I have to say, I don’t quite but Peter’s argument on the unintended consequences to writers as a result of them getting what they are asking for in the strike. In full disclosure, I’m a center-left Liberal member of the Bulwark community, and so that of course clouds my thinking. Recently on a TNL (with Sonny) JVL made the joke when Tim …
I have to say, I don’t quite but Peter’s argument on the unintended consequences to writers as a result of them getting what they are asking for in the strike. In full disclosure, I’m a center-left Liberal member of the Bulwark community, and so that of course clouds my thinking. Recently on a TNL (with Sonny) JVL made the joke when Tim was talking about taxing the ultra rich nepo-babies at St. Barts, “but then what will be their incentive to continue to inherent wealth?”. I think it’s similar to the way the studios are looking at how they do business, especially their bidding war culture.
If Ryan Murphy and others in his position were offered 10-year, six-seven project development deals for only 50 million dollars instead of mid-nine figures, would he be totally disincentivized to work and instead sit on the sidelines and denying a studio the chance to create those shows and the accompanying writing gigs that go along with them? Would less people be employed had Rian Johnson only been given 100 million to develop and be compensated for two Knives Out instead of 400? Would Dave Filoni walk from a new Star Wars show if he was only give a budget of 45 million?
Shows cannot continue to cost 15 million an episode regardless of how the strike ends. As you have been talking about, these numbers were always going to prove unsustainable.
Will there be less open writing positions if the WGA prevails on its major terms? Probably, yes. But will it be significantly fewer jobs if the studios acted like rational actors from the before times? I doubt that very much.
I have to say, I don’t quite but Peter’s argument on the unintended consequences to writers as a result of them getting what they are asking for in the strike. In full disclosure, I’m a center-left Liberal member of the Bulwark community, and so that of course clouds my thinking. Recently on a TNL (with Sonny) JVL made the joke when Tim was talking about taxing the ultra rich nepo-babies at St. Barts, “but then what will be their incentive to continue to inherent wealth?”. I think it’s similar to the way the studios are looking at how they do business, especially their bidding war culture.
If Ryan Murphy and others in his position were offered 10-year, six-seven project development deals for only 50 million dollars instead of mid-nine figures, would he be totally disincentivized to work and instead sit on the sidelines and denying a studio the chance to create those shows and the accompanying writing gigs that go along with them? Would less people be employed had Rian Johnson only been given 100 million to develop and be compensated for two Knives Out instead of 400? Would Dave Filoni walk from a new Star Wars show if he was only give a budget of 45 million?
Shows cannot continue to cost 15 million an episode regardless of how the strike ends. As you have been talking about, these numbers were always going to prove unsustainable.
Will there be less open writing positions if the WGA prevails on its major terms? Probably, yes. But will it be significantly fewer jobs if the studios acted like rational actors from the before times? I doubt that very much.