![]() “We don’t know what that is, and I think that the obscurity of data doesn’t help anyone.”īut it’s one of Gilroy’s final sentiments that really drives home the urgency of the matter. “One of the central issues of this entire labor experience is that I don’t have any idea what the audience is,” Gilroy said. When asked about the rave reviews but lower audience of his show, the showrunner pointed out that he really has no idea what his viewership is or was. Gilroy actually went long on this fact in that aforementioned interview - one that was meant to be in celebration of his Emmy nominations. Why? Well, streaming services are in a bit of a tight spot in that they want investors to think their numbers are very high because it means they’ll keep giving them money, but they don’t want a universally agreed upon metric to measure those numbers in part because they might have to share some of that money with the people actually making the films and series that keep them going. You know what I and entertainment editors around the world need to better be able to do our jobs? And which then will be better for the audience, who are trying to choose between the many different shows and movies that are available to stream? Transparent dang data. It’s such an issue that it is a driving factor behind both of the strikes, with each guild insisting that transparency and third-party assessments of that data are critical to being able to negotiate a fair residuals model. Or, as Andor showrunner Tony Gilroy put more eloquently in an interview with IndieWire, “I hope that the creative community can do what the business community in Hollywood seems to be failing to do, which is to try to preserve something amazing that’s been one of the great industries in American culture.” Transparency Mattersĭid you know that we don’t have an objective look at streaming viewership numbers? We have what they tell us, sure, but Netflix’s fudging of its own data has become so infamous over the years that it’s basically a meme now, and we have no reason to believe that the other major players are behaving any differently. Aside from the WGA and SAG-AFTRA, the entire industry can benefit from the changes they’re fighting for - me included. I may not be able to do my job without streaming, but right now streaming isn’t really living up to those promises I mentioned, and I’d like to see that change. What are we doing, moving around furniture on the Titanic? It’s crazy.” “We’re not going to keep doing incremental changes on a contract that no longer honors what is happening right now with this business model that was foisted upon us. “You cannot change the business model as much as it has changed and not expect the contract to change too,” said Drescher. As of yesterday, the Screen Actors Guild - American Federation of Television and Radio Artists (SAG-AFTRA) joined the fight with guild President Fran Drescher fired up and clearly tired of being ignored. ![]() ![]() The Writers Guild of America (WGA) has been striking for 73 days. But now it’s 2023, and the executives in charge are taking home millions while many writers and actors are being paid a pittance in residuals while also facing the looming threat of AI. When streaming was first introduced, these unions were asked to take lesser deals on good faith because no one was sure what would happen with this weird new media. the Machines, One Night in Miami or The Sound of Metal, they are all created by the very people calling for fair wages and reasonable treatment. Whether it be shows like WandaVision, Loki, Andor, Succession, or The Boys, or films like CODA, The Mitchells vs. You know what else I believe in? That writers and actors deserve fair compensation for their work and time that they put in to create the art that we’ve loved over recent years. ![]()
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