#odaat pop tv

[idontplaytrack]

Elena Alvarez masterlist📓

Index:

🤍 fluff

❤️‍🩹 angst

❤️‍🔥 smut

Stars 🤍

Only a Girl 🤍

[fans4wga]

Where Are My Residuals? Actors/Writers Share Horror Stories On Picket Line, Social Media

"With all the strike talk about low pay, WGA and SAG-AFTRA members are starting to play a little show me yours and I’ll show you mine when it comes to their (paltry) residual checks.

Just about everyone has a story to share about how their residuals took a serious nose dive with the advent of new media. A recent story in The New Yorker about how actors on the once successful Orange is the New Black never enjoyed a financial windfall only exacerbated the angst felt by actors and writers these days.

Here’s a sampling of their stories:

With all the strike talk about low pay, WGA and SAG-AFTRA members are starting to play a little show me yours and I’ll show you mine when it comes to their (paltry) residual checks.

Just about everyone has a story to share about how their residuals took a serious nose dive with the advent of new media. A recent story in The New Yorker about how actors on the once successful Orange is the New Black never enjoyed a financial windfall only exacerbated the angst felt by actors and writers these days.

Here’s a sampling of their stories:

Jason Belleville (Home Economics): “I wrote on the first season of Cobra Kai, which is one of the biggest shows in Netflix history. I think I have more money in my pockets right now than any residuals I’ve seen from that. I was also was an executive producer of a show for Netflix called Sneakerheads, which was a smaller show, but it premiered No. 1 one in a bunch of countries for a little while. I have yet to see $1 from that. And I was a writer and EP on that, in comparison. Some of them [broadcast shows he worked on] you can still get some money from but obviously, it’s not like it was. But there’s always a steady trickle that comes in to remind you that you once worked, right? The [residual] formats for cable and for networks are clear and transparent. Whether they’re as much as we want them to be or not, they’re at least something that you can rely on. Whereas, some of these YouTube shows, these [shows licensed to] Netflix. This whole strike is about having money you can rely on through the years so you can pay for your mortgage, you can take care of your kids, as opposed to opening an envelope and going ‘oh, it’s a nickel this time.'”

Aisha Tyler (Criminal Minds, The Last Thing He Told Me): I do a show [Whose Line Is It Anyway] that is double and triple and quadruple pumped in the United States and maybe 50 countries, and I don’t see any residuals. I know it’s been very frustrating to me and my co-stars. It’s theft. We generate all of the creative output on that show. We are the writers, we are the performers, we do everything and we don’t get compensated for it. I already I already threw a couple of temper tantrums so you can see I’m a bit more sanguine about it now but we’ve been fighting about it for years and it’s just pure and simple. It is creative theft."

Mike Royce via Twitter (writer-producer, One Day At A Time, Men of a Certain Age): “Some people are wondering how residuals will work for this, and since One Day at a Time had the somewhat unique experience of running on streaming, cable AND network TV, I can tell you how it worked for me. In 2020, season 4 of ODAAT was on the Pop Network (cable). Later that year CBS repeated it, because it was the pandemic and they needed programming. I co-wrote an episode with Gloria Calderón Kellett so we split the residuals. For the Pop showings I got (lower) cable residuals, but the CBS repeat paid me half the network residual (exactly what it should be for a co-written episode) … For perspective, that one CBS repeat of one episode of ODAAT paid me roughly the same as I’ve been paid IN TOTAL for one episode of ODAAT streaming on Netflix 24/7 for the last 4-6 YEARS. In other words, 1 network repeat residual = 5 years of streaming residuals. This is why we’re on strike."

Sarah Sokolovic (Big Little Lies, Homeland): “I can tell you the money I made from residuals dropped in 2015 to less than half in 2018. And the funny thing about it was I was on two, Emmy-award winning shows. It’s not on the side of the individual producers, of course. It’s really about the studios making sure that the basic contract has things in place so that actors like me benefit from their work residually over time. There was a time when I was traveling out of the country, so I had to have my mail forwarded to my mother. She was helping me with deposits, physical checks at the time. She opens a check and she goes, ‘Sarah, it’s three cents’. I said yes. She said it actually costs more to mail it.'”

