UPDATED: All along the issue, the really big issue, was whether the striking writers would still feel united if some of them went back to work and others stayed on the picket lines. I've learned that was just one of the many worries voiced by the WGA to the posse repping Worldwide Pants when it applied for an interim agreement allowing the two late night shows it owns, The Late Show With David Letterman and The Late Late Show With Craig Ferguson, to return to the air on January 2nd fully staffed with scribes. "It was a tough decision," a source close to Letterman acknowledged to me just now. "This happened by the slimmest of all possible margins." So tough that Dave's negotiating team didn't know whether the pact would be approved by the WGA until the very last minute today.
It was, finally, at midday following several meetings and a lot of phone calls, sources say. The Letterman camp -- which included Worldwide Pants CEO and longtime Late Show exec producer Rob Burnett, ex-CAA partner and now Worldwide Pants exec Lee Gabler, and the Hollywood entertainment law firm of Jackoway Tyerman and Wertheimer -- was sworn to secrecy until the WGA could first talk to Jay Leno and his writers and then produce a press release. But the news leaked out early, reputedly from Leno's side.
"I am grateful to the WGA for granting us this agreement. We’re happy to be going back to work, and particularly pleased to be doing it with our writers,” Letterman said in a statement issued by his company. “This is not a solution to the strike, which unfortunately continues to disrupt the lives of thousands. But I hope it will be seen as a step in the right direction.”
On the one hand, this is the first side deal cut by the WGA with a producer since the strike began on November 3rd as part of its new and articulated "divide and conquer" strategy. "Worldwide Pants has accepted the very same proposals that the Guild was prepared to present to the media conglomerates when they walked out of negotiations on December 7," the WGA said in its annoumcement today.
But I'm told the WGA leadership was particularly worried how Leno's writers would react since it gives Letterman's show a real leg up on late night competition for guests like celebrities and politicians (i.e. Democratic presidential contenders who don't want to cross picket lines). "I don't think they wanted to upset Jay or those writers because they've all been incredibly supportive of the WGA during this strike," an insider explained to me. "But it's not Jay's writers' fault that Dave's lawyers made a deal for him to own his show and Jay's lawyers made a deal for him to be an NBC employee."
Indeed, the WGA statement announcing the deal took care to note how "it’s time for NBC-Universal to step up to the plate and negotiate a company-wide deal that will put Jay Leno, who has supported our cause from the beginning, back on the air with his writers.”
But a statement by SAG prez Alan Rosenberg hailing the deal underscored the huge advantage which Letterman's two shows will have booking big celebrity guests -- an endorsement by the actors guild itself: "Screen Actors Guild members will be happy to appear on The Late Show with David Letterman and Late Late Show with Craig Ferguson with union writers at work and without crossing WGA picket lines," Rosenberg made clear.
Another argument against granting the interim agreement was that Worldwide Pants didn't control the New Media rights to Letterman's shows. But CBS said in its statement issued tonight: "CBS controls the Internet exploitation rights for both programs, and will comply with any eventual negotiated agreement between the AMPTP and the WGA." But then Letterman's side showed that its company and not CBS is the one responsible for paying residuals to the WGA writers for Internet use of the shows.
Still another argument, and perhaps the most convincing, was that by granting the interim agreement the WGA would enrich CBS which collects the ad revenue from Dave's shows and therefore help the AMPTP. Indeed, the AMPTP's own statement accused WGA's negotiators of "misrepresenting the fact that Worldwide Pants is an AMPTP member".
But inside the WGA, a source told me, "the question was whether the hurt felt by NBC in late night would be worse than the benefit given to CBS. Some people didn't accept that. Those people also wanted to make a side deal with a much bigger company than Worldwide Pants," an insider told me. "But there was an actual strategy behind today's decision."
That strategy goes something like this: In order for this gambit to work to the WGA's benefit, two things must happen: Leno's writers can't go Financial Core, and SAG has to tell its people to only go on Dave's shows. "Then you have Jeff Zucker in huge pain. You also have to remember that Les Moonves has very little power in the AMPTP. Jeff Zucker and Jeff Immelt have much more power in the AMPTP. If they see their Tonight Show franchise going down the tubes, they'll put a lot of pressure on the other CEOs to return to the talks," a source explained. "In the final analysis, they hoped this is a watershed." (I can confirm that, at one point, Dave's camp argued that NBC would break ranks with the AMPTP and do a side deal with the WGA in order to save its late night lineup, especially with Conan O'Brien about to succeed Jay Leno. But, in the end, no one at the WGA bought into that, so Letterman's side dialed it back.)
But now there may be rifts within the WGA over the deal.
Before today's announcement, I received phone calls and emails from some well-known WGA members, especially feature film writers, angry that the WGA was even contemplating such an agreement while at the same time dumping those issues important to screenwriters like possessory credit, free rewrites and endless meetings without pay. They told me they planned to stop picketing and possibly go Fi-Core over what they see as a strike that's become more about television that movies.
Tonight I've managed to reach one of those successful screenwriters who phoned me and he's furious. "I'm going back to work," he said, asking me not to use his name. "I have gotten five phone calls tonight from feature writers and every single one of them has said some variation on, 'Bullshit on this. Why am I looking at staying out of work until April when these guys are going to start picking up paychecks on Tuesdays?'"
The writer continued: "All you're doing every time a movie or TV star goes on Letterman is making money for a member of the AMPTP. If you're going to strike GM, then you strike GM. You don't say, 'We're going to give a waiver to the guys making pickup trucks because they're really good guys.'" You don't maintain solidarity by letting a handful of guys go back to work. So what's next: Lorne's people go back to work? Then Colbert's people go back to work?
"I read the reasoning behind this on your site just now that they're trying to break Jeff Zucker. Are they out of their minds? NBC Universal's numbers are a rounding error in the grand scheme of General Electric. All GE has to do is sell one power plant in Dubai and it covers the entire revenue stream of NBC Universal."
But another successful feature film writer, Mike Werb (The Mask, Face\Off, Lara Croft: Tomb Raider) just told me he applauds the Letterman deal and doesn't see it as divisive. "I'm thrilled for the Letterman writers and for Letterman that as one of the most important people in the entertainment business he can take this stance. From my point of view, I don't see any negatives in this deal. To me, it just serves as an example of how a side deal can be made. Personally, I applaud Worldwide Pants whether there's a domino effect or not to be seen. If the deal is acceptable to the guild, it's completely acceptable to me. That's why I was one of the 90% who voted to empower this strike and my partners in this, which is the negotiating committee."
Werb noted that during the last writers strike in 1988, he was working for a firm that also secured an interim agreement with the WGA, Sam Arkoff's AIP, and recalled no controversy over that deal. "You never heard any arguments. People seemed happy." Nor does Werb think there's a movie vs TV writer schism developing. "I can tell you that during this strike now I've been on the picket lines every day and the spirit is significantly stronger this time than then. I've met so many screenwriters and TV writers all fusing together."
Here are the various statements about today's decision:
First, the WGA's email to its own members about the decision:
To Our Fellow Members,
We are writing to let you know that have reached a contract with David Letterman's Worldwide Pants production company that puts his show and The Late Late Show with Craig Ferguson back on the air with Guild writers. This agreement is a positive step forward in our effort to reach an industry-wide contract. While we know that these deals put only a small number of writers back to work, three strategic imperatives have led us to conclude that this deal, and similar potential deals, are beneficial to our overall negotiating efforts.
First, the AMPTP has not yet been a productive avenue for an agreement. As a result, we are seeking deals with individual signatories. The Worldwide Pants deal is the first. We hope it will encourage other companies, especially large employers, to seek and reach agreements with us. Companies who have a WGA deal and Guild writers will have a clear advantage. Companies that do not will increasingly find themselves at a competitive disadvantage. Indeed, such a disadvantage could cost competing networks tens of millions in refunds to advertisers.
Second, this is a full and binding agreement. Worldwide Pants is agreeing to the full MBA, including the new media proposals we have been unable to make progress on at the big bargaining table. This demonstrates the integrity and affordability of our proposals. There are no shortcuts in this deal. Worldwide Pants has accepted the very same proposals that the Guild was prepared to present to the media conglomerates when they walked out of negotiations on December 7.
Finally, while our preference is an industry-wide deal, we will take partial steps if those will lead to the complete deal. We regret that all of us cannot yet return to work. We especially regret that other late night writers cannot return to work along with the Worldwide Pants employees. But the conclusion of your leadership is that getting some writers back to work under the Guild’s proposed terms speeds up the return to work of all writers.
Side-by-side with this agreement, and any others that we reach, are our ongoing strike strategies. In the case of late-night shows, our strike pressure will be intense and essential in directing political and SAG-member guests to Letterman and Ferguson rather than to struck talk shows. At this time, picket lines at venues such as NBC (both Burbank and Rockefeller Center), The Daily Show, The Colbert Report, and the Golden Globes are essential. Outreach to advertisers and investors will intensify in the days ahead and writers will continue to develop new media content itself to advance our position.
We must continue to push on all fronts to remind the conglomerates each and every day that we are committed to a fair deal for writers and the industry.
Best,
Michael Winship
President
Writers Guild of America, EastPatric M. Verrone
President
Writers Guild of America, West
Then the WGA's public statement:
“The Writers Guild has reached a binding independent agreement today with Worldwide Pants that will allow The Late Show with David Letterman and Late Late Show with Craig Ferguson to return to the air with their full writing staffs. This is a comprehensive agreement that addresses the issues important to writers, particularly New Media. Worldwide Pants has accepted the very same proposals that the Guild was prepared to present to the media conglomerates when they walked out of negotiations on December 7.
Today’s agreement dramatically illustrates that the Writers Guild wants to put people back to work, and that when a company comes to the table prepared to negotiate seriously a fair and reasonable deal can be reached quickly.
It’s time for NBC-Universal to step up to the plate and negotiate a company-wide deal that will put Jay Leno, who has supported our cause from the beginning, back on the air with his writers.”
From David Letterman's Worldwide Pants:
Worldwide Pants Incorporated, David Letterman’s independent production company, announced today that it has agreed to terms with the Writers’ Guild of America on an interim agreement that will allow The Late Show With David Letterman and the Late Late Show With Craig Ferguson to resume production on January 2, 2008, with the writing staffs of both shows.
"I am grateful to the WGA for granting us this agreement. We’re happy to be going back to work, and particularly pleased to be doing it with our writers,” said Letterman.
“This is not a solution to the strike, which unfortunately continues to disrupt the lives of thousands. But I hope it will be seen as a step in the right direction.”
“This is a positive result, both for the WGA and for our shows, and we are appreciative that the leaders of the Guild dealt with us reasonably and in good faith,” said Rob Burnett, President and CEO of Worldwide Pants and Executive Producer of The Late Show.
The January 2nd original episode of The Late Show With David Letterman will air at 11:37–12:37 AM, ET/PT on CBS. Guests will be announced at a later date.
And finally from the AMPTP:
"While it is good news for viewers that the jokes will be back on the late night shows, the biggest joke of all appears to be the one the WGA's organizers are pulling on working writers. The people in charge at WGA have insisted on increasing their own power by prevailing on jurisdictional issues such as reality, animation and sympathy strikes. Yet today the WGA made an interim agreement to send writers back to work that by definition could not have achieved these jurisdictional goals -- gains that would at a minimum require the company making an agreement to actually produce reality and animation programming. WGA's organizers are also misrepresenting the fact that Worldwide Pants is an AMPTP member. Today's agreement is just the latest indication that the WGA's organizers may not have what it takes to achieve an industry-wide deal that will create a strong and sustainable economic future for writers and producers alike."
From Screen Actors Guild president Alan Rosenberg:
"We are pleased that Worldwide Pants has reached an independent agreement with the WGA and The Late Show with David Letterman and Late Late Show with Craig Ferguson will be back on the air with their WGA writing staffs. We hope this encourages all of the talk shows to follow suit and use only WGA writers. Screen Actors Guild members will be happy to appear on The Late Show with David Letterman and Late Late Show with Craig Ferguson with union writers at work and without crossing WGA picket lines.”
- WGA Met With Reps For Worldwide Pants
- Official: Stewart/Colbert Return Jan. 7th
- Dave's Company Meets Friday With WGA
- Dave's 'Only Focus' On Air With Writers
- WGA Reminds Returning Jay And Conan: No Monologues
- Dave Cooks Up WGA Deal That NBC & ABC Won't Enjoy
- WGA On Monday Will Say To Moguls: "Let's Make Individual Deals"
- The Line To Break Mogul Ranks Is Here...


On balance, I think this is a plus for the WGA.
The downside is that it helps CBS increase its earnings somewhat. As for “some writers going back while others strike,” that’s an unavoidable consequence of the divide-and-conquer strategy, and the striking writers have to hold the line while the return of Letterman and Ferguson works its poison on the unity of the AMPTP companies.
The upside is that CBS’s advantage puts pressure on the other networks. Leno’s and O’Brien’s shows are co-owned by NBC and thus any deal with the writers would cover all NBC Universal production. Jimmy Kimmel’s show is co-owned by him (Jackhole), ABC Studios and Touchstone, so again, no separate deal can be cut.
The WGA needs to lean hard on SAG and DGA members to stay off Leno’s, O’Brien’s and Kimmel’s shows. The WGA definitely needs to picket those shows thoroughly so that any guest has to cross a picket line to appear (not to mention any crew member having to cross to work the show).
And Letterman’s writers need to bring their A-game, to make it painfully obvious to viewers that a late-night show with writers is a class above one without them.
Dave will change everything. He’s a real guy, and one of my heroes. Those assholes won’t be able to shut him up, and the world will finally hear the truth, rather than the near zero network coverage and AMPTP website propaganda.
I know this part of our lives isn’t that significant, given what’s going on in the REAL world. But it’s important. The monoliths must be taken down a notch. Working people (and that’s just what writers ARE) must be paid what they’re worth. Corporations aren’t designed to take such things into account.
So FIGHT, dammit. My heart is out to you all. You creative people are my heroes too…
And Nikki? Your post on Xmas eve should not have been done, in my opinion, after thinking about it for days. It was only disheartening, at the very worst time. This thing is NOT over.
Joe in San Jose
Wonder if any of those free-market studio executives will laugh next week when the Late Show(s) monologues are delivered and Jay and Conan are left doing a soft-shoe on the desktop?
Rock ON, WWP and WGA!
The precedent has been set and the dam is cracking. Watch: more companies will turn their backs on the AMPTP and make independent deals with the WGA.
Best news all month.
I’m a WGA member, though not a prominent one, and I’m fully in favor of Dave’s writers going back to work. It might seem like bad luck for Jay’s writers, or bad news for all of us, but this is part of something much bigger. As far as I’m concerned, this is a step in the right direction.
This was the correct decision to make.
Leno’s Writers should CONTINUE to be upset with GE, NBC Universal and the AMPTP not the WGA. WGA offered to make deals with individual Companies and they kept their word. Finally. This is NOT a Coup for Moonves, it is a humiliation because that show is paying Writers fairly and contrary to the AMPTP strategy under the CBS banner, the only Network to do so. So, in fact, CBS is airing a show which meets with WGA approval. And it allows Actors to appear on Dave’s show without crossing the picket line. I hope SAG sanctions ONLY this show for its members to appear on. The other show should be struck by Actors as a sign of Solidarity.
The point here is Fairness and Respect for Writers and Dave should be applauded for his efforts. I have posted here how I believed Dave was probably very upset at the uncertainty of the back and forth with WGA, knowing Dave is truly supportive of ALL Writers. In fact I doubt he would have wanted to put a show on the air at all without them and may NOT have so I don’t think it was fair for WGA to put him in that position in the first place.
I hope John Bowman will be announcing more deals with other Companies as he has hinted he would do.
Now, Dave can put on a superior show.
This is an important decision and I hope it is just the beginning.
You want to business with the WGA, not a problem, deal with us fairly and you will be rewarded too.
Definitely a risky maneuver – a divide and conquer strategy that risks dividing one’s own side – but one with potential for a high yield. Here’s to hoping for the best.
Anger doesn’t even begin to describe how I feel. As a features writer I’ve already feel like this strike was a WGA fight for TV writers (I will say though that some of my best friends are TV writers) and that I was just an outsider–like being the black sheep or the illegally adopted step-son in the family…
And I’ll confess, even though I’ll be back on the line come 7 January, I’m going to be even more grumpy than normal and it won’t be just at the AMPTP.
I also applaud our Sister Guild, SAG…
SAG topper Alan Rosenberg issued a statement hailing the deal with Letterman’s company.
“We hope this encourages all of the talk shows to follow suit and use only WGA writers,” he said. “Screen Actors Guild members will be happy to appear on ‘The Late Show with David Letterman’ and ‘Late Late Show with Craig Ferguson’ with union writers at work and without crossing WGA picket lines.”
Right On Alan!
