The Business: News, Rumours, Analysis, and More

[Anduin]

In Disney news, Bob Chapek steps down as CEO, with Iger returning! Allegedly for two years only, but we'll see.

Gizmodo has a rundown of Chapek's failures and Iger's successes.

Quote

Iger ran Disney from 2005 to 2020, leading the company to the type of multimedia dominance Hollywood and beyond hadn’t seen in decades. In that time he acquired Marvel, Lucasfilm, and 20th Century Fox, as well as launched Disney+, among many, many other things. He was so beloved by Disney fans and investors alike, there was even talk he could run for President.

Chapek took over for Iger in 2020 and things almost immediately went downhill. In large part, that was due to the covid-19 pandemic all but shutting down every aspect of Disney’s operations. But even beyond that, he had some historic and memorable blunders. Under his watch Scarlett Johansson sued the company about his Black Widow earnings, Disney waited way too long to battle Florida’s Don’t Say Gay bill, and just last month, he suggested adults don’t like animated films. This from the CEO of Disney.

Out of curiosity, does anyone have the opposite? Is there a list of Iger's failures and Chapek's successes out there?

[Irlandesa]

1 hour ago, Anduin said:

Out of curiosity, does anyone have the opposite? Is there a list of Iger's failures and Chapek's successes out there?

I'm sure Iger has had failures.  Anyone as a leader for that long is bound to try things and fail.  I'm not enough of a Disney fan to know.

I haven't heard anything good about Disney under Chapek.  Film people complained.  People who visit the parks have said the experience has gotten worse.  In reading the comments in places, not everyone is thrilled Iger is coming back but I haven't seen anyone upset that Chapek is out.

[NUguy514]

A good friend of mine works at Disney in the Parks division, and Chapek had decided to shut down every Parks office outside of Florida and mandated that everyone in the Parks division had to move to Florida (I think by 2025 or 2026) in order to keep their jobs.  We live in LA, and my friend was prepared to quit (and he has a great job) because neither he nor his fianceé has any interest in starting over in Florida.  I don't know if Iger will reverse this ridiculous mandate, but I wouldn't be surprised if he did.  My friend certainly thinks much more highly of Iger than of Chapek.  When I talk to him this week, I'll get more of an inside take on this, but I imagine he's happy with this news.

[Guest]

1 hour ago, Anduin said:

Out of curiosity, does anyone have the opposite? Is there a list of Iger's failures and Chapek's successes out there?

I don’t follow that closely but off the top of my head I would say Disney’s initial handling of Star Wars, John Lassiter, a pretty bad track record on diversity across the board and problems at ABC like giving Roseanne a platform and the ongoing issues with the Bachelor. 

For Chapek’s successes, I got nothing. Unlike Iger he didn’t know how to course correct. Iger tended to mitigate criticism by being responsive and Chapek tended to make things worse. 

[Anduin]

2 hours ago, NUguy514 said:

A good friend of mine works at Disney in the Parks division, and Chapek had decided to shut down every Parks office outside of Florida and mandated that everyone in the Parks division had to move to Florida (I think by 2025 or 2026) in order to keep their jobs.  We live in LA, and my friend was prepared to quit (and he has a great job) because neither he nor his fianceé has any interest in starting over in Florida.

Isn't there a park in Anaheim? Surely you'd want people close by, to respond to issues straight away.

[Raja]

4 hours ago, Anduin said:

Isn't there a park in Anaheim? Surely you'd want people close by, to respond to issues straight away.

Of course those people work in the actual park. Disney seems to be closing down satellite headquarters using the technology we are using here for just  one headquarters to issue orders from.

[NUguy514]

9 hours ago, Anduin said:

Isn't there a park in Anaheim? Surely you'd want people close by, to respond to issues straight away.

Yes, Disneyland is the OG park.  However, my friend doesn't work at the park; he's in a higher managerial position and works out of the corporate office in Glendale.  That's the office here in LA that is (was?) supposed to close and whose workers are (were?) required to move to Florida.

