It was just announced that 17 major television networks and studios and 7 talent agencies today settled 19 of the 23 class action lawsuits filed in 2002 alleging intentional and unintentional age discrimination in the selection and representation of older television writers. The amount of the settlement is $70 million -- the largest-ever settlement in the history of age discrimination litigation. (Today’s settlement, along with the 2 cases that were settled earlier this year for $4.5 millioncluding interest.) All but one of the cases now ends for the Television Writers Age Discrimination Litigation, which named 51 defendants, including the major TV networks, production companies and eleven talent agencies. The lone holdout is the litigation still against Creative Artists Agency (CAA).
The announcement is being made jointly by the defendants and Paul Sprenger of Washington DC's Sprenger + Lang, who was lead counsel for the 165 named plaintiffs and the settlement classes. Here's more:
The settlement is subject to final approval by the California Superior Court in and for the County of Los Angeles.
The defendants strongly deny the plaintiffs’ allegations and state that their hiring and/or representation practices fully comply with the law and reflect their commitment to equal employment opportunity. They also note that they all have long-standing anti-discrimination policies and regularly employ or represent substantial numbers of writers over the age of forty.
The parties have been litigating these claims for almost ten years, including several appeals to the California Court of Appeal and the California Supreme Court. The defendant networks and production companies (including ABC, CBS, FOX, NBC, The WB, UPN, Columbia TriStar Television, Inc., DW SKG TV L.L.C., Universal Media Studios, Regency Television, Spelling Television, The Carsey-Werner Company LLC, Touchstone Television, Twentieth Century Fox Television, and Warner Bros. Television) and the defendant talent agencies (APA, The Endeavor Agency, The Gersh Agency, Paradigm Talent & Literary Agency, Shapiro-Lichtman, UTA, and the William Morris Agency LLC) have agreed, subject to court approval, collectively to pay a total of $70 million to settle all claims against them and their affiliated companies, including class members’ alleged damages, costs and attorneys’ fees. Approximately $2.5 million of this total settlement amount will be used to create a Fund for the Future, which will issue grants and loans to settlement class members to further their writing careers and study ways to supplement their pensions and improve access to medical insurance.
Approximately two-thirds of the $70 million settlement payment will be paid by insurance carriers.
The settlement provides a process for settlement class members to apply for an allocated cash distribution from the settlement fund. The Fund for the Future, which will be governed by a board composed of settlement class members, will issue grants and loans for approved projects on a competitive basis.
“I speak for all class counsel in recommending that all settlement class members accept the settlement. We are honored to represent a distinguished and talented group of clients and class members,” stated Sprenger. Plaintiffs and the settlement classes were also represented by, among others, the law firms of Sprenger & Lang, PLLC, Kator Parks & Weiser, PLLC, Law Office of Daniel Wolf, Schwartz, Steinsapir, Dohrmann & Sommers LLP, the AARP Foundation Litigation, Katz, Marshall & Banks, and Blecher & Collins.
“We were fully prepared to oppose class certification and would have prevailed at trial if necessary,” said Seth E. Pierce, of Mitchell Silberberg & Knupp LLP, Defendants’ Liaison Counsel. “But with years of disruptive litigation remaining, and all networks and major television studios and talent agencies participating in the settlement, it made sense to bring these protracted cases to a close.” For more information about this settlement, please visit the Claims Administrator website at www.TVWritersSettlementAdmin.com or Plaintiffs’ litigation website www.TVWritersCounsel.com.
The AARP Foundation Litigation issued this statement (edited):
Today’s settlement vindicates the tireless efforts of AARP Foundation Litigation (AFL) attorneys who have labored for eight years since signing on as co-counsel for the plaintiffs in the then one year old litigation. Along with the work of their co-counsel, the litigation work of AARP attorneys also is validated by the size of this settlement. AFL will continue to participate in the case against Creative Artists.
