Has The Golden Age Of Film & Television Changed That Much? (Part 2)

This entry is part 2 of 2 in the series Streaming:

All Things To All People

Simultaneously servicing a niche versus broad audience, and domestic versus international audience is a difficult needle to thread, but everyone is still trying to thread it. Television is defying many conventions by adopting these two approaches. Audiences are viewing shows outside their comfort zones and more willing to watch content that they may not have watched a few years ago.

Jinny Howe from Netflix is always on the lookout for the next big hit at Netflix. “We have so much much momentum and energy behind that,” she states. Beef, created by Ali Wong is such an example. “It has a Korean-American creator, but it’s not about them being Korean. It’s about people living in Los Angeles who have a beef after a really horrific road rage incident.” The emotional fallout that drives Beef is universal.

Everything comes down to the universality of the story that people can relate to. “It’s family dysfunction, it’s love… it’s wanting to feel empowered,” adds Tyus-Adair. “I think one of the things that we’ve discovered is making our model about representing authentic and underrepresented voices. It’s been a really smart business model.”

It’s an incredible opportunity to tell stories about people they don’t know, but they want to know because they can relate to their experiences. This exposure to other cultures truly broadens audience tastes and appreciation of other cultures.

Thematic diversity of the current television terrain also insists on authenticity. For instance, a show about disabilities or the Japanese skating scene demands creators with an intimate knowledge of these communities. “Not about us without us.”

Says Tutus-Adaid, “It’s a creators’ market. Brilliant new creators are partnering with veterans because they’re the perfect people to tell that story. They just don’t look like who you’re used to telling that story. It’s impossible to replicate someone’s voice or someone’s point of view.”

The number of mega deals in the business are definitely on the decline, but there is still some talent that warrant them. The landscape is also less insistent on the binge-watching model. Some shows work better if the audience has time to process each episode before watching the next one. If people love a show, they’ll wait.

The streamers are increasingly asking writers and show creators to approach them earlier in the commissioning process. “Sometimes it makes sense to be able to pair your show with another show and have it piggybacking off of another show,” says Howe.

Participant is in a unique situation because it’s not an exhibitor like the streamers. Explains Kite, “We function like a studio and it’s hard for studios to get that studio positioning with the streamers. So we’re having to get creative about how to make deals, particularly if it’s our own IP. We’ve made one hundred and twenty films, some of which we’re developing into TV series.” It all comes down to companies building their libraries which generate a more consistent revenue stream.

There are many limited series in the market today. “I feel like the ongoing series are missing from our screens,” adds Howe. Ozark and Stranger Things have been examples of shows with longevity. Some shows have a powerful vision and committed audience, but only have a finite lifespan. “We really listen to what the audience wants and they tell us how much more of a show that they want. Some creators say they want to go out with a bang. They have a vision. The show is only three seasons. And we’re going to finish like this. We like to finish strong. We really like to make sure the audience that’s been with us the whole time  feels satisfied with how we’re ending a show. Sometimes that means it’s two seasons, sometimes it means six.”

The benefit of a limited series is that you’re more likely to get in-demand actors for one series than five. More often than not, some creators pitch multiple seasons for a show without a compelling story reason. “We’re here to tell great stories and work with people who inspire us.”

The streamers are excited about more female-skewing shows. They’re looking at muscular shows that can be watched together in a communal setting. People want to be surprised and told a story in a new way.

“I love shows that are bold and it speaks from a point of view. I love characters who are unapologetic about who they are, ” adds Tyus-Adair.

Sean Cohan is exploring new models to evaluate the success of shows. Some shows have an explosive opening and quickly taper off while others are a showers sustained burn to grow their audiences.

“Shows about identity and it doesn’t have to be necessarily from an underrepresented or a minority perspective. Something that we’re talking a lot about is unpacking masculinity,” notes Howe. “I’m also very fascinated with dysfunctional family stories like Shameless.”

“There is also an interest in unique subcultures like Keep Sweet and Big Love,” declares Kite.

“I do love the balance of drama and absurd humor. I also like the dark humor in shows like The Serpent Queen. I loved White Lotus and the extremes of humanity which are so fascinating,” states Tyus-Adair.

Pitching

Screenwriters and show creators should have some idea of what a show might cost, but they shouldn’t dictate their creativity by it. They should pitch their ideas as early as possible to the streamers to assess their viability, but they should leave the budgets up to the networks. Tyus-Adair believes that the better questions are how a film or TV show fits into their mandate and whether the show is producible. “When I started this job, I would cover thirty-five networks in L.A., now there’s twelve. So, there are fewer places to take things now. And if I love something, there may only be one place to take it. It may not be worth the risk for me to take it on,” continues Thuds-Adair. If an executive loves the characters and decides to set up a show, they look at budgets next.

Even it’s a difficult show to set up, “I think you’re really are looking to form a connection, to really get me inspired by your passion and why you’re the person to tell this story. Can you deliver what you’re selling me?”

A key concern with pitches is that some writers deliver a well-crafted pilot episode, but aren’t sure where the series might go from there. They don’t really know what their show is. They don’t have a full vision of a season. Pitching is about capturing the longevity as well as the excitement. You have to convince your friends to watch it and stay with it.