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The latter seems like a solid idea, if the networks could be persuaded to part with their IP. I suspect I'm not the expert on this that you are, but the latter
by thenomad 13y ago
The latter seems like a solid idea, if the networks could be persuaded to part with their IP.
I suspect I'm not the expert on this that you are, but the latter could be a problem, particularly from a "career preservation" point of view at the networks. If Exec Bob's show is picked up by Netflix and turned around from a flop to a hit, that tends to imply some things about Exec Bob's management of said show that he might not want to risk being implied.
- jonnathanson 13y agoIt's an interesting thought! But in my experience, at least, once a network cancels a show, they're usually happy to let it go. Especially if it's been dead for a few years or more. And Exec Bob is likely to have switched jobs or moved up by then, anyhow. There's a ridiculous degree of fluidity in the "musical chairs" that is the creative executive career track. Also: once a show has moved from development to air, the show changes stewardship from the Development department to the Current Programming department -- so there's a different executive in Bob's place now, who is responsible for the day-to-day operations of the show. Bob can absolve himself of responsibility if the show makes it to the air and then gets canceled. Bob is responsible if not enough shows make it to the air in the first place, or if not enough of his shows seem to last beyond a season, or find audiences. In general, though, Bob is judged on his hits (or lack thereof) more than his misses. He's incentivized to take a lot of swings at bat in order to land a home run. Home runs can often be career-making, even if they were sometimes just luck of the dice.