In the days before the Writers Guild of America called on members to strike, the creators of hit shows, including ‘Shrinking,’ ‘The Last of Us’ and more, gathered to discuss the state of the industry.
Writers are also challenging the streamer-led model of “mini-rooms,” in which a small number of writers are hired to break a series, a larger number are hired to write it and then almost all butare let go before the series is actually made. Not only does this eliminate staff positions, forcing many into perpetual freelance mode, it puts a huge burden on showrunners while making it impossible for young or less experienced writers to learn how television is made.
Streamers don’t make money in large part because, until recently, they presented content with no advertising.Column: Why Netflix’s no-good, not-very-bad quarter satisfies our love-hate relationship It’s difficult to understand how exactly Netflix and its ilk hoped to make money. The only reason television exists is because of advertising. There may be subscription fees, but it’s ads that pay the bills. Sure, when Netflix began gobbling up shows from network libraries and offering consumers a world of television at their fingertips with no distracting ads, it seemed like the Eighth Wonder of the Modern World.