This is a vital and necessary move by the WGA. It’s necessary to divide the companies and the only thing I take issue with is the statement from the guild that “Jay Leno has been incredibly supportive.” Excuse me, but HE’S A WGA MEMBER WHO’S CROSSING THE PICKET LINE IN 4 DAYS. HE WAS THE FIRST REAL LATE NIGHT HOST TO ANNOUNCE HIS INTENTION TO CROSS! HE’S A SCAB. STOP THANKING SCABS FOR THEIR SUPPORT, WGA! Who knows, if Leno didn’t announce he was crossing maybe Conan, Letterman, Stewart etc would stay off the job.
the fact that according to Nikki’s story Leno’s team “leaked” the story early, before the guild announcement, proves he’s not on our side.
Aside from that I think this ratchets up pressure on the other major networks. It’s important for the guild to stay united at this time and to not allow dissension to get the better of us. This is step one. Now we need to sign other small to mid level production companies, which will pu pressure on the majors.
WGA did the right thing by giving Letterman and co. the allow the interim agreement. I wouldn’t doubt if the writers give their pay to a guild fund. No matter, the WGA NEEDS to alert the public of this crucial strike, and you can bet it will get a voice on these shows.
Let’s see: Jay Leno is strike breaking, crossing a picket line of his own writer, to act as a scab on his own show, and we are supposed to worry about he’ll react to David Letterman negotiating a fair contract directly with the WGA? I get that Leno doesn’t own his own show, but that doesn’t alter the fact that he is the strike breaker, not Letterman.
In fact I’m hoping that Letterman’s action will make the WGA stronger, that his contract will inspire others to negotiate directly with the WGA and by-pass the AMPTP. Nick Counter isn’t representing the interests of the companies in the AMPTP and it is time they turned their backs on him and wrote fair contracts directly with the WGA.
This agreement ought to shake things up in a positive way for the WGA. Say what you will (and no doubt there will be miles of posts, including mine), until the shows actually air, all we can do is hold our breath.
This is, IMO, the smartest thing the WGA could have done, because by showing that their proposition, which the AMPTP refused to even consider, is not as unreasonable as the moguls wanted to make it out to be and that there is a way for this strike to be settled amicably and fairly, they have placed the ball squarely in the court of the AMPTP and the BIG 8. If they could work out a fair deal with Worldwide Pants, then why not with the AMPTP? Because it’s not about money anymore, but about power. The AMPTP doesn’t want to relinquish one iota of its deathgrip on the throat of the industry, but by making this deal with Worldwide Pants, the WGA may have very well taken the first step in exposing the chink in the armor of the moguls. By making a deal with one independent studio, then another, then perhaps a bigger one, it is perhaps only a matter of time before the AMPTP begins to crack and the great bastion comes crumbling down. Keep chippin’ away at ‘em, WGA. You’ll wear ‘em down. The next thing you need to do is go after NBC and work out a deal for Leno and the other NBC owned talk shows, and that will really create a rift in the AMPTP. Cut ‘em off at the knees and they’ll come crashin’ down like Goliath with a bruise on his forehead.
Well, at least it will cause some kind of disruption in the status quo. As it is, it seems the AMPTP is content to do nothing. This might alter that. I get the possible damage to the strikers’ solidarity.
Hopefully it’ll pay off. Dave’s shows will be sharp and Jay and Jimmy and Steve and John’s shows will suck. Time will tell.
“SAG has to tell its people to only go on Dave’s shows.”
This is exactly the essence of my comment a few weeks ago (when you first reported this news), which you never bothered to post. And I don’t think anybody else echoed it, Nikki. So let’s try this out –
Dave’s writers need to figure out their working expenses – ie. travel, daycare, and so on – and then contribute 90% or so of the balance to a WGA strike fund. That’s the only way they can demonstrate that they are still in solidarity with their striking bretheren. Why not 100%? Their time is no longer theirs. Striking writers, one assumes, have time to pursue other kinds of renumeration, whether it be via blogs, beginning that long put off novel, journalistic pursuits, or that assistant position at Borders.
Whoever the theater writers in this are, they are fools.
Dave’s -company- made an agreement. If CBS wanted to argue for their own agreement, I’m sure they’d get some attention too.
But having Dave on the air, with writers helps the theatrical writers most. Whether they realize it or not, studios have a backlog of scripts they could produce for the next 18 months. Having a source where people can promote those scripts – you know, the ones that will get made/have already been made, means that those movies make more $$, which helps keep their name in circulation and gets them rep to continue to sell their product, plus increases their worth.
Yes, it’s unfortunate that no one else was willing to come to the table and negotiate, but the comparison is invalid.
If United AutoWorkers go on strike against all motor companies because of unfair standards, and Kia comes out and says “Hey! Don’t punish us like Ford, GM, Chrysler, we want to meet all your demands!” and they do, then workers will immediately go back to work for Kia.
One thing you get with Dave coming back with writers is that WRITERS will have a platform where they can help shape the message and get A-List guests who will come on and promote their cause: this is what you get “WITH” writers. The stark contrast helps get the message across to the viewing public.
It also helps show the PUBLIC that the writers are not throwing out numbers and concepts that are “unmanageable” and will “Bankrupt companies” as the studio heads want to point out; in fact, the demands are so reasonable that a small production company could meet them and smile – something I’m sure Dave and his writers will point out.
This may be the best possible chance for the writers to get a continuous pulpit to show the legitimacy of their cause and their willingness to work with others.
Fuck ‘em. I’m not maxing out my credit cards and getting an ulcer while they get to work.
Love that these “feature writers” are using Letterman’s bonafied deal with the WGA as an excuse to go back to work… these folks have no idea what the strike is really about and probably haven’t been on the picket lines since day one anyway — if they were, they’d know this is what all of the pain and giving up our paychecks has been for — to break these mofo’s called the AMPTP. Good on ya to go Fi-Core guys/gals — just know we’ll remember who you SCABS are this go-around.
I could understand being pissed off if thousands — or even hundreds — of writers are going back to work and you (and I) aren’t. But we’re talking about what, 20 people? How many writers do you think Letterman employs? If this will put pressure on other companies to make a deal (or show ones thinking about it <that it’s really possible), then I don’t have a problem with it.
Frankly, the pissed off writers sound like they think this strike is all about them, or should be. It’s about all of us.
The same sort of breaking of ranks is what cost us the home video (now DVD) deal in 1988. TV Writers didn’t think home video would ever be worthwhile for them. It was strictly a feature writer issue and they didn’t want to be on strike for those other guys. Now it’s feature writers who think this is all about television. It’s not. It’s about the future of distribution. (By the way, how long do you think before the studios decide that sending their features to theaters via high speed internet connection makes the movies promotional?)
This is all of our battle: TV writers, feature writers, actors, directors, grips, costumers, everyone. If you think because 10 or 20 or even 50 guys are going back to work this isn’t your fight any more, you’re selling out your friends, your family, and your future.
I’m sorry, but it is the same thing every time. Old union hardliners convince everyone to strike, and in the end everyone get hurt and nothing is gained.
SAG commercial strike is a living example. We were told we had to strike, and in return we would get per air residuals on commercials for cable tv.
In the end, we struck for six months, didnt get pay per play on cable and over half of the commercials either permanently left or are now non union.
Same thing will happen here.
no one is going to win
nikki – did someone at the WGA tell you their strategy behind this move is to put pressure on zucker? if that nugget came from someone else, you should be clear about that. so that angry writers like the one you quote dont think that’s the whole story.
because it aint. there are lots of moving parts here. NBC is only one of them.
A few big name writers going Fi-Core will mean nothing in the scheme of things. As a produced and currently studio contracted feature writer, I get the issue. But the WGA saw this coming; there’s no way they didn’t expect some resentment and action. Still, the strike goes on and I’ll be out there.
I can understand the why film writers may be having problems with this side deal, but to me as an outsider, it looks like the first positive news we’ve heard in a while. This isn’t just about TV, but deals have to start somewhere. I can only hope this will help other production companies break the ranks and make deal on their own.
Hey, “successful screenwriter”
Please don’t go back to work. Your reasoning, well, sucks.
GE will not be happy about eroding their one evergreen and most profitable franchise, the fucking TO-fucking-NIGHT SHOW. Jay’s been ahead of Dave for a decade, now that’s all going to change, just when Conan is supposed to take over. And using your reasoning, if NBC is a rounding error to GE, then it stands to reason that SETTLING THE STRIKE IS EVEN LESS THAN THAT.
Therefore it is entirely possible to view it this way: is GE, that bottom-line-minded faceless corp really going to take a few million in savings on residuals vs. the possible erosion of their most important and money-making franchise?
I’m not saying it’s a slam-dunk, but it’s a worth finding out.
People like you going back to work of course, will make this all moot. That will be just be perfect for the companies. Divide the Guild, strike over, nothing gained.
I hope you understand that this is not about favoring anybody and only about strategy.
I’m a feature writer, and I know I’m supposed to be upset by this…but I’m not. I think this shows that our negotiators are not simply “organizers” who want to strike for the sake of striking. There is a deal to be made with signatory companies who want to make a deal with us, simple as that.
This doesn’t make me want to stop picketing. In fact, I’m ready and willing to get right back out there after the break. Maybe that makes me a sucker, I don’t know.
There was a prediction for 2008 in Forbes mag. that GE will sell the NBC/Universal since it’s not making from it.
WGA worst move ever was to put the reality/animation TV on the table when the only thing left to negotiate was the downloadable content. Now everyone J. Leno+ Conan+Others will get back to work and the rest of the writers don’t have a leg to stand on and be forced to go back to work.
BTW when you get back to work please write something worth watching.
NBC is a division of GE, enormous company; Fox, News Corp., pretty large; ABC, Disney, also diverse. But the Viacom split left CBS heavily dependent on network TV. Of all the AMPTP companies, I’d bet CBS would be the most eager to settle. So it would seem the decision to make a deal with Letterman implies that the pressure on the other parties to make a network-wide deal b/c Letterman will be beating them late-nite outweighs the loss of the pressure on CBS to force an AMPTP deal or make a separate deal covering all of CBS. Personally I don’t agree with that conclusion, I thought it was better to leave CBS out to dry. This sense has made no sense financially from the AMPTP’s side; now the WGA is making questionable moves as well.
What a way for the WGA to alienate its own members! How does this help negotiate a new contract? Someone please tell me…please! Also, how many DVDs and Internet watchers are there for Letterman or Ferguson? At this point it seems that both the AMPTP and the WGA do not care at all about people keeping their jobs or working…. what the hell is going on here???
Well done by the WGA and Worldwide Pants. These writers who are complaining need to get their heads together and think this through. This is a crucial moment in the strike and how they handle it will speak volumes about what the outcome will be. Will they stay united and force the AMPTP to break apart or will they let anger cloud their judgement and split apart. STAY WITH THE STRATEGY WGA! YOU CAN WIN THIS!
This is good news for WGA! They’re splitting up the AMPTP as a negotiating entity! Stripping support away from the enemy is the right move.
This is a small but powerful victory. The only way it could get fucked up is if individual bitchy writers decide to pout about other people going to work instead of taking the strategic view. Look at the momentum, people: piece by piece the AMPTP companies are peeling off and surrendering to the WGA. Other shows and networks are going to get jealous when WWP does well for a month and then they’ll all start caving in.
Their only hope is if the writers fall apart out of jealousy.
If it’s true that some feature writers are going to use this as an excuse to go Fi-core, it will confirm my worst fears about writers in this town; that they are essentially short-sighted, cowardly and selfish. (Yes, I’m a working guild member)
This strategy of the WGA making side deals may work or it may not. But the one, sure-fire, guaranteed way to make it fail is for some of us to get up on our self-righteous high horses and ride off into the sunset, pissed-off that we’re not going to be getting paychecks next week like those lucky Letterman writers.
Think about all the problems people face in this country, from foreclosures to dying in combat, yet here on the cushy westside of Los Angeles we’re throwing hissy fits because we may not be able to afford to spend spring break in Hawaii.
To that anonymous writer who made the GM comparison. That’s really the point isn’t it? The AMPTP is the equivalent of GM, Chrysler, Ford, and hundreds of smaller parts manufacturers negotiating as one entity. The guilds are in a stronger position if they can deal with each of the studios/networks separately, as our UAW brothers and sisters do.
The interests of the studios/networks are not in full alignment. Fox – with American Idol – stands to gain in the short term against the other networks. Sony is apparently interested in driving down the value of CBS to make it a more affordable buy. The Worldwide Pants deal helps to underscore all of this.
Also, there is precedent for this. Carson cut an interim deal with the WGA during a previous action. And given how pro-Guild Letterman is, and that he was happily acceding to all of the WGA’s demands, how would it have looked to shine him on? Talk about being unreasonable….
I hope cooler heads prevail within the WGA’s ranks.
Well I’ve been saying this all along. As soon as some people get to go to work while others are expected to continue walking around in circles on the pavement, the smell of shit would get too much and those unable to pay the bills would go fi-core in order to make a living.
It’s a joke to think that there wouldn’t be trouble if some are allowed to work and some aren’t.
No different if there was a food shortage and you saw your neighbors shoveling food down their throats while your family starved.
The thing about Jay Leno’s people not pushing to make him an owner of the show reminds me of that HBO movie about him and Letterman that aired in the 1990s. The scene in particular where Kathy Bates (as his agent) tells him something like “You want me to bring you a steak but you don’t want to know about the cow being hacked to death.”
That’s always been Leno’s problem. He’s too fucking passive.
And he wonders why Letterman owns his own show and now has writers on his show during a strike.
Nice try, AMPTP. “Worldwide Pants is not an AMPTP member.” No, but Worldwide Trousers, the WWP subdivision that produces the Late Show, is.
I don’t get how this is a problem. World Wide Pants agreed to WGA terms. They’re leading the way for all production companies to do the same. This shows that the WGA is making reasonable demands. The argument that CBS is making money is ludicrous. That money is chicken feed as is any money they stand to make or lose regardless of who goes back to work, or if no one does. They don’t care about money. They only care about power and control. This move disrupts their power and breaks the monopoly. It’s a tough break that Letterman is one of the few with balls enough to run his own company and be in this position. But that’s what you get for signing with who you choose to sign with.
I see this as a good move, if only because there is no longer any doubt that the contract presented in December is economically feasible. If it is possible for a relatively small company like WWP, it is definitely possible for the companies in the AMPTP. So any rhetoric they spin about how the WGA’s demands are impossible have been proven wrong. Notice how the AMPTP response is an attack on the WGA leadership, and says nothing about the contract that was the whole point of this strike in the first place.
I really hope that the WGA can stand together. I can understand being upset that others are working while you aren’t, but I can’t understand not being able to see the bigger picture and get over it. I fully admit that I’m not in Hollywood, so maybe I’m missing something…but it seems to me that it was inevitable for writers to go back to work little by little as opposed to one big mass. To respond to that one analogy, no, if you strike GM you don’t make separate deals for separate workers…but the auto unions deal with GM first. Then with Chrysler. Then with Ford. So, if you’re a Ford worker, you have to watch two groups go to work before you and still stand strong with the knowledge that it’ll be your turn soon, and when it is, you’ll be better off than if you just walked into the factory yourself.
I’ve been against this deal because of a reason that I thought was fundamental – WWP does not control the Internet exploitation rights for its programs. CBS does.
However, it turns out that there may be some hair splitting involved. WWP states it “is responsible for paying residuals to [its] writers” (per this Variety article) regardless of who can broadcast the shows on the Internet.
That clarification makes me more willing to accept the deal, but WWP wasn’t the point of “divide and conquer.” The point was to get at least one major to ink a deal independent of the rest of AMPTP. That would start the dominoes falling. This probably won’t.
All the visitor comments in other posts about shareholders being upset about company losses during the strike is pure fantasy. The #1 stock market issue is home foreclosures, potential home buyers’ lack of access to credit for mortgage loans, and the resulting problems those things create. The WGA strike is never going to impact the stock market (or even individual conglomerate stocks) in that way, and nothing about the WGA strike can impact CBS/Paramount/Viacom because Sumner Redstone controls the majority interest in those through National Amusements.
It will be an unfortunate irony if the WGA’s “divide and conquer” strategy results in dividing itself rather than AMPTP.
My first concern is the analogy to striking General Motors. To the person who gave that quote, I say this: Is Ford allied with General Motors? If not, then if you get an agreement from Ford, go back to work at Ford and continue to strike General Motors.
If I were a writer, I see if there’s an opening for a writing gig on Letterman. There’s probably only so many, but I try at this point to make NBC come to the table. To do that, you must make CBS look good in comparison, but be aware that NBC Universal is a small piece of a conglomerate. There needs to be an embarassment factor on top of this to get General Electric to take notice. I would dare suggest a GE boycott and demonstration. I would also, as mentioned several times in the solution suggestion thread, go after the AMPTP in the courts – collusion, antitrust, and bargaining in bad faith. Since it is now clear that the AMPTP does not care if they wither and die over the next year, you’re going to have to be creative in making them. I wish them luck.
Do you have this right?
Screenwriters are upset because maybe two dozen writers, who took the first hit of the strike and immediately lost paychecks, now have the chance to go back with a deal that sets a template for future deals?
