularly now that he makes a show about rebelling against a massive empire, which streams on Disney+. Last month, afterthe showrunner about its viewership, which has always seemed on the low end for a Star Wars show. “One of the central issues of this entire labor experience is that I don’t have any idea what the audience is … I think the obscurity of data doesn’t help anyone.
Audience is, without a doubt, more important now than ever. As streaming services have repeatedly shuffled what shows and movies are available where, attracting a fan base has gotten complicated. At the same time, fandoms for streamers’ more niche content have grown more ardent. Flash mobs
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