And the settlement is a bright spot at a time when older workers are being buffeted by negative cross-currents of a sort they have not faced in many years. The importance of the settlement cannot be overestimated, given the fact that television shows – even in this era of multiple entertainment platforms – remain crucial in shaping our culture. Television greatly influences the public’s perceptions and, yes, sometimes feeds unfortunate stereotypes about different groups in society. Writers obviously play a key role in developing themes for those programs; age -- and other forms of diversity -- obviously are a real plus in the hiring of those writers.
Today’s settlement comes in the midst of tough economic conditions for workers of all age groups, but the fact is that older workers face special obstacles. On the general employment front, the unemployment rate for persons aged 55 and over is now well above what it has been for most of the past six decades. As of November, average duration of unemployment for those 55 and over was about four months longer than it was when the recession started in 2007.
At the same time, the U.S. Equal Employment Opportunity Commission (EEOC) has reported a significant uptick in the number of age discrimination complaints. The latest figures show that for the 2008 fiscal year, 24,582 charges of age discrimination were filed with the agency, almost a 29 per cent increase over the 19,103 age discrimination charges filed in the 2007 fiscal year and by far the largest number of such charges filed over the past ten years.
And the general pervasiveness of age discrimination was shown by an AARP national study within the past year that found that 60 percent of those surveyed aged 45 to 74 said that they had personally faced or observed age discrimination in the workplace.
While AARP is gratified by the settlement announced today, these numbers serve to underscore the need for continued vigilance and advocacy for the rights of older workers. AARP remains dedicated to ending age discrimination in all its forms.
Was the WGA involved in this lawsuit?
“Huge”? really?
if you take 33% off the top for the lawyers’ contingency and divide equally among the 165 named plaintiffs (if the settlement is actually divided equally) you come up with about $280k per plaintiff (before taxes). not chump change, but hardly enough to change the lives of most of the writers that were “aged” out of steady work and likely have not been working regularly while this case played itself out… and is that number really enough to change the behavior and practices of the networks, studios and ten percenters? i doubt it. not exactly “chilling effect” money.
I guess that’s great for whoever gets to share that money. It won’t change future habits though.
That’s awesome. Now every talentless old writer will get a check roughly 1/100th as big as the ones they’d be getting if they were any good and had worked.
Bless you sir. BLESS you for telling it like it is.
INDRID COLD – You are even dumber than 51 and showrunner. If you don’t think major portions of writing staffs for all tv shows are made up of either relatives of the executive producers, or people 35 or younger you are out of your mind. The only show-runner, a-hole, and he has been rewarded very nicely for it, who hires writers over fifty is Dick Wolf, Law and Order ep. How could all the characters in film and on tv, other than the Sopranos, Dexter, Six Feet Under, etc., recite such insipid dialogue if it weren’t for the writers UNDER 40? Got nothing to watch on the networks? Don’t blame those who wrote for All In the Family, Bob Newhart, The Mary Tyler Moore Show, etc. They weren’t being hired. The people get the government they deserve and they get the tv and film writers they deserve. BRAVO OLDER WRITERS!!!!!!
The day will come when Fifty One and Running a Show becomes Fifty Five and Unemployed, or Sixty And Hasn’t Worked in Years, at which time he will be neither talentless nor employed, just old. Older writers were good, they worked, they may have even created the show that Mr. Fifty-One ripped off to create his own little triumph.
Time not only heals all wounds, it wounds all heels.
No doubt, the show you run (and your life) sucks!
Hey Rupert Pupkin, just because you’ve got a camcorder doesn’t make you a showrunner. It’s still your mother’s basement, asshole.
If you had bothered to check the named plaintiffs list, you’d see some pretty legendary and highly successful names who got dumped because of their ages.
Oh and by the way, if you need to sign with “Fifty One and Running a Show” to try and impress us, it just means you’re a janitor with a shoe fetish and a small penis in Duluth.