I’ve walked the picket lines in New York for weeks now with screenwriters and none of them voiced this sort of petty fi-core bullshit. Everyone was grateful to the Late Night guys for walking every day, when the issues in this strike were hardly make or break for them. Indeed screenwriters are the ones who stand to lose any chance on ancillary income if the guild doesn’t get internet coverage.
If someone goes back to work because of this deal, they were looking for an excuse to scab. Good riddance. The rest of us will wish the Letterman group godspeed, while we wait for our fair deal.
WGA East on the line
Amended:
This is a mess. The Writers’ Guild picked the wrong time to strike, economically speaking, and now…they are paying for it. Ellen and Carson Daly have gone back to work, absent an agreement with the writers, and now Leno, Conan, Jimmy Kimmel and John Stewart…etc., are all coming back to the air waves without a contract with the Writers’ Guild– Letterman, his company and their exclusive contract deal with the WGA…being the sole exception. The result??? The Writer’s Guild’s position will be drastically weakened in these negotiations.
Even worse, their (The WGA ’s) failure to grant waivers to award shows like the Golden Globes and the Oscars will lead to an implosion of the sympathies that many throughout the industry have given the WGA with respect to the strike, and set-up a number of increasingly split loyalties. Failing to grant those waivers is a tactical mistake…as was the ridiculous decision to strike during this period, our nation’s economic downturn, one that is fueled by the ongoing real estate market crash. Hello folks??? Writers have morgages to pay just like anyone else. When they begin to face foreclosures on their homes, as I suspect a good number already have, and are…strike, or no strike…well, many will soon be forced to cross the picket lines, and that isn’t a prediction…that is a reality. The studios and networks know this…and are moving to cause as much pain and suffering to WGA members as possible…by either busting or weakening the union…serving to put the fear of hell into other entertainment guilds in terms of negotiations, hence, thwarting future strike efforts, by intimidation and example.
In the end, all I can say for certain is the following: The leaders of the Guild need to seriously re-evaluate their positions, as well, the members of the WGA must re-evaluate their union leadership, as their strategies…again, that of the leadership, have been lacking at best. As I said in a prior post…this is a worthy strike, however…they chose the wrong time to strike, in respect to the short term, and long term financial well being of their members. By the time this strike is resolved, the writers will be forced to accept a contract with the studios, networks and producers that will be drastically less in its worth than the contract they would have gotten if they had waited another 2 to 3 years from now to strike, when the country’s economic outlook would have been much brighter, giving the writers some much needed financial leverage (strength), thus helping them to hold-out during a lengthy strike, if needed. Now as things stand, the writers will take a major loss, one that is going to result in this whole strike being a sizable bust for them. The writers, and all artists…who create content which the studios, networks and producers exploit, deserve much better.
Writers, actors and directors…must pull together to form their own companies to create films and television series, and other “creator owned” content, that they exclusively control…absent the participation of third parties, save for Angel Investors. Owning content (the product…such as film prints and authorship of scripts/stories) will put the creative community back in charge of itself, rather than continue to play convenient court jesters for greedy Fortune 500 Companies that buy their way into Hollywood via seemingly never ending corporate mergers, year after year. That is where the writers’ royalties are going to, financing the “Golden Parachute” deals of film and TV company executives (corporate raiders/criminals) who are stealing the futures of the Hollywood artists (writers, actors, directors, etc.) and that of their families…and most insultingly, their children.
It is time to take back Hollywood, through creator owned content–this through establishing independant film companies and networks that the artists own. In addition to creating the content therein, the artistic community can seek out distribution through alternative means…,i.e., Netflix, Apple’s new I-Tunes Online movie service, Blockbuster Online, Independant Theatres, and Independant Film Distributors–so on, and so forth. This is the wave of the future…and studios, networks and producers need to be told, in no uncertain terms, that the artistic guilds…and their membership are prepared to do what they must in order to protect their royalty interests…even if it means going partially or completely independant of studio and network management, so be it. It is the ultimate scorched Earth Nuclear option that the WGA and other creative artist guilds can play in these negotiations which the powers that be in the executive suites can appreciate, and fully understand. If they, the studio and network management, fail to act as honest negotiation partners with the unions and their members, in respect to fairly sharing royalties, then that very creative community will move to become their direct competition in the marketplace.
Any screenwriter who thinks this is an excuse to say “To hell with it, I’m going back to work,” doesn’t understand this strike and probably has been just waiting for an excuse to say that anyway. We’ve gotten what we wanted from Letterman’s company. Why shouldn’t they be rewarded with going back to work? At worst, it clearly says that our demands are not unreasonable. At best, it shows the companies who won’t make a deal with us as greedy and intransigent. Which they are.
“WGA’s organizers may not have what it takes to achieve an industry-wide deal that will create a strong and sustainable economic future for writers and producers alike.”
The leaders don’t have anything going for them except ire. The WGA will fracture by Jan 15 and get NOTHING. Quoted for truth.
Feature writers are angry? What a joke. Features have been shooting throughout the strike. Writer/directors are “deleting” scenes, not “writing,” on films that are scheduled to start this spring. TV writers have been carrying the strike. Your anonymous feature writer is being incredibly disingenuous.
I’m a produced feature writer with a quote in the high six figures. I’ve worked continuously for the last eight years. I’m not ready to go fi-core yet but I agree this strike has been all about TV and feature writers have largely been hung out to dry. It would only take a few high profile names to go fi-core for me to go the same route.
The GM analogy is flawed and actually works against the point the reactionary feature writer was trying to make. Auto unions negotiate with individual companies, not an organization of competing companies who collude against labor at a single negotiating table. The WGA deal with WWP is actually more in keeping with traditional labor negotiations than not. Would that the entertainment industry negotiated with unions like the auto industry does, because a strike would probably have been averted altogether.
Check with Leno???? WTF??? Jesus Christ! We don’t need to be giving backrubs to scabs here. The only point in making this deal was to then picket the hell out of the scab shows and try to get all the actors on Letterman instead. If we’re going to be too busy offering pony rides and hair braiding then this deal is not only pointless, but idiotic. What the hell are we doing? Jesus, if Leno is really that supportive, but not supportive enough to stay off the air where it really counts, then what he can do to help is to publicly refuse to book any A-listers until this is over and tell them to go on Letterman instead, rather than having his executive producer out mocking the idea that they’d have a tough time booking SAG members. Ditto for Conan and Craig Ferguson. Sorry dude, but there are more important issues here than how much money you can make for the company that shitcanned your ass and your personal rivalries.
Yet today the WGA made an interim agreement to send writers back to work that by definition could not have achieved these jurisdictional goals — gains that would at a minimum require the company making an agreement to actually produce reality and animation programming.
Someone please explain to me how this isn’t true? This deal seems like a very bad mistake on the part of WGA leadership.
I’m a successful screenwriter who fully supports the guild. We shouldn’t point fingers at each other and characterize this as a “TV Strike” or any of that nonsense. This is a Writers Strike — for the benefit of all writers, including those of future generations.
By the way, did that AMPTP release suck, or what? It’s almost unreadable.
Real Quick…
I’m a little unclear here on who these name writers are. While I don’t doubt you spoke to them, what confuses me is that they seem more interested in sending you e-mails than they are in attending WGA Strategy Meetings called to inform everyone what’s going on with the strike.
Here’s a quick recap for you and all those writers who are too busy complaining to attend the pre-Christmas Meeting…
1) Although it was announced that negotiations with Worldwide Pants were beginning, David Young had serious reservations. His point was the only deals that were going to carry any weight, were those with major signatories…
2) He further said that any such deal would still have serious repercussions, in that it would allow some writers to go to work while others would be forced to stay on the line and they would only make such a move if they thought it would make a difference in the long term…
In short, the strategy of talking with individual members of the AMPTP was discussed and negotiations with Worldwide Pants was placed in context of the bigger strategy…
Everyone in the auditorium seemed to understand the issues and the stated goals of the negotiating committee (despite the obvious disagreement on whether or not they should be talking to Worldwide Pants at all).
Now I don’t want to speak for the negotiating committee of the WGA, but it seems to me that since every talk show was heading back on the air regardless of whether or not they had writers (Leno, O’Brien, Kimmel, Stewart, Colbert and even Letterman). Now, that being the case, they all were going to be having the guests your friends were complaining about.
It seems to me, if they were all going back anyway, why not broker a deal with the only host who has repeatedly and incessantly attacked his corporate masters whenever he got the chance. Don’t you remember Letterman’s last year at NBC, after they had screwed him out of the Tonight Show? This is DAVID LETTERMAN we’re talking about, you think he won’t go after Rupert Murdoch and Summer Redstone every night till he’s blue in the face and do you really think his writers, our brothers in arms, won’t supply him with plenty of material?
And at the end of the day, how many strikers have we lost? 20? Out of the thousands of members that are on the line every day?
For the first time since the strike began we’ll finally have a voice on National Television and that’s got to be worth something. To me, it’s more than worth losing a few “big name” writers who can’t even be bothered to call their own Guild to see what the reasoning was behind their move and further, can’t even see the potential public relations boon this gives the Guild in light of mass return of Late Night as soon as January 2nd…
As a screenwriter for 8 years, whose worked for 5 major studios, as many mini-majors, and who has only recently begun working in Television, I can only say I’m disappointed by any working writer that takes this moment to walk away from the fight of his generation.
This is either great news…………or a pending disaster?
It’s far too easy to spot the AMPTP posse posting here. We all know the Letterman deal is a good thing. He’ll educate the rest of the nation regarding the strike and do it in a way that helps the WGA. There’s no greater TV personality to have on our side and on the air at this time. Please don’t talk about Carson Daly or Ellen as pieces of the WGA’s crumbling strategy – that’s a load and it does not shake any of the writers on the picket line. If the AMPTP really thought the WGA’s strategy was not working then they’d stop jumping up and down with their bullshit statements. These guys sound like such spoiled old men who are so furious they aren’t getting their way. “How dare these lowly WGA members defy us and strike!” Sheesh.
Writer, outside the gates… applauding the Letterman news
“The WGA will fracture by Jan 15 and get NOTHING. Quoted for truth.”
Does anyone expect us to take these apocalyptic declarations seriously? I’ve never been a conspiracy theorist, but comments like these are why I’m convinced there’s a school of AMPTP cuttlefish waiting to spray ink every time the guild makes a smart move and Nikki posts it.
“…this strike has been all about TV and feature writers have largely been hung out to dry. ”
And if that’s not designed to drive a wedge into the guild, I don’t know what is. More and more, I see the X’s and O’s of the AMPTP playbook in these posts, and I’m not buying it. I wholeheartedly support our leadership and the Letterman deal.
Bottom Line — with the DGA about to hit the conference room, the Guild needed someone to validate our offer. Letterman negotiated the best talk show deal in town, proving himself an excellent businessman. By accepting our terms, he destroys the argument that our demands are economically untenable. This deal, as modest as it is, guarantees we’ll get at least some sweetening over the DGA agreement.
Yeah, reality and animation don’t really apply to the WWP agreement, but then the Guild has explicitly and repeatedly stated its main focus is new media, and that it would not allow R&A to be a deal breaker.
Those guys really are in fantasy land. What a crazy, desperate move. Letting Letterman go back to work with writers is going to break Jeff Zucker? Could they possibly be that stupid? Sure, Letterman will get a bump at first, but middle america has consistently picked Leno, and will continue to, even if this a-list deluge of names hits Letterman…which I doubt will happen…do you see any a-listers shutting down production on their movies in support?
But at least this will be over soon once the water starts flowing through this crack in solidarity the WGA leadership opened up with this.
I love how the AMPTP statement hits all their talking points once again rather than focus on the fact that Worldwide Pants has agreed to everything the WGA wants in terms of new media. And new media, not reality or animation, not the sympathetic strike clause, and certainly not some made up theory that Patrick and David are power-crazed, is the thing this entire strike is about for both feature and TV writers (as under the AMPTP plan both movies and TV are to be shown online in their entirety with no payment to writers as it’s simply “promotion.”)
I just hope Alan Rosenberg asks SAG members to honor the picket lines (on late night and at the Golden Globes) because if the actors don’t help out now, in six months they’re going to be on the picket line, too.
Feature writers, TV writers, all SAG members and yes, even many DGA members all face the same issue– New Media. We are all in this together.
Thanks Dave for being the first one to treat us fairly!
I just don’t understand how the Guild could have gotten everything they want from the AMPTP from Worldwide Pants. WWP can’t give them jurisdiction over reality and animation, can it? WWP can’t cut them in on distributor revenue streams. And, by the way, if WWP has given its writers “sympathy strike” power – does that mean they can walk out at any moment, since the rest of the writers remain on strike themselves? And if they don’t turn around and walk out, then what the heck value is there in sympathy strike power, anyway? If this be solidarity….(what would Lech Walesa do?)
Doesn’t this “interim deal” just turn into whatever the real deal is when it gets made? So what does WWP care what the new media deal they agree to now is? They pay it for a few months and end up with whatever ends the strike.
Craig @8:47pm, that was pitch freaking perfect. Thank you.
What deal did WWP agree to?…….the press release says” the one we were just about to present…” but does anyone have any idea what deal that was? (Where is Donald’s boy Patrick when we need him?)
Are the six AMPTP walkaway issues in this deal? Or did the WGA just agree to what the AMPTP wanted? Sure sounds like it…..
Verrone and Young – did you get everything we went on strike for – or did you get a deal, any deal?
If the six issues plus added DVDs are not covered it will be voted down if you push it on all of us.
We walked for everything – not a partial deal.
I have to point out one thing here, and that is the assumption that because Letterman will have his writers that he will get better ratings. I don’t believe this will be the case, I believe the ratings are largely driven by the likeability of the host, and the guests that they book. Leno will be back on the air, and he will do his best to put on an entertaining show. The people who like his brand of comedy (and let me be clear that I think Letterman is a better written show, always has been) will still tune in to see him. Also, if Letterman does use his “bully pulpit” as some think he will, there will be a portion of the audience who will tune that out. Of course all the industry people will laugh and applaud his jokes, but Joe Sixpack probably won’t want to hear about this every night. Jokes about internet residuals just can’t be that funny, and Dave has been poking “fun” at his corporate masters as long as he’s been on the air, indeed its part of his schtick. I predict the ratings will be largely as they were pre-strike once everyone is back on the air, and the actors will follow the ratings, picket lines be damned. I’m not happy about this, but I think it will turn out to be true.
WTF? – One minor point of clarification. Craig Ferguson’s show is off strike now, as it is owned by WWP.
As I’ve already said, I’ll not be watching any of the still-struck late-night shows until after the AMPTP sees a cranial proctologist and seeks a cure for its odd medical condition.
In the meantime, I’m looking forward to Dave and Craig!
Dear Produced Writer –
How have the screenwriters been hung out to dry? We have simply not been as visible — certainly it is the loss of the television season that has been news, that is where the conglomerates have been the hardest hit. It is only in a long strike that the conglomerates will feel it on the feature side. But the benefits that are being fought for will be for everyone. I do not mean to seem cynical, but whenever I read about someone considering going fi-core in such a cavalier manner I can’t help but feel they are perhaps not exactly who they say they are.
Troll alert — reading too many comments from ‘confused’ readers who don’t get how WWP deal solves reality, animation, or sympathy strike deal points, as if those were the Guild’s focus.
To the Trolls — your boss is lying to you. Writing these bogus, disingenuous comments will not put you on an executive career path. You are the chum of the PR industry and will never be taken seriously by any of your employers. Why sell your souls at AMPTP rates, i.e., nothing? You deserve better than that. Everybody does.
Outside the gates wrote: “We all know the Letterman deal is a good thing. He’ll educate the rest of the nation regarding the strike and do it in a way that helps the WGA.”
Others above have talked about ol’ Dave putting it to Sumner Redstone and Rupert Murdoch every night, he and his crack writers and a parade of SAG guests turning the show into an hour of agiprop every weeknight. (”What would really be great would be if we could Stewart and Colbert back too!”)
Are you people grown-ups?
I’m filing these foolish comments away for a week or two. As someone above said, time will tell, won’t it?
What happened to “WE’RE ALL IN THIS TOGETHER”?
I am not a feature writer, I’m a TV writer on a Fox show.
I’ll be DAMNED if I’m going to continue this strike while other writing staffs are getting paychecks. I’m picking up the phone TOMORROW MORNING and calling my fellow writers to begin organizing a mass fi-core. If enough of us go, we can get our show back on track.
Who, outside of the lawyer who wrote AMPTP’s press release, can figure out what the hell they’re saying without having to read it twice? Is that seriously intended for the general public? Yeah, there’s a human face behind the AMPTP, all right. He lives in a closet huddled around reams of “New Economic Partnership” drafts, chewing on chicken bones and staring at a computer screen. Somebody get that glass of water and walk him around the block.
What happens if Leno, without writers, still gets better ratings than Letterman? America, for some unknown reason, prefers Leno. Won’t it be a huge embarrassment to the WGA if he continues to win the ratings war?
I prefer Letterman, but I want to watch Leno’s show during the strike. It’ll be more exciting watching Jay struggle than seeing predictable Dave.
