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Reviews | Can the writers’ strike fix Hollywood?

Reviews |  Can the writers’ strike fix Hollywood?

 


Here is my attempt to sum up the background of the Hollywood writers’ strike in three sentences. First, the entertainment industry, floating on easy money and encouraged by the unusual conditions of the Covid era, embarked on an unsustainable expansion of the grand streaming experience, in which every major brand would have its own Netflix.

Then, as the unsustainability of this growth became apparent, studios and streamers began to wring their writers more and more, at longer, less predictable hours and with fewer long-term rewards. term, even as corporate suits hopefully turned to AI to make some writing assignments obsolete.

This context makes the writers’ demands seem reasonable and fair, but it also means that striking scribes could lose while winning make concessions on wages and working hours as a prelude to a larger contraction, a collapse in the number of scripted shows that Hollywood airs.

The question for those of us who watch and write about TV shows and movies, rather than create them, is what does this conflict mean for the art that justifies all these commercial squabbles.

One account sees an opportunity in the strike to reconsider the broader way Hollywood has evolved, particularly the Marvel-era fixation on franchises, reboots and pre-told storytelling, which is variously attributed to a mindset of profit crazy venture capital seize in Hollywood or the effects of consolidation in the film industry. In this context, the spokesperson for the monopoly matt stoler argues that the goal of the strikers should be to find allies in the cause of a great structural change breaking up the vertically integrated corporate giants, once again separating production and distribution and thus returning the alchemy of budget film more competitive way with the Superhero Sweatshop.

A slightly more pessimistic analysis, offered by authors such as Sonny Bunch And Jessa Crispin, points out that the superhero-sweatshop business strategy evolved because it gives the public what they want. People buy tickets to comic book movies and Super Mario, Bunch points out, not Air or The Last Duel. According to Crispin, the fan culture that backs these projects often seems to prefer its writers to be replaceable cogs in a content machine. And so even if the strike is an opportunity for reconsideration, it is probably not a lever that can change the system as a whole.

Personally I would as see the strike give birth to another Hollywood system. But I would like adjust for a return to the entertainment landscape that existed around 10 years ago, before the take-off of streaming when the drawbacks of the era of special effects franchises in cinema were partly offset by the emergence of more richer, deeper and more ambitious.

The impression my viewers have of what has happened since then is that the expansion of streaming initially delivered a welcome glut of small-screen ambition, but then increasingly felt like she was spreading too much creative talent, working too hard, or both.

Sometimes shows from the peak television era start out brilliantly but then struggle to maintain their momentum even into a second season. (HBO Westworld, for example, or recently Showtimes Yellowjackets.) Sometimes they play like thin imitations of the anti-hero dramas of previous decades. (Netflix’s Ozark, let’s say.) Or they take on the character of the theatrical experience but a little worse with too-big-to-fail franchises that no one really enjoys. (Obi-Wan Kenobi, for example, or Rings of Power.) Or they ask too much of a talented showrunner, who pays more and more to provide content delivery rather than focusing on a single story. (Taylor Sheri’s evolution into Yellowstone and its underwhelming spinoff fill that bill.)

In theory, the strike and aftermath scenario I sketched above where writers earn better working conditions and higher pay, but the total number of show deals as streaming platforms fold or merge could provide some sort of resolution to this spread too thin problem. It could lead to a world where talent in the writers room is better paid and more concentrated, where showrunners don’t have as many empire-building opportunities but the shows they make are better for it. Obviously, this is not the outcome the union is hoping for, as it would mean less paperwork. But for the viewer, a world with slightly less emissions could also be a world with better emissions.

The darker scenario, however, is that any contraction in streaming could combine with an intensified TV imitation of the franchise model on the big screen. In that case, we could get more and more hit TVs as a seemingly safe but uncreative bet while losing some of the serendipitous experiences of cutting-edge TVs like the happy accident of The White Lotus, whose resort drama is born as a way to film in isolation. during Covid, or the shard of Andor, a Star Wars show without a brand name or Baby Yoda.

If you care about originality, that’s the real lose-all-win scenario for this strike: writers end up with a fairer share of an industry that pivots further away from creativity.

Sources

1/ https://Google.com/

2/ https://www.nytimes.com/2023/05/20/opinion/writers-strike-hollywood.html

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