How Will WGA Strike Affect 80th Oscars?

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1. This would also bring up the question of how the strike would affect the entire “season” of pre, mostly Below the Line award shows, as well: Costumers, editors, VFX, DPs, etc., etc.

   None of those IA guilds/disciplines are on strike, of course…but it’s their shows that occupy the caterers and hotels between the Globes and the Oscars…

   If nothing else, all the acceptance speeches this year oughtta be interesting!

   Comment by Mark L. Williams — November 2, 2007 @ 8:55 am

2. I can go six months on my savings, six months off the Strike Fund, then six months on credit cards, and I’m ready to.

   Comment by TV writer — November 2, 2007 @ 8:58 am

3. Does this mean I won’t be able to use my WGA card to get into see the Oscar hopeful movies for free?

   Comment by In the movie line — November 2, 2007 @ 8:58 am

4. Here’s a compromise on new media residuals I think should be considered: a discounted online residual rate for scripted shows in their first season.

   First-season shows really do run enormous production deficits, and eighty or ninety percent don’t come close to recouping. And when the AMPTP talks about the need to consider the internet primarily as a marketing tool, they are correct in that it can be a huge boon for launching shows. Several of the shows that have recently launched successfully offered their pilots for free on iTunes or elsewhere. Their success means more WGA jobs.

   Obviously, this would be a serious concession on the part of the Guild, since at any given point, a lot of the shows on the air are first-season shows. (Maybe forty percent?) But I think it would be a smart move. If the choice is between negotiating down from 2.5% to a lower overall percentage x, or from 2.5% to a percentage higher-than-x but with a discounted rate for a chunk of programming, I’d take the latter. And it would have the ancillary advantages of 1) actually encouraging new media promotional experimentation which just might create more WGA jobs, and 2) giving Companies a break on shows which do in fact lose a lot of money, without relying on their specious accounting. (Maybe the residuals could be retroactively collected if the show makes it to Season Two.)

   Comment by Mike S — November 2, 2007 @ 9:06 am

5. Let’s be clear about what this strike is about and the dramatic structure used by the writers. Imagine it as a well crafted Shakespearean tragedy.

   The writers with clout in this town are the hyphenate exec producers on sitcoms and TV dramas. Bowman and and his group are like princes of a rebel kingdom demanding a share of the taxes. The kings, the producers, are denying that they have found a new tax revenue on the peons. The writers, by forcing a clause in the contract that establishes that this new income stream exists, can they leverage their deals to get a piece. Without the clause the kings can deny that they have found another way to bleed the peons and more easily dismiss the princes claim to a share.

   Now the princes are wealthy, those execs all have development deals etc, but they have been frozen out of their formerly lucrative independent production company status, best exemplified by Norman Lear, the retired Prince of TV. Since vertical integration the Princes have lost a lot of ducats. So the are using the image of the common union man to present themselves as righteous, humble and deserving. No one really believes that, but they still present that image to the public. The real threat is that they will put the whole town out of work: actors, IATSE, Teamsters, all the real laborers and by proxy they are using the hardship threat on the whole town to fight for their share of the king’s ransom. It’s a nasty subplot, but it will work, because we cannot have the whole town out of work for long. The writers have found a way of striking by proxy. When the execs-producers strike, think Aspen, when the town is out of work think Dicken’s London with the cry “Please sir more gruel” ringing out from every cameraman, craft service person and extra.

   Comment by Dan Rhys — November 2, 2007 @ 9:13 am

6. Seriously, with the town about to shut down, is our chief concern the Oscars???

   Comment by TV showurnner — November 2, 2007 @ 9:14 am

7. I’m fairly new to the industry, and from an agency stand point, this has fascinating to watch. I work in accounting and pay writers, so my job is greatly affected as well. Of course I’ve been promised that nothing will happen in accounting, but if this goes on long enough, they might downsize the department and then make new hires when it’s time to start paying people again. It’s one of those “We’ll just have to wait and see what happens” situations that no one really seems to have a plan for.

   Seeing first hand what some of the writers are paid, I am in full support of them and really wish them the best in getting what they need and deserve.

   Comment by Accounting — November 2, 2007 @ 9:22 am

8. If the studios moved at all on new media — just a little budge — there would not be a strike. It’s insane.

   Comment by Chris — November 2, 2007 @ 9:24 am

9. Dear god, what of the Emmys?!?!

   Comment by concerned hack — November 2, 2007 @ 9:29 am

10. Mike S. –

    Stop talking sense. That is obviously not welcome in this negotiation.

