This loops back round to video games because of the often promoted idea that game developers should model work contracts more on the Hollywood contract system, but is also worth discussing as labour rights for the entertainment we enjoy (and may promote as Waypoints).
This section stood out to me as something I’d not fully understood about exactly how the gig system works:
Hollywood operated on the principles of the gig economy well before it became fashionable, and talent has relied on those supplemental payments as a potential cushion in between jobs. (In addition, unlike in most of the creative economy, Hollywood employment means paying out the managers, agents, and lawyers who may have assisted you in securing it.)
“If I was on a [network show like] Community, I would have been paid as a series regular,” Becker says. “But they didn’t make me a series regular, they made me a recurring guest star and paid me a daily rate. If I’d been number five on an NBC show, I’d be making $30,000 a week, but I was making $980 a week [at Netflix]. By the time you pay out taxes, your manager, agent, and lawyer, I was walking away with like $200.”
Lots of ground covered in the article and it’s well worth reading some of the views of people working inside this “golden age of TV”. Thoughts or insights? (There’s probably also room for the eternal topic of game development labour rights and how it compares to this very different model, outside of the current topics mainly rotating around Rockstar Games.)