How dare you? Yes – only the TALENTED are working in Hollywood. That’s why Paul Blart, Mall Cop, Two and a Half Men, Miami Vice the movie and every other tv-derivative from the 60s, 70s and 80s,every Will Ferrell and Jim Carrey and Adam Sandler film, every piece of crap that pollutes the networks and the movie theatres are incredibly talented. Whose son or daughter are you? Are you the coke dealer to someone rich and famous? If you’re running a show at 51, you either created it or know where dead bodies are buried. Period. There are many writers, young and old who possess talent. And just your ridiculous name, “51 and Running a Show.” Probably lied, took off several years of credits from your resume, Just for Men hair dye and some nice Botox in your lovely face. Or perhaps the show you’re running is on par with the Tila Tequila reality show. You probably think the Haitian victims “should have just run faster” after the earthquake too. I hope you are 51 and I hope your show gets cancelled and then, when the agents and networks don’t answer your phone calls anymore that you — poof! – are just another “untalented” writer. Scumbag.
what do you know asshole?
About time writers got something of a fair shake from Hollywood. All their crying poormouth doesn’t ring true when they think they can get away with nonsense like this.
….finally…
Speaking of old and tired, the guys running CAA are getting a little long in the tooth now too.
I’m not sure they have the stamina they used to that gets the job done anymore.
Might be time for the smarter young ones to pull an Ovitz/Meyer move.
CAA’s doing just fine… Especially in comparison to all the others. They’re still really the only game in town.
It’s now or never for my sitcom “‘23 Skiddoo” which I have been pitching to agencies and studios since 1923.
Holy crap… first comment on any board ever that made me laugh out loud. Good work Cracky, I hope the discrimination continues in your case so you can keep delivering excellently lame comments on the web for free.
Wow. I had completely forgotten about this suit. Good for the writers. Take it and RUN!! But as a working writer myself, I’m 37 and don’t expect to be on staff for the latest teen sensation when I’m SEVENTY!! Come on!! Yes, we rely on our brains as opposed to our looks so our age should NOT matter but can ANYONE tell this writer that anyone over 50 is in touch with the “youth of today”. I’m only 37 and I sure as hell am not. I have a 13 year old niece and have no CLUE what she’s saying half the time. Yes, I could “research” and spend time “hangin’ with the kids” at a local high school, but can we all just be REAL about this?
Bring on the hate…
Candide – You don’t sound very bright, which is probably why you are writing for current tv/film. First of all, bow down to those writers who had the fortitude, those who came before you — maybe now YOU WON’T BE DISCRIMINATED against when you’re over 40. I hope it does happen to people like you. You let the generations before you fight for what is then handed to you. There’s an old expression, (I know you’re 37 and probably won’t get this): Just because he was born on third base, he thinks he hit a triple.” That’s right – stop texting and think about that for a moment…
If we follow your logic, then 4 year olds should be writing Sesame Street. How old was Charles Dickens when he wrote “Great Expectations?” I wish you’d use you real name so I would know not to hire you.
@HerbyN
Everyone who’s part of the settlement class gets a shot at the money, not just the plaintiffs. No one’s getting 280k. I’d be surprised if anyone gets six figures.
They’re just going to pay these people off and not be dumb enough to admit that some people aren’t good enough to work in the future. Nothing changes. People who can’t work will still bitch that it’s a conspiracy, not lack of talent.
hey mr. viagra – if you are so talented and sooooo 51, why not say who you are. oh i forgot – you live in the Land of Meritocracy, where rewards are dolled out strictly by talent. That’s why late night tv has almost ZERO women writers, that’s why cousins and in-laws are writers on shows like “The Office.”
You’re a public access asshole
And 51 – according to your logic, perhaps Mel Brooks, Woody Allen, Neil Simon, Larry Gelbart, all over 40 when they wrote some of their best stuff. Believe Woody Allen was 41 when he wrote “Annie Hall.” Oh – I forgot – you’re 51 and are running a show.
