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DiggStrike Source: The Shows Must Go On!
By Tim Surette - TV.comRead the whos, whats, and whys of the strike, how your favorite show is affected, and what it's done to television in this one-stop feature.
Unless you've been living under a rock or simply prefer curling up to a book to following the unfolding events of the Dharma Initiative, the romances at Seattle Grace Hospital, or the news from Jon Stewart, you are aware of the current writers strike that has put a halt to the television industry.
This TV.com feature will include information for understanding the strike, a list of how shows have been affected and how many episodes they have left, strike-related news stories, and exclusive quotes from actors and writers (click on the appropriate tab above to navigate).
We'll start off with the basics: What is the strike, and why is it happening?
Introduction
Writers picket outside of Disney's studios just hours after the strike begins.
The entertainment industry is coping with evolving technology, and for those who have been involved with the business for a long time, the game is changing in a major way. The music, film, television, and games industries are seeing both positive and negative impacts from the digital age, and no one seems to be able to decide on a good way to sell goods that aren't physical products.
Corporations control the flow of money (yes--surprisingly, the entertainment industry is run by corporations), and now that the Internet is looking more and more like the way future generations will consume goods, things are getting a bit wacky.
Who is involved?
The Writers Guild of America (WGA)--The WGA is composed of two parts: The Writers Guild of America, west (WGAw) and The Writers Guild of America, east (WGAe). The WGA represents film, television, and radio writers in the US. Most reality show writers are not considered to be part of the WGA, though it's a bit blurry.
The Association of Motion Picture and Television Producers (AMPTP)--An organization founded in 1982 representing more than 350 movie and television production companies and studios in negotiations with entertainment industry unions such as the WGA, the Directors Guild of America, and Screen Actors Guild.
Why are the writers striking?
As pretty much with any strike, the main point of contention is the almighty dollar. The writers want more compensation on DVD sales and any compensation for profits made off of new media. Currently, writers don't see any financial compensation from shows purchased and downloaded onto iPods or any other handheld device, ad-supported episodes streamed online, or, except for a few rare cases, any unique "webisodes" made to promote a show.
Writers are asking for twice as much from DVD sales from their last contract; they want eight cents per DVD (note: per DVD, not dollar) as opposed to four cents. For digital sales, studios want to keep the same rate for residuals as DVD sales, even though digital sales require little to no production, shipping, and warehouse costs. Because new media has only really taken off in the last decade, the previous contract between the AMPTP and WGA didn't include it at all.
The AMPTP, on the other hand, says it is too early to establish a fair deal with regards to new media residuals. The group also says that streaming episodes are a form of promotion, and therefore writers aren't entitled to any profits from them. The WGA is quick to counter that idea by pointing out that ads are included in the stream, so that revenue must be made off them somehow.
Could it have been prevented?
The strike wasn't really a shock; the threat of a walkout had been looming for months before any scribe took to the picket lines. The two sides worked hard to avoid a strike, but in the end, neither could find any middle ground both could stand on.
When the contract between the Writers Guild of America (WGA) and the Association of Motion Picture and Television Producers (AMPTP) expired on October 31, the two sides took a step back and television fans held their breath. The beginning of the following week, Monday, November 5, saw the strike official.
Has this happened before?
Yes, twice--and if history repeats itself, we're in for a long, dry winter. In 1960, writers walked the picket lines to establish residual payments, a practice that wasn't previously established. That is why studios do not have to pay writers on reruns of 1950s shows such as The Honeymooners and I Love Lucy.
In 1988, writers went on strike over residuals again, this time for shows being broadcast in foreign countries and reduced residuals for some hour-long programs. That strike helped launch reality television and saw the demise of some of television's then-most popular shows, including Moonlighting, according to the Los Angeles Times.
Both strikes lasted 22 weeks, with the 1988 strike outdoing the 1960 walkout by one day. If the current strike follows suit, television will be writer-free until the beginning of April 2008.
What's next?
Both sides have openly said they are ready for a long fight, and no one seems to have any real idea when a resolution may come. The Directors Guild of America and Screen Actors Guild may find themselves in a similar situation soon, as both organizations' contracts with the AMPTP are set to expire next year. The relationships between the DGA, SAG, and WGA are extremely tight-knit, and should all be unable to reach an agreement with the AMPTP, Hollywood could be shut down almost completely.