[RunningMarket]

I've seen a lot of comments about how they hope recent implementations at Disneyland (Genie+, reservation system) will be turfed with Iger returning - however those were already underway when Iger retired. Chapek simply implemented them. However, it does sound like Iger is far more concerned with the customer experience overall. I love Disneyland (haven't been since 2019 due to... y'know, world) but I've mostly heard horror stories about the state of maintenance on the rides. It hasn't made me want to return anytime soon.

[BetterButter]

'Iron Man,' 'Super Fly' and 'Carrie' are inducted into the National Film Registry

[BetterButter]

Ana de Armas Fans’ Lawsuit Puts Studios at Risk Over Deceptive Trailers

Quote

Movie studios can be sued under false advertising laws if they release deceptive movie trailers, a federal judge ruled on Tuesday.

 

[kiddo82]

Quote

“Under Plaintiffs’ reasoning, a trailer would be stripped of full First Amendment protection and subject to burdensome litigation anytime a viewer claimed to be disappointed with whether and how much of any person or scene they saw in the trailer was in the final film; with whether the movie fit into the kind of genre they claimed to expect; or any of an unlimited number of disappointments a viewer could claim,” the studio’s lawyers argued

This.  Seems like a very slippery slope to me.  

[Anduin]

Maybe from now on, we'll get trailers later. Once the editing and effects are done. Like, no more than a month or two out. In the case of at least two Star Wars movies, there was almost nothing from the trailers in the movies.

[methodwriter85]

1 hour ago, Anduin said:

Maybe from now on, we'll get trailers later. Once the editing and effects are done. Like, no more than a month or two out. In the case of at least two Star Wars movies, there was almost nothing from the trailers in the movies.

I will never get over how the trailer for Spanglish made it seem like a heartwarming comedic tale of two families from different backgrounds learning from each other. Instead I got a thorough repudiation of American greed and vanity and how much poor immigrants are literally never going to keep up with rich Americans. 

[Kel Varnsen]

2 hours ago, kiddo82 said:

This.  Seems like a very slippery slope to me.  

Plus you file a lawsuit, what would your damages be? At best maybe the cost of your movie ticket. 

[Anduin]

30 minutes ago, methodwriter85 said:

I will never get over how the trailer for Spanglish made it seem like a heartwarming comedic tale of two families from different backgrounds learning from each other. Instead I got a thorough repudiation of American greed and vanity and how much poor immigrants are literally never going to keep up with rich Americans. 

Good example. With Star Wars, you know what you're going to get. Spaceships! Lasers! Quips! Etc. Whatever you call the worst of them, at least they contain those elements. But I'd be peeved if I got a bait and switch. Like the Rock's Hercules movie from a few years ago. Apparently he ripped through his tasks in the first few minutes, then spent the rest of the movie doing other stuff. Your example sounds worse than that.

[kiddo82]

12 minutes ago, Anduin said:

But I'd be peeved if I got a bait and switch. Like the Rock's Hercules movie from a few years ago. Apparently he ripped through his tasks in the first few minutes, then spent the rest of the movie doing other stuff. Your example sounds worse than that.

But is that the fault of the trailer?  Or just knowing that the movie didn't exactly follow the source material?  Honestly asking because I never saw the movie and don't remember the trailers.  I get being pissed off by a bait and switch but like Kel Varnsen said, what are the real damages?  And speaking of source material, are people going to start suing because they expected their favorite parts of the book to be in the movie and they weren't included?  Or when biopics take license?   

[Anduin]

2 hours ago, kiddo82 said:

But is that the fault of the trailer?  Or just knowing that the movie didn't exactly follow the source material?  Honestly asking because I never saw the movie and don't remember the trailers.  I get being pissed off by a bait and switch but like Kel Varnsen said, what are the real damages?  And speaking of source material, are people going to start suing because they expected their favorite parts of the book to be in the movie and they weren't included?  Or when biopics take license?   

I suppose it depends on how much I liked the rest of the movie. I don't really know about the rest of your questions.

