You need writers for THAT?

[cgallery]

So late-night TV (Leno, Letterman, etc.) all cancelled when the writers went on strike.

Letterman barely has any monologue. Leno's is typically so bad it could only improve if someone else wrote it.

I have no problem if these shows want to support the writer's. But I'm a little surprised the networks let them get away with it.

[cabinetman]

It would be very interesting is to see what happens if all the "comedians" i.e., show hosts, had to write their own stuff. Will there be anyone laughing then?
.

[cgallery]

It would be very interesting is to see what happens if all the "comedians" i.e., show hosts, had to write their own stuff. Will there be anyone laughing then?
.

Well I don't laugh that often now. So much squandered opportunity.

Networks, like all corporations, are dumb. They spend huge dollars on an old model and when someone comes along with "reality TV" (produced for nickels), they're all dumbfounded and immediately switch into catch-up mode.

People often use the term corporate welfare to refer to corporations getting government handouts. Another form, though, is the amount corporations pay their executive and professional staffs. Paying a guy like Leno millions of dollars a year when he can't put on a show when the writers leave is corporate welfare. Executives too dumb to force him to stay on is another example of corporate welfare.

All this said, I do support the writers. Their demands are reasonable. And they are apparently the only creative people around.

[crokett]

Leno at least was a standup comedian once upon a time. As far as I know he still writes some of his material.

[LinuxRandal]

Well I don't laugh that often now. So much squandered opportunity.

Networks, like all corporations, are dumb. They spend huge dollars on an old model and when someone comes along with "reality TV" (produced for nickels), they're all dumbfounded and immediately switch into catch-up mode.

People often use the term corporate welfare to refer to corporations getting government handouts. Another form, though, is the amount corporations pay their executive and professional staffs. Paying a guy like Leno millions of dollars a year when he can't put on a show when the writers leave is corporate welfare. Executives too dumb to force him to stay on is another example of corporate welfare.

All this said, I do support the writers. Their demands are reasonable. And they are apparently the only creative people around.

Leno at least was a standup comedian once upon a time. As far as I know he still writes some of his material.

Both these comments make me wonder, is there a contract (union agreements, etc), that makes you join the writers guild in Hollywood to write your own material? If so that could be the reason they can't perform.

[Uncle Cracker]

Leno at least was a standup comedian once upon a time. As far as I know he still writes some of his material.

Conan O'Brien was a writer for SNL for some time. I'm sure he could write his own, and probably does to some extent. But I think the real issue is the picket line (figuratively or otherwise), and what might happen if the hosts try to cross it. I think most, despite their egos, would rather not find out.

[cgallery]

Conan O'Brien was a writer for SNL for some time. I'm sure he could write his own, and probably does to some extent. But I think the real issue is the picket line (figuratively or otherwise), and what might happen if the hosts try to cross it. I think most, despite their egos, would rather not find out.

Yeah, I agree. And it could be the rest of the staff (the stagehands not wanting to cross, for example).

But the last strike went on six months. How did they handle it back then?

[Kristofor]

People often use the term corporate welfare to refer to corporations getting government handouts. Another form, though, is the amount corporations pay their executive and professional staffs. Paying a guy like Leno millions of dollars a year when he can't put on a show when the writers leave is corporate welfare. Executives too dumb to force him to stay on is another example of corporate welfare.

All this said, I do support the writers. Their demands are reasonable. And they are apparently the only creative people around.

I'd call it corporate charity not welfare... When I give the money to someone it's charity, when the government does it's welfare

I almost hate to say it but I also think the writers have a decent point on this one. Take a look in the DVD section at Target and almost half of the new releases are TV series not movies.

That said, isn't LA supposed to be full of unrecognized new tallent waiting for their chance? Does the writers guild let anyone in so most of those folks are already in the union? Or is it like the screen actor's guild where you need a certain amount of appearances or lines or something to qualify? (I have almost no knowledge of how the entertainment biz works).

Kristofor.

[Uncle Cracker]

I almost hate to say it but I also think the writers have a decent point on this one. Take a look in the DVD section at Target and almost half of the new releases are TV series not movies.

I sorta agree, but sorta not. The writers didn't do the work twice, and they were paid for what they did. They don't own the product or the rights. Unless their contract calls for additional compensation for subsequent media release of the programs, then they have very little on which to substantiate their claim. Can you imagine being a DVD producer and having to go back and consider repaying for work already done before you can sell your product in a new market? It would be chaos.

[p8ntblr]

I think during the beginning of their careers they do write their own stuff. But having to write different material everyday is probably too much for 1 person. That or they just get lazy after they become successful.

