Shonda Rhimes, the creator of Grey’s anatomy And Queen Charlotte: A Bridgerton Storytalks about the differences between working for a network like ABC and a streaming platform like Netflix.
“These are completely different engines,” said Rhimes vulture in an interview. “ABC was a very powerful, very historic institution. There’s a lot of bureaucracy. The process was that you were first answered “no” and then you have to find your way.”
Rhimes continued: “Even got it scandal At the start of the live tweet they said ‘why would anyone do that?’ NO.’ And then they came to a yes, but we just did it on our own until they saw it. We have come a long way when it comes to researching women’s suffrage. I thought it was just storytelling, but it turned out to be kind of a silent struggle on my part to get it made on TV.”
The founder of the Shondaland production company signed a million-dollar contract with Netflix in 2017, which she renewed in 2021 to cover films, games and VR content in addition to TV. Unlike network television, Rhimes said that “Netflix was a baby in this business” when she first started working with them.
“They start with ‘yes’ and then figure out how to make a difference. And hiring a place that says yes has a lot to do with your enthusiasm for doing the projects,” she added.
Regarding the budget between the two, Rhimes said she was “so obsessed with Netflix in the beginning” because someone told her so The crown had a budget of $12 million per episode.
“I just couldn’t get over it. That’s so much money. Think what you could do with a much bigger playground,” Rhimes said.
Most of the shows Rhimes has created spark conversations on social media, and with a vocal fan base pitching ideas for what the characters should do next, things could get tough. However, the producer and writer doesn’t let her fans dictate her creative choices.
“I think I’m pretty famous for being someone who says I don’t pay attention to the fans,” she revealed. “I don’t mean that in a bad way; I mean, the only way to tell a story is to be sort of the keeper of it, so I can’t take into account all the external influences that come from people’s reactions to the story. It doesn’t help me find a way to be creative in my job.”