The berserker feature writer doesn’t speak for me…. makes an excellent point. The auto makers are actually in competition with each other, they don’t form a giant cabal where they collude with each other against their employees and shareholders. How many truly independent networks exist? How many independent feature producers don’t rely on the major studios for distribution? We can’t make any independent deals whatsoever without making money for AMPTP members or, uh, having writers go back to work, that’s kind of the point. And uh, feature writers never stopped working (and there’ve already been rumblings that we’ll splinter the guild plus piss off btls if we try to shut down film production, you know the way we’ve already shut down TV? so *shrug*).
“WGA worst move ever was to put the reality/animation TV on the table when the only thing left to negotiate was the downloadable content.”
More bs. Reality/animation was always on the table, and as far as the only thing left to negotiate? Uh, not so much. The AMPTP won’t actually negotiate anything with us, period. First we made a major concession in order to reach an agreement on downloads. Then they reneged on that agreement. Then they refused to negotiate at all. Then they so benevlently agreed to to sit down, but failed to make a counter to our offer and again walked away. Nice try, though. Gosh, we were *this close* to making a deal.
When strikers didn’t shut down Ellen’s shows and Caaron Daly’s show it was all over. Did any one vote for this “Divide and Conquer” strategy? Can someone show historically where this has worked as a union negotiating strategy. There are hundreds of production companies. Will the WGA slowly make individual deals with all of them? Its absurd. I’ve never heard of a strike where some workers get their jobs back while others are on strike. Leno is a scab. He should have been condemned for that alone. He should be stripped of his WGA membership for life as should Stewart and Colbert. Sorry. If the Guild had not made this side bar deal with Letterman at this time, they could have thrown their full weight behind the shutting down of the Leno show. Now they have muddied the waters. The studio move to put these shows back on was to counter the Letterman deal. No one in America will know the difference folks! It will be “Honey, the shows are back on. Yes, all of them.” You don’t think Leno with his faxes and Stewart with his wit can write their ownh shows? Ha! You are underestimating these guys. The WGA has lost the “hearts and minds.” Sorry, but its true. That move broke our own solidarity as you can see by many of the above comments. When they didn’t stop Ellen it was over. They got squeamish? Who knows. A strike is a strike. Period. “Divide and Conquer”? Sounds like a harebrained scheme that will backfire (or a new buddy cop picture!). I think it already has. I think a lot of us thought this would be a long haul strike, but the Letterman side deal shows that the Guild leaders got scared and buckled. Too bad. We could have won this thing. See you next contract.
(Screenwriters need their own guild. Something to think about.)
to writer @ 9:18:
You do yourself and your cause a disservice to brush off the comments of anybody that doesn’t agree with you as the rantings of an “AMPTP shill” as you guys always like to call them. Many people have many different points of view, and opinions. There are over 10k writers…all completely different people, and not all of them will hold your exact same beliefs. There are hundreds of thousands of others that work in the industry who all have different points of view and different opinions. To discount anything other than your narrow view only makes you look like the irrational nutbags the AMPTP is trying to paint you as, and marginalizes your cause.
What’s next, everybody that doesn’t agree with the war in Iraq gets labeled un-patriotic?
I have no problem with any writer going back to work on a show that gets a WGA-approved deal. As for Jay, Conan & the rest, I will be picketing them with gusto.
I’ve read several comments about how the Letterman show, once it gets back on the air with union writers, actor guests, etc., will have a chance to talk about the strike and the writers’ interests frequently on the show. Trust me, if this happens, viewers will flee in droves. Regardless of the rightness of the cause, late-night television comedy viewers don’t tune in to listen to political propaganda of any flavor.
“Worldwide Pants is not an AMPTP member.” No, but Worldwide Trousers, the WWP subdivision that produces the Late Show, is.
I think this is an important enough fact to be included in the body of the story.
Here’s one feature writer who’s hanging on… they said that either the AMPTP breaks up or the membership does. I’m staying strong to the bitter end. As long as it takes.
Risky and bold. But hey, that’s how I like it.
Hey Nikki, how about changing the headline from
“Will this divide the guild” to “will this divide the networks”
I’m guessing that when the AMPTP says this deal is bad news for the WGA that means… it’s not.
tvwriter@9:22 pm
You obviously weren’t at the Dec meeting where they talked about this in detail. They said their new strategy would mean that for a time, some of us are working and some of us aren’t– but it’s part of an overall tactic to break them apart.
The down side is it runs the risk of breaking apart the membership if they’re dumb enough to not see the overall picture.
You get petty and go fi-core, you fuck everything up for every one of us and ultimately for yourself and the creative community at large. The strategy is to divide THEM. Show them the benefits of working with us and the peril of working against us. That means for a time, some of us will work and some won’t. And in the end, we’ll win.
But our side has to stay strong. Let Letterman’s writers work under OUR terms. That’s already a partial victory for all of us. The rest will come so long as long as we stick together.
Deep breaths. It’s part of a strategy, dude.
I’ve just found out that Leno’s first picket line crossing guest on Jan 2nd is going to be Gov. Mike Huckabee. I’m a little bit shocked that ANY presidential candidate would allow themselves to be photographed crossing a picket line!!! Even a Republican…. Wonder if he will cancel now…
I love Letterman, and I completely support the deal which the WGA has struck with him, however…if the waivers fail to be granted for the award shows by the WGA…the actors will not be able to broadcast a message of support for the writers guild…thus, the strike will fall further under the public radar, save for mostly negative press that will most likely hurt the WGA, not the AMPTP. The waivers will help to put the writer’s issues back in the major media, where it belongs–while protecting solidarity between the writers’, actors’ and directors’ guilds (the major entertainment unions).
The award shows are typically used as a spotlight for the actors and directors, above all others, and their accomplishments in film and or television. If they begin to feel that they have been progressively undermined by the WGA’s failure to grant those waivers, which, again…will allow the awards season to go uncancelled, the actors and directors are certain to be splintered in regard to their continued support of the strike…and that is bad for the WGA.
The answer??? Grant the waivers and implore the actors, directors and WGA members, etc., to use the alotted time for their award presentations (as presenters) and via acceptance speeches, to give a vow of support to the unions, namely the WGA…and remind the public and the media that most union members in the entertainment industry are not wealthy people…rather, most are underpaid average “Janes” and average “Joes” who are financially struggling to make it, just like most Americans, and other citizens of the world…irrespective of national borderlines. Actors and directors can also use their time on the red carpet and during press interviews–preceeding, during (backstage–post award wins), and immediately following the awards broadcasts to re-assert their support for the unions. Yes, instead of discussing who you are wearing, tell the press who you are supporting in the strike. Trust me, if you believe that nightly pro-union Letterman talkshow monologues will help the unions, the public and media, at large, seeing a flood of famous actors and directors dedicate their award wins to the unions, one after one…win after win… will be a triumph for the WGA, and all major entertainment unions that will act to stun every eye in the available viewing audience, worldwide.
Was it just me, or does that AMPTP release have you scratching your head? After reading several well-thought-out press releases and quotes from WGA, SAG, Letterman, et al, over these very sensitive issues, I am still trying to understand what point the AMPTP is trying to make. Sounds like their statement was written by an eight-year-old. The studios’ public credibility has gone into a serious downward spiral with the AMPTP’s representation.
“What’s next, everybody that doesn’t agree with the war in Iraq gets labeled un-patriotic?
Comment by tv editor — December 28, 2007 @ 9:34 pm”
Hey “tv editor” that same line has been used to death by people who are clearly AMPTP shills, both here and in comments at United Hollywood.
No doubt the PR boys thought the following: “Let’s see, a lot of Hollywood writers are liberals, let’s shame them by comparing them to the Bush Administration!”
What an amazingly transparent idea.
And what’s even more amazing is that the AMPTP is actually paying them to come up with this stuff.
Get some fresher material. You’re giving yourself away.
I’m a Features Writer and I have no problem with this and frankly I don’t know many Features Writers who do.
I don’t even know where all that came from. We know what is at stake, we planned for a 6 month strike to secure our future and quite frankly our financial freedom from these monolithic Corporate Monsters.
We need to start making more deals with any Company who wants to benefit from our Services. Producer Owned Shows, Independent Film Companies, etc.
Plain and simple.
This deal helps our cause, it blows the AMPTP PR bullshit machine out of the water. Read their latest statement, it reads like an impudent child wrote it. It is truly laughable. Yeah, they ARE pissed because it exposes that very core issue: Fairness. And they can’t spin this any other way.
Dave changed all that. Dave is one of the few old Schoolers who truly admired and respected Johnny Carson not for the Entertainer he was, but for the man he was. Johnny I’m sure is winking to Dave right now because he did what he knew was right.
WGA asked for a fair deal from WWP and it was settled fairly easily. Our Demands are not only reasonable, they are good business. We need to picket the shit out of the other Late Night shows with SAG at our side. There is absolutely no doubt about that and we must be merciless…
Bargain fairly with us and you will benefit, try to fuck with our future and suffer the consequences.
I know no Features Writers who don’t understand that.
I dont really underestand the meaning of “fi-core”?Can someone explain it to us illiterate writers?Thanx.
As has been pointed out before, by the WGA coming to an agreement with WWP, it shows that the WGA’s demands aren’t unreasonable. And that the WGA wants to negotiate.
To the writer who is going to organize a mass fi-core movement, I’m not going to accuse you of being an AMPTP shil or agent provacateur because I have no proof one way or the other. But, if you are from the AMPTP, you should be ashamed of yourself for resorting to such low-down, manipulative, (for lack of a better word) soulless tactics. If you are a writer, then I beg of you to look at the bigger picture. Yes there are maybe 40 or 50 writers at the very most who are going back to work, but they are going back under a WGA-acceptable contract. Fi-core is going back on the studio’s terms. Yes it sucks that the writers on WWP shows are lucky enough to go back while you are not. But every group has to have a champion somewhere, so as long as the writers can remember that they are still fighting for the WGA and that they should use their ability to use up CBS’ airtime, this is a step in the right direction.
Writers, I urge you to remain strong. Together you guys can do this. You can effect change. As we all know, it isn’t pleasant and it isn’t easy, but it IS important.
I don’t understand why some writers are upset about this, other than childish jealousy. The whole point of the strike is to get a fair deal for the writers, and that’s what just happened for the Letterman writers. Don’t be mad at them. Be mad at whichever AMPTP company you used to work for that refuses to make the same deal with you.
It’s nice that a dozen white male writers get to go back to work. Too bad there are no women or minorities on Letterman’s writing staff to join in the fun.
I think this is a great, positive win situation for the WGA on many levels, especially the public relations fight, which is looking bigger each day the strike continues. The deals tells the public the following:
“WGA IS reasonable – writers DO want to work – and, WGA union leadership IS reasonable in terms of negociating with producers.”
The producers’ group have really tried to paint the WGA union leadership as a bunch of raving lunatics. It is important for the benefit of all writers that the positive public perception of WGA remains at the forefront of the public relations war.
Consequently, I hope any producer who can negociate an interim settlement will quickly follow Dave Letterman’s lead, if acceptable to WGA, so that more and more writers return to work – and the WGA continues to win big on the public relations front.
This is really important.
The WGA is making the best of a tough situation. Now, if they can get SAG members and politicians to boycott the shows produced by companies that won’t negotiate (so all except Worldwide Pants at the moment) then it pays off.
As others have pointed out, most people watch these shows because they like the host generally and that night’s guest specifically. These shows have large sections that are unscripted and have nothing to do with the sharpness of the writing.
America, which has preferred Jay to Dave for years, isn’t going to stop doing that suddenly. But if no SAG actors go on Jay and Conan, it will help. And that’s not that I have anything against those hosts — just their corporate bosses.
On January 2nd, if you’re in L.A. or NYC and are a WGA or SAG member, please get your butt over to NBC (or 30 Rock) to get this picket off to a strong start in the new year. Let any actor who goes on these shows, (who unlike Jay and Conan are not keeping a crew from getting fired) that they are hurting their own cause and helping the very same companies who plan to screw them come June.
If anyone thinks the AMPTP is going to fold they are seriously deluded. The film and television business (especially for independent producers on the film side) is an increasingly unprofitable endeavor. Product is produced more to fit a distribution need versus being a profitable, stand-alone endeavor. With that in mind, there’s little justification for these companies to perpetuate an unprofitable system. In all honesty, writers should be given a stake in New Media and new technologies. However, at the same time there should be roll-backs in residuals, minimums and a few other areas to reflect the current market realities (no different than what the airlines have done to save an endangered industry). In addition, the animation writers should be organized if they cannot establish a fair market value for themselves, but organizing Reality is just plain silly because that programming only exists because it’s “cheap” to produce … if it gets to be too costly, then the whole format will be eliminated and even more jobs lost. It would be tantamount to organizing infomercial writers. If the writers are looking for a better deal, then they need to make some concessions as well (like creating a $5-$15M film budget threshold with lower minimums and fringes). There should also continue to be free re-writes because the current system encourages professional writers to hand in mediocre first drafts in order to get the re-write fee. Bottom line, the whole system needs to be tweaked on both sides.
This is absolutely good for the cause.
I feel for the folks looking at this and feeling bad that they don’t get to go back to work yet. I do.
But mainly I think that this is a very small first step in breaking the monopoly bargaining position of Big Media. And that’s good for everyone. (Well, except for the moguls, but cry me a river guys.)
Please, screenwriters, go fi-core. Then when you watch your films being played on the internet for nothing, feel free to complain to yourselves.
Oh, and welcome yourself to the world of hate.
Glad this deal got done, but I do understand the potential problems it could cause with screenwriters. I hope no schism evolves. This should be seen as a positive and as something done after much consideration about this issue form the Negotiating Committee, which is comprised of both.
The only late-night shows I used to watch were The Daily Show and The Colbert Report. David Letterman (and possibly Craig Ferguson… no harm in giving him a DVR record once or twice and then making a decision) will not replace those shows until similar interim agreements or an industry-wide contract is reached.
I wish people would stop calling Leno, O’Brien, Stewart, and Cobert scabs. As I understand it, they are still WGA members, and as such will not be doing any writing for their own shows. They went back to work as hosts so that their non-writing staf could keep their jobs. Someone correct me if I’m wrong, though.
From the AMPTP statement:
“The people in charge at WGA have insisted on increasing their own power by prevailing on jurisdictional issues such as reality, animation and sympathy strikes. Yet today the WGA made an interim agreement to send writers back to work that by definition could not have achieved these jurisdictional goals — gains that would at a minimum require the company making an agreement to actually produce reality and animation programming.”
Roughly translated into somewhat coherent English: The WGA doesn’t actually care that much about reality and animation jurisdiction.
And so the AMPTP contradicts their #1 argument over the last month.
As a feature writer with two indie features currently in limbo because of the strike, I say GREAT that the Letterman writers are getting a WGA deal, and I hope my producers–and frankly everyone capable of getting financing and distribution outside the studio system–do the same.
I hope the networks and studios sink into the La Brea tarpits along with the rest of the dinosaurs and sabertooths if they won’t cut a fair deal with those who are their life blood, the writers, directors and actors. UA started when “united artists” decided to control their own fate. If we mean nothing to GE, then F*CK them and let them make their money with other product. Let’s make our own.
If Letterman really wanted to help his writers financially, he would have allowed the Late Show reruns to be shown on some cable channel. At least, those residuals would have amounted to something.
As it was, he gave away next to nothing.
Sure, he’s sympathetic to the guild, being a long time member and all, but all other shows go back to work too.
The absence of writers will hurt Jay more – longer monologue – than help Dave. SAG will picket but there are too many shows to bust. Within two weeks, every big time actor-director-quasi-celeb will be on Jay, Conan and maybe even on Jimmy (not that they would go on Jimmy even when they is no strike)
Zucker, Fox and ABC won’t follow WWP either – they have reality and news and are in it for the duration.
There’s little downside to WGA for striking the WWP deal separately but having all the talk show return at once can’t be good either.
The PR from this deal won’t last. If there’s no deal by February, the feature people will be going back to work, having worked at home on scripts anyway while the pilot season will be canceled. The TV scribes may have had more to win but they have arguably already lost more than they could have won.
Studios and networks still have plenty of inventory to offer.
If this was settled after 2-3 weeks, this would have been a good strike. As it is, this will create too much hardship and ill will.
Verron expected an easy win but he instead got a Waterloo.
I shake my head when I see some of our fellow writers threatening to go fi-core and go back to work. They’re using this Letterman deal as an excuse to go back to work. Just an excuse. These are the people who would have abandoned us anyway. I hope they do go back to work. At least then we’ll really know who our ffriends (dare I say comrades?) are. Let’s face it, not everyone is willing to go the whole mile. There are members of this guild who are looking for any excuse to jump ship and this one will allow them (they believe) some cover.
I knew people like this back in high school and not much has changed in adult life.
The Letterman deal gives us the first solid weapon against the studios and networks. Night after night, as his audience grows and Jay and Conan retreat back into the mist, Letterman – who called network execs weasels during the last strike on a daily basis – will be a thorn in Jeff Zucker’s side. He’s going to be forced very soon to appear on the Guild’s version of “Deal or No Deal.”
