In the aftermath of SAG-AFTRA’s decision to join the Writers Guild of America on strike, the entertainment industry is grappling with the question of whether to air or shelve content. This dilemma has reached the executive suites of Hollywood, where television executives are considering the best course of action. With uncertainty surrounding the duration of the work stoppage, executives are questioning whether it is wise to exhaust their available content so early in the strike. Additionally, there’s the concern of promoting series without the availability of their star talent.
Streaming platforms are engaged in discussions about potentially postponing certain fully shot but undated series until early 2024, or even shelving them until the strike ends. In some cases, the stars themselves have requested that their shows be held so that they can participate in both the promotion and celebration of the series. Shows with lesser-known talent are more likely to proceed as planned. The focus is on ensuring a steady release of content throughout the next year, even if the overall volume is reduced. Without these discussions, there would likely be a significant drop-off in new content releases in the first quarter of the following year.
While no final decisions have been made, conversations with executives reveal that there are various considerations at play. Some are hopeful that the strike could be resolved quickly, while others are waiting to see how their competitors handle the situation. Factors such as the possibility of pushing back the Emmy eligibility cutoff for 2024 and the emergence of any publicity loopholes further contribute to the uncertainty. However, one Disney source has disclosed that they are preparing for a worst-case scenario end date of January 1 as they weigh their options.
Different streaming platforms have varying levels of content flexibility, depending on the amount of completed series they have in their inventory. Netflix, believed to have the most available content, is reportedly discussing whether to hold back five undated shows. FX, on the other hand, has completed seasons of Ryan Murphy’s “Feud: Capote’s Women” and the latest installment of “Fargo,” both featuring a star-studded cast. Apple TV+ will also need to make decisions about already completed star-driven shows like “Bad Monkey” and “Palm Royale.” Similarly, Showtime and Paramount+ have completed seasons of their respective series, including “The Curse,” “Fellow Travelers,” and the “Frasier” revival.
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However, caution must be exercised when making scheduling decisions, even in television, where securing screens is not a requirement as it is in film. Platforms rely on a consistent supply of fresh content, and there are already shows that have been scheduled and had media investments made on their behalf. Some series have even conducted interviews with their cast ahead of the strike, securing promotional material for their release. The fear of losing audience interest and the understanding of the negative impact of extended breaks, as seen during the pandemic, drives the sensitivity around postponing content. Holding a show, even for a few months, can significantly impact its success.
The entertainment industry is navigating through this complex situation, balancing the need for fresh content with the uncertainty of the ongoing strike. Decisions will continue to be made based on the individual circumstances of each platform and series. It remains to be seen how the strike will unfold and how it will ultimately impact the release of new content. However, the industry is acutely aware of the importance of delivering content consistently to meet audience expectations and maintain engagement.
Overall, the executive conversations reveal a cautious approach to the scheduling of shows during the strike, with a focus on striking a balance between audience demand and the availability of star talent. The industry is closely monitoring the situation and taking necessary precautions to navigate the challenges posed by the strike and maintain a steady supply of content for audiences.
