Streaming has played a pivotal role in the career of actor Nick Martineau, but it also poses challenges for actors like him who are trying to make a living in the industry. Martineau’s journey began in 2016 when he worked as a background actor on Netflix’s “House of Cards.” At that time, being an extra was an excellent job for a college student, as it was not physically demanding, the crew was supportive, and it provided him with an entry point into the industry. However, with the advent of artificial intelligence, these kinds of roles could potentially be replaced, becoming a key issue in the ongoing writers and actors’ strike – the first since 1960.
Martineau’s breakthrough came when he lent his voice to a minor character in the English dub of the hit show “Squid Game” in 2021. Although this role did not bring in significant financial gains due to the current structure of residuals, it did contribute to increasing his visibility in the industry. In fact, he earned enough money to purchase health insurance and quit his day job in information technology.
While Martineau acknowledges that streaming has been a blessing for his career, he also criticizes the backward residual system and the overall flaws in the industry. This sentiment is shared by many in Hollywood, including actors, writers, investors, and even consumers.
The frustration with streaming stems from various factors. Actors struggle with revenue-sharing models that make it difficult to earn a sustainable income, while writers are confronted with stagnant pay and feel that their work is undervalued in the pursuit of quantity over quality. The presence of artificial intelligence in the entertainment industry is also a growing concern.
Consumers, on the other hand, are overwhelmed by the abundance of streaming services and the lack of original high-quality content. This sentiment is further compounded by the financial burden of subscribing to multiple services. Additionally, the industry itself is facing uncertainty and content saturation as streaming platforms compete for a limited pool of subscribers.
Streaming’s rise has caused significant disruptions in the industry, leading to an upheaval of established business practices and norms. While there are more job opportunities with streaming, it is increasingly challenging for individuals to sustain a long-term career in this environment.
Financially, streaming services are struggling to generate reliable profits, with only Netflix currently being profitable among major platforms. The intense battle for subscribers has resulted in mounting losses for many companies. Despite Netflix’s recent increase in subscriber count, other U.S.-based platforms saw a decline in numbers. To mitigate losses and appeal to investors, streamers have resorted to cost-cutting measures, including job cuts and price hikes.
Unfortunately, these belt-tightening measures disproportionately impact the individuals who are the backbone of the entertainment industry, as highlighted by Fran Drescher, president of SAG-AFTRA. This confluence of streaming’s influence and the profit-driven approach exacerbates existing inequalities in Hollywood.
For consumers like Susan Kovinsky, the sheer number of streaming services and the frustrating process of managing multiple subscriptions have become a headache. Karl Chocensky, on the other hand, finds solace in revisiting older content, believing that modern entertainment prioritizes mass appeal over artistic innovation.
Although some individuals, like Martineau, have canceled their subscriptions to protest the current state of the industry, a coordinated global effort would be required for such a boycott to have a significant impact. However, meaningful solutions to the issues facing the industry are not simple and will require concerted effort and dialogue.
Some industry professionals have left traditional Hollywood structures in pursuit of alternative paths. Nicholas Cabana, who spent years in animation for major studios, has founded Claynosaurz, a 3D production studio that operates in web3 and prioritizes full royalties and ownership of intellectual property. Similarly, David Koll has recently left the industry and has shifted his focus to producing independent content.
In conclusion, the advent of streaming has brought both opportunities and challenges for the entertainment industry. While it has opened up more job prospects, it has also contributed to uncertainty, inequality, and content overload. It is crucial for stakeholders to address these issues collaboratively to ensure a sustainable and thriving industry for all involved.
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