Marqui Jackson (showrunner, All American: Homecoming): “Just in general, residuals are not what they used to be. You can’t depend on residuals to even begin to sustain a living in between gigs. It’s just kind of like extra money because sometimes they’re as low as a couple of bucks. I don’t think there has been a wellspring of residuals from All American: Homecoming, even though we are doing well. It is hard to fight for the right number when you don’t know what the numbers [ratings] are. That’s part of why we’re fighting because if they’re making money off on our content we should be part of it.”

John Carroll Lynch (Trial of the Chicago 7, White House Plumbers): “I’ve noticed that anything I do for streaming is not even one-tenth of the residual stream that I got for something terrible that I did. I certainly got paid more for an episode of The Visitor, which is a show I did when I first got here and only lasted one season. I got higher residuals by about 100 percent to what I get when it [was licensed to] Netflix. At some level, we’re dealing with a different group of people who have union institutional memory. Disney as a corporation has institutional memory of using unions, often much to their chagrin. That’s true of Warner Bros. and Universal. Apple, Amazon, and Netflix all come from Silicon Valley which has no institutional memory of unions. It’s time to teach them what sharing needs to be.”

Kevin Sussman (The Big Bang Theory) “For me the big issue is residuals for streaming. I’ve known that it’s been untenable for years. I was surprised that it took this long for there to be a strike like this. I’ve seen residuals for my own shows absolutely tank once they go to streaming. I’m lucky because I was on The Big Bang Theory, which was on a broadcast network for years. Since it moved to streaming [like Max and Amazon Prime], it’s night and day. I don’t see how it’s possible for an upcoming actor these days to actually be able to make a living.”

Charlie Barnett (Men in Black 3, Russian Doll): I have those check stories of like $9 coming out. Twenty years ago, if I had the career that I have today, it would be entirely different. I can’t afford to buy a house. We just moved into a smaller place in order to start saving. It would be improper to say that I don’t have a certain amount of privilege in the position that I am. I have to recognize that. But us in these positions in of height, have all the ability to fight for the people who are under us, who are still climbing. Just the background deal that they said is historically different is bullshit. I started out in background. Are you going to tell me that I’m going to sell my image in perpetuity to a studio? It’s insane. What happens to my career for the rest of my life? It doesn’t provide any safety, any protection, any ability for growth for what this industry is, for what it’s always been. These contracts that we have built off of network television have stood for so long. We have not seen any growth through the streaming platforms. It’s kind of the Wild West. The conversation point in saying over and over again, the industry we are funding and continuing to put millions and millions of dollars into, is not profiting us. It’s BS. It’s also mirrored in the fact that half of these execs, their pay is raising continually, year and year. We have not seen growth on our side. And through the writers as well.”

[savelockwoodandco]

Hi! First thanks to all of you for the help and the hard work.

I would like to ask (I'm honestly not very informed): There are any previous netflix shows that were cancelled and picked up by another service?

Thanks for the question and for the kind words, Anon! It's a labor to be sure, but a labor of love, so all is well.

There are only a few examples of this, sadly. Netflix used to be known as The Place Where Shows Get Saved -- it's amazing how quickly the stereotype changed to The Place Where Shows Get Cancelled, honestly. It gives me whiplash to think about it.

One Day at a Time was the first example...ever, I believe -- I'd love to be wrong, if anyone knows of an earlier one. Its first 3 seasons were on Netflix, which cancelled it on March 14th, 2019. Pop (also known as Pop TV, owned by Paramount) renewed it on June 27th, 2019, and the fourth season started airing March 24, 2020, being simulcast on TV Land and Logo TV (both owned by Paramount).

