The changes that the writers’ strike has left in the US.

The positions of both parties could not be further apart. The scriptwriters demand an improvement in their working conditionswhich they consider to be in a state of precariousness since the emergence of the original productions of the platforms of streaming. In their opinion, they have reduced their employment relationship with the projects, which in the end affects their professional development.

As he explained showrunner Mike Schur on The Town podcast, having a junior writer step up to his role and executive produce his own show has always been linked to its continuity, season after season, in the same project, since a work environment is generated in which the most veterans train the newest. However, in the field of streamingWith programs and series becoming shorter in episodes and seasons, it is difficult for this phenomenon to occur.

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In addition, the exploitation model of platform productions (which is limited to the service and has given up selling to third parties, as has always been done on television) has decimated the economic benefits generated by his work once released, the famous royalties.

Producers see it differently, mainly due to the economic situation in which they find themselves. Wall Street pressures them to make their businesses profitable and an economic improvement in the conditions of the scriptwriters would produce greater financial pressure on them.

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The effects that the 2007 strike had on television give us some clues as to what could happen this time. So, the television networks resorted to reruns and, above all, programs “without a script” (unscripted), whose premieres exceeded one hundred. The genre that benefited the most was reality TV, which experienced exponential growth in that period.

“I wouldn’t say the writers’ strike created reality television. I would say that More people saw it because there was nothing else to see, it was the only alternative to reruns,” said East Peterson of the WGA at the time.

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In reality, these so-called non-fiction programs they also require people to write the scripts, although they have a different format than fictional programs. In addition, in the case of the United States, most of the workers of this gender are not affiliated with the WGA. On the other hand, there are cases of programs that cannot be done because their writers are members of the union and support the strike.

However, some of its strategic projects (such as Stranger Things o Emily in Paris) have had to be suspended until further notice. The rest of the services that operate globally are in a more or less similar situation. But they could get around it without having to wait for an agreement between the WGA and the AMTP.

Although international unions discourage foreign writers from working for productions that are currently halted by the US strike, writing for local formats is different. The broad international network that the platforms have developed in recent years will make it is not particularly difficult to find writers who allow them to activate the production local original and thus generate content.

He streaming it could decaffeinate the change in trend in consumption as sharp as the one that occurred 15 years ago. What does not seem is that it will be able to prevent the funnel of fiction releases which will occur once the situation returns to normal.

Collaborating professor of Communication and Information Studies at the Open University of Catalonia.

(**) The Conversation is a non-profit organization that seeks to share ideas and academic knowledge with the public. This article is reproduced here under a Creative Commons license.

Let’s hope a fair deal is reached soon so we can get back to work,” the Stranger Things writers wrote.

(Also read: ‘I don’t need a man to tell me that I am valuable’: Anitta) “While we are excited to begin production with our incredible cast and crew, it is not possible during this strike. Let’s hope that a fair agreement is reached soon so that we can return to work,” the writers posted. Stranger Things in early May on Twitter. Jon Hurwitz, writer of the Netflix seriesCobra Kai also supported the protests and wrote on his Twitter account:

“As soon as we have a reasonable deal, we’ll be back with everything.” This is the case with the third installment of Avatar, which was pushed back from December 2024 to December 2025. Two other Avatar sequels were pushed back three years, to 2029 and 2031, respectively. The next two Marvel movies the Avengers they were postponed one year (from May 2026 and May 2027). Similarly, the next installment of Star Wars has been delayed by a year, until May 2026.

Quite a long time considering that Disney hasn’t released a movie in the franchise since 2019.

For their part, film and television actors, represented by the Sag-Aftra union, voted on June 5 so that, in case they do not reach an agreement with AMTP before midnight on June 30, when their contract, have the necessary authorization to eventually call an actors’ strike and join the WGA membership. According to Variety, the union decided to extend the time to continue negotiations until July 12 before going on a permanent strike.