Customers want instant gratification. Workers say it’s pushing them to the brink

NEW YORK (AP) — Six straight days of 12-hour driving. Single-digit paychecks. The complaints come from workers in vastly different industries: UPS delivery drivers and Hollywood actors and writers.

But they point to an underlying factor driving a surge of labor unrest: The cost to workers whose jobs have changed drastically as companies scramble to meet customer expectations for speed and convenience in industries transformed by technology.

The COVID-19 pandemic accelerated those changes, pushing retailers to shift online and intensifying the streaming competition among entertainment companies. Now, from the picket lines, workers are trying to give consumers a behind-the-scenes look at what it takes to produce a show that can be binged any time or get dog food delivered to their doorstep with a phone swipe.

That workers are overworked and underpaid is an enduring complaint across industries — from delivery drivers to Starbucks baristas and airline pilots — where surges in consumer demand have collided with persistent labor shortages. Workers are pushing back against forced overtime, punishing schedules or company reliance on lower-paid, part-time or contract forces.

At issue for Hollywood screenwriters and actors staging their first simultaneous strikes in 40 years is the way streaming has upended the economics of entertainment, slashing pay and forcing showrunners to produce content faster with smaller teams.

“This seems to happen to many places when the tech companies come in. Who are we crushing? It doesn’t matter,” said Danielle Sanchez-Witzel, a screenwriter and showrunner on the negotiating team for the Writers Guild of America, whose members have been on strike since May. Earlier this month, the Screen Actors Guild–American Federation of Television and Radio Artists joined the writers’ union on the picket line.

Actors and writers have long relied on residuals, or long-term payments, for reruns and other airings of films and televisions shows. But reruns aren’t a thing on streaming services, where series and films simply land and stay with no easy way, such as box office returns or ratings, to determine their popularity.

Consequently, whatever residuals streaming companies do pay often amount to a pittance, and screenwriters have been sharing tales of receiving single digit checks.

Adam Shapiro, an actor known for the Netflix hit “Never Have I Ever,” said many actors were initially content to accept lower pay for the plethora of roles that streaming suddenly offered. But the need for a more sustainable compensation model gained urgency when it became clear streaming is not a sideshow, but rather the future of the business, he said.

“Over the past 10 years, we realized: ‘Oh, that’s now how Hollywood works. Everything is streaming,’” Shapiro said during a recent union event.

Shapiro, who has been acting for 25 years, said he agreed to a contract offering 20% of his normal rate for “Never Have I Ever” because it seemed like “a great opportunity, and it’s going to be all over the world. And it was. It really was. Unfortunately, we’re all starting to realize that if we keep doing this we’re not going to be able to pay our bills.”

Then there’s the rising use of “mini rooms,” in which a handful of writers are hired to work only during pre-production, sometimes for a series that may take a year to be greenlit, or never get picked up at all.

Sanchez-Witzel, co-creator of the recently released Netflix series “Survival of the Thickest,” said television shows traditionally hire robust writing teams for the duration of production. But Netflix refused to allow her to keep her team of five writers past pre-production, forcing round-the-clock rewrites with just one other writer.