Hulu recently released data on the viewership of the second season of The Bear, revealing that it had a 70% increase compared to the first season’s initial days. However, similar to other streaming platforms, Hulu remains tight-lipped about specific numbers and instead boasts about having the “biggest viewership ever” without providing any concrete data for the public to analyze. Despite this lack of transparency, it is evident that The Bear has gained immense popularity following its successful first season.
Unfortunately, this success does not translate to fair compensation for the creative minds behind the show. The entertainment industry, including streaming platforms like Hulu, profits greatly from these acclaimed TV shows, while the writers and other creatives who bring these stories to life are left without their fair share. The Bear, which focuses on the lives of working-class individuals, ironically benefits the upper class and highlights the glaring inequality that exists in the ongoing writers strike.
Alex O’Keefe, a writer for The Bear, recently spoke out about his dire financial situation just before the writers strike began. Despite his contribution to the show’s success and even attending award ceremonies on its behalf, O’Keefe found himself struggling to make ends meet, relying on credit for basic necessities. This financial disparity becomes even more alarming when considering the wealth of the corporation funding The Bear – FX Productions, a division of The Walt Disney Company. Disney, known for its vast resources, has top executives earning millions of dollars annually, while its own writers like O’Keefe struggle to keep their lights on.
The plight of O’Keefe and the financial inequality within Disney’s ranks are not isolated incidents but representative of a larger issue within the TV industry. Many Netflix writers have shared stories of receiving minimal pay for their work on major shows, while Netflix executives enjoy substantial bonuses. Instances of economic inequality, along with the lack of transparency in streaming viewership measurements, are driving the writers strike.
TV networks and executives have historically prioritized their own financial gains over supporting the creators of television shows. This trend is exemplified by how studios withhold concrete viewership data for streaming programs. In the past, there was transparency in broadcast and cable viewership, enabling writers and other creatives to gauge public interest and negotiate accordingly. However, modern streamers, like Netflix and FX, hide viewership data, hindering the economic mobility of writers. Netflix pioneered this practice in 2013, and its reign has continued with FX delivering shows to Hulu with the same secrecy.
The streamers attempt to generate hype with claims of record-breaking viewership, but their lack of verifiable evidence undermines the writers’ efforts to secure fair compensation. This approach places undue power in the hands of corporations that are not always forthcoming with the truth. These practices, along with other industry standards like the deletion of shows from streaming platforms, only create further obstacles for writers seeking stable income.
The Bear exemplifies the broader problems within the television industry. However, this does not diminish the artistic value of shows like The Bear or dismiss the talented writers behind them. On the contrary, it underscores the importance of recognizing and rewarding these creative individuals. While corporations like Disney emphasize viewership numbers, they must also prioritize the needs and rights of their writers. The ongoing writers strike serves as a reminder of the urgent need for fair compensation and respect for these artists. It is time for transparency, fair wages, and acknowledgment of the integral role writers play in the entertainment industry.
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Khushi Patel is a science fiction author who lives in Austin, Texas. She has published three novels, and her work has been praised for its originality and imagination. Khushi is a graduate of Rice University, and she has worked as a software engineer. She is a member of the Science Fiction Writers of America, and her books have been nominated for several awards.