Jay and Conan would do better to show some backbone and resist the urge to go back without their writers. They will look pathetic and let’s face it, the staffs of every other show on NBC aren’t getting paid, so why should the staff of the two late shows get paid because the stars of the shows – both WGA members – are scabbing?
Letterman’s staff, on the other hand are working for a company that is NOT scabbing. Far, far far from it.
If Worldwide Pants can stomach our demands, imagine how stupid the big corporations, which could EASILY absorb the financial hit, are going to look.
I’m behind the WGA a thousand percent.
I agree with this move, and even if I don’t agree with all of them, I will stand firm behind my union.
“Today’s agreement is just the latest indication that the WGA’s organizers may not have what it takes to achieve an industry-wide deal that will create a strong and sustainable economic future for writers and producers alike.”
This sound like anyone who wants to come to the table. I am so tired of this bullshit, I think the WGA is saying” if you don’t want to negotiate, will do it with out you. ” Lets see how the popular girl likes NOT getting invited to the party>
Thank you, David Letterman. You are, and ever shall be, the true class act.
Thank you, Alan Rosenberg. Your wife’s hot, but she’s the lucky 1.
Craig, you rule.
TVWriter, et al (if you’re not a troll/shill, you’re tragically superficial & pathetically ignorant of the big picture), you suck!
We’re gonna win this, you guys. Hang Tight & Tough!
Feature Writers – soon all theaters will be digital too – and the companies will claim that’s internet. There won’t be DVD’s in a couple of years, everything will be streaming. This is a fight for all writers. TV is just where it hits the studios first.
Stand together no matter what type of writing you do, and for all no matter what type of writing they do, and you will secure the future for all.
To the feature writers who feel this is all about TV: You do realize that your films can be streamed via that extremely new internet thing for free with what the AMPTP is proposing, right?
and I have a question. I’ve heard many times that this strike was timed badly… I’m curious as to when a good time to strike would be? During the summer when the networks can revise their fall lineups? or the spring when most of the current season is in the can? Granted this is the time that hurts the most people, but it’s also the time that hurts the studios the most.
Not that it’s likely to happen…
But it’d be pretty funny if Worldwide Pants started developing reality and animated stuff under their new interim deal.
It’d be even funnier if they put together a new late-night talk show and got it set up on some cable network that wants to take advantage of the moment. If they’re the only team in town that can make money under a WGA deal, there’s no reason they have to limit themselves to two shows.
Heck, they could develop pilots, even. What would the AMPTP do if WWP were to start cutting into their other business…?
kdb
Leno’s and Conan’s writers should absolutely go fi-core now they’re fools if they don’t go back to work. Same thing for the Saturday Night Live writers. NBC has been a lot better to all of them than WGA has.
I predict a floodgate of writers will be going back to work fi-core style by the end of January. This really was a TV strike to start with and that FOX TV writer who wants to organize his fellow staffers into a fi-core group has the right idea. The strike won’t be settled until April at the earliest. Quite possibly June.
Why should those writers who need money continue to walk in circles when other writers are going back to work? Ridiculous to expect this type of blind support. The auto workers analogy is accurate here. If the UAW can make a deal with Ford but GM refuses to give their workers the same deal you better believe those GM workers would want to start making Fords instead of Chevys.
Does anyone really think Letterman going back on the air with writers is going to bring “pressure” on the AMPTP? Why would one late night comedy show signing an “interim deal” with the WGA cause major corporations to rethink their strategy?
As far as the public is concerned, the whole strike is about late night television. (Most of them think it’s over.) Why would the Guild soften its own strike by allowing Letterman to have his writers?
What evidence is there that signing side deals with individual companies has any effect on the AMPTP? Isn’t the AMPTP trying to bust the union? Isn’t that why they won’t talk to us?
The AMPTP is inflexible, uncreative and humorless. But they aren’t weak. We’d better come after them with something better than a side deal.
And if you think Letterman is going to be leading the strike from the Ed Sullivan Theater, guess again. He’ll make a few cracks and then get on with Stupid Human Tricks . . .
I would say the 4 or 5 writers threatening to go Fi-core should do it. You few seem thrilled with your six-figure incomes and your assistants have convinced you shouldn’t have to pick up your own dry cleaning. It’s made you comfortable, cowardly, and whiny. The people at the very top who lack big-picture awareness in any field often start to turn on the Unions that forged the way for them to get the fair compensation and win the battle for all workers for the 40 hour work week, overtime, health insurance etc. The point of a Union is it’s not about “you” it’s about “us.” So go Fi-core or shut up. The sound of your voice does not interest the world as much as your assistants would have you believe. And I love you Nikki, but quoting “unnamed sources” and protecting their identity for hard useful info. on how talks are going is one thing, letting cowards whine with anonymity is just shoddy journalism and you know that.
I’m a feature writer, but it feels a little petty to belly-ache about a handful of late night writers going back to work. Seriously, are we really just that petulant and selfish?
I say good for WWP and the Late Night writers. They’ve gotten more coverage in the MSM than any WGA rally to date and as soon as grumpy Dave shows up with an arsenal of angry writers coming up with jokes for him, our side of the fight is going to be beamed into American households every night and put pressure on NBC to get the AMPTP back at the table.
This helps us. Sure I wish I was working, but I grasp the strategy here and appreciate it. I’ll be back on the picket lines in the New Year and supporting our friends at Late Night.
Part of being in a union is doing what’s best for all of us, even if some individuals don’t see an immediate benefit. Sure seems like the union has a plan and I hope it works. And anybody going back to work without the WGA say-so ought to know- doors will close to you forever. People will not forget.
I am only a consumer and as such my only real stake in this is to have the shows I like back on the air. That being said, I have done everything I can to support this strike from the very beginning. I want all writers to get a fair deal and go back to work. I do confess I want the moguls taken down a peg or two or three or….
My real motivation for this post is to say I support the writers and am asking all of you to think before you break ranks. I don’t know if this deal with WWP was a good or bad strategy but it’s done so I’m asking that all of you move forward and stay solid together.
For everyones sake.
Together you may or may not get all of what you need but I guarantee that apart you all will get nothing!
Thank you WGA and WWP for not just thinking outside the box, but making a deal outside the box.
There are MANY feature writers out there in complete solidarity. Please do not allow one voice to speak for all of us or “divide and conquer” us. We are all writers. It doesn’t matter where the origin of our material begins – TV or movie theatre – it will ALL end up being downloaded on the Internet.
We’re all in this together. Except those that get to go back to work.
This mindless robotic following of our hapless negcom strategy would be humorous if it weren’t so disheartening.
We’re all in this together. We’re all in this together. Just keep repeating that. A good mantra will pay the mortgage.
Any “screenwriter with a six-figure quote” who states they’re going Fi-Core either:
A: needs a great deal of help managing their income;
B: needs to take a chill pill & a serious look at what going Fi-Core really means to their future once this strike does end; or
C: maybe, just maybe, they’re not really screenwriters with a six-figure quote.
Pay attention, y’all: the trolls have scurried out from under their bridges & they’re posting nasty messages everywhere. This agreement did not hurt the Guild – but it certainly seems to have hit a nerve somewhere…
Yes, there is a lot of knee-jerk labeling of people with contrary opinions as AMPTP shills. But, then again, there truly are number of disingenuous folks here blowing smoke for no other reason than to stir the pot in the studios’ favor.
A case in point would be this 9:22pm posting by so-called ‘tv writer’, who posits:
=============
What happened to “WE’RE ALL IN THIS TOGETHER”?
I am not a feature writer, I’m a TV writer on a Fox show.
I’ll be DAMNED if I’m going to continue this strike while other writing staffs are getting paychecks. I’m picking up the phone TOMORROW MORNING and calling my fellow writers to begin organizing a mass fi-core. If enough of us go, we can get our show back on track.
Comment by tvwriter — December 28, 2007 @ 9:22 pm
============
Besides the Protesteth-Too-Much thing, giveaway use of CAPS, and template mouthing of Everything AMPTP Wishes TV Writers Would Be Thinking, this would-be clever little Howard Beale Jr. wants us to believe that if he actually were what he claims to be, his fellow writers would get all NETWORK-y mad as hell along with him, lose their common sense as well as their common dignity, and go fi-core en masse so they can ‘get their show back on track’.
Um, yeah, sure, buddy. Whatever you say.
But, tell you what, for the sake of argument, let’s go ahead and pretend you’re an honest-by-God ‘TV Writer on a Fox show’. It’s a stretch, but we’ll try…
Tell me this: Say you do pick up your mighty phone and call your fellow writers. What happens when nearly every one of them hangs up on you after calling you out for being self-centered and short-sighted and then goes back to the picket line with even more determination thanks to your nifty little pep talk? You going to fi-core it alone then? If so, what happens when the strike ends sooner than you’d figured and suddenly you have to show up for work with these same people who hung up on you and would like nothing better than to see to it that your career nosedives into the toilet and stays there? Put a camera in the room for that first story meeting and, finally, there’s a piece of reality programming I’d look forward to watching.
Hmmmm, the more I think about it… yes, yes, please, by all means, make those calls. And don’t stop with just your fellow staffers. Call everyone you know. I mean everyone. Just make sure you stick to the script and tell them what you just told all of us, preferably word for word…
“If the UAW can make a deal with Ford but GM refuses to give their workers the same deal you better believe those GM workers would want to start making Fords instead of Chevys.”
Uh, yeah, except according to your analogy those same workers should want to scab for Chevy instead of trying to get a job at Ford. See how that makes no sense? Right.
I’ve been following Nikki Finke’s page since the strike started, and I’ve been really interested in what would happen if WWP got this deal. It seems to me that the WGA was going to be taking a risk whether they made deal with WWP or not. Making the deal could splinter the writers, not making the deal after saying they wanted to make deals with the different companies makes them look weak. Only time will tell if this calculated risk was the right move to make.
I guess I’ve also been wondering how much this really does help CBS/hurt all the other networks. Is late night really that much of a money maker for any company? Are the ratings that CBS stands to gain or the ratings that NBC stands to lose that much in the network big picture? I don’t want to minimize the great work done by the late night writers in any way, but in the grand scheme of things, will this make a huge impact.
I hope that Leno will come back and immediately point out that his writers are gone and that he already misses them. If Leno is smart, then he’s going to use his show just as much as everyone thinks Letterman will use his show to help the writers. And I think he’s going to have more opportunity to do it. THe times I’ve watched him, he regularly turns to Kevin and comments on the fact that some jokes bombed. Well, now, he’ll be able to use those times as an opportunity to talk about the missing writers.
These are the people who would have abandoned us anyway. I hope they do go back to work. At least then we’ll really know who our friends (dare I say comrades?) are. Let’s face it, not everyone is willing to go the whole mile. There are members of this guild who are looking for any excuse to jump ship and this one will allow them (they believe) some cover.
Come on, this ain’t war. This ain’t a garment factory in New York City. This ain’t Detroit. There ain’t no assembly line.
This is the movie business, my friend. Welcome. This strike, however, has been a consummate campaign for more power under the guise of getting TV writers more money.
If you are indeed a writer — you sound more like a sheep, I’m afriad to say — you should celebrate dissent, critical thinking, open-minded visions, etc., each morning upon awakening and realizing your chosen passion.
Please, please don’t forget what “writing” stands for. Too many writers have died for your sins; your fore fathers have fought for censory, freedom of the pen, as it were.
To hear this fascist, conformist, communistic thinking saddens me to no end.
P.S. Lobbing attacks at this screenwriter is, in many, many ways, an act of dissent. Ah . . . you see, conformity is a loaded word, my friend.
Cheers to writing and all people in the bizz going back to work. God help us — may it happen soon!
Interesting that anybody with a thoughtful response that doesn’t reflect the WGA mandate is immediately referred to as an AMPTP shill. When did the entire Guild become Scientologists, shouting down even their softest critics?
This is weird.
Guys, there are a few people out there who don’t necessarily agree with the Guild stance or strategy. That doesn’t make them mouthpieces for the producers.
This “with us or against us” attitude is why the Guild lost the Teamsters early on.
“Wonder if any of those free-market studio executives will laugh next week when the Late Show(s) monologues are delivered and Jay and Conan are left doing a soft-shoe on the desktop?”
Guess what? A union with collective negotiating power isn’t the free market at work. What Dave did with his writers is free market at work. In a free market, someone (Dave) is going to realize the writers worth (IMO, they are almost everything) and compensate accordingly. Eventually, I believe, the others will follow suit.
I’m not a writer, but it only makes sense that the writers receive royalty payments from internet revenue.
The side deal is a “union breaking” deal in every sense of the word. WGA people MUST stick together regardless of the outcome. When the fat cats start seeing their “brand value” decreasing, they WILL give in. Remember, these guys think years ahead. They are trying to destroy the unions NOW before the switch over to “free to air” digital TV in Feb 17 2009.
When ALL televisions switch to digital transmission in Feb 2009, they will require cable converters. And each cable box will have an internet browser and BROADBAND CAPABILITY.
That means that EVENTUALLY MOST PEOPLE WILL BE WATCHING TELEVISION ON THE INTERNET. And then movies too.
The big boys KNOW that their distribution model is broken and that they are losing control of their “system”. With a free distribution medium (the internet) the ENTIRE production workflow will change. No longer will studios and fat cats own everything. Producers will actually own IP and writers and crew will be allowed to own percentages that actually pay something. This was the big “take away” I got from talking to people at Cannes 2006. And they are doing a great job of ignoring it here in the USA.
Remember that in the near future, EVERY DOMAIN NAME IS A TV CHANNEL!!! Now you know why the big boys care so much about the internet. But it doesn’t matter. The net is too big and the studios are too clueless. Digital Television (DTV) is big enough for everyone.
This strike is a wakeup call to the future. Without writers, there is NO CONTENT. And without content, the system stops. In the future, with so many “TV Channels” and so much new content being produced for those channels, maybe the writers will become the famous “stars”, not the actors.
Sincerely
Michael Relfe
Producer & Director
“Interview with an Ex-Vampire: A True Story”
http://www.ExVampire.com
http://www.DTVUS.com
What happens if Leno sans writers continues to beat Letterman with writers? Will viewers perceive a difference between the shows; arguably, more people watch Jay over Dave because they prefer Jay to Dave, not because they prefer Jay’s material to Dave’s. If so, will that hurt the WGA’s cause?
With regards to the latest AMPTP communication, along with the rest of them, it reads as if the AMPTP has been studying the wildly successful Bush Co. & RNC propaganda tactics demonizing the “organizers” and making broad and unfounded, i.e. ridiculous, assertions.
Take a moment to read that statement again – it sounds like something George Bush would stumble out on his podium in a desperate and pathetic attempt to justify his idiotic policies and restore his long-deceased creditability.
Way to go Dave Letterman for establishing precedence in making a fair deal for writers. Here is a surge that could actually work without any under-reported ethnic cleansing.
I’m no business expert, and I don’t agree with some of the things the WGA has done during the strike, but this sounds like a good move.
Especially if Letterman and the writing team are able to inform viewers about the strike, without a network ‘Interruption due to technical problems’ screen popping up each time someone says ‘WGA’ or ’strike’.
I’ve seen a lot of comments from screenwriters saying that the strike is ignoring them. I don’t want to get accused of driving the wedge deeper, but do the WGA proposals give screenwriters anything else apart from higher residuals?
…gains that would at a minimum require the company making an agreement to actually produce reality and animation programming.”
And in the rundown of idiotic and unbelievable statements made by both sides’ PRs, this one must chart high.
Re: all the shrieking crying “I’m going fi-core/scab TOMORROW” posts on here, keep in mind a couple of things. Maybe there are that many legitimately selfish, short-sighted, weak-kneed writers without principle or backbone out there. I haven’t met any, but it’s possible. Consider though, that the AMPTP had to be preparing for this deal with WWP and that the most obvious and logical and probably effective way to deal with it would be to try to spin it into a split in the WGA by inventing a bunch of disgruntled, jealous, petty writers threatening to go fi-core/scab (or pissed of “feature writers” who feel left out). Read the AMPTP release. They have a playbook. They have talking points and they are hammering them. They had to have a strategy for what to do when and if WWP signed the very agreement they walked out on. They can’t argue the points, so they distract with talking points and an attempt to create a split in the WGA. As much as this site has been beneficial to writers by giving a venue for discussion that didn’t exist in ‘88, it is also a public site that benefits the AMPTP by giving them some insight into what writers are thinking and also an opportunity to create dissension. By creating the illusion that this massive rift exists, it could actually create a schism. Not saying that’s what’s happening, but you’ve got to take everything you read on here with a grain of salt, including the possibility that AMPTP is paying for posts that create the impression they want. If they are NOT doing this, then they are far more incompetent than it would be reasonable to hope for. They knew this was likely to be coming down the line, surely they prepared for it. I try to look below the surface a bit, and I see a strategy. Yes, this deal, while not what we all want in the long run (this exact same deal, but with all the struck companies), DOES show that what the WGA is proposing is eminently reasonable, workable and fair, that the WGA IS able to make a deal, and that writers are NOT the ones holding up progress. So I’d just keep in mind that the “I’m going fi-core/scab FIRST THING IN THE MORNING and I’M CALLING EVERYONE TO JOIN ME” posts might not be what they seem. I don’t know though. BUt it’s what I would do if I was the AMPTP.