[absnow54]

I think what will come from this is a lot of fine print added to the end of trailers, or the narrator breezing through a quick terms and condition spiel at the end of every advertisement. Something along the lines of "Some scenes may be modified or removed before the final release of the film. Subject to change..."

[BetterButter]

Francis Ford Coppola’s ‘Megalopolis’ in Peril Amid Ballooning Budget, Crew Exodus

Quote

The filmmaker is halfway through the movie in Atlanta, with one source describing the set as "absolute madness."

 

[Anduin]

14 minutes ago, BetterButter said:

Francis Ford Coppola’s ‘Megalopolis’ in Peril Amid Ballooning Budget, Crew Exodus

 

I can't find the link now, but some people on twitter take that as a good sign. Apocalypse Now had a deeply troubled production, look how that turned out. Me, I want to reserve judgement until I can see the final product.

[AimingforYoko]

Quentin Tarantino's last movie to be The Movie Critic.

Spec in the article is that it's about influential film critic Pauline Kael's days at Paramount.

[BetterButter]

Hollywood Hit With Writers Strike After Talks With AMPTP Fail; Guild Slams Studios For “Gig Economy” Mentality

[andromeda331]

1 hour ago, BetterButter said:

Hollywood Hit With Writers Strike After Talks With AMPTP Fail; Guild Slams Studios For “Gig Economy” Mentality

Hopefully it's not as long or bad as the last one.

[methodwriter85]

Fox cancelled 9/11 so it can move to ABC. Disney really is winding down Fox, aren't they? LOL

[Kel Varnsen]

3 hours ago, methodwriter85 said:

Fox cancelled 9/11 so it can move to ABC. Disney really is winding down Fox, aren't they? LOL

Except Disney doesn't own the Fox network. When they bought Fox the company, they took everything but the network, Fox News and I think their sports Network. My understanding is Fox cancelled 911 because it was expensive to license the episodes produced by Disney.

[absnow54]

7 hours ago, BetterButter said:

Hollywood Hit With Writers Strike After Talks With AMPTP Fail; Guild Slams Studios For “Gig Economy” Mentality

The landscape of television has changed so much since the last strike, I don't think the impacts of this one will be immediately felt. In 2007, we were still looking at 20+ episode seasons, all of which were abruptly cut short with the strike. Now you have 10 episode seasons that are all in the can before they premiere. It'll be months before the general public starts making noise, unless they start threatening a delay to something like Stranger Things production schedule.

[Kel Varnsen]

15 minutes ago, absnow54 said:

The landscape of television has changed so much since the last strike, I don't think the impacts of this one will be immediately felt. In 2007, we were still looking at 20+ episode seasons, all of which were abruptly cut short with the strike. Now you have 10 episode seasons that are all in the can before they premiere. It'll be months before the general public starts making noise, unless they start threatening a delay to something like Stranger Things production schedule.

On top of that I read that Netflix at least has been building a stockpile of scripts. And since they are shows where the seasons are short and you would typically have the whole season written before one episode is released. So if that is true they probably have a bunch of shows they can push into production if this thing goes long.

[Spartan Girl]

Why those assholes can't just give the writers what they want instead of screwing everyone else over just to give themselves more paycuts, I'll never understand.

Yes, it's all about greed, but it's stupid.

[Trini]

2 hours ago, absnow54 said:

The landscape of television has changed so much since the last strike, I don't think the impacts of this one will be immediately felt.

Well...

'Late-Night Shows Shut Down After Writers Guild Goes on Strike'

I read elsewhere that daytime soaps could be the next affected.

[Trini]

 

[Kel Varnsen]

12 minutes ago, Trini said:

 

That was interesting, although the part about a show having to have a minimum number of writers seems weird. Like if one or two writers can write a show by themselves so that it is their vision, what is the point of hiring extra writers? As long as it's good why does it matter. Like how Ricky Gervais and Stephen Merchant wrote every episode of the Office by themselves, Gervais also wrote every episode of After Life by himself. To look more at North American stuff, Craig Mazin and Neil Druckman wrote every episode of The Last of Us. So what would extra hired writers be doing in situations like this?

