UPDATE: Marshall Herskovitz just made contact with me and helps clarify aspects of the quarterlife deal with NBC raised in my earlier post (see below):
“I never said that our ownership structure makes us exempt from the strike. What I said was that the scripts for these six hours were finished before the strike began. What I also said was that I have already contacted the Writers Guild and offered to negotiate an independent contract favorable to the writers. It is our right to do that since we own the show, regardless of how NBC might feel about it. Do you think it might possibly be in the Guild’s interest to negotiate a contract that gives writers the gains they’re looking for from the big media companies? I think so. Why don’t you ask Patric Verrone how he feels about it? I did.
“I really want to address the moral question. First of all, this deal with NBC was in the works for a long time, since considerably before the strike. They had a right of first refusal for network distribution — so I had no legal grounds to say no to them. That’s important.
“But more important to me is the fact that I’m an independent production company in television — an extinct species brought back to life. The fact that I can negotiate a separate deal with the WGA is highly significant. If enough companies do that — for instance Google as you mention in your column — the AMPTP will lose all its leverage. There is a long history of this. During some previous strikes, the WGA was willing to negotiate independent contracts with non-AMPTP companies so that they could keep working while AMPTP companies couldn’t. It’s literally the mirror image of hiring scab labor to break a union. I’m a scab production company, and happy to be of service.
“You really should ask Patric Verrone how he feels about it. We had a very cordial conversation the other day where he was supportive of what we’re doing and open at least to discussing an independent contract. I know the issues involved in the strike are complicated, but please don’t leave out what I said in my op-ed piece. I am delivering completed episodes to a network where they have not even seen the scripts. This is absolutely unprecedented. Creative freedom may be less measurable than the concrete issues now in contention during the strike, but it’s just as important to writers.”
Previous: There’s an awful lot of strike talk, and squawk, about Ed Zwick and Marshall Herskovitz (the team behind thirtysomething and My So-Called Life) selling their 36-episode Internet show quarterlife which just debuted on MySpace.com to NBC as a six-episode hour-long network series to run during the WGA strike. (Watch Episode 1 and Episode 2 here.) It’s reportedly the most expensive online video series ever produced. This marks the first time a program made for online distribution has been picked up by a major network – although the script for quarterlife was in fact passed on by ABC a few years ago. NBC has paid for the rights to air the show in the U.S. sometime in February, plus internationally, on DVD and on the web. But there are many questions, the biggest of which is whether it’s morally right that quarterlife, as an Internet venture, may be protected from the writer’s strike.
(The show had been financed by Herskovitz and Zwick with advertisers and private investors and they retain 100% ownership and creative control. NBC agreed to become a partner in quarterlife by paying a license fee that was much less than what is paid for conventional shows.) And that’s what Herskovitz’s and Zwick’s writer colleagues are so incensed about since the duo are both WGA members (using SAG actors in the series) and they’re helping NBC program quality content during the strike. This, after Herskovitz recently railed against what he sees as the creative stranglehold the large media companies have put on show creators as well as voiced his support for the writers’ strike. On the other hand, others are suggesting that this is the first wave of an independent production future for writers and could lead, say, to Google and the WGA striking a deal.
Editor-in-Chief Nikki Finke - tip her here.



Does “quarterlife” refer to the amount of time it feels like you’ve spent watching one episode?
Ahahahahahahahahahahahahahahahahahahahahahahahahahahahahaha!
See? Your Union is weak.
This show is already shot, something like 30 eight minute episodes that add up to 6 hours (or something). So there’s no scab writing going on here or anything, although of course it does feed the pipeline when we’re trying to shut it down, so that’s not so great.
However, I believe I read that any future episodes would be produced only if NBC agrees do them under current WGA proposals, which is really great.
I am foggy on this, anybody know more facts?
I am sure the WGA welcomes those who identify themselves as scabs…It makes it easier to round them up…
BTW, there is a reason why ABC passed and NBC desperately, whoops, I should reiterate, anxiously welcomes anything that stops their ratings loss. Though, the way Zucker’s luck runs he’ll be the head of GE by the end of the strike.
Does anybody know if quarterlife was written under a WGA contract?
Wow, the guys behind Thirtysomething turn out to be douchebags, what a surprise.
A few points:
1. Crazy as it sounds, the strike may be over by the time this airs in February, if in fact it ever airs.
2. Go to Quarterlife.com. Go on, I dare you. If you can spend more than five minutes watching this crap, you’re made of stronger stuff than I. And as for the much-touted social networking aspects of that site? Ugh.
3. This is actually good for the WGA, since it shows how desperate NBC is for content. Any content. Next thing they’ll be buying a pitch from a Nigerian email scammer.
“quarterlife” means that one-fourth of the episodes ordered will live.
So this was written before the strike? I see mention that ABC passed on it a few years ago. If the WGA membership plans to lynch these two guys, then you better lynch everyone who is making money off a script finished before the strike.
It’s demoralizing and enraging to see the guild’s top talent, the very people who should be championing the cause — the only people, in some respects, truly in a position to help us get a good deal — sell us out to the enemy by providing content to fill the void the strike aimed to create.
Thanks Ed. I guess you do have a thing for Blood Diamonds.
The deal was done before the strike… we can be no more angry at NBC for this deal than we can be about replacement series episodes of, say, Jericho.