Maybe the Golden Globes will have to be given away on Letterman. In any case, as a member of another union who supports the WGA, I’m glad the Guild reached a deal.
But please don’t praise Leno: he was ready to fire all his workers until pressure from the other talk shows intervened, and he’s going to be crossing a picket line. That’s not someone who has shown support for his staff. IF he wants to do that, he’ll change his mind.
If there are indeed WGA members who are pissed about this deal, I’m not going to ridicule or vilify them, but I can’t say I really understand their anger. And maybe I have my head in the sand, but I think it’s laughable to consider that the WWP deal is going to fracture the guild. I think everybody would be more excited if our first individual deal was with, say, NBC, but this is a small bit of progress. Will it help our cause with the AMPTP? Who knows. Will it hurt? Certainly not — and I think the vast majority of guild members feel that way. To those who don’t, sorry — none of us are getting exactly what we want. But there are larger goals at stake.
Finally, I have to echo some of the earlier postings and say I’m really surprised by the juvenile, amateurish tone that seems to pervade the AMPTP’s releases. “While it is good news for viewers that the jokes will be back on the late night shows, the biggest joke of all appears to be the one the WGA’s organizers are pulling on working writers.” These attempts to be clever or funny as they make wildly over-the-top characterizations are so unprofessional. I’m surprised they don’t have their act together a bit more.
A DEATH KNELL for these unions if the members do not stick together. This is exactly what is wrong with union members today. What’s in it for ME and to hell with the others.
No organization can succeed if its members go astray.
The companies will now try to get a wedge in all of the unions out there. Shame!!!
I do understand the purpose of the strike and I believe that the holdout for Internet & DVD is valid and necessary and that the “reason” given to NOT provide residuals on those is lame and laughable. However, the timing for this industry could not be worse. Viewership is way down. People are tired of the old ways of this industry. The industry is starting to adapt, but can they move fast enough? And with this strike, will this teach the American people how to better spend their time so that when this is resolved, you have even far less willing audience that you had before? Your model is broken, your viewership has crumbled, and now this. Again, I agree that the writers should make money on Internet and DVD distribution. Hopefully the language crafted this time will account for all forms of media and distribution so that methods yet to be discovered will not cause this major industry disruption again in a few years. So just give them their Internet/DVD requirements and let’s move on with this already!!
Here’s the other thing I’m not seeing.. not saying it’s all shills, but unless I’m way wrong, this doesn’t just impact Letterman and Fergusen. WWP/WWT also is the property holder and was the producer/owner of:
Everybody Loves Raymond
The Bonnie Hunt Show
The Barbarian Chronicles (Animated; for SciFi, with expectations it might appear in 2008)
The Knights of Prosperity (ABC)
Ed (NBC)
The film “Strangers With Candy”
And it also has two listed pilots, with another one of them being an animated venture with Williams Street (Adult Swim).
So, uh, before we say “hey, the deal with WWP/WWT does nothing for the key issues..” How quickly we forget the properties they’ve been associated with, and the ones they are still pitching or involved with now. I mean, come on, what kind of research is Finke doing that just my bare memory, Wikipedia as well as a scan of outstanding pitches can get me a list together in five minutes or less.. (?)
I’m not seeing the issue beyond jealousy. Letterman made an agreeable deal. The UAW analogy works very well.
Instead of being resentful that Letterman’s writers get to work, be happy for them that Letterman made a reasonable deal. Isn’t that what you guys want? A reasonable deal.
For those non-industry people who are reading this, we should be excited. Because finally we can do something to help end this strike from our place in front of the televisions and movie screens. Watch Dave and Colin. Even if you don’t usually watch late-night talk shows, start watching these two. Boycott Leno, Conan and the others who are back without writers. Any show that returns because of fi-core writers, or movies written by them, shouldn’t be watched. Except, maybe, if you can stream them online or buy them from itunes
.
Don’t support the companies who sponsor the shows functioning without WGA agreements. Write letters. Vote with your dollars.
And to everyone saying that Letterman doesn’t matter anymore because of Leno winning in the ratings… remember that Letterman was on top until the Hugh Grant incident. Viewers are fickle. They will flock to the more interesting guests. They aren’t zombies who can’t fingure out how to change the channel.
And if the “jay-walking” segment that TMZ captured Leno filming is any indication, the no writer Tonight Show is going to crash and burn like the Titantic (the boat, not the movie).
Writers should tell everybody they know to turn on Dave and Craig and not watch any of the other shows.
Are these A-List Hollywood actors really going to break picket lines? They wouldn’t do that, would they?
You might as will kiss the strike “Goodbye”, once the Union allows “Any” writers to return via a separate agreement.
I.E… Allowing writers to work on the “Late Night Shows”
Once upon a time…
There was a strong “Carpenter’s Union”. They went on strike for an extra 75cents an hour.
They were on strike for a few weeks, when one ontractor (producer) found out that he was going to be billed for not having his job finished on time.
So, he went to the Union and said, “I will pay Tuesday for a hamburger today.” OK, he asked, “If you let my carpenters work today, “I will pay them the future per hour rate, after the Union settles the strike.”
The Union said, “That sounds fair”, and let the carpenters go back to work.
Now the other contractors (producers) heard of this, so they went to the Union and each made separate deals. Each saying, “I will pay Tuesday for a hamburger today.”
The Union agreed. What’s the harm letting a few workers go back to work?
Amazingly, the Union discovered, “Hey, where are the striking carpenters?!”
Well, “They’re out on the job sites.”
“How come?”
“We agreed to let one crew go back, now they’re all back to work.”
“But, we Never settled!”
“Precisely.”
Won’t CBS benefit the most from this ?!! i think this undermines the entire WGA strike. Apparently, we’re not all in this together.
I think the reason this is really a good strategy is because the pressure that will be exerted will no longer be from the guild, but from advertisers.
I think the first week or so of this will actually have Leno having higher ratings, because people will try to return to their normal viewing habits, and many people will watch just to see what is different without writers.
But after that, I think they’ll figure out that Leno just isn’t as funny as it used to be, and that he’s not getting the big stars. They’ll switch to Dave. And many of those viewers might stick with Dave permanently.
And that’s when advertisers will put pressure on NBC/Uni and Disney to get their shows back on the air or potentially lose a lot of future revenue.
If this were just a “waiver”, it would be different. But it’s a comprehensive agreement that allows WWP to actually take over the new media residuals in the short term.
And if you read the press coverage about this so far, the AMPTP’s bizarre statement is either buried or not even mentioned.
As a fan of writing itself, not necessarily of the TV shows affected by the writers’ strike, I want to compliment you guys on what is BY FAR (grammatically speaking) the best-written talk string I have ever read on the Internet.
The Internet, not TV, is my bag, so I don’t watch much TV.
As a matter of purely subjective taste, I tend to enjoy Leno’s stand-up-type comedy more than Letterman’s wise-ass-type comedy. It’s pretty much a wash on the quality of interviewing and music. Paul and Kevin are both fabulous musicians. I tend to like Kevin’s adversarial approach better than Paul’s “dumb toady” approach to the sidekick role. Whatever works.
I hope Moonves gets humiliated. He totally lost me (and most of America) with his “initially back Dan Rather then switch to Katey Couric” stupidity. Moonves is clearly a narcissist, and nobody likes those.
As a former officer in a state-wide union, I can assure you that unions are merely a microcosm of corrupt government. If that were not true, so-called “organized” labor would long ago have had its own banks, mortgage companies, hospitals, colleges, etc. So the pertinent question is: why don’t they?
What I didn’t understand in my other life is that Nature itself IS a free market. I used to think that raises were the answer to my economic problems. I now understand that productivity is inextricably attached to profitability, which is, in turn, inextricably attached to the survival or failure of any free-market business enterprise.
Having said all that, the VERY BEST of luck to all you writers! I wish you could all write that hit screenplay! Or why not three or four while you’re at it?!
All the best from the heartland.
To Kurt Busiek who said “they could develop pilots, even. What would the AMPTP do if WWP were to start cutting into their other business…?”
What a wonderful idea for Worldwide Pants to become the first conduit for developing sitcoms straight-to-the-web under the WGA deal – producing the comedy equivalents to “Quarterlife” from the guys who brought you “Everybody Loves Raymond”. My guess is that Rob Burnett, Lee Gabler & JT&W (which has a powerhouse of comic talent in their stable) had this notion brewing from the start.
David Letterman has not only secured a spot in history as a hero to all writers with this move, he’s also setting up all the creative talent that works for WWP to become mavericks in the waves-of-change that are the by-product of the strike. Of course this interim deal is a plus for the WGA, and a blow to the we-refuse-to-budge conglomerates, and naturally feature writers should recognize that as well.
Just because one selfish prick feature writer is claiming to go fi-core, it doesn’t mean that all feature writers are selfish pricks. Far from it. Celluloid is a dinosaur. Digital media equals present and future dollars.
Oh please. No one’s going financial core. Even the 10% who didn’t vote for the strike, when you talk to them (live on the picket line or via private bulletin boards online) — they don’t have any interest in going financial core.
I’m a working feature writer, and I’m proud of what the Guild has done here (and elsewhere).
And whenever I read the words “fi-core” in these comments, all I can think is, “well, there’s another non-writer pretending to be a Guild member.”
The Guild’s not gonna schism. Not gonna happen. Nikki does a great service here, and I know it’s all fun to read her more breathless posts, but let’s everyone take a deep breath and calm down. One pissed-off screenwriter with Nikki’s number does not a movement make.
Fi-core is an AMPTP bogeyman. The Guild will hang together. And Dave will be worth watching next week. Happy New Year, all.
I’m a feature writer and a TV writer. I have been through the credit drama, the “free” rewrite drama, and endured the guild’s general toothlessness over contract enforcement. Don’t get me started on how nearly useless the WGA can be when it comes to collecting late residual payments.
I’ve also seen how residuals impact my bottom line, whether from the TV side or from features. I know how important it is to do everything we can to achieve a fair deal with one studio or all studios in this negotiation. Any working writer knows exactly what I’m talking about.
I may not go back to work because of the side deal the WGA signed with Worldwide Pants, but it’s an important first step. The “angry” feature writer you spoke to needs to talk to some other feature writers, Nikki — and not just the ones who live in the same echo chamber. Has this feature writer been out on the line? Have they talked to the countless feature and television writers I’ve spoken to who understand the stakes of what we’re negotiating?
All I needed to see was “possessory credit” in the context of the strike and I knew we weren’t talking about anyone who seriously comprehends why we’re out, or what’s worth fighting for. The separated rights issue *alone* is worth walking off the job, but Mr. Angry somehow failed to miss one of the most important economic issues for the feature business. Petulant child, indeed. And not very bright.
PS: I found the GM analogy interesting. Maybe your angry friend should hop in his Wayback Machine to investigate the history of negotiations between the UAW and the auto industry. That might rectify his acute case of rectal-cranial inversion disorder.
Let’s wait and see, but its interesting to note that this type of agreement was done in ‘88 and here we are, striking again.
Good Lord. If we managed to negotiate a separate deal with Disney, and some writers went back to work for only Disney, would everyone with no deal with Disney freak out like this? Isn’t this what we wanted? Negotiate separately? Break up the AMPTP strangle hold? Sure this does not do that, but it is the smallest step in that direction. Plus, it gives us a pulpit with Dave.
A few dudes go back to work and we get a HUGE ally on the air that can help us take this to the public. Without public support, we’re toast. Who cares if CBS makes some ad rev on these two hours of TV, if we get the greater benefit.
IF SAG will honor the lip service…IF Dave & Craig will help us on air…IF the DGA doesn’t roll over…
Looks like part of a larger strategy to me. Will it work? Hell if I know. But I don’t see it as weakening our position.
I think this is the first really strategic move made so far. Offer this same deal to all independent companies. You can tell it’s effective because the opposition is bitching about it. Divide and conquer THEM.
This is AWESOME!!!!!
As a highranking sitcom writer who has lost a TON of money on this strike, and who has picketed fanatically EVERYDAY and lost my voice several times, I HAVE ABSOLUTELY NO PROBLEM WITH THIS DEAL.
I hope Dave kills the competition. I am no particulkar fan of Leno’s, and if he really wanted to help end this thing, he’d stay off TV. That would drive GE nuts. But no, he has some weird psychological need to be on TV, regardless of who gets hurt.
Both have just revealed their lasting legacies:
Dave is standing up for writers against corporations.
Jay is a soulless joke telling robot.
WGA STAY STRONG!!!!!!!!!!!!!!!!!!!!
TO ALL THE AMPTP SHILLS HERE PRETENDING TO BE WRITERS WHO ARE GOING BACK TO WORK:
Nobody believes you. But the desperate tone of your posts here shows us how worried your masters are.
Hey, “writer on a Fox show” what’s your name? Since you’re going back to work we’ll find out anyway, right? Is your name let’s see perhaps… J. Nicholas Counter the Third Reich?
Thanks for that laugh this morning!
I don’t know one writer who’s even close to being divided. Everybody I know is as charged as ever. I can live off ramen for years if I have to. And every writer I know is willing to do the same. We will not allow our union to be broken.
The WGA so blatantly singling out NBC, Zucker and Immelt is only going to make them dig in deeper.
Apparently there should be two unions. The issues are just too different. The WGA is a joke.
To the “successful screenwriter” that Nikki spoke with and who’s just so upset about the side deal… While I agree that the WGA has had a massively flawed strategy about this entire negotiation process — going back a couple years in prep… The “successful screenwriters” did the most harm to the union imaginable. Let’s take your analogy of striking GM. You don’t let one division keep working while others are out right?? Well you also certainly don’t bust your ass in the weeks before the strike to work overtime in order to crank out as many vehicles as possible in order to keep the company afloat once the workers step out. And that’s exactly what so many “successful screenwriters” and Television producers/ staff writers etc… did in the months and even hours before the strike was called. They can claim all they want that it was to help the poor crews who would otherwise be immediately out of work. But the reality is that for every job a “successful screenwriter” rushed through — and let’s define successful as maybe the top 5% of members in earnings… In your noble effort to keep crews working and line your own fucking pockets — the vast majority of WGA members who aren’t household names and maybe had deals pending or assignments in the offing were shut out. Months before the actual strike — a de facto strike took hold of the town whereby only the most “successful screenwriters” could get any attention at a studio. If your name wasn’t on a short list than you were fucked. And those “successful screenwriters” gobbled up every job in sight then fed the material back to the studios. At the end of the day — no matter how you slice it that’s as bad as scabbing. In essence it was pre-scabbing at its worst. Again going back to GM — the auto workers would never bust ass on the assembly line to crank out extra cars or trucks before a strike — so why the WGA thought it was okay for writers to do this will always baffle the rank and file writers who struggle year in and year out for a sale here or an assignment there — we’re the ones really suffering. Fuck the “successful screenwriters” who were only able to crank out 2 or 3 seven figure deals before the strike and are now “suffering”. Go ahead — go fi-core. Go back to work and show your true colors you pathetic asshole. Have fun. It’s rich dicks like you who erode any sympathy the WGA might have gotten from below the line workers.
Corporations have a negative impact on everyone including our planet. They are festering cesspools of corruption and greed. While their shareholders stand by thinking it’s all fine and good for their portfolios they forget it will end up biting them squarely in the a$$.
Risky but smart move
Why? because if the “divide and conquer” strategy is ever going to work CBS corp would be the first to take it. it is a mainly tv company with not only the No 1 network CBS but the cable network producing the best tv in the US right now Showtime. it also doesn’t have any real power with the AMPTP
also if it puts added pressure on NBC universal then great
Ah, I see the AMPTP shills and the Leno writers are out in force blasting this decision. Nice that the two groups are working together. There is no real downside to the WWP deal. It’s a small step forward and sends the message that the Guild demands are not unreasonable. Now we need a show of force at NBC come Jan 2. But no picketing is scheduled till Jan 7, right? Guild leaders, how about getting back to the picket lines in Burbank and N.Y. on the 2nd? We need to embarrass any high profile guests who appear on Leno and Conan. Donald Trump is on Letterman and I bet he’ll have something to say about the strike.
Wonder if the support will still be here in 6 months when Letterman’s writers are working while the rest are still on the picket line?
It’s a risk, but in the long run it might be a good one-if people see the differences between Letterman/Ferguson and Leno/O’brien and realize it’s because of the writers, it could swing a lot of people over to the writers side. The once who have a problem with it just need to hold out for just a little bit longer (and if the Golden Globes get canceled outright, that could also be a big help…)
I think certain writers, be it film or TV, will use anything as an excuse to go back to work if that’s their intention. The disgruntled film guy you quoted is doing far more damage going back to work without getting anything in return for it than what he claims the Letterman deal is doing to the cause. I am mainly a television writer, but am starting to get into features and I applaud the feature writers holding signs next to me. Their cause is my cause and vice versa. I see a lot more movie writers coming over into the television pool than TV writers going to film. United we will get a better deal for both. Labor disputes aren’t for the faint of heart. Get a part time job to help with debt. This is a matter of principle!
