International interdependence in works has become more of a thing as of late. Netflix has been getting lots of Korean and Japanese dramas to notable success (Squid Game, The Glory, Alice in Borderland, those movies from that Indonesian director like The Night Comes for Us and The Big 4) and that would serve as some insulation if a strike happens. Would definitely explain Netflix spending cash on improving the special effects capabilities of Japanese studios (which they’ll need to tackle stuff like Yu Yu Hakusho).

That being said, just paying the writers seems like the easiest solution. We’ll see if they do so.