    I think a real forward-thinking proposal would be to scrap the residual model entirely in favor of increased upfront script minimums. With product distribution fragmenting to online, cell phones, screens in airports, etc., let them worry about where they sell it. Just pay us more to write it.

    Comment by TV showurnner — November 2, 2007 @ 9:32 am

11. Maybe I live in La-La-Land, but wouldn’t it be great if all the unions stepped up like the teamsters and honored WGA picket lines? SAG, DGA, IATSE to the rescue! I definitely live in La-La-Land. Seems unlikely, but that could make a difference, and cause some real pain for producers. SAG and DGA are going to deal with this in June anyways, so why not deal with it now. Get the WGA a good deal and use that deal as the blueprint for the SAG and DGA contracts. The WGA setting a precedent worries the producers anyways, so why not make their fears a reality. IATSE members, you’re going to be hurt the most by the strike, and it’s happening whether you like it or not. Better to back the WGA and get it over with than complain about something you can’t control. If not, see you in June y’all, when people will be so tired of the 8-month-old writers’ strike that’ll give a flyin’ f*#$ about an actors’ strike, and “My Kid Can Beat Up Your Honor Student” will be the newest hit on all-reality-all-the-time network TV.

    Here’s another idea that would provide for the future and keep the status quo for the present. The WGA should give up raising DVD residuals, and defer the increased residuals to online and downloads. Ten years from now DVDs are going to be as obsolete as VHS tapes. Give up the short term to provide for the long term.

    Finally, since you’re striking, there better be some BIG picket lines out there. Show the rest of us that you mean it, don’t hide out in Malibu and work on your spec. If there’s no line, there’s nothing to cross, and the whole thing falls apart.

    - Your friendly neighborhood Production Manager/Supervisor/wannabe-writer-director

    PS Nikki, where would anyone be without your column?! Thanks for your humor, accuracy, and no-BS coverage. I’ll be able to live without some TV shows, but I couldn’t make it without DHD.

    Comment by timscott — November 2, 2007 @ 9:32 am

12. Mike S.’s suggestion about a discounted online residual rate for first season shows is the kind of thinking that needs to be explored. there are going to have to be creative solutions to this impasse. but the amptp seems resistant to even considering engaging in this kind of bargaining.

    Comment by another tv showrunner — November 2, 2007 @ 9:32 am

13. Oh, that’s nothing — on 9/11, when we finally had to stop crying at the television and go out for supplies, there was a guy at the supermarket freaking out into his cellphone about how if the Emmys were cancelled, it would “ruin everything.”

    Priorities, people.

    Comment by Reality Writer — November 2, 2007 @ 9:33 am

14. As a writer, I’ll suggest jokes to Jon Stewart’s writing staff, but I’ll do it when we’re all picketing outside the Oscars. Should be a blast.

    We’ll be laughing at how this town runs on writers’ creativity, and when you remove that from the equation, TV evaporates, movies die stillborn and Jon Stewart sounds like Joe Average. This strike was way overdue.

    Comment by The Hollywood Insider — November 2, 2007 @ 9:33 am

15. Not to be the craven, ladder-climbing careerist during what’s clearly going to be some very nasty downtime for all of us, but would any of you writers care to collaborate on an indie project while we’re all out of work?

    Mid-management non-creative staffer on a major network TV show here, moonlighting as an independent director and looking for brilliant short scripts to turn into mindblowing short films for the festival circuit.

    Let’s use the time off to flex our creative muscle!

    Comment by JB — November 2, 2007 @ 9:35 am

16. I seriously think it’s going to take a writer-friendly mogul like Spielberg to sort this one out. Clearly, the WGA and the AMPTP are incapable of doing so (arguing about chairs etc) so they need someone who both is a mogul and also respectful of writers to sort this out. Though the fact that he hasn’t yet makes me curious.

    I’m not in the WGA at the moment because I’ve only optioned my first script (to a non WGA sig) but I do have an agent. However she’s useless while this strike is going on because nobody’s buying and so all my scripts are being sat on for God knows how long.

    The only thing I can do is option or sell more of my low budget stuff to non WGA sigs and try to ride this out.

    Comment by Non WGA Writer — November 2, 2007 @ 9:41 am

17. 6 month strike? Please. No self-important Westside wife will let her credit card financier take that much time off.