At best, this interim agreement with WWP is a wash for the WGA. It helps the weakest member of the big 8, which is negative. It hurts NBC, which is positive. It allows more promotion of films which is negative. It has no bearing on the establishment of a new contract, as WWP, most certainly, protected themselves by getting most favored nations with any other agreement that is negotiated. NBC will not negotiate a similar agreement. It isn’t in their corporate culture to break ranks. Their late night ratings may suffer but they will save money on the second biggest line-item on their budgets: writing staff. Probably, $200K per week per show, including residuals that won’t be paid in the future on those shows. And, maybe, their ratings won’t suffer. It is a mystery to us all why Leno has beaten Dave for years.
But it does create resentment, as we can see from some posts, amongst the membership, since some are going back to work and others aren’t. It isn’t the fact that a minority are earning money and others are facing hardship that is significant, it is the public nature of it that will exacerbate the problem. The talk-show writers were all receiving between $2,000 and $10,000 a week in residuals while the shows were off the air. This put them in a different position than everyone else. It is just that now, some screenwriters and showrunners will use this as an excuse to go fi-core and get back to work.
There is scabbing going on all over the place, anyway. Every movie in prep or production (and there are many) is having changes made each day. Maybe new pages aren’t being issued but whole new scenes are being “storyboarded” and new dialog is being added. It is just being done under-the-radar. This is a fact. The majority of pilots that were bought before the strike, are being written now and the networks know this. Obviously, they are not being turned in but their existence, and the knowledge that the pilot scripts will flood in the day after the strike is over, gives the networks some comfort because they know they can gear up quickly for a new season. Losing the upfronts and/or a fall launch is a relief to most of them. They wanted that process to end anyway.
So, this whole thing is not that significant. The only thing it does is allow the WGA leadership to continue to delude themselves, and those that follow them, that they have a new strategy that will bring the AMPTP to its knees. This, probably, will push off a resolution.
phinneaus:
if any writer is considering going fi-core do you honestly think it’s something they’ve chosen to do on a whim?
no doubt it’s been festering for a while.
don’t forget that, as a fi-core member, a writer is able to write for both WGA producers and non WGA producers which more than doubles their sales/credit prospects.
just don’t assume that anyone is making any decision on a whim.
you may be bipolar and act like that.
but most of us put a great deal of thought into things before we do them.
Outside Observer–the late night shows make a tremendous amount of money for the networks, and it’s money that Zucker really depends on. I honestly don’t put much stock in Leno “helping” by talking about how much he misses his writers. Even if he does, it makes no difference, NBC doesn’t care what viewers think, they care if they’re going to have to give givebacks to the advertisers because of low ratings. Like I said before, if Leno really wants to help, there’s one way–he can do everything he can to keep his ratings as low as possible (as low as they have been for the reruns) during the strike. Refuse to book A-list guests. Publicly urge A-listers to go on Letterman instead. Spend the entire hour reading the newspaper (and not making ironic comments on the news, just reading it to absolutely ensure he doesn’t break any strike rules). Same with Conan vis-a-vis Craig Ferguson. If they do that, then they’re helping a great deal even with going back on the air. They’d be taking NBC’s money and losing NBC’s money all at once. If they don’t, then they’re simply making money for NBC, trying to undercut a union show with scab shows and make a mockery of the WGA’s strategy as WGA members, and helping to prolong the strike. Conan was offered the Tonight Show and isn’t going to bite the hand that feeds him–will Jay step up and bite the hand that bit him? He has not a thing to lose.
While there are downsides (ie profits for CBS) this side deal should put pressure on NBC, ABC and Comedy Central to cave particularly if CBS starts pummeling NBC and ABC in the late night ratings race.
I only recently started reading comments, and only on the blog entries that I thought were of major importance to the labor dispute. But I’m grudgingly coming to realize that most of the people…and not just writers…weighing in here, are intelligently addressing a lot of the big issues with a mix of passion and cold-eyed analysis which makes for interesting reading.
I agree with the vast majority of contributors here that the WWP deal is, on balance a good thing. AND I think we should be prepared for even bigger breakaway companies in the days and weeks to come. And yes, that includes at least one studio that mainly does features. It’s widely known that their execs put out feelers to our negotiating committee a few weeks back. So the next group of scribes going back to work may well be theatrical screenwriters.
So we’ll all have to come to grips with the facts that some writers will be working, while most won’t. But we’re tough and we’re grown ups: we can deal with it. Hell, there are PBS writers and newswriters driving past our pickets as we speak, working under separate WGA contracts. That doesn’t upset us. And we’ve blithely gone on working when they’ve been out on strike. So it’s potentially a brave new world out there.
Which brings me to the—in my opinion very few—screenwriters who’ve been genuinely upset by this decision, and are now menacing to scab. And I’m not talking about the trolls sitting on Nikki’s blog and acting as an echo chamber for anything that remotely helps the AMPTP side. No, I’m talking to the writer Nikki spoke with…and the “five” friends he talked to last night. I know it’s a forlorn hope that he/she/they are reading all these comments in the cold light of day and having second thoughts, but here goes:
Dear Fellow Screenwriters,
I’ve been walking the picket line over at Universal with dozens of theatrical screenwriters, several with films in current release, and others with major projects in development. And they all understand the threat to their future livelihoods if the AMPTP has its way. And by that I mean that all theatrical films can be streamed gratis…FOR FREE…in perpetuity throughout the universe. How is this not a screenwriter issue? Have you avoided reading anything about the negotiations and skipped every single informational meeting?
Are you really so wealthy that you can essentially blow off the hundreds of thousands of dollars that even a modest hit movie can generate in residuals? Because that IS the future staring us all in the face if we don’t negotiate a much better deal than the lame proposal the AMPTP tried to present. Your movies will be labeled as free PROMOTIONS, even when they’re streamed directly to your big, 50-inch plasma screen, which is a technological baby step that should happen in the next year or so.
So, forget, just for a moment, the whole solidarity with your brothers and sisters who are out there fighting for a better deal for you. You have a vested interest in seeing this strike through to a favorable conclusion for all TV and theatrical writers.
Now, about that whole solidarity thing; if you’ve been holed up in your manse or your loft, or wherever you A-listers live; and haven’t been picketing and bonding with other writers, then you may have convinced yourself that you can live without their respect and friendship. But can you, really? We’re talking about the rest of your life, here. There were a paltry few screenwriters who went Fi-Core in the middle of the ’88 strike (which really was primarily about TV residuals, by the way). All they did was give the AMPTP stooges the impression that our union was coming apart. It prolonged the strike for another couple of months before they realized the Fi-Core ranks weren’t swelling beyond the first, self-absorbed little group.
The Alliance finally accepted the same compromise offer that the WGA had on the table BEFORE the strike began. And two decades later, every working writer I know refers to the Fi-Core boys as f-ing traitors and scum. Betrayal is nearly never forgiven, and is NEVER forgotten.
A classic scene from Manhattan has Woody Allen’s character, Ike, standing next to a skeleton in a biology lab, talking to his friend Yale about another kind of betrayal.
“…what are future generations gonna to say about us?” (He points to the skeleton) “Someday we’re gonna be like him! He was probably one of the beautiful people…. You know, it’s very important to have—to have some kind of personal integrity…. I’ll—I’ll be hanging in a classroom one day. And—and I wanna make sure when I…thin out that I’m well thought of.” (The camera stays focused on the skeleton, its full form shown now, as Ike leaves, then Yale).
My suggestion…and it’s a very serious one: before you call the WGA and demand those Fi-core papers, give it a week. Take long walks. Then go out on a picket line next week, or the following week and listen to what other writers, people with the same ambitions and passions you have…listen to their take on all this. We’re all independent free thinkers, but sometimes our thoughts can lead us into blind alleys and into some very dark tunnels. Especially when we allow ourselves to become isolated.
The other plus is this deal turns what was going to be a real blow for the WGA – the return of the late night shows – into a coup since NBC, ABC and CC can’t count on everyone being on an equally crappy playing field. Instead of making back some of the money they were losing by the strike NBC, ABC and CC are now at risk of facing mounting losses by having to not only lose money through plummeting ratings but also losing it by having to pay for their crappy non-writer shows.
Isn’t this what we have always wanted – to have some/any of the AMPTP members break away and agree to our terms? Now we have one in Worldwide Pants and the shortsightedness and the misplaced anger of some of our brotherhood is evident. Back in ‘88, the late Jeffrey Barron, a wonderful variety television writer jokingly (or not so jokingly) said while picketing at Telelvison City, “I don’t know why I’m here. All writers are my enemy.” Sadly, too many voices are being raised today that agree. What would happen if a few enlightened feature production companies agreed to our terms as well? Again, only a handful of writers would go back to work but it would mean so much more, another chink in the AMPTP armor. Rather than be angry at the writers going back at Letterman and Ferguson, be angry at an industry that treats you as disposable, that clearly is bargaining (?) in bad faith, that since the early days of the movie business, contractually calls itself “the Author” of your work. It is time to stay together. And one last thought – let’s try to use our names. Honorable people may disagree honorably and I’m sure our betters, the Hollywood Ten, would have signed their names. David Castro
Really? Mike Huckabee is Leno’s first guest? Leno with Huckabee vs Letterman with writers and Donald Trump…you know Leno will likely win the ratings that night. It is absolutely imperative that enormous pressure be brought to bear on Huckabee and any other political candidate or actor who crosses the line and appears on Leno’s or Conan’s or Stewart’s show. Huckabee’s staff are fools if they allow this. And I predict Leno will pull solid ratings. That program is a train wreck with writers, how much worse can it be without?
feature writer/tv writer/tv writer/feature writer… are we really–really, in this day and age–going to cleave to these categories and pretend this business isn’t unbelievably fluid now? j.j. abrams; aaron sorkin; alan ball; shonda rhimes; nancy oliver; tina fey; peter berg; gough & millar; judd–hello!–judd APATOW people…! need i go on? good writing is good writing is good writing; and talented, smart writers know that they can tell stories in a variety of media. we write, for filmed entertainment. that’s it. so let’s try–can we please–to stick with each other during this thing and not get so selfish and petulant we buckle and feed the real enemy–the studios–the fruit of our fears and insecurities. the fact is ALL the issues we’re fighting for will effect every writer, somehow, sometime, at some point; whether because the technology catches up with your medium or–”feature guys”–some savvy tv exec offers you a pilot.
and i’m a feature writer.
Why do feature people think that their most important issues are being abandoned? I never heard the issues the anonymous guy mentioned in this article had been dropped. Most important: FEATURE AND TELEVISION WRITERS ALIKE WILL HAVE THEIR MATERIAL DELIVERED VIA THE INTERNET. If you want your movie run on-line, full length, for free as a “promotion,” you’re beyond being reasoned with. It’s crazy to use this first crack in the producers’ armor, whether Letterman is an AMPTP member or not, as an excuse to abandon goals that mean survival for all writers.
I can see this going either way. I can certainly understand why some people are upset over some writers getting back to work. As a fan, I can’t even help but wish it were my favorite show goig back into production. Still, the WGA needs to stay united. If they don’t, their strategy will have the same effect on them that they want it to have on the enemy, However, the AMPTP’s statement reeks of nothing but fear. Use it, WGA. You have my full support until this thing loses the 07-08 TV season. Then. . .I don’t know. I know you’re ready to have a deal, but know that this mess needs to end.
Okay, let’s make something clear for the idiots who like to point out that the writers will have lost more than can be gained back by the time this strike is over.
Guess what? This isn’t about making a quick buck in 2008. This is about ensuring that writers will share in revenue made from the delivery of their product via the internet for years to come.
Got it? Read it again if you still don’t understand it. It’s actually a very simple concept.
I don’t think this will hurt Leno, Conan, Kimmel and company as bad as the WGA thinks. They can simply go to comedy clubs and pay comics under the table for nightly jokes. As far as guests, maybe they won’t have actors, but there’s still athletes, musicians, politicians, comics, etc.
Re: Stop Huckabee
I can’t say I’m surprised that a Republican would cross a picket line but I do see this as a Huge Target for the first day of picketing! Nothing will get the writers strike on the cover of every paper in the country faster than photos of a presidential candidate crossing the line! The WGA should make this a priority…
Everyone here is assuming that Dave’s ratings will go up and Jay’s will drop. I’m not so sure, here’s two reasons why:
1) The train-wreck factor. These shows have been on the air FOREVER. Same crap every night. As an appreciator of both Dave and Jay I know whose show I’ll be watching – Jay’s. Dave’s coming back with writer’s and A-list celebs, right, I’ve seen that show already. What I HAVEN’T seen is the Jay show in distress – no writer’s, trouble getting guests etc.. How the hell is he gonna do a show without writer’s? I’ll tune in to find that out. Gee and if it sucks REALLY bad – I might stay tuned through weeks of that. And I’ll be interested in seeing which guests will cross the WGA picket. It’ll suck, but at least it’ll be fresh and new – something a little different.
2) Jay’s fans WILL NOT jump to Dave just b/c Dave has writer’s and celebrities. Jay vs. Dave is about Jay and Dave – not guests and writing staffs. The Late Night viewers made up their minds on that one a while back. It’s kinda like: I’m not about to switch to Pepsi just b/c the Coke I had last week was flat (not an exact analogy, I know).
Hope this thing gets settled SOON!
It’s nice that a dozen white male writers get to go back to work. Too bad there are no women or minorities on Letterman’s writing staff to join in the fun.
Comment by a writer — December 28, 2007 @ 10:10 pm
Here, here. I hope this entire situation will wake up all of you showrunners, writers and producers who refuse to diversify your staffs now that you know what it is to be treated unfairly institutionally. The numbers for female and minority writers are down from the previous year. Practice what you preach.
Because none of us can guarantee the eventual outcome of this strategy, I think we should give our leadership the benefit of the doubt and focus on the positives of this move.
Letterman has made a ballsy play by going around his bosses and making a deal with the Guild. I feel sorry for Jay and Conan because I know they support their writers as much as Dave does, but legally, they are in a different position than Letterman and can only do so much.
Jay and Conan (along with Jon Stewart and Steven Colbert) should be praised for supporting their writers (unlike Ellen and Carson Daly) and not caving in to the constant pressure they have been under from their bosses since the moment the strike started.
This is not a TV versus screenwriter issue, and I think most of the WGA is smart enough to see this. (Whoever was complaining about “possessory credit” should get into their time machine and get on board with the only thing this strike is about: New Media, because this does affect all of us, not just TV writers.
The Worldwide Pants agreement also shows that the WGA is not interested in punishing people that are willing to give us a fair deal. It proves that what we’re asking for is reasonable or affordable.
If SAG can come through for us and encourage it’s A-list talent to stay off of the struck shows (which will be easier said than done), hopefully, the pressure of declining ratings and ad revenue, along with NBC’s concerns about making a smooth transition from Jay to Conan, this could help us toward a deal that will benefit all the Hollywood unions, not just writers.
Enjoy the rest of your holidays. We can all get angry again on January 7th. Go see “Juno.” It’s great (and no, I don’t have any friends involved with it. It’s just a good movie that will make you feel better inside.)
Mike Scully
PS Check out Howard Rodman on the Huffington Post, also.
Prominent feature writers won’t go fi-core in any meaningful numbers for one reason: Anyone who does will never win an Oscar.
What prominent feature writer will give up that hope for the rest of their career?
Dear Fabriani and Lehane . . I mean TV Staffer/TV Editor:
This was your post when Stewart and Colbert decided to Cross the Picket Line:
” . . .let’s not forget that there are now two more television show staffs (mostly modestly paid young folks) who are able to collect paychecks again because of these hosts’ (reluctant) decision to go back on air. I think that’s commendable.”
However, when the WGA announced its deal with WWP (staff and writers returning to work–what you thought was “commendable” for Stewart and Colbert) you wrote:
. . . Those guys really are in fantasy land. What a crazy, desperate move. Letting Letterman go back to work with writers is going to break Jeff Zucker? Could they possibly be that stupid? Sure, Letterman will get a bump at first, but middle america has consistently picked Leno, and will continue to, even if this a-list deluge of names hits Letterman…which I doubt will happen…do you see any a-listers shutting down production on their movies in support?
But at least this will be over soon once the water starts flowing through this crack in solidarity the WGA leadership opened up with this.” (BTW, isn’t EXACTLY what you said to the TV PILOT hopefuls Open Letter?”)
When busted for the Shill that you are by TV Writer 9:18, you resorted to Angry Guy/Girl Lehane & Fabriani tactic #3, the obvious: “You people talk about freedom of speech, except when we dare to critcize (=destroy) your union” tactic.
Hoever, this time you changed it up a bit with:
“What’s next, everybody that doesn’t agree with the war in Iraq gets labeled un-patriotic?”
Boy. You Fabriani and Lehane people are soooo obvious.
