Starting in 2017, Netflix lured Shonda Rhimes from ABC for a $100-million, four-year deal; and then Ryan Murphy for a record-setting $300 million. Other companies like Disney have followed suit. But were the $100-million mega-deals worth it?
Turns out you can’t just pay a chosen few enormous amounts of money and expect a constant stream of scripted content; you need to pay the multitudes who write most of that content a fair wage as well.
of the strike, telling a small crowd who gathered in May to celebrate her winning a special BAFTA “I am a striking writer.” She, Murphy and other highly compensated showrunners have been top donors to a strike relief fund.No one is blaming or begrudging Murphy, Rhimes, Benioff and Weiss or any other nine-digit dealmakers rewards for their success. .
The “harm” being a deep misunderstanding of how great television is made — rarely by one or two people and always in a system that allows people to earn while they learn — and a widening economic gap that already threatens this country and is damaging the entertainment industry. Some, unable to afford the basic cost of living, left the industry. Others were able to hang on long enough to see the TV renaissance offer more and better opportunities. No one would argue that film, as an art form or a business, benefited from the prizing of the few to the detriment of the many. Indeed, as “big name” shifted to “big franchise,” one could argue it hastened the death of the movie star.
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