What It’s Like to Be a TV-Comedy Creator in 2023

Steve Levitan, Gina Yashere, and Rachel Bloom talk streaming, cancellations, and the elusive idea of success in Hollywood.

There are so many effects that it’s kind of hard to sum up. Streaming opened a lot of doors, because there was suddenly this tidal wave of new shows. In the old days, it was broadcast. If your idea is too specific, or it’s too niche, people won’t go for that. Like, “Oh, a show with gay people will be too off-putting to too many people!” Fortunately, things like that changed. But streaming became very much “the nichier , the better.

Streaming came on the back of everybody making their own content and things opening up, but because of that, they’re not regulated. They can pay people whatever they want, which helps and doesn’t help. These streamers have a certain few people who make all the money, and they’re not beholden to the same rules that the networks are, so they can go, “We’re going to give you this much money for your show and not a penny more, and we don’t even have to tell you how many people watch the show.

I don’t like to be a complainer about it. I’ve been so lucky in this business. We are now at a time when the stock market has pulled back, suddenly companies like Disney are laying off gigantic portions of their workforce, and all the streamers seem to be finally realizing that there’s too much product, so it’s not the best time to be that show that has a lot of potential. It’s a time when you say, “Cut. It’s not working for us today. Cut, cut, cut, cut, cut.” I think that’s what happened.

I believe there was a speech in one of our episodes that Paul Reiser gave. “It’s God’s work to bring some joy into people’s lives and make them laugh,” not “I made them anxious this week! Well done!” It’s important that people laugh, and I’ve always felt that. I love hearing when people say whatmeant to them when they were going through rough times. I don’t think it’s quite right to call something a comedy when it’s a half-hour drama.

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