The document summarizes key points of contention in the writers strike between streaming services and TV writers. TV writers argue that the shift to streaming has reduced their earnings from syndication rights and residuals, and made writing jobs less stable. They demand better compensation and protections from AI that could replace jobs. Streaming services counter that they don't make as much profit from streaming as traditional TV, and AI could help reduce costs and increase money for writers. Both sides discuss the different business models of streaming versus networks and working conditions for writers.

1. GUIDE TO THE WRITERS STRIKE
THE BEEF
MACRO BEEF: We are not making enough money from
the shift to streaming and you’ve taken away all the usual
ways we made money and turned TV writing into an un-
stable gig.
THE RESPONSE
MACRO RESPONSE: Without the carriage and retrans
fees we used to get from cable, we’re not making enough
money either. Streaming is just not as profitable as linear.
RESIDUAL PAYMENTS:
• For years, the chance to make millions from syndication
rights drew talented people into the business, but now
those rights have disappeared as streamers syndicate
their own shows and distribute them globally.
• Shorter seasons and series with just 40 episodes make
residuals hard to sell.
• Take away the pot of gold at the end of the rainbow and
it will be harder to draw talented young people into the
business. The gig economy feel of the job will make it
even less attractive. Just look at advertising.
PROTECTION FROM AI:
We need protection from AI or soon it will be doing our
jobs and writing scripts and treatments.
• We also need protection from people outside the in-
dustry using AI to create scripts and treatments and
undercutting us
• We need clarity on how rights and credits work when
one of the parties is a computer program
SOON YOU WILL RUN OUT OF CONTENT & WE WILL WIN!
• You need original series to keep subscribers from
churning. So eventually you will have to give in or risk
losing even more money.
• You can’t keep going back to reality TV. People won’t pay
$15/month for yet another singing competition.
GLOBAL DISTRIBUTION IS KEY TO OUR BUSINESS PLAN:
• Once we have sizable global audiences, we will be able
to pay more for global distribution rights. We’re not there
yet.
• We are releasing some of our series for syndication e.g.
WBD and Westworld
• But Europe: The television industry in other countries
managed to attract talented writers without 250-epi-
sode series or carriage and retrans fees.
• Oversupply: There are way more TV writers now than
there were 15 years ago. The system can’t afford to pay
everyone more money.
FEAR OF AI IS UNFOUNDED AND UNFAIR:
AI is not going to write the hot premium TV shows that
bring us subscribers. It’s not anywhere close and we will
still pay handsomely for shows that bring in subs.
• But AI will be able to help cut costs in other places.
Scripts for home and cooking shows, holiday movie
treatments, etc.. And that will give us more money to
pay you.
BUT THE REST OF THE WORLD:
• We’ve got rights to so many series from around the
world. And they’ve been striking a chord with American
audiences.
• Those writers are used to working on six-episode sea-
sons. Ten or twelve will be a financial windfall.
WORKING CONDITIONS:
Shorter seasons mean:
• Less job stability-we have been turned into gig workers
• Less mentorship opportunities—young writers don’t
have a chance to learn from the pros
• Fewer writer’s rooms—we just do beats on many
streaming shows and producers take it from there.
Meaning less money for writers.
STREAMING IS A DIFFERENT BUSINESS MODEL:
• We need more content: Streamers need a constant flow
of new series to keep subscribers happy
• But Europe: The UK, The Nordics, Israel et al all have
short seasons and yet their writers manage to turn out
excellent series
• But quality: How many of those 25-episode network
series were any good? We can’t draw in subscribers with
mediocre sitcoms so we can’t afford to create them.
TVREV
© TVREV | JUNE 2023