[Trini]

I don't think it anwers your specific question, @Kel Varnsen, but here's another 'explainer':

https://gizmodo.com/wga-writers-strike-2023-explained-streaming-ai-tv-1850392982

[Shannon L.]

Academy Awards Set New Campaign Rules Following Controversial Best Actress Run

The Academy's new rules touched on social media use, stating that members can not utilize social media to "encourage or discourage members to vote for any motion picture, performance, or achievement." A significant change in the guidelines pertains specifically to voters. While voters can encourage viewership and praise films and independent achievements, they "may not attempt to encourage other members to vote for or not vote for any motion picture or achievement." Voters are also no longer allowed to discuss their voting preferences in a public forum: "This includes comparing or ranking motion pictures, performances, or achievements in relation to voting. This also includes speaking with press anonymously."  Screenings, which are typically hosted by celebrities, were another main focus of policy changes. Before nominations, four hosted screenings of a motion picture are permitted, but more than two hosts cannot be listed on the invitation. Following the nominee announcements, hosted film screenings are no longer allowed. Q&A and panel discussions are permitted as long as no host is attached to the event. Academy governors like Whoopi Goldberg, Rita Wilson, and Marlee Matlin, are not allowed to moderate Q&As, host private events, or endorse any film or performance unless they are directly associated with the film.

[Jaded]

This tweet has a link to another article about it.
 

 

[Trini]

5 hours ago, Kel Varnsen said:

That was interesting, although the part about a show having to have a minimum number of writers seems weird. Like if one or two writers can write a show by themselves so that it is their vision, what is the point of hiring extra writers?...

 

I think I found an answer? It seems like it's a response to studios downsizing and/or eliminating writers rooms -- I gather that proper writers rooms have a certain hierarchy/pay structure that smaller set ups don't. The issue being that then studios are avoiding paying writers according to their level of experience/seniority, and making it harder for writers to get advance to higher levels of seniority.

uh - Don't quote me on any of that; it's what I'm understanding secondhand.

 

 

 

[Kel Varnsen]

49 minutes ago, Trini said:

think I found an answer? It seems like it's a response to studios downsizing and/or eliminating writers rooms -- I gather that proper writers rooms have a certain hierarchy/pay structure that smaller set ups don't. The issue being that then studios are avoiding paying writers according to their level of experience/seniority, and making it harder for writers to get advance to higher levels of seniority.

uh - Don't quote me on any of that; it's what I'm understanding secondhand.

It still seems weird to me and seems like it would work against writers or writer teams who are more efficient and can get more done with smaller numbers of people. I mentioned Craig Mazin before, he is the only writer on the Chernobyl mini-series. Would anyone ever expect screen writers or song writers to hire extra people to work with them just because? If I call a plumber to fix my toilet and he says that it is a one person job, but I am going to need to pay for two plumbers to show up at my house just because, I would be pretty annoyed.

[Trini]

2 hours ago, Kel Varnsen said:

It still seems weird to me and seems like it would work against writers or writer teams who are more efficient and can get more done with smaller numbers of people. I mentioned Craig Mazin before, he is the only writer on the Chernobyl mini-series. Would anyone ever expect screen writers or song writers to hire extra people to work with them just because?...

I don't think they asking to hire "extra" people "just because".  I think the examples you cite may be the exception, rather than the rule. (But again, I'm not a Hollywood writer.)

[Guest]

Variety has more details about the problem with mini rooms. 

Quote

Multiple literary agents, execs and scribes who spoke with Variety identified two scenarios that most often lead a production entity to establish a mini room. The first is a development mini room, in which a writer has sold a pitch or a pilot script to a particular platform. In lieu of a pilot, the outlet will want to see two or three more scripts to determine the show’s potential before formally ordering it to series. In this case, the writer — typically an established showrunner — will hire a handful of writers to work on the scripts over a few weeks, with everyone being paid at scale rates. In some cases, showrunners themselves will request a mini room setup.
…

Meanwhile, the other mini room scenario comes into play for a series that has been picked up or has aired a full season. A network or streaming platform may then establish a mini room to write a few scripts to help it decide if the show should be renewed.

