| I agree there will be new models (there always have been actually) and we don't know what they will be. The Hamilton (film to air later) model only works for shows that reach a certain level of mojo. And note who paid for the filming. Imagine if you were barely able to capitalize and eke by for a few years on Broadway, eventually recouping. Who is going to finance your film? Imagine if you are a critical flop and tank at the box office? Who wants to stream that show? I don't see how you build a model based on streaming if the intention is to maintain some semblance of Broadway. We can also discuss the Diana model, which I think is equally absurd. I am not a fan, and I think there is a lot of sentiment in the business that agrees with me. And if I were the kind of person who was kept up at night I would be wondering how long it would be before Netflix cuts Broadway out of the deal. Why bother? I have a dozen reasons I don't want any part of this. Sorry. (That said, I am not suggesting that we don't need to find new ways to make theatre even though we have to also acknowledge that Broadway in the aggregate is doing pretty fine from the pure aggregate business side. ) |
