OTT Platforms Under Scrutiny: Connection to the Writers' Strike Examined
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The ongoing writers' strike continues to have a profound impact on the US movie and TV/streaming industry, with two significant reasons discussed in a previous issue (Issue-24): the absence of minimum wage commitment by OTT platforms and concerns about AI tools threatening writers' careers.
Recently, a thought-provoking video on?Vox ?shed light on another crucial factor contributing to low income among writers - the content format of OTT platforms. It's essential to note that this argument comes from TV writers who now work on OTT shows.
While writers unanimously acknowledge that OTT platforms have unleashed a realm of creativity and experimentation in content, allowing stories to develop their own arcs without the constraints of ad breaks, there are notable distinctions from traditional TV or cable shows. The sheer volume of content on OTT platforms has skyrocketed, providing more opportunities, but that's where the advantages end.
Shorter duration of work on OTT shows
Unlike TV shows that ran in seasons and featured strategic ad placements aligning with product launches, OTT shows follow a more organic arc. Consequently, shorter 6-8 episode seasons require less writing compared to longer TV seasons, nearly halving the duration for which writers are engaged. This reduction poses challenges for writers to maintain the same income level, as they must seek additional shows or work, which can be difficult in the current industry landscape.
Writers separated from the production process
Another significant challenge emerges as OTT production houses separate writers from the production process. In the past, writers would progress from staff writers to show-runners by closely collaborating with the production team during shoots, aiding actors with dialogue improvisation, and more. The studios covered the writers' costs while on set. However, to minimise expenses, OTT production houses have severed the integration of writing and production.
Dismal Residual income from OTT shows
Additionally, writers used to receive residual income each time their shows re-aired on TV channels, providing financial stability as they moved on to their next projects. However, streaming platforms lack residual checks, further reducing writers' income potential.
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Viewpoint
While the ongoing writers' strike addresses a range of complex concerns, such as the lack of minimum wage commitment, the impact of AI tools,?the influence of OTT content format on income, the separation of writers from production processes, and the absence of residual income on streaming platforms?appear to be at the core of the strike, highlighting the need to protect the financial interests of all stakeholders, particularly the writers whose creative ideas shape the shows we all enjoy. As the media and content streaming industry continues to evolve with the introduction of new technologies, it becomes crucial to prioritise the financial well-being of those responsible for bringing these stories to life.
First Indian TV serial that ran for154 episodes !
Hum Log, a Hindi television soap opera, holds the distinction of being the first serial drama series in India. It made its debut on Doordarshan, the country's sole television channel at the time, on?7 July 1984.?The show revolves around the daily struggles and aspirations of an Indian middle-class family during the 1980s.
Inspired by the Mexican television series Ven Conmigo (1975), Hum Log was created with an education-entertainment approach. The concept for the TV series originated from Vasant Sathe, the Minister of Information and Broadcasting, after his trip to Mexico in 1982.
And with that, I conclude this week's Leeds1888.
See you again next week!
Take care,
Vipul.
Founder & CEO @ Mugafi | Writer | INSEAD
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