Those who spoke with Variety said they do not see as many issues with the first scenario as with the second. But in both cases — if the show doesn’t get a greenlight or renewal — it can tie up writers for as long as eight to 10 weeks, during which time they can’t take other jobs. Even if the series does get ordered, the mini room writers often will not continue with the show, especially if the total episode order is 10 or less.

The article goes on to say that having only one or two credited writers doesn’t necessarily mean that there weren’t more writers involved. 

Quote

Certain platforms and studios are now refusing to even refer to mini rooms as “rooms.” One outlet has created a template where three writers and a writers’ assistant work together for a few weeks to break story, with one or two of those writers creating the actual scripts. Meanwhile, some studios are insisting that mini rooms are in fact “gigs” rather than full-blown rooms.

It seems like the union is saying that writers are being used to develop the ideas behind a show but aren’t being technically classified as writers.

Sort of like how on network shows the whole writers room will brainstorm and map out the plot but then one or two people are assigned to write the script. One person is credited but every person in the room played a part. Because of the high episode count for network shows multiple people get to be credited as the writer because it’s usually impossible for one or two people to crank out 20+ scripts. But with streaming one or two writers can write all the scripts and everyone who helped with the process are stuck as grunts. 

[Kel Varnsen]

8 hours ago, Dani said:

Variety has more details about the problem with mini rooms. 

The article goes on to say that having only one or two credited writers doesn’t necessarily mean that there weren’t more writers involved. 

It seems like the union is saying that writers are being used to develop the ideas behind a show but aren’t being technically classified as writers.

Sort of like how on network shows the whole writers room will brainstorm and map out the plot but then one or two people are assigned to write the script. One person is credited but every person in the room played a part. Because of the high episode count for network shows multiple people get to be credited as the writer because it’s usually impossible for one or two people to crank out 20+ scripts. But with streaming one or two writers can write all the scripts and everyone who helped with the process are stuck as grunts. 

But doesn't the showrunner (usually the head writer) have at least some power in determining who gets credited as a writer on a specific script? My favourite show of all time is Deadwood and I remember watching a bunch of the behind the scenes stuff, and more than one writer talking about how David Milch would basically re-write every line of their script, but then still give them sole credit for writing the episode.

In a way the whole thing just sounds like some crooked Sopranos style union thing. Where like Tony comes over and says your window repair job will only need one person, but because of union rules you are going to have to hire 3 carpenters, 2 labourers, a foreman, a safety supervisor, a plumber and my cousin who will never actually show up.

[absnow54]

42 minutes ago, Kel Varnsen said:

In a way the whole thing just sounds like some crooked Sopranos style union thing. Where like Tony comes over and says your window repair job will only need one person, but because of union rules you are going to have to hire 3 carpenters, 2 labourers, a foreman, a safety supervisor, a plumber and my cousin who will never actually show up.

The Guilds have odd ways of crediting things, so even though one person is credited for writing it, doesn't mean the final product didn't pass through several writers. It sounds more like the producers are saying "You used to do this job for 20 episodes with 10 people, well now I only want 10 episodes, so you can do it with 5, and since it's only 10 episodes, you can complete the work in half the time as 20." But it doesn't scale that way. So the WGA is saying, we need X number people minimum to produce a show, and depending on how many episodes there are, we need Y additional people per episode. 

Let's say Tony's building you a house. You ordered one that's 4,000 square ft, but now decide you only need a house that's 3,000 square ft. You're not going to be able to cut your workforce by 25% just because you ordered a smaller house. Tony still needs to bring in a plumber, an electrician, a painter, and a tile guy regardless of the size.

[Guest]

14 hours ago, Kel Varnsen said:

But doesn't the showrunner (usually the head writer) have at least some power in determining who gets credited as a writer on a specific script?

Generally the unions have very specific rules as to how much work is required to be credited. I’m sure the showrunner can have some control in some situations but it’s probably going to vary from project to project. 

