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You're worried about the 1%, this is about the 99% behind the scenes, doing supporting roles, building sets, etc . Don't let movie execs take your eyes off the prize, that's what they want.

Oh boy at this point most of them are just fighting for their jobs, not even worried about actually making the work they want to be. If thats the kind of change you want to see in Hollywood, its gotta come from the consumer.

Gonna offer my two cents as someone who entered the industry during the last writer's strike. You'll see some interesting creative divergence as said creatives crave expression and reach out to new venues like YouTube for the first time. It was one of many changes to the industry at that (and now this) time. I use generative tech because it's part of this exploration of the taboo. Back then, YouTube was the taboo because it was effectively working for free and with no insurance or protection by comparison to a stable studio gig. Take away the studio gig, anything and everything could be opportunity for change and especially so the longer this goes on tbf.

This is one of the reasons why I strongly believe that if you want to do any kind of art and are passionate for it, you should never make your income depend on it. It's why even though I've studied Masters in game development and was always passionate about games, I work as a Red Teamer in cybersecurity instead, and then work on my games as a hobby.

And especially if we're talking about games, where you can just get a regular IT job as a programmer that pays more than you will ever make (assuming you don't get to work on a AAA project, but the you basically have zero agency about the game and are still just a code monkey), the best course of action (which I regret not doing, but my classmate did and is a lot better for it) is to just take advantage of the fact that IT pays comfortably, but instead of just making more money just work parttime for a "regular" pay, and use the free time for your projects.

But every time an art becomes business, it will inevitably suffer for it. There are rare cases of small indie studios getting lucky to be able to uphold their vision and still earn enough to afford paying their employees comfortably, but sooner or later you get into a point where you just have to start considering stuff around marketing that's totally unrelated to the art in itself, but usually forces you to compromise your vision

I'm actually pretty glad that generative AIs will probably really soon replace most of the artists required for mass production of such big budget commercial titles - because then the only option of someone who wants to do that kind of art will be a smaller indie studio or a hobby project, which may not be as successful and will probably end up as a niche, but it will also mean that a lot less artists end up with their passion sucked out and destroyed by execs forcing them to do shitty generic money grubbing stuff - because that will be done by AIs, and keep on being as generic as it is now.

Having 20 writers so you don't have to pay them as much really dilutes any narrative structure.

I subscribed to Britbox and find the writing and acting of much higher quality. Plus, the stories are generally more interesting with more feeling. I mainly watch that, watchTCM, and certain YouTube channels.

Other than the nightly shows, you won't be seeing the impacts of these strikes for months. Films and shows take a lot of time to go from inception to finished product. For movies I wouldn't be surprised if the impact doesn't happen until next year.