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I'm still wondering what got Amazon hooked to a billion dollar disaster. After all initial (imo misplaced) optimism, analysts are finally coming out and saying the quiet part out loud: it is not the ground breaking masterpiece they need it to be. Even HoD is performing better and is better received. Both are prequels to very popular IPs, but Rings of Power should be pulling enormous numbers given how expensive it is, and how extensive its marketing was. Despite worsening performance with every episode, they just renewed it for season 2. This wasn't a small and calculated risk, they literally staked the future of their whole studio on this show. What made them think hiring subpar writers, rewriting lore, rewriting characters of one of the most popular fantasy IPs while simultaneously drafting off of the brand was a good idea? It feels like the motive isn't even to make money but solely to push an agenda, but who would do that? Given the sheer scale of the project, I just cannot believe any studio would be so careless as to commit such a serious misfire.
I have no strong opinions about Tolkien, and I have not seen the show, but I see this come up a lot, and I think the answer is surprisingly obvious to people who aren't deeply invested in the fandom. This applies to everything from the MCU to LotR to Star Wars and Star Trek and every other property you care about.
Creators of new productions will very often hire writers who are not loving and doting fans but just in it for the paycheck, toss the source material, and ignore established lore, and the nerds will cry: "How could you do that? Don't you know that will make it suck?"
The answer is no, they don't know it will make it "suck" because they don't care if someone who's read the Silmarillion doesn't like what they did to Tolkien's lore. Nobody else (sigma the tiny, tiny percentage of the audience who's read the Silmarillion) cares either. MCU movies aren't made for you, the middle-aged dude who has boxes of X-Men and Avengers comics from the 80s in your cave. They are made for the new viewers they want to attract.
All they care about - all they care about - is getting more eyeballs. If reboots, reimaginings, and woke recastings will do that, that is what they will do. The tiny angry fists waved by a hundred thousand screaming fanboys is as nothing to the millions of (mostly young and not familiar with or invested in the source material) viewers they need to attract.
Now, an argument can be made that the work was popular in the first place because it was good, and tossing everything that made it good will make it bad. Sometimes that is true, sometimes it isn't. And of course bad writing is bad writing, so if RoP is bad because the writing is bad, it has little to do with how faithful the writers were to Tolkien and more to do with the fact that the writing is bad. Would it have been good if the writers were totally committed to Tolkien's vision? Who knows; maybe, probably not.
But fans really need to stop expecting that production studios care about whether it's "faithful" or "destroying the IP."
As for your other point: yes, they really do care more about making money than "pushing an agenda." They (the suits) will push an agenda if they think the agenda will make money. Writers and other creators on the team might be pushing agendas, to the degree they can get away with it, but the money men only care about whether it will be profitable. You'd see the whitest of all-white productions of the next Black Panther movie if suddenly black people stopped going to the movies, white people stopped watching anything with black people in it, and corporations no longer had to worry about how "lack of diversity" might affect the box office and critical reception (which affects the box office).
I very much doubt anyone in the head offices of Amazon or Sony or Disney is saying "Fuck next quarter's earnings, we need more diversity in this place, dammit!"
Strong disagree on the "just in it to make money" thing. Right from the very top, Bezos started the entire Amazon prime media ecosystem to try and buy his way into celebrity culture, which isn't just a matter of throwing expensive parties like Notch, but rather a complex patronage network as exemplified by Harvey Weinstein. And at lower levels most of the current crop of writers are from wealthy families who got into media as a status thing.
Media is similar to colleges and cults. In some ways you can model their behavior as "just trying to make money", but in reality it's emergent behavior developed from layer upon layer of status games, almost totally isolated from economic reality by massive cash injections. And those are the environments where woke purity spirals thrive like mold in a dank crawlspace.
Economists realized a long time ago that models used for competition between firms don't work to model behavior within firms, and almost nobody in a firm is actually working with the goal of "make the most money for the firm", especially when there's no obvious link between mission-focus and personal success within the company.
In other words, institutions are principal-agent problems all the way down.
Yes, although you would expect the most successful firms (like Amazon) to be one ones that have done the best to mitigate principal-agent problems.
It's likely that the kinds of problems that principal-agent incentive mismatches cause can pop up very quickly once the system, whatever it was, holding it back fails. It can even be as simple as a culture change within a rapidly growing department, as it goes from being a dozen people who believe in what they're doing to a few hundred people who are there for a paycheck and career advancement.
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Or, like Google and Valve, luck into a monopoly they can extract rents from while their business is still small, agile, and focused. Then use that firehose of money to paper over their bloat and institutional decay.
What does of institutional decay does Valve have?
Internal reports say they have three major problems, but for some reason the reports only finished describing two of them.
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Tyler McVicker could tell you a whole lot about that, but to keep it short:
-Valve's employees are elegible for end-of-the-year bonuses conditional on peer review and/or performance. This ends up creating a status competition within the company, and old-timers may get a bit of bias in their direction. The work culture in general is not as healthy as it would seem, though it's worth noting that it probably is still way better than some other game companies that gained infamy for crunching.
-Much like Google, there is an incentive for starting new projects, but not necessarily finishing them, let alone supporting older titles (for years, Team Fortress 2 has been on life support, with content continuing to be injected into the game alongside the occasional bugfix, all thanks to the work of a mere 1-3 developers. That said, there's still one guy still updating the GoldSrc engine, it seems). Many potential games were started and canned between the releases of Dota 2 and Half-Life: Alyx for reasons such as these.
-The flat structure Valve was once lauded for may be contributing to the lack of new titles, as the "rolling desk" system makes it hard to actually pull people together for a project and keep them together.
-Too many ideas and directions could also be another thing. Valve was supposed to be doing more stuff with the SDK for HL: Alyx, but then they jumped full-steam-ahead with the Steam Deck, which has also tempered expectations for new VR hardware (Valve really could do with a new version of the Index to compete with the Quest 2) or a potential new Steam Controller, or the "Citadel" game that Tyler has been reporting on for a couple of years now.
I don't think this is a problem at Google. Google actually has rather strong focus on launching things, and the promo process strongly incentivizes it. The issue is rather with maintaining it post-launch. The typical story is that you get the project to launch, stay for a quarter or two to bask in the glory, and then move on to fresher, greener pastures.
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Mostly the "games company unable to produce a videogame they didn't buy ready-made from an outside developer" kind.
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