Article by Ethan Drogin, one of the writers on Netflix’ “Suits” who points out that the residuals he received for the show are minuscule and in no way match the long-lasting success of “Suits”
Article by Ethan Drogin, one of the writers on Netflix’ “Suits” who points out that the residuals he received for the show are minuscule and in no way match the long-lasting success of “Suits”
It depends on expectations. If the carpenter is paid a good hourly wage to produce tables, regardless of whether the table gets sold, he wouldn’t expect anything.
But if he gets paid a small amount with the promise of more depending on how much the tables sell for at auction, he would certainly be angry if he found out that his tables were very popular, going for hundreds of thousands of dollars per table, and he was given a few extra hundred dollars total.
Though even in the first case, if the carpenter found out his tables were popular and being sold for huge amounts of money, he might not ask for more for previous tables, but wouldn’t be out of line to ask for a raise!
Well said. I only wanted to highlight that the article is written as if the author wasn’t enjoying a good wage.
What “good wage” may be can differ a great deal, but what a “fair wage” is not that much. As it stands Netflix gets to pocket pretty much all of the money by themselves and no matter how you try to argue, it’s not fair that Netflix’ C-suite can reap a huge financial windfall while everybody else involved with a show gets morsels in comparison.
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A fuckload more than $260
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The point is: Nobody knows except Netflix, because they do not share any numbers at all. That is part of the problem.
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You do not seem to understand. Let me explain it in a simple way for you:
There are unions. They are striking for better contracts than the ones in the past. The article above is an example of contract from the past.
I am glad we could clear that up. Toodles!