Television writer Deirdre Mangan started the trend Tuesday afternoon with her own story.
Two weeks after The Hollywood Reporter revealed that Crazy Rich Asians’s Adele Lim had left the franchise amid a sizable pay disparity with her co-screenwriter, scribes are taking to social media to reveal their own experiences with the pay gap.

Deirdre Mangan was the first to use the hashtag #NotWorthLess to share her story. «Much respect to Adele Lim for walking away from CRA. That’s a heartbreaking decision to make,» she wrote Tuesday afternoon. «The rampant pay inequality in the entertainment industry is archaic. Writers who are not able-bodied white men are #NotWorthLess.»

Mangan wrote that for two series at two different studios for which she was hired as co-producer (she did not name them but she most recently served as co-producer on both Universal TV’s Midnight, Texas and ABC Studios’ The Crossing), she was told both times that «budget limitations» precluded the studios from paying her more. She later found that a male colleague at the same level on a show with a similar budget at the same studio earned $1,500 more than her per episode. She asked him how he managed to negotiate successfully and he replied, «Must’ve been my agent. He doesn’t really talk to me, I just get emails from his assistant.»

Veteran writer Terri Kopp, who created BET’s In Contempt and currently serves as co-EP on Showtime’s The Chi, reported that the first time she ran a show, she discovered that she was making less than her male co-EP. Fellow upper-level writer Patti Carr detailed her negotiations with CBS Studios, for which she’d executive produced or co-EP’ed four CW series, when it approached her in 2018 to co-EP NCIS: New Orleans. She countered «the usual low-ball opening number» with an equivalent to her previous CBS Studios fee, plus a 3 percent annual increase. After the studio’s final offer came in 25 percent under that counter, she walked. Carr wrote that CBS Studios then hired a white male writer, who had fewer credits amd years of experience, as an executive producer and paid him more than Carr had even asked for. Eight months later, he was fired after HR complaints. (Carr didn’t name the writer, but her description fits the profile of Adam Targum, NCIS: New Orleans’ second-in-command, who was let go in January after complaints of «bullying» behavior in the writers room and on set.)

Haven Entertainment manager Garrett Greer has seen the discrepancy at work as a rep. The lowest development deal he ever closed was with a female client who was offered executive story editor credit for a show she created. «Business affairs said she didn’t have enough experience to merit our counter. The female head of drama development told me that in her view, ‘writers need to earn their credits,'» he wrote, adding that he later learned that two years prior, «a straight white man with literally no experience who set a project up with the same producers and studio was granted EP credit and a robust fee.»

«The #NotWorthLess tweets are disappointing and not at all surprising,» wrote veteran comedy writer Travon Free, whose credits include The Daily Show, Full Frontal with Samantha Bee and Black Monday, «especially seeing how on a show I worked on I know of white male writers with years less experience getting bumped up to my pay level in half the time while I got no raise the same year.»

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Crazy Ex-Girlfriend co-EP Audrey Wauchope wrote that she always asks about numbers and has found that in her ten-year career, she and writing partner Rachel Specter have always been paid less than male colleagues at the same level. «Oh, and there are two of us – two for the price of 0.75,» she added, uploading an excerpt from one email to their agents: «We never realized until this week that everyone else at our level makes 1 to 4k more than us an episode… Is there no wiggle room to negotiate more than scale since there are two of us? It just feels like we’re really being taken advantage of.»

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