My post earlier this week about the Paramount sale reminded me of one of the annoying aspects of the streaming era: that films and shows can go missing This isn’t a new phenomenon. Even before the succession of VHS to DVD to Blu-Ray (not to forget the attempts of Betamax, LaserDisc, and HD DVD), prints of films and TV shows could be hard to find. But if a longstanding truth of the way to make…
As John Oliver might say, “A lot happened last week,” but there’s one news story that I wanted to highlight. Paramount aka Paramount Global aka the latest incarnation of CBS Corporation & Viacom aka Mithrandir (for certain brain-addled elves) has a buyer. You can learn about it from an official notice, their own news division (CBS) talking about it, as well as: Both NPR and Variety have some questions about the deal and what this…
If I had a dollar for every time I heard or read about major studios being too risk averse, I could fund feature films to my heart’s content… or could I? Films cost a lot of money, which is why there aren’t 147 major studios and, as one indie filmmaker friend of mine is wont to say, money isn’t a thing, it’s the thing. So how did such a small non-studio become such a major…
So I’ve been meaning to do a few more posts about screenwriting and I realized I never followed up on “The 11 Laws of Showrunning by Javier Grillo-Marxuach” which I wrote about back in April… and which shows how the year is racing away from me. You see, I meant to follow up the next week with this interview with Javier Grillo-Marxuach where he talks about the 11 Laws, his books Shoot This One and…
One of the nice outputs of reading Maureen Ryan’s Burn it Down, that I referenced last week, was to learn about Javier Grillo-Marxuach’s guide “Eleven Laws of Showrunning.” (PDF link) This guide was mentioned in the context of needing good management. So many showrunners are writers who have created the ideas of the show and are expert at both writing and solving writing problems, but they so often have zero managerial experience. Not only that,…
While I was covering the WGA and SAG-AFTRA strikes last year, an obvious question for a follow-up was what the future of Hollywood would be. While there’s certainly been a lot of pieces since the end of the strikes, one of the conversations I found that touched on this was with Adam Conover on his Factually podcast. It’s from August of last year, arguably during the height of the strikes. I actually linked to it…
I’ve had the chance to catch up on a lot of Scriptnotes episodes over the past few weeks, which is always a good thing. Scriptnotes is a weekly podcast hosted by screenwriters John August and Craig Mazin which has been going on for over a decade and continues to have things about and interesting to screenwriters. As I’ve been meaning to do some posts about the future of Hollywood following last year’s strikes and the…
I still should work on a wrap-up post regarding last year’s Hollywood Strikes, but one of the outcomes the unions were able to negotiate was visibility about the success of shows on streaming services. In what definitely feels like an effort to guide that narrative, Netflix released a heretofore unprecedented amount of data publicly in December regarding how many people watched what on their service. You can get a summary, watch a half hour press…
So, the actors’ union, SAG-AFTRA, approved a tentative agreement with AMPTP on November 8th, but the agreement has yet to be ratified by the membership and there appear to be a lot of questions about how AI is being dealt with (actors’ concerns being similar yet different in some important regards than writers). So I’ll plan to write something post-ratification (and yes, the presumption is that the agreement will be ratified). But the ratification vote…
Like many, many other people, I had hoped that the end to the WGA strike would lead to a quick negotiation with SAG-AFTRA in its wake. Unfortunately, the AMPTP has evidently walked away from the negotiating table because learning nothing is… a power move? I’m not sure. Anyway, I am already speculating on what the future will bring, because even though we’ve heard a lot about how streaming isn’t the most lucrative business model ever…