Three women who run current television and broadcast series took stock of the progress and lingering paradoxes in an entertainment industry that is still processing both the #MeToo movement and the economic change wrought by the rise of streaming.
When asked during the panel at SeriesFest if anything had changed in the years since the industry’s initial reckoning with sexual abuse and assault, as well as toxic work environments, Sierra Teller Ornelas, series showrunner peacock Rutherford Falls He replied, “I don’t think so.” She went on to say that she has observed a “slow tilt type”. In 2010, she said, though, “the jokes you I might tell the stuff you I might to talk about the stuff you I might tell, you single not make that now.”
Ornelas was joined by Daisy Gardner, Freeform’s showrunner single drunk woman and Robin Veith, who now directs Candy on Hulu. Denver’s SeriesFest is marking its in-person return with this year’s eighth annual edition, which concludes Tuesday.
Gardner says his personal observation is that things have gotten better, but largely because “I have me own show.” However, being the boss has brought about certain ironies. After struggling in a field dominated by men, now “I am ancient Y now I am the handyman grope stalker, where I am I like it, ohh not! I can’t tell that.’ I like it, I like it where I will single watch I like it Some 24-year-old face, that will be be I like it, ‘Rwell, us not make that. Us not tell that. Thank you you so much'”. On a less sardonic note, she added: “It’s getting best Y there is an awareness Y the cold stuff it is I to think over there are people in studies Y networks whose are doing an concerted effort for change Y for make structural changes so that people are in leadership positions from Energy.”
Veith, an Emmy-winning writer for Crazy men, said the rise of streaming has added additional complexity to issues like pay equity because the economy is so different from long-entrenched linear ones. “WHouse created East environment where there is everyone East opportunity, you may make everyone East things,” he said. “But there is an strong probability that What an showrunner, you The end up doing less money what his staff writer.”
While none of the three panelists spoke fondly or nostalgically about some of the indignities of their climb up the ladder, they also emphasized that making connections with their fellow subordinates was crucial. Today, the streaming model has made it possible for young writers to grow rapidly, given the huge hunger for content. But the brightness of the transmission may be an illusion.
“What an creator, when the technology comes in something, I like it salaries Go down,” Gardner said. The trade-off, she added, is being able to benefit from an influx of new buyers vying for a higher volume of shows. Even in these boom times, he said he often asks himself: “Will be I watch movement ornorth none from them? I have not idea. That It seems I like it an batch from the growth model for transmission has converted in I like it an movie model where that I might single take years Y drag on Y drag on while are still tenure you so you may make other stuff.”