AI exposure: Actors
Play parts in stage, television, radio, video, or film productions, or other settings for entertainment, information, or instruction. Interpret serious or comic role by speech, gesture, and body movement to entertain or inform audience. May dance and sing.
Reading this score
computedAt 22.1% of weighted task load, Actors sits at the 41th percentile, below the point where a job's centre of gravity has moved. 63.6% of what this role does is untouched, meaning current systems cannot produce that work at all, whatever the commercial incentive.
What holds the line here is presence. Across this occupation's 18 tasks it averages 2.33 out of 3, the highest of the five friction dimensions. In plain terms, a person has to be the one present. This is the friction software does not erode. Where the point of the act is that a human is there, to care or to witness or to take responsibility in the room, automating the output misses what was being paid for.
The most exposed thing this job does is Write original or adapted material for dramas, comedies, puppet shows, narration, or other..., at 65.0%. The least is Attend auditions and casting calls to audition for roles, at 0.0%. A gap of 65.0% between two parts of the same job is the reason this index publishes at task level. An occupation-wide number would have hidden both.
Within arts, design, entertainment, sports and media occupations, this one is less exposed than the median of 38.5% across the group's 40 roles, with 35 scoring higher. Being in an exposed family does not make a particular job exposed, and the reverse holds too.
What would move this score. Of 18 tasks, 5 are currently banded exposed, 0 assisted and 13 untouched. For that distribution to shift materially would take robotics cheap and reliable enough to deploy at scale, not a better language model. The score is re-computed every quarter against a fresh capability reference, and the change is published rather than quietly applied.
Where the score comes from
judgedEvery task is scored through the standardised work activities it maps to. These are this occupation’s averages on the six rubric dimensions. Capability is what AI can do; the other five are what stands in the way.
| Dimension | Mean | Scale |
|---|---|---|
| Capability | 1.53 | 0-4 |
| Embodiment | 2.08 | 0-3 |
| Presence | 2.33 | 0-3 |
| Accountability | 0.00 | 0-3 |
| Context | 1.75 | 0-3 |
| Verification cost | 0.47 | 0-3 |
Task by task
18 tasks, O*NET 31.0| Task | Exposed | Assisted | Untouched | Importance | Band |
|---|---|---|---|---|---|
| Write original or adapted material for dramas, comedies, puppet shows, narration, or other performances. | 65.0% | 10.0% | 25.0% | 2.81 | exposed |
| Learn about characters in scripts and their relationships to each other to develop role interpretations. | 55.0% | 20.0% | 25.0% | 4.59 | exposed |
| Promote productions using means such as interviews about plays or movies. | 55.0% | 20.0% | 25.0% | 2.96 | exposed |
| Introduce performances and performers to stimulate excitement and coordinate smooth transition of acts during events. | 50.0% | 25.0% | 25.0% | 2.54 | exposed |
| Work with other crew members responsible for lighting, costumes, make-up, and props. | 45.0% | 30.0% | 25.0% | 3.65 | exposed |
| Study and rehearse roles from scripts to interpret, learn and memorize lines, stunts, and cues as directed. | 22.5% | 15.0% | 62.5% | 4.69 | untouched |
| Construct puppets and ventriloquist dummies, and sew accessory clothing, using hand tools and machines. | 15.0% | 10.0% | 75.0% | 1.82 | untouched |
| Sing or dance during dramatic or comedic performances. | 12.5% | 12.5% | 75.0% | 2.67 | untouched |
| Work closely with directors, other actors, and playwrights to find the interpretation most suited to the role. | 11.7% | 13.3% | 75.0% | 4.76 | untouched |
| Portray and interpret roles, using speech, gestures, and body movements, to entertain, inform, or instruct radio, film, television, or live audiences. | 11.7% | 13.3% | 75.0% | 4.71 | untouched |
| Collaborate with other actors as part of an ensemble. | 11.7% | 13.3% | 75.0% | 4.62 | untouched |
| Perform humorous and serious interpretations of emotions, actions, and situations, using body movements, facial expressions, and gestures. | 11.7% | 13.3% | 75.0% | 4.57 | untouched |
| Read from scripts or books to narrate action or to inform or entertain audiences, utilizing few or no stage props. | 11.7% | 13.3% | 75.0% | 3.67 | untouched |
| Tell jokes, perform comic dances, songs and skits, impersonate mannerisms and voices of others, contort face, and use other devices to amuse audiences. | 11.7% | 13.3% | 75.0% | 2.95 | untouched |
| Prepare and perform action stunts for motion picture, television, or stage productions. | 11.7% | 13.3% | 75.0% | 2.58 | untouched |
| Dress in comical clown costumes and makeup, and perform comedy routines to entertain audiences. | 11.7% | 13.3% | 75.0% | 2.00 | untouched |
| Perform original and stock tricks of illusion to entertain and mystify audiences, occasionally including audience members as participants. | 11.7% | 13.3% | 75.0% | 1.62 | untouched |
| Attend auditions and casting calls to audition for roles. | 0.0% | 0.0% | 100.0% | 4.82 | untouched |
Task text and importance ratings sourced from O*NET 31.0. Shares computed. The occupation score is the importance-weighted mean.
Occupations either side of this one
The four closest scores in the same occupational family, then the four closest anywhere in the index.
Read this carefully. Exposure is not displacement. A high score means current AI systems can produce this work, not that anyone will stop paying a person to do it. Adoption depends on economics, regulation and inertia that this index deliberately does not model. How the score is built.
What this means in practice
Most of this work is not reachable by current systems, so the immediate pressure is on the administrative edges of the role rather than its core: the scheduling, the reporting, the written records. That is where time is recovered.