Can’t wait until they run you out of town
Dear Cracky, back off, “23 Skiddoo” is clearly a rip off of my pitch “That and a nickel” based on my vaudville act “Shave and a haircut, two bits”.
I am shocked at the user comments on here concerning this subject. Age discrimination is a real problem today in the industry. It is this ridiculous theory that anyone over 29 is no longer in touch with the masses and therefore has nothing to contribute. When in reality, most writers under the age of 30 just don’t have the experience or talent yet to actually write something funny, meaningful and most of all – literate. Good writing abilities come with age. Very few people are born right out of the gate with it.
So this has nothing to do with lazy, untalented writers receiving a free paycheck. It has to do with sending a message.
Anyone who says any different is just plain ignorant. Or under the age of 20 and just doesn’t get it. But you will in about 10 years and beyond.
Very good points! When I started off as a writer and was in my 20s, I was told that writing improves with seasoning and experience. But, today, the people judging talent are barely over 20 themselves. So, to them I say, with seasoning and experience — judging talent improves, too.
Some people are getting a little meanspirited in condemning some of the top “talent.” True, many don’t deserve where they are, but there are others who’ve worked hard. Conversely, there are many talented writers who struggle for years in obscurity!
I know, I finally made my first big sale out of my 30s! I may not be hip — but I gots me some sick talent.
or whatever the slang is now. (Heck, talented writers of any age can research modern slang!)
For the smug young shits here who probably weren’t even in their daddy’s testes as a half potential life:
Christine Craft
The one thing you’ll all come to be is *older*. Unless you get a Darwin Award for something.
Larry Gelbart would be elated.
I hope someday someone does an investigative report into what a crock of shit this lawsuit was. It enriched no one but the lawyers and was horrendous waste of time and money for everyone else involved. I worked for one of the agencies named in the original lawsuit and if anything they specialized in representing older writers. The notion that agencies conspired to keep “older” writers from getting work is insane. The agencies will sale whatever the studios are buying.
I can’t help but notice that there are hardly any midgets starring in network television shows. Let’s get some attorneys on that right away.
Oh really? So is that why, when Conan O’Brien began is show here 17 years ago and I was seasoned comedy writer, wga-award nominated, and 41, that my William Morris agent said, “You’re not 25 – don’t even think about it.”?
Maybe your William Morris agent was giving you a realistic assessment of the market. Are you suggesting that the only thing depriving your agent of making money off your services was his misguided belief that the studios weren’t eager to hire you?
I don’t doubt that the age bias exists, nor do I think those affected suddenly became lazy hacks. I just don’t think the agencies are or were the cause nor are they in any position to do anything about it.
And yes, it is the studio’s loss for not taking advantage of some really great writers.
You’re wasting your time Fly. This Voltaire aficionado is spewing anger, resentment and old-fashioned bitterness all over these boards. Out of touch and over the hill. Candide is probably at a Coco’s somewhere screaming at a waiter about their oatmeal being cold again.
Candide: Please take your memories and fantasies about the biz back to the home and leave the realities of it to those of us choosing to tolerate it.
Candide: Your resentment is steering you away from that spec you’ve been rewriting for a decade and into Nikki’s blog where you can vent your self-frustrations disguised as intellectual tidbits. None of us are fooled. Most of us are bored. Please go away and take your dentures with you. You had your time. Let us (try to) enjoy ours…
you are a vidiot
Nobody cared how old Michael Crichton was.
That’s because Michael Crichton was a bestselling novelist long before, Jane – you ignorant slut.
The settlement is for writers who could prove they were denied work. It doesn’t cover others who couldn’t even get meetings, or who walked into a pitch session and watched the executives’ faces glaze over when they saw that they we facing someone their parents’ age. And yet an exec will still buy a spec from a hot young writer and then quietly hand it over to an older writer to fix because the original is unshootable.
