Decker was a regular on the series for seven seasons and 94 episodes.
THE BIG PICTURE
- The lack of residuals from streaming platforms like Netflix is a major issue for actors and writers, as it eliminates an important source of income beyond filming.
- The fight for fair pay and protections in Hollywood goes beyond residuals and includes concerns about AI's presence and worker-friendly practices.
- Many actors, like Brooklyn Decker, are advocating for fair treatment and fair wages, emphasizing the need for streamers to allocate wages properly and pay creatives what they deserve.
As the WGA and SAG-AFTRA continue their fight for fair pay and protections in Hollywood, Netflix has been under constant fire of for the severe lack of residuals, and pay in general, the platform has paid out to some of its biggest hits.
Orange Is the New Black's cavalcade of talented regulars had no shortage of horror stories regarding the lack of pay for the series that put the streamer on the map, a sentiment echoed by Breaking Bad star Aaron Paul and the writers of the surprise hit Suits among others. Add another unjustly underpaid star to the mix as Grace and Frankie star Brooklyn Decker revealed she received no residuals from the mega-hit in an exclusive story from The Messenger.
Decker was a regular aboard the Jane Fonda and Lily Tomlin vehicle, appearing in all seven seasons and 94 episodes as Grace's (Fonda) daughter Mallory Hanson. It currently holds the title of the longest-running Netflix original, and it's easy to see why.
Since premiering in 2015, the series remained one of the streamer's biggest hits with 13 Emmy nominations to its name all powered by the bond between Fonda and Tomlin. Despite all of that across eight years of filming for the series, Decker saw not a cent past filming.
"It is our industry's big fight and an effort to preserve the craft of creativity and actors and writers at this point," the actress said regarding the strikes. Under the streaming age, acting is becoming unsustainable for the middle and lower classes of actors thanks to the elimination of residuals.
Netflix and the rest have expanded to the point where syndication is next to non-existent, eliminating what little money stars would've received from a network.
Decker explained, "...with all streamers, they release internationally on the same day. So you're not getting any syndication, you're not paying any royalties. You make what you make for shooting episodes, and there's no money to be made after you've seen that."
Frankie (Lily Tomlin) and Grace (Jane Fonda) smiling in 'Grace And Frankie.'
Residuals are far from the only issue the WGA and SAG-AFTRA are fighting for. Writers and actors are fearful of the growing presence of AI in Hollywood and are generally pushing for more worker-friendly practices like an end to self-taped auditions. Actors want to see a greater contribution to the union's health and pension funds too, an issue close to Decker.
"This is the life of an actor," she said "You can be working for a year straight and then [have] a three-year dry spell. You have to think of insurance. There's no maternity leave in the television, so the strike is hugely important." She emphasized that, while she enjoyed her time on Grace and Frankie, it was characterized by a lack of fair treatment, adding:
"I had an amazing experience working, but it was definitely not what it would have been at a network. These streamers are making a ton on the back of creatives and it's time that those wages are just paid out and allocated fairly. No one's asking for more than they deserve. Everyone's just asking for fairness and fair wages for their work."
As of right now, discussions have reignited with the AMPTP and WGA, and while there have been more encouraging signs than ever toward a potential deal, there are still plenty of bridges to cross to ensure the fair treatment of writers and actors. The AMPTP has yet to restart negotiations with SAG-AFTRA.
