I wrote about what’s next at Paramount and Warner Bros., covered Apple’s Emmy triumph, scooped Sony and Prime Video’s new Spider-Man shows, interviewed Mike Schur and J.J. Philbin and wrote about the new overall deals economy.
While Hollywood has been fixated on the corporate blood sport about to start at Paramount-WBD, another studio workforce is bracing for impact.
Today my focus is Disney, where staffers are on edge after an internal memo warns of a push to become “more efficient and cost-effective” — and in one very important corner of the company, lays out just how much smaller the organization could become.
And that may only be the beginning. Executives are already being moved, layered and pushed out, while employees tell me they’re waiting for the next shoe to drop. One insider says even talent has started asking questions about what’s coming.
Plus, the Canadian showrunner who has quietly built a YA empire with three shows, each renewed for a second season at Netflix — all at the perfect price streamers now love. And I talk to Nkechi Okoro Carroll, wrapping her final season as showrunner on The CW’s All American, about streaming’s destruction of the TV training ground, the $1 million-per-episode cut she refused to make and why writers now have to “fight harder.”
But first: what exactly is changing inside Disney — and how far could the cuts go?
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