    Comment by westside shill — November 2, 2007 @ 9:42 am

18. Mike S, I wish a compromise like yours were even on the table, but Nick Counter has made it clear that the internet is and ever shall remain simply another form of home video release, and will never be subject to residual payments, period. The AMPTP clearly has the extreme position here. I know we all like to think in life that both sides of an argument have a point, but it’s really different here, it really is.

    Comment by Norm A. Rae — November 2, 2007 @ 9:44 am

19. Dan Rhys is incorrect, though his analogy looks good on the surface. The people who will suffer most FROM THE LOSSES THAT WOULD COME THROUGH ACCEPTING THE AMPTP CONTRACT ON THE TABLE are regular, middle-class writers — the “peons,” as he says, though I think that designation is thoughtless at best and offensive at worst — let’s settle on “offensive”. Most writers work not under term deals, but periodically. A mid-level drama or comedy writer can make six figures in the course of a season, and then be out of work for a season or two or three or forever — you never know. What keeps people going, or at least helps, is residuals. Since everything will soon be delivered through the internet (and don’t fool yourself, that’s where we are going), there will be no way to survive as a freelance or staff writer at all if there are no residuals coming from new media sources. If that happens, it will drive people from the business, lower the living standard of people who try to stay, and discourage the development of new talent. How much clearer can this be? Refusing to discuss residuals for new media will make everyone a “peon.” And do us all a favor — stop insulting John Bowman and the other guild members who are putting their own careers on the line to fight this fight. They can be force majeured out of those lucrative contracts you so casually assume they are “playing” us to keep. They also expect to be sued after the dust clears. Let’s pay attention to the issues, and let’s also realize that instead of fighting with each other, all of the unions, including IATSE, should stick together. If the writers go down, AMPTP and the corporations won’t bother negotiating with them, either. This is a big, real, terrifying fight that can hurt everyone who isn’t a corporate executive.
    From,
    WORKING WRITER WITH NO OVERALL DEAL

    Comment by Marjorie David — November 2, 2007 @ 9:48 am

20. The Guilds and unions stick together? I’ve walked two IA picket lines in the past and the only union that wouldn’t cross were the ever faithful Teamsters. Actors sailed through it without batting an eye as did the directors. I would be happy to support a WGA strike and not cross a line if I thought for one minute that they would do the same for me. The IA, by the way, has been told by Tom Short that we are obligated to cross a line due to our “no strike” clause

    Comment by dollygrip — November 2, 2007 @ 9:54 am

21. As someone who literally JUST entered the TV field this year and was lucky enough to begin my career with a great network, I definitely struggle with the questions of “why now?! why no other time in twenty years?!”

    That being said, no one my age even watches TV at a set time anymore. We only watch TiVo or buy shows on-line. The idea that the companies would share none of that with us is ludicrous. Without us, they’d have nothing to sell.

    And when you hear NBC bragging to investors how much money they’re going to make once everything is available online, it REALLY seems ludicrous they wouldn’t share that with the content creators.

    So I’ll go back to my college term-time job as I wait this thing out. I feel bad for the writers who have families and homes though. The AMPTP is being unreasonable at many people’s expense.

    But the fact remains. Digital is the future AND the present. And one day, it’s all there will be.

    Comment by Young TV Writer — November 2, 2007 @ 10:08 am

22. Nikki, I think you should be the one to step in and solve this.

    Comment by Sam — November 2, 2007 @ 10:11 am

23. The DGA will get a good deal. The producers respect directors more than writers and the DGA negotiates off a business, and not a “moral” template. It’s been that way for the my 25 years in the DGA.

    On the writers front, get more upfront, rather than gambling on some phantom future revenue stream.

    Comment by multi-hyphenate — November 2, 2007 @ 10:16 am

24. dollygrip is right. Writers and actors have shown with past action they will skate right through the lines.

    We don’t have them behind us, because we have treated them like they are below us.

    Comment by Sad Times Are Here — November 2, 2007 @ 10:25 am

25. One thing that’s not obvious is that most writers are used to feast and famine. I’ve worked pretty much continuously for the last 10 years but I’ve always kept at least 12 months of savings on hand in case of a dry spell. Well, guess what? That means I can strike for a year without really hurting. And in the meantime I’ll be writing my novels and specs, directing a foreign feature, making a documentary…

    In other words, during the strike *I* get to create value but the studios don’t. Now tell me who’s hurting?

    Comment by Almost on the A list — November 2, 2007 @ 10:30 am

26. Can anyone point to any strike in the last, say, 25 years, in ANY industry, where the workers striking for a long time resulted in any gains for them in collective bargaining? Auto workers? Nope. Grocery store workers? No again. WGA in 1988? Wait for it… nope. I’m sure somehow this time will be different though — I mean, Patric Verrone said so!