14 hours ago, Kel Varnsen said:

My favourite show of all time is Deadwood and I remember watching a bunch of the behind the scenes stuff, and more than one writer talking about how David Milch would basically re-write every line of their script, but then still give them sole credit for writing the episode.

This is a situation from before the mini rooms became popular and before streaming so I don’t think it is all that applicable to what is happening now. 

14 hours ago, Kel Varnsen said:

In a way the whole thing just sounds like some crooked Sopranos style union thing. Where like Tony comes over and says your window repair job will only need one person, but because of union rules you are going to have to hire 3 carpenters, 2 labourers, a foreman, a safety supervisor, a plumber and my cousin who will never actually show up.

I can see your point but the current situation sounds like when an exec decides they will only pay one expert for a six person job and a large chunk of the work is foisted on underpaid interns or assistants. 

I don’t think the minimum number of writers they are asking for is the best solution but the union probably doesn’t either. Realistically they are going to be willing to accept less. 

[Kel Varnsen]

On 5/3/2023 at 4:46 PM, Dani said:

can see your point but the current situation sounds like when an exec decides they will only pay one expert for a six person job and a large chunk of the work is foisted on underpaid interns or assistants. 

If that is happening that's obviously not good. But at the same time making a rule where you have to have a minimum number of writers would work a single writer or team of two writers who are able to write a whole season on their own. If the union rule says there has to be four writers in that situation those people would probably be paid less.

Plus the WGA represents movie writers too. So if the goal is to just get more writers working, why not have the same rule for movies. Kill Bill 1&2 were about the same length as an 8 episode sitcom season. Would anyone think of telling Tarantino that her needed to hire a second writer to work with him, rather than writing the whole script himself?

[Trini]

9 minutes ago, Kel Varnsen said:

Plus the WGA represents movie writers too. So if the goal is to just get more writers working,

The goal is to not have the studios shortchange or overwork the writers, as I understand.

 

[Guest]

3 hours ago, Kel Varnsen said:

If that is happening that's obviously not good. But at the same time making a rule where you have to have a minimum number of writers would work a single writer or team of two writers who are able to write a whole season on their own.

That seems like something that could  be negotiated if the studios were willing to negotiate at all on the issue. There could be exceptions for situations where is truly is only one or two writers who wrote an entire season. The proposal posted is the starting point for the union. 

Reading the Variety article makes me question how many shows with only one or two writers are actually more collaborative then the credits would indicate. 

3 hours ago, Trini said:

The goal is to not have the studios shortchange or overwork the writers, as I understand.

 

That’s what I understand as well. How tv shows are made has changed due to streaming and, as with all technological changes, it creates situations where the current contractual protections are not applicable to the new circumstances. Unsurprisingly, the studios are reluctant to make changes that ensure those who a responsible for content creation are treated fairly when it will cost them more money. 

[absnow54]

On 5/2/2023 at 9:45 AM, absnow54 said:

It'll be months before the general public starts making noise, unless they start threatening a delay to something like Stranger Things production schedule.

That didn’t take long. 

[Kel Varnsen]

On 5/4/2023 at 9:48 PM, Trini said:

The goal is to not have the studios shortchange or overwork the writers, as I understand.

 

Yea I get the not over working thing, but it also seems like in any job, if someone can do the work of two people then then paying them more should also be an option (not just automatically hiring more people).

The no AI scripts thing seems interesting too. Because from my understanding of AI it can only create things based on data that is fed into it. I heard an AI version of a Nirvana song on the radio a few weeks ago and it sounded like a Nevermind outtake, not a new song Kurt might have created. So if you fed every drama script into an AI script generator, you wouldn't get something original like Lost or the Americans or something. You would probably get a boring episode of Law and Order or NCIS.

[absnow54]

1 hour ago, Kel Varnsen said:

So if you fed every drama script into an AI script generator, you wouldn't get something original like Lost or the Americans or something. You would probably get a boring episode of Law and Order or NCIS.

