Disney is apparently (re)discovering that they need to treat TV shows like…TV shows.
The studio also plans on having full-time TV execs, rather than having executives straddle both television and film.
“We need executives that are dedicated to this medium, that are going to focus on streaming, focus on television,” says Winderbaum, “because they are two different forms.”
It also is revamping its development process. Showrunners will write pilots and show bibles. The days of Marvel shooting an entire series, from She-Hulk to Secret Invasion, then looking at what’s working and what’s not, are done.
Not having a new plot development right up until that final episode which suddenly wraps everything up would probably help. Nearly every marvel series Disney out is guilty of this.
There has been good MCU content that actually has coherence - Agents of Shield, She-Hulk, Loki - but they’ve effectively had Showrunners.
Why Marvel thought it was optional, and everything could be fixed with editing in post is bizarre, but I’d argue that they’re just at the extreme end of a continuum.
Even with showrunners, some of the early seasons of the new era of Star Trek seems to have fallen into the same trap. To many big ego EPs each doing what they want and Kurtzman trying smooth it all out with editing in post.
Osunsami has kept coherence in the direction of Discovery in Toronto, but Picard season one and two was all over the place, frequently ignoring the tone laid down by Hanelle Culpepper in the pilot.
This is the best summary I could come up with:
Fewer than half of the series’ 18 episodes had been shot, but it was enough for Marvel executives, including chief Kevin Feige, to review the footage and come away with a clear-eyed assessment: The show wasn’t working.
So, in late September, Marvel quietly let go of head writers Chris Ord and Matt Corman and also released the directors for the remainder of the season as part of a significant creative reboot of the series, The Hollywood Reporter has learned.
Since debuting the Emmy-winning WandaVision in January 2021, the studio, which dominated the film industry in the 2010s, has released more than 50 hours of TV programming after creating a small-screen division from the ground up during the pandemic.
Production was challenging, with COVID hitting cast and crew, and Gao was brought back to oversee postproduction, a typical showrunner duty, but it’s the rare Marvel head writer who has such oversight.
The company dispatched Jonathan Schwartz, a senior executive and member of Marvel’s creative steering committee known as The Parliament, to get Secret Invasion back on track when it was falling behind schedule and on the verge of losing some actors because of other commitments.
Echo, which premieres in January, is a grounded crime story with few visual effects, revolving around deaf Native American antihero Maya Lopez (Alaqua Cox).
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They had an excellent Daredevil on Netflix and just abandoned it.
By pretty much all accounts, Netflix cancelled it.
Whatever, I checked out from (current) Hollywood trash anyways.