    Comment by East of La Cienega Random — November 2, 2007 @ 10:36 am

27. Dollygrip — you are right. WGA and SAG haven’t walked your picket lines, or the teamsters’, in the past. We also have a “no strike” clause in our contract now that won’t let us go out with you, though we could picket with you. That is one thing we are asking for in a new contract — the ability to honor other unions’ actions. We have promised the teamsters that we will picket with them and honor their lines to the best of our abilities if they ever need us. We are deeply grateful for their support. Looking at what we’re looking at now, we see clearly that we were wrong not to address their concerns head-on in the past. Everyone shares these issues when six monolithic corporations control our lives and livlihoods. We would like to feel that our friends in IATSE agree.

    Comment by marjorie David — November 2, 2007 @ 10:40 am

28. I fully support the writers, however –

    This ain’t war. WGA members aren’t going to march into the lots and knock down, say, the Paramount water tower. The studios are, like it or not, your bosses. Are they evil? F*** yeah! But keep in mind the purpose of a strike is to (hopefully) affect a positive change that will put more food on the table of the writers and their families.

    Judging by some of the language in these comments, I get the sense some are projecting their frustrations as a writer — by far the most frustrating career — at the studios.

    Remember, without studios screenplays are . . . well, they ain’t novels. Writers DESERVE more money and credit across the board. Let’s hope and pray the studios realize the truth here.

    But a message to the writers:

    “Know they enemy.”

    Comment by Joe — November 2, 2007 @ 10:45 am

29. Wait a sec. The DGA negotiates off a business template? Puhleeze. The more accurately described ‘ADs and UPMs Guild of America’ has a lesser stake, and therefore less interest, in the residuals issue. That they are also far less interested in acting in concert with, as opposed to against, the other Guilds? Also not that surprising.

    But, I would suggest, hardly something to be proud of. Even after 25 years.

    Comment by Harley — November 2, 2007 @ 10:49 am

30. RE “Working Writer”

    I don’t doubt that middle class writers will suffer, but the card on the table is the whole town shutting down. The power brokers in the WGA and the Producers are not peons and will not suffer. There is political drama being played out here. I suggest “Working Writer” read Augusto Boal’s “Theatre of Oppression” to get some political/dramatic perspective.

    Believe me he is a pawn in a bigger game and nobody who counts really cares about your residuals. The Writers are fighting by proxy, using the threat of an overall economic disaster to leverage a position to regain the some of the status/income they lost after vertical integration killed independent production companies in TV.

    I think the WGA have a just cause because we all suffer under the vertical model and their dramatic structure is good enough to win the day. Let’s just drop the moral bs, it’s money politics and it’s dirty.

    Comment by Dan Rhys — November 2, 2007 @ 10:58 am

31. Why can’t we split the difference and up DVD residuals while giving internet revenue the chance to grow? Isn’t that compromise? DVD’s aren’t going away in the next few years, and it’ll probably take as long for internet to really start making a dent in overall revenue. Studios have had to invest a lot to even get the new revenue stream going in the first place, so let them collect their nickels and once they’ve got dollars to go around, go for our piece.

    Comment by TV writer — November 2, 2007 @ 11:10 am

32. I totally agree with the reasons for your strike, Marjorie, I think most IA members do. You are right. At the end of the day, it’s us against six conglomerates who think of all of us, no matter whether we hang truss or write episodics, as a necessary evil. The Teamsters adding their support is a HUGE wrinkle to the suits. God Bless ‘em.

    Comment by dollygrip — November 2, 2007 @ 11:29 am

33. multi-hyphenate is right….get as much as you can up front. In Canada, we’ve been used to upfront buyouts and advances for 20 years. How many ex-pat Canadian writers are going to jump on a plane and start scribbling up here….?

    Comment by Canadian Manager — November 2, 2007 @ 11:29 am

34. > Comment by TV showurnner:
    I think a real forward-thinking proposal would be to scrap the residual model entirely in favor of increased upfront script minimums. With product distribution fragmenting to online, cell phones, screens in airports, etc., let them worry about where they sell it. Just pay us more to write it. <

    Your suggestion would make way too much sense. Residuals are the most convoluted, and in this day and age, anarchic process invented. As you correctly point out, all of these new media outlets will only continue to fragment and multiply. Let Writers make more upfront and participate in the net profits (like producers). Leave the distribution and sales up to the owners… which is not easy in this bittorrent era…

    Vem

    Comment by Vem — November 2, 2007 @ 11:29 am

35. If we’re still in the throes of a writers strike during the Oscars, I’m going to predict ABC will have a “joke-writing”/”one-liner” contest with submissions done via the ABC website. Registered users will vote for the best quips and the winners (those whose “jokes” used in the telecast) will receive personalized autographed pictures of the “Caveman” actors in full makeup.