[markwlewis]

I think it is hilarious that people say "The writers wrote once, they should get paid once." Yet, at every juncture, the studios are attempting to get money for EVERY TIME media is used, to the point of initially wanting people to only be able to play a DVD for "X" number of times when you purchased it, then the DVD would be "dead" and unplayable. So, apparently, when THEY pay somebody once, it is a "done deal", but WE are supposed to keep paying THEM over and over for the right to watch it? (Note that they are paid each time the program is broadcast on commercial TV, whether we "pay" to see it or not. Arguably, we ARE paying by watching the stupid ads that interrupt the show every 11 minutes.

When videotape was originally being introduced, the studios claimed poverty because they had no idea who in the world was going to pay 80-100 dollars for a video tape of one movie. (Remember when they were that expensive?) Then, BAM, it is a multi-billion dollar business, and the studios are saying "No, no, no, you guys made your deal, now you have to stick with it." That continued for years.

Face it, the writers and performers make the show. They are the talent that the people want to see. And few writers have made their "nut" and can relax about it. Most are scrambling along trying to stay afloat like everyone else. They are asking for a share of the revenue of the new media market. The studios are saying "No, you deserve no share because we don't know how much the profit is going to be." That is ridiculous. If the studios (who are infamous for their accounting shenanigans, as it is) won't come forward with ANY proposal for new media, they are asking for a strike. They are claiming that there isn't profit in new media, yet are busily selling TV shows through online services and selling ads for free viewings of shows on the 'net and charging fees to cable systems to put the shows on pay-per-view or on-demand services and services like Tivo's download service. They can't have it both ways.

[JR]

As you can imagine, this is big news in the LA Times today.

It seems the crux of disagreement is over residuals from "new media" distribution. The writers seem to want to double their current VHS/DVD residuals payout, which amounts to about $60M. They get 5 cents per DVD.

An interesting sidebar article compared the $60M to other notable payouts, including two studio chiefs earning about $30M last year.

Leno could not possibly write his show five nights a week. His quote in the Times, "These writers are why I'm funny. Without them I'm dead." He served donuts on the picket line.

I don't know the requirements for entry into WGA. One person, aged 23, was interviewed. He had sold one script and joined the union in July. He was enthusiastic about the strike, recognizing it would affect his income for years in the future. He was also wise to point out that his risk is nominal compared to others with mortgages and families.

The studios are heavily unionized. Many people from the Screen Actors Guild are walking the picket line to show solidarity, although I don't think SAG has an official do-not-cross policy. The teamsters seem to be gearing up for a sympathy strike (all equipment moving off the studio lot must be operated by teamsters). There are also other trades, carpenters, makeup artists, musicians, stage hands, etc. who are affected.

Most of the primetime shows seem to have about 1/2 of their shows for this season completed.

Personally I find this kind of strike fascinating. It's a classic labor vs capital conflict, but with a 21st century twist. It's no longer the sweat of the brow on the table, it's intellectual property. Intellectual property rights is a fast-changing field. The contribution of entertainment to the economy is incredible, representing about $28B in California alone.

JR

[cgallery]

I sorta agree, but sorta not. The writers didn't do the work twice, and they were paid for what they did. They don't own the product or the rights. Unless their contract calls for additional compensation for subsequent media release of the programs, then they have very little on which to substantiate their claim. Can you imagine being a DVD producer and having to go back and consider repaying for work already done before you can sell your product in a new market? It would be chaos.

But, that is exactly how it works. And new markets don't emerge that often. I think the writers' union would be doing a disservice to its members if it didn't insist on part of the profits from a new income stream.

[JR]

But, that is exactly how it works. And new markets don't emerge that often. I think the writers' union would be doing a disservice to its members if it didn't insist on part of the profits from a new income stream.

I got the impression from the articles I read today that the WGA was using the VHS/DVD residuals as a benchmark, but they might be willing to forego any changes there in exchange for a forward-looking agreement on internet/"soft" distribuion media.

[Uncle Cracker]

I think it is hilarious that people say "The writers wrote once, they should get paid once." Yet, at every juncture, the studios are attempting to get money for EVERY TIME media is used

If I buy the product, I should be able to use it how and when I want, within the confines of copyright and property laws. Imagine the stupidity of having to send Honda a check every time I mow my lawn, or to have to pay my yard service for each of their tools every time they did my work. No sir. Not gonna happen. And if the writers wanted long-term control of their work, they should have insisted on it up front in their contracts, in which case they would all be unemployed now, rather than just out on strike. The writers don't have to make the deals, secure the financing, market the product or take any of the risks the producers take, so they just need to learn to keep their place, or negotiate a better deal UP FRONT. I'm glad you think my position is "hilarious".