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The second problem lies with “residuals”—what a writer gets paid each time an episode or film they worked on is rebroadcast.
第二個問題是“追加酬金”——作家制作的一集電視劇或一部電影每被重播一次就會得到報酬。
In the Netflix era, films and TV shows can be rebroadcast on demand.
在網飛時代，電影和電視節目可以按需重播。
Writers argue that the industry has not yet found a way to equitably adjust their payment system to account for this huge change.
作家們認為，該行業尚未找到一種公平的方法來調整他們的支付系統，以適應這種巨大的變化。
A writers’ strike is felt across Hollywood.
整個好萊塢都感受到了作家的罷工。
When shows stop production, camera people, costume designers and others are also out of work.
當節目停止制作時，攝像師、服裝設計師和其他人也會停工。
Late-night talk shows are the first to go dark.
深夜脫口秀是第一個被取消的節目。
The Milken Institute, a think-tank in Santa Monica, reckons the previous strike in 2007 and 2008 cost California’s economy $2.1bn.
位于圣莫尼卡的智庫米爾肯研究所估計，2007年和2008年的罷工給加州經濟造成了21億美元的損失。
Striking screenwriters may inspire less sympathy than factory workers who down tools, or even the cash-strapped graduate students who went on strike across California last year.
編劇罷工得到的同情可能比罷工的工廠工人，甚至是去年加州各地因缺錢而罷工的研究生更少。
“There’s a notion out there of the spoiled, entitled, glitz-and-glam lifestyle of Hollywood writers,” admits Mr Collins-Smith.
柯林斯-史密斯承認:“有一種觀念認為，好萊塢作家的生活方式是嬌生慣養的、自命不凡的、浮華的?！?/p>
But “I know people who, when they got out of their last room, immediately started driving for Uber.”
但“我認識一些人，他們一走出最后一個房間，就立刻開始做優步司機?！?/p>
Los Angeles is the fourth-most-expensive city in the world, according to an annual cost-of-living survey from EIU, The Economist’s sister company.
根據經濟學人的姊妹公司經濟學人智庫的年度生活成本調查，洛杉磯是世界上第四昂貴的城市。
“You come to LA for the land of opportunity,” says Jake Lawler, a 24-year-old writer who moonlights as a stuntman to make ends meet.
24歲的作家杰克·勞勒說:“你來到洛杉磯是為了尋找機會的?！睘榱司S持生計，他兼職做特技演員。
“But the peace-of-mind tax is way higher than anywhere else in the country.”
“但安心稅比美國其他任何地方都要高得多?！?/p>
For studios, the question is whether the film industry can make money.
對于電影公司來說，問題在于電影行業能否賺錢。
Before covid-19 shuttered cinemas, theatrical releases accounted for about 45% of a studio’s revenues for a big-budget film, according to FTI Consulting.
根據富事高商務咨詢公司的數據，在新冠疫情導致影院關閉之前，院線發行約占電影公司大預算電影收入的45%。
Americans are again going to the movies, but not in pre-pandemic numbers.
美國人又開始去看電影了，但人數沒有疫情前那么多。
The streamers are also hunting for profits.
主播們也在追逐利潤。
Netflix laid off hundreds of workers in 2022 after it lost subscribers for the first time since 2011, and the firm recently said it would restructure its film department to focus on fewer, better flicks.
自2011年以來網飛首次開始流失訂閱用戶，并于2022年解雇了數百名員工。該公司最近表示，將重組其電影部門，專注于制作更少、更好的電影。
“There’s going to be a precipitous drop in investments in movies in general, because it’s just hard to make a profit,” warns Howard Suber, who taught film at the University of California, Los Angeles for 45 years.
在加州大學洛杉磯分校教授電影長達45年的霍華德·蘇伯警告說:“總的來說，電影投資將急劇下降，因為很難盈利?！?/p>
In some ways, the writers’ strike and the business-model woes are what Hollywood is accustomed to.
在某種程度上，編劇罷工和商業模式困境是好萊塢習以為常的事情。
“Every five to ten years there’s some kind of crisis, going back to the introduction of sound,” says Mr Suber with a chuckle.
“每隔5到10年就會出現某種危機，這要追溯到影音的引入，”蘇伯笑著說。
Hollywood is celebrating its century the only way it knows how: chaotically.
好萊塢正在用它唯一知道的方式慶祝它的百年誕辰：混亂。