    Comment by P.J. — November 2, 2007 @ 11:47 am

36. “Why can’t we split the difference and up DVD residuals while giving internet revenue the chance to grow? ”

    Cable has had ‘time to grow.’ Where’s the pay bump for that?

    DVD has had ‘time to grow.’ Where’s the pay bump for that?

    The truth the writers know is, what you get at the ground floor is what you get forever. That’s why we’re asking for a percentage. If they make money, we’ll make money. Two cents off an ITUNES download will not break the business model.

    Internet replay is already killing residuals for some shows. LOST does not repeat prime time. Those writers never see residuals. Instead they see their entire episodes rebroadcast online, for ‘promotional’ purposes. With imbedded advertising. And also sold on ITUNES. LOST today, every other show tomorrow. And we know it.

    Comment by Norm A. Rae — November 2, 2007 @ 11:48 am

37. “On the writers front, get more upfront, rather than gambling on some phantom future revenue stream.”

    Comment by multi-hyphenate — November 2, 2007 @ 10:16 am

    You mean like those phantom future, 20 billion dollar-a-year DVD sales that were lurking out there in the ether after the ‘88 strike? Y’know, the residuals we were screwed out of. Ever hear of “Fool me once….”?

    Comment by chardkerm — November 2, 2007 @ 11:59 am

38. Norm A. Rae wrote:

    Mike S, I wish a compromise like yours were even on the table, but Nick Counter has made it clear that the internet is and ever shall remain simply another form of home video release, and will never be subject to residual payments, period. The AMPTP clearly has the extreme position here. I know we all like to think in life that both sides of an argument have a point, but it’s really different here, it really is.

    Not to nitpick, but AMPTP isn’t saying that the internet “will never be subject to residual payments.” It’s offering an unacceptably low payment formula, and at present, refusing to negotiate on other issues unless we accept it.

    But at some point– which I wish had been three months ago, which is why I still question the WGA’s refusal to begin this whole process earlier– both sides will begin bargaining in earnest. And at that point, I hope that there are creative solutions on the table (such as the first season new media residual discount I suggested above) rather than haggling over a straight percentage. Because 1) I think it’s actually fairer and more growth-promoting, and 2) If negotiations center on a straight percentage, I think, sadly, we’re in for a longer strike than necessary, and we’ll end up with a number much closer to .3% (the current AMPTP position) than 2.5% (the current WGA position)

    Comment by Mike S — November 2, 2007 @ 12:09 pm

39. I’m sure Nikki didn’t open this up for some dumb flame war, but Dan Rhys, do you really think we are unaware of the fact that this is a political game? Only thing is, the players suffer real consequences. And as far as producers not suffering, I’m a showrunner of many years standing, this year a co-exec on a fine network show, which is less intense but not unremunerative. And still, I will suffer from a strike. And the young writers will suffer. And anybody force majeured out of a deal. And everybody else involved, whatever union, whatever job… The point is, it’s inportant at least to stand up to our corporate masters, to protest a bad system, to make moves toward change no matter how incremental, and to resist cynicism, self-abasement and fear.

    Comment by marjorie David — November 2, 2007 @ 12:12 pm

40. Larger negotiated upfront fees leaves far less room for creative accounting on the part of the studios. That would put just as big a dent in their profits as increased residuals, so it doesn’t seem like a solution they’d go for. Transparency is not the mogul’s friend.

    Comment by Mark R. — November 2, 2007 @ 12:24 pm

41. As a non-WGA writer, it seemed counter-intuitive to me for top tier writers to race to finish scripts for studios. I understand it on a personal level, but professionally… did the grocery store employees at Vons several years ago stock shelves before they walked out? I don’t think those voices are being heard on these posts because they have very little at stake, as they’re specs will be the first to be picked-up post-strikee. Obviously I am in full support of the strike; I just hope it’s a short one.

    Comment by Concerned — November 2, 2007 @ 12:38 pm

42. Have the Studios considered scaling the DVD/EST residuals based on the revenue generated by the discs/downloads. I know the WGA brought the idea up but a million dollars is an embarrassingly low ceiling.

