How Business Is Killing Your Favorite Films
Something ominous is unfolding in Hollywood. It’s a consequence of businesses infiltrating the industry and taking control. Among the most egregious culprits is David Zaslav, the CEO of Warner Bros. Discovery. These new powerhouses of Hollywood are discarding long-standing and beloved concepts. They are wiping the slate clean for their own gain, and if they haven’t targeted your favorite shows and movies yet, just wait. Who exactly is David Zaslav? In the world of Warner Bros., David Zaslav is the individual responsible for transforming the Discovery Channel into the barren wasteland of reality TV we know today. He determined that the educational aspect of the channel wasn’t generating the necessary profits and introduced shows like “Mostly True Stories: Urban Legends Revealed.” Zaslav is also recognized as the CEO who orchestrated the merger of WarnerMedia, AT&T, and Discovery to create Warner Bros. Discovery. Upon assuming control of this entity, he not only rebranded HBO MAX as MAX but also shelved a significant portion of their extensive library. Zaslav popularized the trend of canceling films that were already well into production, allowing the company to take advantage of substantial tax write-offs. A recent example of this was the cancellation of the film “Batgirl,” which had generated significant buzz and was set to feature Leslie Grace and Brendan Fraser. The company justified this decision by claiming that the film was “neither significant enough for a major theatrical release nor economically feasible as a smaller project.” It’s important to note that this statement came after the film was essentially completed, not during preproduction or production itself. Unsurprisingly, Zaslav has become the primary antagonist in the ongoing battle between those who cherish the freedom to delve into film history and witness the creation of new and captivating movies. How does TCM factor into this equation? Turner Classic Movies (TCM) has been a cable television staple since 1994. It presents audiences with a plethora of films that they may have never sought out or even known existed. For individuals without access to older movies, especially those no longer available through traditional means, TCM has kept these films alive and part of the broader conversation. However, a new concern has arisen. Zaslav is up to his (not so) old tricks again. TCM, which is owned by Warner Bros. Discovery, may be the next casualty. Zaslav has already implemented numerous layoffs, a move that has sent shivers through industry insiders. Is Warner Bros. Discovery preparing to shutter this beloved channel and archive its vast library? What implications would this have for our understanding and exploration of film history? Related: TCM Schedule Change: The Importance of Turner Classic Movies and Its Evolving Nature This issue has become so pressing that esteemed directors like Steven Spielberg, Martin Scorsese, and Paul Thomas Anderson have reached out to the company, urging them not to shut down the channel and discard its library. Fortunately, their influence has granted them an audience with Zaslav, who appears to have agreed to allow the trio to offer guidance on programming and the selection of films for the network. Essentially, they are assisting in shepherding the channel in the absence of the previously laid-off staff. How do these practices affect your favorite shows? Zaslav is not the sole antagonist in this narrative. Most streaming services dominate the market for new content, leaving viewers to choose which platforms to align themselves with. With individuals on tight budgets, it can be disheartening to discover that the films and TV shows you adore are unavailable on the streaming service you subscribe to. This is exacerbated by what some refer to as the “Netflix Effect.” This occurs when a show gains immense popularity but fails to meet the streamer’s specific success criteria. Consequently, these shows are canceled after just one season or end on cliffhangers that are never resolved. Devoted fans are told that they must rewatch the series repeatedly to prove its viability. Related: Max: Are There Any Discovery Shows Worth Watching? This entire situation is one of the primary reasons why many streaming services are shifting towards a reality-based model. Reality shows are significantly cheaper to produce, with entire seasons often filmed within a few weeks, generating a wealth of usable footage. These shows captivate audiences and keep them hooked, much to the delight of streamers. Unfortunately, this means that scripted content is sidelined, and when it does get produced, it is meticulously tailored to fit the ideal algorithm. Zaslav and his contemporaries are transforming art into a business. They prioritize the bottom line in an industry that has always been driven by money, sacrificing both old and new content. They are actively erasing the history of cinema and television in favor of consolidation and tax benefits. It’s a short-term solution before ultimate dissolution. For those who cherish classic movies and even modern television, as well as those who have yet to explore these living historical documents, Zaslav represents a formidable threat. It’s a dangerous situation that is rapidly approaching. If we don’t voice our concerns, we risk losing a significant part of 20th and 21st-century culture. It is imperative that these vault doors remain open; otherwise, they may never see the light again.
