SAG STRIKE: Actors/Writers Share Horror Stories

Amidst the buzz surrounding the ongoing strikes and discussions about meager pay, members of the Writers Guild of America (WGA) and SAG-AFTRA are taking a bold step, demanding to see their (often insufficient) residual checks.

The decline of residuals in the new media age has become a familiar tale, and a recent feature in The New Yorker highlighting the financial struggles of actors from the once-successful series “Orange is the New Black” has only intensified the frustration felt by actors and writers today.

Let’s delve into some of the harrowing stories shared by these industry professionals:

Jason Belleville, known for his work on “Home Economics,” sheds light on his experience with “Cobra Kai,” a significant hit on Netflix. Despite the show’s immense success, Jason confesses that the residuals he received pale compared to his earnings from other projects. He mentions a Netflix show he executive produced, “Sneakerheads,” which even ranked number one in several countries but didn’t yield any significant residuals. He laments how YouTube and Netflix shows often need more transparency, making it difficult to rely on a stable income, precisely what the ongoing strike aims to address.

Aisha Tyler, who has appeared in notable series like “Criminal Minds” and “The Last Thing He Told Me,” expresses her frustrations about the lack of residuals for her work on “Whose Line Is It Anyway.” Despite the show’s widespread popularity across multiple countries, Aisha and her co-stars don’t receive the compensation they believe they deserve for their creative contributions, labeling it as “creative theft.”

Mike Royce, a seasoned writer-producer associated with shows like “One Day At A Time” and “Men of a Certain Age,” took to Twitter to explain his experience with residuals. He highlights how streaming, cable, and network TV yield different payouts. A single CBS repeat of an episode earned him significantly more than the streaming residuals he received over several years, a stark example of the need for fair compensation in the industry.

Sarah Sokolovic, known for her work in acclaimed series such as “Big Little Lies” and “Homeland,” reveals that her residuals dramatically declined between 2015 and 2018, despite her involvement in Emmy-winning shows. She emphasizes that studios must revise contracts to ensure actors like her receive their rightful share of residuals over time.

Marqui Jackson, the showrunner for “All American: Homecoming,” echoes the sentiment that residuals are no longer a dependable source of income between projects. Even with a successful show, the need for more information about actual ratings hampers their ability to negotiate fair compensation.

John Carroll Lynch, whose work in “Trial of the Chicago 7” and “White House Plumbers” earned him recognition, points out that residuals for streaming are barely a fraction of what he received for lesser-known projects. He highlights the differing attitudes towards unions between traditional studios and newer players like Apple, Amazon, and Netflix.

Kevin Sussman, a cast member of the renowned series “The Big Bang Theory,” underscores the issue with streaming residuals. He notes that after transitioning to streaming platforms like HBO Max and Amazon Prime, residuals for his shows significantly declined, posing significant challenges for upcoming actors to sustain their livelihoods.

With appearances in films like “Men in Black 3” and “Russian Dolls,” Charlie Barnett shares instances of receiving paltry $9 checks as residuals. He speaks about the need for support from those in positions of influence and privilege to fight for fair treatment of individuals in lower tiers of the industry.

In conclusion, these anecdotes from actors and writers paint a concerning picture of the state of residuals in the entertainment industry. The ongoing strikes serve as a rallying cry for fair compensation and transparency, ensuring that creatives can sustain themselves financially and continue contributing to the flourishing entertainment world.