That’s because, among the lists of demands the WGA is asking for, which include better pay and larger writers rooms, the most important topic (to me) is the demand that the studios agree not to use AI to write or rewrite stories (though the guild has said it’s okay for writers to use it as a tool). It could be the issue that signals what will happen to almost all creative jobs (and many other kinds of white-collar vocations) in the not-too-distant future. AI in Hollywood could be a harbinger of what’s to come to everyone-and I mean everyone. No, no…I know what you’re thinking, not another AI story, but wait! Stop! Keep reading, I promise you this will all make sense momentarily. I’m referring to artificial intelligence. But there are many people who will be affected by what happens with one of the issues at stake between the writers and the studios.
“There aren’t that many writers in Hollywood!” No, there are not. It’s actually a much larger group an estimated 375 million people worldwide, to be precise. Then, as gangly palm trees sway nearby and rivers of cars flow along Los Angeles’s concrete canals, these writers have trudged back and forth on the pavements in front of Paramount Studios and CBS and Disney and Netflix- on strike as screenwriters for television shows and movies for the first time in 15 years.īut in reality, it isn’t just the 11,500 people wearing those blue T-shirts and chanting, “No contract! No content!”-or my personal favorite, “Here’s a pitch: Pay us, Bitch!”-who could be the lead of this story. But this past week, those same screenwriters have woken up, donned blue T-shirts that say “Writers Guild of America,” grabbed a red-and-black picket sign, and descended on the sidewalks of one of the big Hollywood studios. Writers who have spent their careers holed up in writers rooms or coffee shops, figuring out plots and characters and dialogue and stuffing them into 30- or 60-page scripts. Right now in Hollywood there are some 11,500 humans who could be the lead of this particular story. That character serves a purpose: to make a specific thesis feel less nebulous and more, dare I say, human. When you’re writing a story about an issue that affects a large group of people, whether it’s for a news outlet or a television show, you often pick one person as the anecdotal lead of the tale.
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