WINSTON I was talking to a writer on the picket line who is a supervising producer under an overall deal and she had been meeting up until the strike to go run shows - and she has never been on set one time. And that seems like it’s like cutting off our nose to spite our face when we’re trying to have all these new voices. If I don’t do it, right, I’m not going to get another chance.” We’re spending all this time - rightfully so - bringing up all these new voices, but if they don’t know how to run their show, or they get paired with someone who sucks, or who wants to take over their show, then all of a sudden, it’s their fault. Mindy Kaling, when I was working on The Mindy Project, said, “I get one chance you guys get a million chances. And it’s good to hear different voices and those people have shows, but we’re screwing them if they don’t know how to run them. We’re trying hard to fight to get that back.īYCEL I was lucky enough to learn the good and bad when I was coming up. And that key element is missing in the past decade. Television has its own workflow and it worked so well because it was people who knew what they were doing teaching people who didn’t know what they were doing so they could go on and teach other people. So, we’re going to pair you with this powerful director or producer.” It is changing fundamentally how television is made. It allows outside forces to be like, “Well, you don’t really know what you’re doing. So, when they have a show, they don’t have the experience to run it. They’ve never been in a production meeting. What’s happening now with these small orders and small rooms is you have a whole staff who has been writing, they’re moving up the ranks, they might be like co-EP level, and they’ve never been on set. What I didn’t realize until after I left Happy Endings was I had this wealth of knowledge. A lot of the people I hired on Rutherford Falls had only been in mini-rooms and didn’t have any on-set experience. ![]() As I moved up onto other shows, the staff got smaller. Through that process of doing 22 episodes, by the end of it, you knew how to produce an episode of television. ORNELAS Even though it was Caspe’s first job in TV, and it was my first job in TV, there were a slew of people who had a bunch and were excited to tell us how to do it. Why is the WGA fighting for room-size guarantees and the end of the so-called mini-room? In your thread, you noted there were 17 writers on season one of the show, seven of them staff writers including you, and that it was dubbed “America’s Next Top Staff Writer.” One of the key issues the Writers Guild is striking for is minimum room size. Sierra, your May 9 Twitter thread inspired this reunion. For the full conversation, listen to this week’s TV’s Top 5 (below). ![]() ![]() What follows is an edited version of the sprawling reunion. Joining TV’s Top 5 this week are Happy Endings creator-showrunner David Caspe ( Black Monday), showrunner Jonathan Groff ( Black-ish), showrunner Josh Bycel ( Solar Opposites), Sierra Teller Ornelas ( Rutherford Falls), Prentice Penny ( Insecure), Lon Zimmet ( Night Court), Dan Rubin ( Night Court), brothers Daniel and Matthew Libman ( Champaign, ILL), Jackie Clarke ( Blockbuster), Amy Aniobi ( Insecure), Leila Strachan ( Night Court), Hilary Winston ( Krapopolis) and Jason Berger ( The Big Show). 'Awards Chatter' Podcast - Lenny Kravitz ('Rustin')ĭuring this week’s TV’s Top 5 podcast, hosts Lesley Goldberg and Daniel Fienberg reunite 14 of the Happy Endings writers to build off Ornelas’ thread and discuss, in light of the ongoing Writers Guild strike, the benefits of having a traditional writers rooms, why having writers on set is an invaluable on-the-job training ground and how mini-rooms are bad for television.
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