There is something sinister happening in Hollywood. It is a byproduct of businesses making their way into the industry and taking over. One of the worst offenders is David Zaslav, the CEO of Warner Bros. Discovery.
These new titans of Hollywood are taking long-term and much-beloved concepts and throwing them out. They are wiping slates clean for their own benefit, and if they have not come for your favorite shows and movies, just wait.
Who Is David Zaslav?
David Zaslav is the man responsible for turning the Discovery Channel into the wasteland of reality TV we know today. He was the one to decide that the educational aspect of the channel was not making the money they needed and began introducing shows such as Mostly True Stories: Urban Legends Revealed.
He is also known as the CEO who created Warner Bros. Discovery by merging WarnerMedia, AT&T, and Discovery. Upon taking over this property, he decided to not only change the HBO MAX label to MAX but also shelve a good portion of their extensive library.
Zaslav popularized the trend of taking films that had already been through most of their production process and canceling them to give the company extensive tax write-offs. The most recent example of this was Batgirla film that was to feature Leslie Grace and Brendan Frasier.
It had quite a bit of buzz, but the company explained that it was “neither big enough to feel worthy of a major theatrical release nor small enough to make economic sense.” Remember, this statement came after the move was essentially completed, not at the beginning during preproduction or even during production itself.
Needless to say, Zaslav has become the main villain in the ongoing war between those who want the freedom to delve into the history of film and see the development of new and exciting movies.
How TCM May Be the Final Straw
TCM (Turner Classic Movies) has been a staple of cable television since 1994. It presents audiences with a bevy of films they may never have sought out or known existed. For people who do not have access to older movies, especially ones that may no longer be available through traditional means, the channel has kept them alive and in the general conversation.
Now, there is a new issue that has come to light. Zaslav is back to his (not so) old tricks. TCM is owned by Warner Bros. Discovery and may be the next property on the chopping block. Zaslav has already instituted a number of layoffs, a move that has put fear into industry insiders. Could Warner Bros. Discovery be preparing to shutter this beloved channel in order to shelve its vast library? What would that mean for the way we view film and explore its history?
This has become such a looming issue that directors such as Steven Spielberg, Martin Scorsese, and Paul Thomas Anderson have reached out to the company to implore them not to shut down their channel and shelve their library.
The good news is that their clout gave them access to Zaslav, who seems to have agreed to let the trio assist in offering guidance about programming and the types of movies the network should be curating. They’re essentially helping to shepherd the channel in the absence of previously laid-off staff.
What Is the Effect of These Practices On Your Favorite Shows?
Zaslav is not the only villain in this story. Most streaming services have cornered the market on new content leaving viewers to pick and choose the streamers they ally themselves with. With people limiting their budgets, it can be challenging to learn that the films and TV shows you love are not available on the streaming service to which you subscribe.
This is compounded by what some people call the Netflix Effect. This is when a show is extremely popular but does not mean certain specifications for success by the streamer’s standards. This leads to cancelations after one season or following cliffhangers that are never resolved. Devout fans are told they need to rewatch the series over and over to prove that the show is viable.
This entire situation is also one of the key reasons that so many streamers are switching to a reality-based model. The shows are eminently cheaper to make, can have entire seasons filmed within just a few weeks, and generate massive amounts of usable footage. These shows draw people in and keep them hooked in a way that streamers love. Unfortunately, this means that scripted content is passed over, and when it is produced, it is scrutinized to fit the ideal algorithm.
Zaslav and his contemporaries are making art into a business. They are bottom-lining an industry that, although always driven by money, is now looking at money first at the expense of both old and new content. They are actively erasing the history of cinema and television for the sake of consolidation and taxes. It is the quick way of creating a short-term solution before dissolution.
For people who love classic movies and even modern television, and for people that have yet to explore what have become living historical documents, Zaslav is the pointed end of a very sharp spear. It is dangerous, and it is coming fast. If we do not actively speak out, we will lose an enormous piece of 20th and 21st-century culture. It is imperative that these vault doors do not close; otherwise, we risk them never opening again.