Both sides need to recognize that it’s the craft that’s important, not the age of who wrote it. That means that oldere writers have to learn how to keep current, and younger producers have to learn how to read.
Look at the some of the dinosaurs still running the agencies… Oh, was that ageist?
So the local rain, rain “go away money” sweepstakes leaderboard for the week now reads:
1. big Hollywood age discrimination lawsuit $70 million
2. NBC Conanoscopy $45 million
3. Angels pay Mets-bound Gary Matthews $23 million.
Interesting comments here, especially from a couple who think that those plaintiffs are almost certainly a bunch of talentless geezers who would rather lie around collecting money that they shouldn’t be getting than writing something to sell. As one of the named plaintiffs myself, I find that touching: someone who is running a show and is 51 thinks that anyone who is older (I am 68) and isn’t running a show or producing a movie or whatever, must be lazy and talentless. Wow. That’s wwonderful! I’m happy for you Mr./Ms 51 but…wait for the day. It will come, believe me.
I was still writing and selling movies when I was 58. But things can change almost overnight. As Hemingway says in one of his books (that is another thing that happens, you can’t remember as much a you used to) that a character went broke ’slowly then all at once’. That is how it happens, 51. Slowly so that you barely notice it, then one day you turn around and it’s as though you got shot in the gut and tossed off a cliff. You virtually disappear from everyone’s radar screen and you wonder:
How the f**k did that happen?
Probably not every one of us named plaintiffs is a talented go-getter, maybe some of us lack gumption, too. But as a whole the plaintiffs in this case are people who – simply for the reason that some years have piled up – find themselves shut out of opportunities. The only reason I was working at 58 was because I was still selling spec scripts, but when I went for writing jobs they took one look at me and I could feel the withdrawal. Facial expressions changed, the atmosphere in the room completely went flat. Here is the thing: They liked my scripts but when they saw me they forgot that and all they could see was this old man. Never mind that the scripts were all written within the past 4 years and two of them had been made and released. 51, save your pennies. And remember: slowly, then all of a sudden.
As to the other questions, no the WGA is not involved. As if our guild would actually back us in this case! Never. They refused. I think of them as cowards. And no we do not share equally in this money. Some of us get more than others based on a number of factors including past prices we got for writing and specific complaints which we need to document as best we can (it’s hard to document the closing of a door of an agent who represented you in your 20’s & 30’s (for me that would be Wm Morris, ICM, and CAA) but wouldn’t take your calls when you got past 55-60). I’m the same guy I was 40 years ago only now I’m a better writer than I was. That’s all that has changed. Except my appearance. This is bias pure and simple. Wait till it happens to you.
ekw
(I am not using my real name because of pending decisions on amounts of judgment for each of us, but I and my brother both are in this lawsuit. It has ruined us in Hollywood, of course, to be a part of this, but then we were already ruined for doing nothing at all except growing old).
As America ages, and particularly White America (Latinos in America watch Univision and Telemundo in Spanish), youth-oriented pushes to exclude older writers are going to cost studios money.
There just are not enough tween and teens out there to support more than one “Twilight” franchise. Or more than one Gossip Girl.
Hollywood is Logan’s Run, always will be. This suit won’t change that.
Sadly true. Just look at the Sandmen at MPTF. Aging writers may get a few bucks, but the same guild that wouldn’t back them in the lawsuit refuses won’t stand up for its members interests in keeping the Motion Picture Home open. Where is the safety net promised to aging writers who contributed to the Fund for decades?
Writers aging and otherwise are signing the petition to keep the home open. As one teamster put it, “we need to do this for all of us.” Do it now, it’s not too late.
http://www.thepetitionsite.com/1/keepthemptfhomeopen
i still find it disgraceful that the agencies were named as defendants. They sign what the marketplace wants. when are older actors going to sue?
if the networks were making shows with midgets, agents would sign midgets.
ekw: I hear you. I am 44 and haven’t yet experienced what you so vividly described, but I will, and sooner than I think.
