“How did I become Tom Joad? I used to write for a living.” These words, spoken by a successful screenwriter who wishes to remain anonymous, echo the plight of the iconic character from The Grapes of Wrath. Like Tom Joad, he has found himself caught up in a struggle for a better life. The ongoing strike in Hollywood has taken on a “rich against the poor” narrative, as one studio CEO aptly described it. The picket lines may not resemble Steinbeck’s novel, but the rhetoric certainly does.
Amidst this battle, the public sentiment overwhelmingly favors the workers. Only 7% stand with the “bosses,” who are now being referred to as “land barons” and “tone-deaf greedy bosses” by Fran Drescher of SAG-AFTRA. The strike has reached its 100-day mark, with even L.A. city workers joining in solidarity.
But who are these bosses? In the past, Hollywood was dominated by self-made show business autocrats like Louis B. Mayer and Jack Warner, who fought their own battles with bankers. They relied on gangster pictures to navigate their way through the Great Depression. However, the landscape changed in the late 1950s with the emergence of corporate Hollywood.
One man, Steve Ross, played a pivotal role in this transformation. Starting in the funeral business, Ross quickly amassed an empire that included Warner Bros, Time Inc., HBO, Atlantic Records, and Atari. He was known for his extravagant parties, private jets, and making his colleagues wealthy. Ross loved risk-takers and rewarded them generously. His entertainment conglomerate exuded style and swagger.
But Ross’s era came to an end with his death in 1992. His successors lacked his charisma and dedication to spreading the wealth. The SEC introduced restricted stock, ushering in a new generation of corporate leaders with astronomical stakes. The world of the CEO became increasingly dangerous and disorderly, facing economic standoffs and political crossfires.
In the midst of all this, Hollywood longs for the days when bosses like Walt Disney and Darryl F. Zanuck were admired and even despised. They were driven by a passion for creating brilliant movies, not just capitalizing on corporate deals. The community felt a sense of shared achievement, and even Tom Joad, if given the chance, would have paid to see their films.
