Writers’ rising stock
There is an inexorability about the way the TV drama business is heading. From the viewer’s perspective, the emergence of large-screen HD/4K TVs, combined with high subscription fees, creates an expectation that broadcasters and platforms will deliver great shows. For those broadcasters and platforms, this puts a stronger emphasis than ever on the pursuit of high-profile and high-quality writing, acting and producing talent. But securing that kind of talent costs a lot of money, which means subscription fees need to rise. And so the creative arms race escalates, with the companies in charge of content delivery forced to make bolder and bolder decisions. In a way, it’s similar to what has happened with sports rights. While the big draw with any drama is its cast, it’s noticeable that the track record of writers is also becoming more important – not just in satisfying commissioning editors, but also as a way of appealing to audiences. This is why novelists like Harlan Coben, Michael Connelly and Jo Nesbø have become such a focal point. While most TV writers don’t have a public profile (because of the collaborative nature of the TV process), novelists are often respected brands – with loyal fans who follow their every move. Against that backdrop, this week saw AT&T-backed SVoD platform Fullscreen unveil a raft of new content including a show directed and written by Bret Easton Ellis – the enfant terrible of contemporary fiction, known for cult novels like Less Than Zero, Rules of Attraction and, most … Continue reading Writers’ rising stock