People are more comfortable around others their own age. This sucks, of course, but it is still a fact of life. Their cultural touchstones are similar — if not identical — and executives are no different. So consciously or not, film execs would rather be in business with people whom they “get” and who “get” them in return.
And trying to change this fact with legislation is silly. You can’t codify human nature. It is what it is.
The truth is that many young writers in hollywood today are educated in some of the worlds finest universities. They come from wealthy families and have been coddled most of their lives. Quite frankly they haven’t lived. They have nothing to write about. So they have to make it up. Some of it is great but most of the time it lacks that thing that makes writers great. Depth, reality, emotion. I’ll take a forty year old over a twenty five year old any day of the week in this business. If you’ve survived until your forties in Hollywood, you can write. The talentless writers you speak of don’t last very long. That’s my two cents.
The black writers’ suit is coming.
And it’s gonna be a mutha!
What about the white writers lawsuit? Can’t tell you how many times I’ve been told you can’t get staffed on this or that show because you’re not a minority. I know many many people have heard this. But the larger point is that while discrimination certainly exits, for old people, fat people, short people, ugly people, and on and on and on, the truth is that when you’re a writer, you’re always not getting hired for something, and desperate to know why. Discrimination, while real to a certain extend, provides an easy and ironically satisfying answer. It’s not me, it’s them.
I’m all for meritocracies and cream rising to the top. I know I got it lucky in life but I have no in’s in this business beyond the assistant class. The Assistant Track is back-breaking and the lack of regard writers pay us is insulting – did you think everybody has student loan debt to order you lunch? I don’t stay up late at night worrying about somebody with Producer credits because they don’t care about me. WGA members could fix the “diversity” and “ageist” problem, among others in this town, by actually attacking it at the root rather than suing for it later. Lend a helping hand – sponsor a kid in high school to learn the craft the right way. Open your door and encourage your colleagues to do the same.
As an actor, New York, not Hollywood, I have read these comments with great interest. I have nothing but respect for the writers who are actually the most creative of all of us. They take a blank piece of paper (or today open up Final Draft on their computers) and create something where nothing was before. I have never understood this idea of cutting out the most experienced writers. If I’m in a room with creative people, I usually try to get to talk to the most senior creator there. I can learn the most from the most seasoned, experienced person. This seems logical to me.
I remember as a young man touring with Elizabeth Allen (Donovan’s Reef, Broadway, and on and on). I got my nerve up one day and asked her if I could take her to lunch. When we went out, she told me no one in the company had ever asked her to lunch before. I couldn’t believe it. Why wouldn’t actors be falling over each other to talk to someone who’d worked with John Ford and Richard Rogers?!
In any case, I’m one actor who realizes we depend on the writers for what we say. More power to you seasoned artisans.
steve luker
Bravo, EKW!
Quote: Writer “EKW”
I received an e-mailed form I can fill out to request a share of the settlement. It looks like I technically qualify, even though I’ve never sold a script; I simply entered one in a Fox TV competition. I won’t be applying, because I’ve no reason to think my loss had anything to do with age; they simply picked a script they liked better.
But there must be thousands of writers like me who would qualify under the wording I received; I wonder how many pieces the settlement will be split into.
I too wrote scripts and tried to get them accepted by Hollywood; only to be turned away.
The scripts were registered with WGA.
Can anyone tell me how much I can expect?
I’m very blown away that this suit got this far – let alone a final settlement. And does anyone think it will change anything? This is not a case of corporate culture — it’s a case of “I’ll do as I please as I’ve always done.” If the Hollywood Cabal was ever investigated in total by every governmental agency in existence it would still change nothing. So what do they care, they are making so much money in this lousy economy the IRS would choke if they knew the truth and the ringleader is CAA — that’s why they opted out of the settlement. You cross them once and your dead in this town forever. This is all one big joke. 73Mill is chump change in Hollywood Town.