And yes, this is the future, AMPTP: if we can secure funding, then what do we need you for? The internet is just a complex system of tubes (shout out: Sen. Ted Stevens!) and my tube can be just as good or better as your tube — and mine can be cheaper, faster & funnier because I don’t have your idiotic executive tree structure and standards & practices division watering everything down.
The funniest bit of this story will be watching Zwick/Herskovitz sell this internet-first show through iTunes, thereby proving that it IS possible to monetize internet-first programming into paid-for internet downloads, thus utterly demolishing the AMPTP’s fallacious arguments about the WGA not needing jurisdiction and that no one has figured out how to make any money off of the internet.
Hmmmm.
My first impression at reading Hershkovitz’ op-ed about this in the LA Times was that there was something smarmy about it – that he was using the strike to promote his series.
And now that I’ve read your post, Nikki, I’m convinced of it: Nowhere in the LA Times did Herskovitz mention that this was originally an ABC pilot script that got turned down.
So what’s the big deal about this?
Just this: Instead of taking some wildly independent stand and reaching into their pockets to produce something they came up with for the net, these guys got paid by ABC to write the script. Then, they just repurposed it. It’s not a big difference, but one can assume that the pilot script was written for a WGA signatory, and they got paid health and pension on it. So it’s not entirely as if these guys sat down, looked at the internet, and said “hey, let’s create something , and pay for it ourselves.” Sure, they picked up the 30k production costs (which, I might point out, are far less than they probably got paid by ABC.)
My point is that this whole thing isn’t as clean as it seems, and it would have been nice if they’d admitted in the first place that this was basically a WGA project.
Heroes? Visionaries? I don’t think so.
Is it just me, or is that the exact same plot from an old episode of thirtysomething?
A deal between the WGA and Google — this is what Law & Order showrunner Rene Balcer is touting on his youtube picket-line interview. Z & H’s timing isn’t the best but this deal is the wave of the future.
I’m interested in what other more educated WGA members have to say as I don’t know the sequence of when the NBC deal was made. However, I thinks it pretty timely. It shows the Studios, if they don’t want to pay fairly for our work, perhaps Google will. Quarterlife, and the way it’s done, is the future..
http://www.100daysinbed.blogspot.com/
My So-Called Flop.
I can see both sides, but ultimately I think it would have been real nice if Zwick and Herskovitz had shut down the show during the strike — as many showrunners with much more on the line were willing to do — in solidarity with their Guild. I’m not sure, though, that I agree with the snipe about them helping NBC program content. NBC may have a stake, but Zwick/Herskovitz OWN the show, and if more creative producers were able to own shows like they used to (c.f. Bochco, Cannell, etc.), then things could be a lot better for writers.
Les, Rupert, Peter and friends, are you watching? One day in the not too distant future we won’t need YOU at all! Offer us a good deal now or we’ll take what we do elsewhere and cut you out of the loop altogether. And who knows, maybe those internet guys at Google won’t give such destructive notes. At least not for twenty years or so…
K-
Methinks thou doth aha too much.
No…”quarterlife” refers to = it will take most of you writers your entire life to be 1/4th as smart as Marshall & Ed. Congrats to you Marshall & Ed.
Jimmy Kimmel just announced on National TV that he doesn’t need writers to host the American Music Awards. I left this message on his message boards:
“Really? You’re going to regret having said that when no one writes anything for you to say. You’re only as good as your writers. You should be ashamed of yourself. Not cool, dude. Not cool at all.”
If you want to let him know how you feel log on and leave him a message on his board.
http://abc.go.com/latenight/jimmykimmel/index?pn=index
It was “thirtysomething” not “twentysomething.” Every WGA member needs to pay attention to the quarterlife deal/history. Create great stuff and own it. Period. Stop fighting so hard to set a new, improved low-point for the “minimum basic agreement” compensation. Instead, encourage the bulk of the membership to start acting like owners. If they work to strategically establish the multitude of media executions for a great script/good idea, then they should be compensated from every drop in the revenue bucket. If they merely write-without more-then they need to get in line behind those who’ve orchestrated the multitude of media executions. You can’t secure this compensation however with the delicate “ax” of collective bargaining. You need to study Zwick and Herskovitz then seal a deal for a web direct show with an unstruck company (likely to primarily be in the business of commercial production).
You guys can’t see the forest for the trees. This is an example of writers being empowered and BEING THE OWNERS. Instead of looking at them as some sort of “foe”, “scab” or “douchebag”, why not look at them as groundbreakers and inspirations?
They are positioning themselves as entepreneurs of the digital age. But they are really aging writers/producers who have totally lost touch and decided to upload their crappy series that nobody else would touch on the internet.
Hey Nicki, I mean really, I love you, I refresh you 30 damn times a day, but that last sentence was just… sloppy. Google and the WGA? Striking a deal? The same Google who screws WGA writers all day every day on YouTube? Hah. Talk about a non-starter. It’ll be Al Gore Day on Pluto before the WGA sees Google on the side of the writers.
Oh, and thanks for kicking Arnolds butt. We love you, Nicki!!!
Be careful what you wish for. If the Googles of the world are the future of television, the entire structure of the business will change, and not for the better for writers. Should this come to pass I think you can say farewell to: blind script deals, writers on staff making anything above whatever scale is established unless they are super-stars, the inefficiencies of pilot and development season which create hundreds of jobs for writers (and actors and crew) for shows that are never aired– along with all the other aspects of Hollywood business culture which keep most of us employed. There will be about two hundred writing jobs instead of 1000+ every year.