An unfortunate time to be picked up, honestly. Due to the pandemic, production had to stop in the same month the show started re-airing, and ODAAT got half a season, ending in an animated special airing in June of that year. The show deserved a final wrap-up, but the circumstances of the unfortunate fourth season were more due to the pandemic than to anything else.

The only other example I'm aware of is Uncoupled, the Neil Patrick Harris rom-com show that we've mentioned a few times on this blog. It premiered on Netflix on July 29, 2022, and was cancelled in January 2023. A month later – February 2023 – Showtime (part of Paramount+ now) un-cancelled it by picking it up. Netflix removed the show from its site (aka lost distribution rights) on May 1st, 2023 – just shy of a year – and it starts filming for its second season on May 30th, 2023.

This does demonstrate a few things; not only does it showcase why Paramount+ is this mod's preferred home for Lockwood and Co (not that we're picky at all -- whoever ends up picking it up will earn both my love and my money), as Paramount has been the standalone in helping Netflix shows get a second life, but it also shows that it is wholly possible to save shows from Netflix.

ODAAT took 5 weeks from its season 3 premiere to cancellation, and 13 weeks later, it was rescued.

Uncoupled took 1 week shy of 6 Whole Months from its premiere to cancellation (which...well, us mods have Feelings about the Uncouth Nature of the timeframe there), and 3 days short of a month to be rescued.

To compare, Lockwood & Co took 15 weeks from premiere to cancellation, and we're sitting at 2 weeks exactly from cancellation right now.

It may seem tempting to give up -- two whole weeks, after all! -- but as we've been saying from the beginning, this is a marathon, not a sprint. A little bit of consistent effort every day is far, far more effective than an angry 5-day burnout.

All in all, if L&Co got renewed tomorrow (a trifle unlikely, given that it's the weekend, after all) we'd be very, very far ahead of the curve. Virtually no show going to have Brooklyn 99's next-day pickup (which anyone could tell was going to happen, it was one of the stupidest things I've seen a network do in the last decade). Even Lucifer took a month, and that was one of the most involved, intense, and in-person campaigns I've been in.

When you start feeling discouraged, look at the numbers. We're doing well, and it's very early days.

We can do this, and we will do this -- together.

[g4l-p4ls]

❗️URGENT INFO ABOUT ODAAT ❗️

Gloria, one of the writers/producers tweeted last night that it's not looking good for a renewal. Please help spread the word to anyone you know to watch episodes 5 & 6 LIVE on cbs. If we can get a boost in views for those two episodes we might have a better chance to keep ODAAT and get it renewed! Also, on Friday (tomorrow) help trend #WeWantMoreODAAT on Twitter. Episodes 5&6 air on CBS at 10&10:30pm EST on October 26! SPREAD THE WORD!!!

[odaatfav]

isabella gomez icons

like or reblog if you save

[blackthxrntree]

[maralmo]

[boundtostray]

Thank you, to everyone involved with ODAAT, for everything. One of my favorite TV families. 

[bakedgoose]

Syd and Elena being cute nerds

[davethepurple]

I love all the One Day At A Time characters but the women of the show are just so special to me in their own way. The way I see it Elena is the brains, Penelope the heart and Lydia the passion.

I had some much fun doing these illustrations 💜

[blog-historymaker]

Sid & Elena (the cutest couple ever)

From One day at a time

Paz, historymaker 💛

[htgawparksandrec]

[nocontexttma]

One Day at a Time, season 4 episode 1: “Checking boxes”

“And papito is single!” “Right, yes, because he’s a child...”

(shitty quality and a watermark, i know, but hey now they’re not squares this is clear improvement :D )

[chaotic-neutral-bisexual]

I just realized last night that I could watch season 4 of one day at a time on hulu so now I’m all caught up ! and omg i am so excited for baby schneider, i stay loving syd & elena’s relationship, & the spreading of the ashes made me eyes sweat a little 😅 

[g4l-p4ls]

Heads up for everyone wanting to watch the premiere of ODAAT! ❤️

[odaatfav]

isabella gomez icons

like or reblog if you save