I don't find what you wrote snark.
I did not limit what I said to Netflix/Disney, but what I was trying to emphasize was the outlets that could produce meaningful coin for a production.
I was writing about commercial Broadway productions because that's what Yang was talking about, whereas you seem mostly to be talking about non-profit companies. I think the dynamic, motivation, and economics are almost completely different.
I don't think what theatre lovers think about the Mint etc all translates at all, and I would also note that these things are not professionally filmed full productions, nor are they even possible without concessions that will obviously evaporate in short order.
Bottom line, I think filming is bad for the theatre because it diminishes/depreciates/imperils the art form. You don't see that, so we have to disagree about that. I also confess that I think Yang adores glib solutions that are ultimately lazy at best. In this particular case, I think his grand solution betrays a lack of familiarity with the subject. Just curious: has anyone ever seen him at the theatre? I haven't. |
