https://unherd.com/2023/09/will-hollywood-strike-back/
In the Fifties, television destroyed radio, many of whose stars were themselves survivors of the death of vaudeville, and persisted through radio and into film: The Marx Brothers, W.C. Fields. And many of the first movie stars had come first from the music halls, such as Chaplin; Will Rogers became a movie star after his pre-eminence in vaudeville.
But the movie stars were contemptuous of the New Form, and hung back until the dam broke. (I recall casting discussions in New York in the Seventies themed: “Do you think he would consider doing a Movie of the Week…?”) Still, television and film rubbed on, misharnessed, until the current amalgamation. In 2013, I wrote and directed an HBO film, Phil Spector. On hearing of it, my young son said: “Dad, you’re doing a Made-For-TV Movie. That’s shameful.”
Now the new technology has, again, upset the applecart. Streaming has forever disrupted the old means of distribution, which, after all, is the determining factor in disseminating information — and, so, in determining content. Industrial production requires and rewards economies of scale and expenditure. The corporation buys in bulk, with neither time nor interest in that which one might call artistic integrity, which a comptroller, looking at numbers alone, could only understand as insubordination. The actually talented — those disposed and able to bring their idiosyncratic vision (art) to manufacturing — are as much of an obstruction as Chinese devotees of Feng Shui would be to the Hyundai production line. (To disrupt a production line is the original meaning of sabotage.)
There is a hopscotch effect in show business — it may be universal, but this is the only racket I know. The entrepreneurs and adventurers jump on the new thing. Some become successful, and the creators, actors, hucksters and thugs may exist in some sort of equilibrium until the tide turns.
With the coming of television, producers searched out the famous, to draw the viewers, but also hired the unknowns to work cheap. Early TV scripts were farmed out, one or several at a time, to individual writers (previously known as “writers”). There was a writers’ room, generally, only in comedy shows. No writers’ rooms were required for horse operas, and Warner Television churned them out on their lot, distinguishable only by their theme-songs. With the success of The Industry, land values increased. The movie lots — belonging to Paramount, Warners, Universal, Fox — cut down or eliminated the backlots where the films were made, turning them into cash. (Century City was the backlot of 20th Century Fox.)
