Programmers have plenty of comfortable fallback options if they don't make it to FAANG.
Screenwriters and VFX artists, not so much. There are more people wanting to do these jobs than there are positions to be filled. That means anyone who isn't willing to put up with being used and abused can be easily replaced. It's why nearly every skilled trade in Hollywood has a union, because collective bargaining is often the only way to guarantee any sort of stability or fair treatment. VFX artist unfortunately don't have a useful union, so they get to experience firsthand what Hollywood was like for everyone else 90 years ago.
The unions/guilds set some floor for wages and conditions while working. But they don't really do a lot for the aspiring actor waiting tables between auditions for bit parts however much he believes he could be the next Tom Cruise.
> Programmers have plenty of comfortable fallback options if they don't make it to FAANG.
FAANG is pretty much US focus, although they happen to have a couple of sites outside.
So by definition programmers have to work elsewhere anyway.
Also not every culture sees programming as a worthy job, rather as kind of low level stuff that one has to endure for the real job, being a manager.
Naturally one can say since this is about Hollywood, outside US doesn't matter, even though the cinema working conditions is pretty much the same everywhere.
Screenwriters and VFX artists, not so much. There are more people wanting to do these jobs than there are positions to be filled. That means anyone who isn't willing to put up with being used and abused can be easily replaced. It's why nearly every skilled trade in Hollywood has a union, because collective bargaining is often the only way to guarantee any sort of stability or fair treatment. VFX artist unfortunately don't have a useful union, so they get to experience firsthand what Hollywood was like for everyone else 90 years ago.