As strike looms, The Bear, CSI: Vegas, and more TV writers tell us what it's really like behind the scenes
describes as a “relatively new [phenomenon] that came with the arrival of the Netflix model” and has becomethe past for shorter periods, meaning less work all around.rooms in which entire seasons of television are written before production—providing a loophole for companies to pay even more experienced writers the MBA rate, according to O’Keefe.
This formula also prevents young writers from getting the chance to be on set, which is a “huge generational problem,” Blagg explains to, “as this is how younger writers were able to learn the ins and outs of production so they could become producers and showrunners themselves someday.” So the mini room model not only cuts writers out of the profits, it hinders their ability to climb up the ladder and experience greater career stability.
, O’Keefe warns, “because they understand how screwed up the industry is and they understand that the writers are pissed, they’ve been stockpiling scripts in order to prepare for a massive work stoppage.”to strike. “Beyond just writers, there are many thousands of hardworking craftspeople—set dressers, hair and makeup, carpenters, and many more—who will be put out of work if we end up striking,” Metzger acknowledges.
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