Veteran screenwriter explains how woke has damaged the TV and film industry for the professionals who know how to write for what audiences actually want to see. However with massive cutbacks in new TV shows (as much as 50%) and the new WGA deal, inexperienced writers are about to find out they are not wanted anymore either as explained by a different professional screenwriter in another article.

Suddenly, sub-text and themes became the main point of discussing a project or IP. The first question in every meeting became, “What can we say with this project?” or “What can we teach people with this story?” Plot, character and audience were now secondary, and sometimes not even discussed.

These new execs weren’t savvy and business-minded execs; they were young, with no track record or comprehension of the bottom line. When the streaming wars started and the money hose was turned on, those experienced executives started relying on these young guns to pick up the slack. But the kids were less focused on the Hero’s Journey and more concerned with taking down the patriarchy.

Which leads us to the next point. The reality is that for the past five years, white, straight, male writers and directors with experience and successful track records have been sidelined. We talk about it over coffee or after screenings: we’ve essentially been told that because of our race and gender, we need not apply. At one point my agent told me that they couldn’t put me up for any OWAs (open writing assignments) or TV staffing jobs because the execs only wanted to hear takes on the material from BIPOC or female or LGBTQ writers. Some shows even started instituting staffing quotas that 40 to 50 percent of the writing staff had to be people of color.

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