    It’s pretty much a matter of fact right now that digital downloads/streaming video is not making more than a few million dollars per year across all studios. If we signed a contract now that would increased incrementally every 10, 25 or 50 million dollars it would help the studios cover the costs of bombs and more fairly distribute the profits from hits.

    When NBC comes right out and says they are making 15 mil a year across every show on iTunes (and movies studios are barely braking 10 mil across all films), then the Studios will have plenty of time to figure out their business models before they end up having to pay the 25 or 50 mil residual levels. It could be 10 years before a single title breaks 50 million in digital sales.

    And then everyone seems to be ignoring the piracy that is creeping up on Hollywood and already destroying the music industry. I might just print out the latest movies on piratesbay and take them outside to the picket lines on Monday and see if the writers realize that keeping the Studios from building a workable digital business model only results in their works being stolen by an ever growing tech savvy audience with faster and faster internet connections.

    Eventually entire movie libraries will be posted on the pirated sites. Just wait if this goes long enough it won’t be cable that the audience jumps to, it will be download entire seasons of South Park and download high quality HD-DVD rips on supernova.org

    Comment by Digital Entertainment Exec — November 2, 2007 @ 1:57 pm

43. TV Writer… Unless the strike fund I hear WGA members bragging about on every blog is available to all the other unions who have lost thier job in result of your strike, I wouldn’t be so boastful. It’s nice to know that YOU will be covered - I guess that makes this STRIKE TO THE DEATH part so easy for you. If you want your sister unions to sympathize, stop being an arrogant ass.

    Comment by Naralie — November 2, 2007 @ 2:58 pm

44. Where is our governor? Of anyone walking around right now, he should step in. I’m serious. His fame, prestige, and pocketbook are all due to a place called Hollywood. It’s time he steps in a gets this thing solved.

    Comment by Julius Fort — November 2, 2007 @ 5:01 pm

45. Just one thing Digital Entertainment Exec., the South Park creators don’t care how you acquire even one minute of South Park. I for one have the infamous Tom Cruise episode on my hard drive, and Trey and Matt don’t care one bit.

    Meanwhile back to the issue at hand, I don’t really care about the Oscars right now, but Canadian writers can be flown in to write the show though they may not want to do so. Also, to avoid legal issues, could the ceremony be moved to Las Vegas. Maybe hold it at the MGM Grand, but I wonder if the local Teamsters there would like that to happen.

    On other note, Nikki please find out what will happen to NBC’s The Office this week. I understand that a few writers double as actors there and any appearance by BJ Novak (like as scheduled next week), would cause major headaches for NBC.

    Comment by Jessy S. — November 2, 2007 @ 6:46 pm

46. I hope this strike goes on for two years. All the good shows will start to suck and people will realize how vital writers are. They might even recognize that reality TV getting boring. Coincidence?

    Comment by jake — November 4, 2007 @ 11:06 am

47. The current state of affairs in the WGA is troubling - this strike has the potential to cause far more harm than good including putting many WGA members out of work due to screwing up the current television season. The timing of the strike is simply vindictive against the studios, and striking during the spring or summer would be far more appropriate.

    That the cause is just is falling to the wayside of their rhetoric and foolish behavior. The WGA has even gone so far as to tell those on picket lines to not bring high end food, as if that in any way can be construed as anything but a flexing of muscle. The pressure being put on those who serve dual roles on productions is also outside of their boundaries, and an outright abuse of power and union pressure.

    Meanwhile people like Jon Stewart(who while I am not sure if is a current member was at least at one time, and a strong supporter of socialist worker politics) talk big yet the chances of him and people like him putting in the 20 hours of week on the line the guild has stated as a requirement is slim to none.

    The WGA is taking things too far and conducting themselves in a manner that only serves to hurt their cause and their members, and it needs to be realized before permanent damage is caused.

    (I am not a member of the WGA nor any similar organization, but am an aspiring writer who has had technical writings(mostly related to the video game industry) published and fully understand the perspective and issues of the WGA.)

    Comment by John Shivers — November 7, 2007 @ 8:34 am

48. I don’t think the studios will be actually willing to negotiate in good faith until March or April. That is when they HAVE to come up with new product, or lose BIG BUCKS, during the traditional Upfronts.

    If that turns out to be the case, perhaps the 80th Academy Awards should be rescheduled. Wouldn’t JON LEIBOWITZ be violating the work stoppage by even writing his own material?

    Comment by Michael Bloom — November 13, 2007 @ 4:25 pm

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