But these types of procedurals take up a huge space of the television landscape. Replacing them with AI would take away hundreds of jobs from writers. These types of writing rooms are places where young writers build experience and connections and move on to bigger and better things.

One of the arguments of the WGA is that new writers can’t afford to go into the business. AI replacing their jobs in procedurals and soaps isn’t going to give them more time to write the Next Great Thing. It will make it less likely that anyone will read any of their pages. The types of people filling in these unpaid interns and grunt workers are nepo-babies who can afford being paid in peanuts, because they’re already rich. The push for diversity in storytelling is dependent on giving the opportunity for more people to tell their story. 

1 hour ago, Kel Varnsen said:

Yea I get the not over working thing, but it also seems like in any job, if someone can do the work of two people then then paying them more should also be an option (not just automatically hiring more people).

Hollywood is a union town. Sure, with capitalism the boss looks for the most cost effective options, even at the detriment of the workers. The writers are using their leverage as a union to fight back against these cost cutting measures. The studios could get around this by using non-WGA writers, but their problem is that other union workers, like actors start dropping out of their projects and the cost cutting measure become less profitable. 

[Kel Varnsen]

9 hours ago, absnow54 said:

But these types of procedurals take up a huge space of the television landscape. Replacing them with AI would take away hundreds of jobs from writers. These types of writing rooms are places where young writers build experience and connections and move on to bigger and better things.

I get that, but has there ever been a situation where people have tried to protect their jobs, in spite of technology changes that has ever worked. I watched the Light and Magic documentary in Disney Plus a while back and in the last episode they talked about how ILM changed from a company that did models, and stop motion and matte paintings to a digital effects company. And the effects artists who were able to adapt and apply their previous skills in creature design and movement and learn computers were very successful. The ones who didn't pretty much lost their jobs. 

I am sure even for writers it was something similar. Back in the days of typewriters, there were probably admin people around to retype scripts when notes and changes were put on them. Now the script is on your computer and you don't need someone to retype the whole thing when you want to change it. Just like the studio accountant doesn't need an army of accounting clerks (with little green visors) because excel and other spreadsheet program put them out of work. I used procedurals as an example because those seem like the most basic shows that would be easy for an AI system to copy. So if you want to keep your job you better be able to write something more original than that.

[Guest]

11 hours ago, Kel Varnsen said:

The no AI scripts thing seems interesting too. 

They’re not trying to prohibit using AI to help write scripts. They want regulation so that it will be used as a tool to help the process rather than replacing writers. 

WGA Would Allow Artificial Intelligence in Scriptwriting, as Long as Writers Maintain Credit

20 minutes ago, Kel Varnsen said:

I used procedurals as an example because those seem like the most basic shows that would be easy for an AI system to copy. So if you want to keep your job you better be able to write something more original than that.

That’s only true if studios aren’t willing to use the hackneyed AI script over something more original or have writers act as script doctors without getting writing credits. The making of the Power Rangers alone is enough to convince me good writers could easily lose work to AI, particularly on television and streaming. 

[DearEvette]

I've never really thought about tv scriptwriting except accepting that there were writing rooms and that was how it was done. But I have been following some of the current striking writers on twitter and it is fascinating to get some insight on all what the writing entails. 

One thing I learned is how the writing process continues on even into production and post-productions and how the writers often are on set.  And while I was aware that there were always tweaks to the scripts, I never knew how involved writers were in the actual day-to-day production.

One writer spoke about how they'd sit at the table reads and sometimes the way the actors interpreted a line would inform if something needed to be changed.  Hearing the dialogue spoken, the flow of it as emoted by the performers sometimes forced a rewrite. Or even once they were on set during filming and production, the movement and blocking could require a change in dialogue or rhythm.  For instance, they gave an example of an actor instinctively using a non-verbal expression in place of written dialogue that they felt worked better, but excising that line changed the verbal cue another actor needed so that required some changes as well.

Also they talk about how these sorts of interactions with the actors, the production, the set improve their understanding of writing and helps in future scripting, so it isn't just the writing a a job but also as professional development.

Anyway, I am finding it really educational and illuminating!