The strike launched by the Screen Actors Guild‐American Federation of Television and Radio Artists (SAG-AFTRA) in July 2023 brought most film and TV production in the U.S. to a halt—and its ripple effects reached across the Atlantic. In the UK, where many inward investment films and TV programs are funded by Hollywood studios, production was also disrupted. As a result, a significant portion of the UK workforce in this sector faced unemployment or an absence of job opportunities altogether. The Broadcasting, Entertainment, Communications and Theatre Union (BECTU) described the impact on the UK film and TV industry as a “crisis,” and conducted a survey between February 9–16, 2024, gathering responses from 4,160 film and TV industry professionals to assess the employment situation and the strike’s broader impact.

Earlier, in October 2023, the Film and TV Charity (FTC) conducted a separate survey of 2,026 respondents to evaluate their financial well-being.

This report draws on findings from both surveys to examine the employment landscape in the post-strike UK film and TV industry, the economic and mental toll on workers, future outlooks, and potential solutions, including recommendations from BECTU. Unless otherwise noted, this report is based primarily on BECTU’s and FTC’s survey findings.

Employment Landscape in the UK Film and TV Industry

The UK’s film and TV sectors are heavily reliant on freelance labor, meaning workers have few opportunities to apply their skills unless projects are actively underway. The U.S. strike, which ended in November 2023, created major scheduling and budget disruptions that triggered a domino effect in UK inward investment productions. As of February 2024, BECTU has declared the employment situation for freelancers in this sector to be in a state of crisis.

According to BECTU, the unemployment rate among film and scripted TV professionals reached 71% and 70% respectively, with an overall industry average (including nonfiction TV) of 69%. Even after the strike ended, the situation barely improved. Around 68% of freelancers reported having worked for less than a month in the past three months, with most attributing their employment struggles directly to the Hollywood strike. The delay in restarting production further exacerbated job instability.

Beyond the strike, the industry is still recovering from the aftermath of COVID-19. Commissions from global streaming platforms have slowed, the BBC has frozen its license fee, and the advertising market is in decline—all of which have compounded job insecurity. Additionally, rising inflation has driven up production costs, further intensifying the employment crisis. In other words, internal UK issues have prolonged the downturn in production even after the Hollywood strike ended. BECTU warns that if the current instability continues, 30% of workers plan to leave the industry within the next five years—an alarming trend that threatens the sector’s long-term sustainability.

Survey Results: Voices from the Ground

The continued downturn has brought economic hardship to workers across the board. According to the FTC survey, only one in four respondents reported feeling “comfortable” or “doing okay,” while nearly half said they were “struggling” or “significantly struggling” financially. The remainder said they were “getting by,” painting a stark picture of widespread instability.

Financial stress varied significantly based on employment status: 45% of freelancers reported hardship, compared to 30% of full-time staff. Meanwhile, 44% of full-timers said they were “doing fine,” compared to just 23% of freelancers. The film sector reported the highest rate of economic difficulty at 60%, likely reflecting its greater reliance on Hollywood investment. Workers with disabilities or long-term health conditions, caregivers, and those over 55 reported higher levels of hardship. Men and white workers tended to report relatively greater financial stability than women and workers of color.

Savings levels, often seen as an indicator of financial resilience, raised further concerns. Some 42% of respondents had less than £1,000 in savings—significantly higher than the UK national average. This group also reported higher levels of financial stress, while those with more savings were generally more secure.

When asked about changes in cash reserves over the past year, 60% reported a “significant decline,” with the most dramatic decreases occurring among those with the least to begin with. This suggests that people already in vulnerable positions are depleting their resources fastest, and that overall financial resilience is weakening.

Both the BECTU and FTC reports underscore the economic precarity of the UK’s screen industry workforce. Between September 2023 (during the strike) and February 2024 (after it ended), workers’ situations showed little to no improvement—and in some cases, got worse. A growing number of respondents reported struggling to pay bills, turning to loans or private lenders, and applying for government assistance.

Looking ahead, the outlook remains bleak. Most survey respondents said they expect “very few” or “not enough” job opportunities over the next six months, with freelancers expressing the most concern. As job insecurity mounts, more workers are planning to exit the industry. In the scripted TV sector alone, 30% of respondents said they plan to leave within five years, with even higher rates among women and Black respondents.

This exodus threatens to undermine industry diversity. Already underrepresented in senior roles, women, ethnic minorities, and workers with disabilities risk being driven out of the industry altogether. BECTU argues that the current crisis is worsening structural inequalities and pushing progress on inclusion and representation backwards.

Worker testimonies support this claim. Several respondents noted that "survival in this industry is nearly impossible without a financial safety net" and described the current climate as “driving a wedge into diversity efforts.” Some disabled workers said they felt forced to consider leaving due to long-term unemployment. These candid reflections point to a future where the creative workforce—and the industry itself—are at risk.

BECTU’s Proposed Solutions

Through its survey, BECTU has highlighted the extent to which the 2023 Hollywood strike has worsened job insecurity and economic hardship for UK film and TV professionals. The cyclical boom-and-bust nature of the industry, especially for freelancers lacking a safety net, has been further exposed by this crisis. Without swift intervention, BECTU warns, more workers—particularly those from underrepresented groups—will leave the industry, threatening both diversity and its long-term viability.

One proposed solution involves reforming the Universal Credit system. This UK government benefit supports low-income individuals, including the unemployed, part-time workers, and those unable to work due to health issues. Eligibility is currently limited to people with annual income (including savings and investments) below £16,000. However, the timing of income assessments can unfairly penalize freelancers with fluctuating earnings. For example, someone unemployed now might be disqualified based on income earned months ago when they were working. BECTU argues for a more flexible system that accounts for the realities of freelance work.

The union also points to international models. In France, creative workers are eligible for unemployment benefits if they meet a minimum number of work hours—a system designed specifically for artists and media professionals. In Ireland, the government is piloting a basic income program for artists to address their inherently precarious employment. BECTU urges the UK government to consider these types of targeted support systems.

BECTU also warns that the current job shortage disproportionately affects women, disabled workers, and ethnic minorities—groups already underrepresented in the industry. To preserve diversity and inclusion, the union calls for policies that protect these groups from being pushed out. Moreover, BECTU emphasizes the need for collaborative action: unions and their members must play a central role in shaping recovery strategies, with strong government engagement to back them.

Conclusion

This report has outlined the employment challenges facing the UK film and TV industry, the toll on its workers, and the policy solutions BECTU has proposed in response. Given the industry’s heavy reliance on Hollywood-backed inward investment productions and post-production services, it is difficult for the UK to insulate itself from U.S. labor disputes. Consequently, job volatility in the UK is closely tied to developments across the Atlantic—and there is no quick fix.

Still, ensuring that workers don’t abandon the industry in times of crisis will require robust support mechanisms. BECTU’s policy proposals are all rooted in one goal: creating a stable environment where workers can survive the ups and downs without being forced out. While Korea’s film and TV industries differ structurally from the UK’s, these policy ideas offer valuable insight into how one might safeguard creative talent during periods of disruption.

For the full KOFIC Correspondents Report 2024 Vol.48 on UK Film and TV Employment and Solutions, please visit the Korean Film Council’s Policy Research Board.

Written by: Choi Sanghee, KOFIC UK Correspondent

KOFIC Correspondents Report – Full version (Click)