A WGA Supporter
If nothing else, Letterman will educate the public as to what’s going on here…
Corporations busting unions and the middle class eroding as fast as the ice caps because of it. And again, most writers and members of other unions are middle class.
I’m not happy about no income. Every day that goes by I am losing money, but I support the writers on Letterman because I believe they will get our message out better and faster than any internet site.
But here is a thought to pacify the tiny percentage of writers who are unhappy about this – maybe the Letterman writers could donate a chunk of their pay to the strike fund? What do you think of that Letterman writers?
But again, personally I do support them if they get our message out.
Wow I can’t believe anyone running for president would want to be the FIRST guest to cross the picket line and do Leno. A quick visit to “Mike Huckabee for President” showed the following:
Huckabee for President, Inc.
501-324-2008
Pressroom@explorehuckabee.com
Let em have it WGA supporters!
Dear Fabriani and Lehane . . . I mean “moderate writer,” “TV Staffer”/TV Editor,
Enclosed please find my “ The TOP 14 Fabriani and Lehane Posts”:
14. “What’s next, everybody that doesn’t agree with the war in Iraq gets labeled un-patriotic?”
(“TV Editor’s” Comment After the WGA announced it deal with Letterman/WWP)
13. “But at least this will be over soon once the water starts flowing through this crack in solidarity the WGA leadership opened up with this.” (“TV Editor’s” work after the WGA announced the Letterman/WWP deal )
12. “Do you understand that, David Young? This is the first of many letters to come – and many back channel attempts to get things back on track. This is about getting back to work, not protecting the egos of our misguided leadership.” ( “moderatewriter’s” comment after the posted letter of the TV Pilot Writers”)
11. . . .”thank goodness! This is what a split in the guild looks like without using the term “split’. This is reasonable” (“modearatewriter’s comment after the posted letter of the TV Pilot Writers”)
10. “. . .it would be nice if you used your energies to get your people back to the bargaining table so that this awful strike would end, rather than spewing vitriol about television show hosts & non-sympathetic commenters . . .( TV Staffer’s Comment after Colbert and Stewart decided to Cross the Picket Line)
9. “THe WGA & the AMPTP have had two months to work out a deal. And for most of those two months, ZERO progress was made as they stubbornly refused to talk… instead engaging in a heated game of “My Penis Is Bigger Than Yours.” ( TV Staffer’s Comment after Colbert and Stewart decided to Cross the Picket Line)
=PICT;ALT=8)”“Last I checked, this was television we’re talking about. Not the holocaust. If you’re not happy with these hosts’ decisions, don’t watch the show. Express your disappointment. But lay off the Nazi comparisons!(“TV Staffer’s” Comment after Colbert and Stewart decided to Cross the Picket Line)
7. ” . . .let’s not forget that there are now two more television show staffs (mostly modestly paid young folks) who are able to collect paychecks again because of these hosts’ (reluctant) decision to go back on air. I think that’s commendable.” (“TV Staffer’s” Comment after Colbert and Stewart decided to Cross the Picket Line)
6) “It’s not fair for these non-WGA staffers to continue to put their jobs, their paychecks & their livilihood on the line when they will gain NOTHING from this strike!” (“TV Staffer’s” Comment after Colbert and Stewart decided to Cross the Picket Line)
5. “. . .the hosts are providing increased income for the studios . . .but they are also keeping hundreds of people employed” (“TV Staffer’s Comment after Colbert and Stewart decided to Cross the Picket Line”)
4. “You are the same people who champion freedom of speech all over the world……..except if its at odds with your union goals.” (A favorite Fabriani and Lehane post when caught as a shill)
(3) “I can’t wait until all showrunners return to their shows without a deal.” (Another favorite Fabriani and Lehane post when caught as a shill)
2) “They [Steward,Colbert etc.] are all good talented people and they want the strike to be over.” (“TV Staffer’s” Comment after Colbert and Stewart decided to Cross the Picket Line”)
(1) “We should protest the protesters if their (sic) are any!” (A favorite Fabriani and Lehane type post when pretending to be “A Fan”).
It’s the same tired themes, over and over.
A WGA Supporter
I always notice how well the Guild statements are written and how poorly the AMPTP’s. If they hired some good writers they might gain clarity sooner and return to the table.
I feel for the movie writers. I really do. But something has to happen, some public move that will put pressure on the CEOs to break.
This is a calculated risk, but a good one. If the ratings reflect the quality of the writing, it will put pressure on their side to settle.
If not, then they’ll wonder what the heck they need writers for anyway.
The reality of the situation is that you either sit out on strike (which puts pressure on the companies losing money), or you do something like this deal, which offers an enticement to show owners to settle the strike (which will get it over faster).
But it will only work if the writers stay out on strike. Go back to work now, and you undercut your union, all the other striking writers, and it’ll take even longer to settle this strike. Bad move all around.
I applaud all of you . Our local has been back to work near two months now . We were on strike from June 14th 2007 until November 8th 2007 . Nearly 5 months without pay or insurance is a wakeup call . Corporations across OUR great country only see dollar signs and don’t really care if we can maintain a decent standard of life . By standing up , you have all shown that you will simply not stroll into the mold of what Corporate America wants . I agree , this deal might seem bad but now you have a chip to play . NBC will be burning and will force them to the table .
I’d imagine this will lead to going back to the table sooner than you think . We lasted 5 months in the heat and bugs of Florida’s summer . I wish we had something this positive in our second month of our strike .
The IAM Brothers and Sisters of LL2061 Cape Canaveral , Florida are standing strong and pround behind you !
The Huckabee thing makes it appear that the AMPTP is closely tied to the Republican party. Big surprise.
Gavin your numbers are off. late night writers have not been receiving $2,000 – $10,000 per week in residuals during the strike. Many of the repeat shows are on their 4th or 5th run, maybe the networks did that by design. But a writer earning, say, 8 grand per week base salary has been pulling maybe 200 bucks per show before taxes. And residuals are frequently not paid right after the show airs,they’re filtered through a WGA that is notoriously slow in sending funds on to writers. I’ve received about 6 of the 40 checks I’m owed for strike reruns.
This won’t get posted, but I agree with Gavin.
This isn’t going to put any pressure on NBC. Zucker doesn’t care. GE doesn’t care. Zucker, if you remember, fired Jay Leno and gave his show to Conan. This is not a smart move by the Guild because it will cause dissent within the WGA ranks and not make any substantial movement in the negotiations. The WGA leadership is unfortunately grasping at straws because they have no leverage left and the Studios know it. Settle in because this thing will last a while.
BTW — I have no malice towards the Letterman writers. They didn’t negotiate the deal. Good for them.
Another mistake by Guild negotiators though…
One of the best features of the WGA/WWP deal -if we play this right and I hope our new “advisers” are setting this up – is that by the day after Letterman returns, ALL of America will finally know all about the strike and the positions of the two sides. This is going to get very big coverage. Obviously, the network news and the trades will be pretty slanted, but there are all sorts of other outlets, including print, cable and of course, our new frontier, internet, etc.
The WGA should herald this return, maybe offer our on EPKs and “Welcome Back Dave” parties on the web with all sorts of celebs celebrating, “perhaps not the beginning of the end but certainly the end of the beginning,” as Chuchill said.
Play this up as a major victory for the WGA and not as something divisive.
And Mike Werb is correct in his comments about the last strike. There were side deals and no union member complained that they weren’t working. These companies became our allies and in many ways, they were far more receprive to WGA members after the strike.
I came out here for the first time just before the strike. It was a horror story. But we survived. And I really believe we are stronger now and far more cohesive – as long as we ignore the trolls at the end of the path.
I’d like to second what anotherWGAwriter pointed out. Also, the contrast between Letterman with writers and Leno without will make the role of writers on these shows very clear to the American public.
I’m setting my DVR for WWP.
I’m not a writer, just a fan of your work and a supporter of your cause. As a TV viewer, I have to say I wouldn’t pin too much hope on Letterman w/staff getting much of a message across to the public. Most of the public are boneheads and can’t seem to grasp that Dave is a real talent and Jay although probably a nice guy, is just a second rate host at best. So expecting the public to figure out which show has writers and which doesn’t, well it’s a lot to ask of people who prefer the lame, joke and bit stealing comedy of Jay to the acerbic and keep you guessing comedy thats made Dave a legend. I wish you all the best and hope you all get what you ask for, want and deserve. Good luck to you all.
Mark—NYC
As someone who has been marching on the NYC picket lines, I can tell you that while the late night writers from Conan, SNL, The Daily Show and Colbert all wish they too could go back to work, they don’t begrudge the Letterman writers who will be. (BTW -Those Letterman writers have been on the picket lines every day).
I can’t speak for a few screenwriters in LA, but there is a lot of unity within the writing community here.
Solidarity!
Stop Huckabee–are you kidding? Huckabee is a Republican from a Right-to-Exploit state, he’s going on all right. It would be pretty ironic if our “big supporter” had a guy on railing against the strike, or at any rate will be helping to drum up interest in a candidate who’s against us. Dave shouldn’t be going with Trump, either, god knows what he’ll have to say about the strike.
outsider–we’re not two year old kids, you know? How does Letterman’s writers earning a paycheck under an agreement where they’re getting the contract we’re asking for hurt me? Even if we don’t benefit from this agreement in the long run as we hope we will, it still doesn’t hurt us. If I’m so deluded and bitter that the biggest problem I have is some sort of preschool jealousy that 40 people are working legitimately and I’m not, then I should probably retire to a nice restful resort in Arizona, the world is really a bit too much for me. I don’t go around tackling and beating other writers because I’m eating peanut butter and they’re eating peanut butter and jelly. I’m so jealous of the jelly. If I can’t have jelly, no one gets jelly! Give me your jelly! We must all be in exactly the same position or I won’t play. It’s not all about me at all times. Writers really aren’t as irrational and fragile as the influx of Leno staffers and paid AMPTP shills on here would suggest (and yes, I know, it’s silencing dissent and aping the Nazis to disagree with shills and call them shills, blagh blagh blagh).
The quick-set glib insert as to Democratic candidates…is the entire point here. Letterman, obviously a Liberal and liberally aligned, can now “allow” Democrat candidates to appear on his “show” and they can all glorify in them not “crossing the picket line.”
Let me quote the Church Lady: “how conveeeenient.”
Huckabee is a Republican, a party that doesn’t traditionally get the vote of organized labor. He has nothing to lose and everything to gain by going on a national show (as, even if you completely disagree with his policies– which I do — it’s clear he’s a charmer and quite funny. Apparently that’s how they grow ‘em in Hope.)
As for whoever called Nick Counter a Nazi in one of the above posts. I hate Nick Counter and he and his employers have cost me my job, but can we NOT use that term in this discussion? He’s a businessman serving his employers’ interests and we do have to make a deal with him at some point. If you use that term, it only minimizes and trivializes the atrocities of the actual Nazis, and it makes our side seem like a bunch of loons. That’s part of the AMPTP’s playbook, don’t help them achieve it.
Also, let’s not say that the Leno writers are on here bad mouthing the WWP deal. I’ve picketed with them and they are as committed as everyone else to getting a fair deal. And believe it or not, some of them were even Letterman writers at one point and may be again in the future. Just because there’s competition between the hosts doesn’t mean they all share those feelings. I even heard a rumor that some of them are… friends. Crazy.
I’m a produced feature writer and I don’t see why feature writers should be upset by any of this. Though I wish we hadn’t given up on DVD so easily, new media is indeed a feature writer issue — DVD will be gone in a few years, replaced by internet VOD fed to a TV. The new media residuals will mean tons of $$$ to us. Anybody who doesn’t get that isn’t going to be a top feature writer for long.
Truth is, the TV writers are carrying us right now. I will be back out with them marching Jan. 7th, happy that WWP sided with us.
“Corporations have a negative impact on everyone including our planet.”
Give me a break. What BS. If it wasn’t for corporations most of you would not have work at all.
Screenwriters have been hung out to dry??? Come on, are you guys actually serious???
Every single screenwriter I know who’s worth a dung (and by that I mean to say, currently employable) rallied to get in drafts and set up side deals either well in advance of the strike, or in the days, nights and hours before it was called to get money in the bank.
Television writers who are worth a dung, however, were not afforded that luxury. Working on a pilot? Who cares? You can’t turn it in. Working on staff you say? You’re done — get the f outta here. (When the strike is over, however, we do still retain our rights to you, so you don’t have the option of going out and finding a way to pay for all the debt you incurred during the strike while all your screenwriting brethren are rolling around in beds made of money they purchased with their little late October bursts of creativity).
Am I falling for the AMPTP’s rhetoric? Is their objective of breaking me away from the rest of you working? I don’t know. All I know is I HATE what this strike has wrought on me, my family, and my bottom line. But if I don’t get to go back to work and all you poor forgotten screenwriters do, I’m going to be pretty f-ing ticked off.
Ring in the New Year right!
The Guild is looking for picketers on January 2, 3 and 4 for the return of the “Tonight Show”, without writers. Shifts are 8-11, 11-2, 2-5, 3-6 — we want to make sure any guest stars have to cross a line to get in.
NBC is at 3000 W. Alamenda in Burbank; check-in table will be on Bob Hope Drive (Johnny Carson Park).
See you there! BTW fans of all latenight and talkshow please come support our dire cause.
This is all about politics — just in time to help Hillary out. hmmm.
The Leno show’s booking of Mike Huckabee as its first guest is yet another slap in the face to the guild by our “supporter” Jay Leno. There’s a 50/50 chance that anti-union Huckabee will get on air and rail against the strike and the WGA. This is about the worst possible booking scab Leno could make. Who’s his second guest? Nick Counter?
As far as the deal with WWP it’s a positive but I’m hard pressed to see this bringing a quick end to the strike. In fact there’s no end in sight unless other small to mid level companies line up behind WWP and despite the rumors we’ve all heard there’s nothing close to concrete.
Any feature writers thinking of going fi-core, you cannot be serious. This strike will end sometime and that’s when your real nightmare will begin. You don’t want to be ostrasized in this business. The strike may even end before you think it will, consider that before abandoning your guild.
Holy crackers!
The “Late Late Show with Craig Ferguson” has writers?
I think the deal is great, but even if I didn’t, it’s kind of a no-brainer. You can’t really go out in public saying we are actively looking to make side deals and then, when someone who is pretty clearly deserving agrees to a side deal, you stiff them.
That would really make Patric, David and the rest of the committee look silly.
Thanks HuckabeeforPrez?!
Here’s the letter I just emailed Mike Huckabee:
Dear Governor Huckabee:
It has come to my attention that you are planning to appear on The Tonight Show w/ Jay Leno on January 2, 2008. May I bring to your attention the fact that Mr. Leno has chosen to cross the picket line in violation of the Writer’s Guild Strike? Are you planning to do the same? Many of the voters who respect your message and are interested in your campaign are Union members. But upon hearing of your appearance, I couldn’t possibly vote for you if you elect to participate in threatening the livelihoods of thousands of people in Los Angeles, New York & beyond who are standing up to corporations who refuse to grant fair wages to its workers. If you refuse to honor the picket lines in Burbank (where The Tonight Show is taped), you leave me no choice but to contact my Union and Church leaders to express my disappointment in your decision & encourage them to do the same.
Thank you for your time & attention.
Feel free to cut & paste & email (pressroom@explorehuckabee.com)
Or a reasonable facsimile.
Comment by HuckabeeforPrez? — December 29, 2007 @ 2:00 pm
“Wow I can’t believe anyone running for president would want to be the FIRST guest to cross the picket line and do Leno.”
Huckabee for President, Inc.
501-324-2008
Pressroom@explorehuckabee.com
Huckbee has 2 union endorsements that I can find
International Association of Machinists(IAMAW)
websteward@iamaw.org
and
The 16,000-member New Hampshire affiliate of the National Education Association
Executive Director: Terry Shumaker
tshumaker@nhnea.org
The WGA should:
1) Flood the inboxes the above eMail addresses – make clear the implications of a Huckabee appearance on Leno.
2) MAKE SURE THERE IS A LARGE, LOUD WGA PICKET SET UP ON JAN.2 AT THE TONITE SHOW’S GUEST ENTRANCE. MAKE GOOD USE OF HUCKABEE’S TRAVELING PRESS CORPS
I have had the opportunity to work with both sides of this strike and can tell you this is a watershed moment.
The model is broken, if this was just about the WGA then I could see many of the issues the WGA has put forward as solveable in the short term. The fact of the matter is that the WGA will be most effected because they were first to renegotiate.
The Auto Workers Union found out that unless they negotiated with a clear understanding of economic reality they would just continue to lose jobs. The “Every negotiation means more for us” strategy led to their membership decline.
When I read on this board, right-wing conspiracy, evil corporations, with us or against us etc. I know that the WGA is in for a long road. The assumption that the writers have “rights” but the corporation does not is naive. In the end the writers have the right to work or not just as the production houses have the right to pay or not pay. In the end all will act in their own best self-interest. Corporate shareholders are not Che Guevera and I wonder how many of you would forgo your interest or earnings based on the “rights” of others.
So when you gleefully mock their inability to write press releases to your standards you may be correct in your evaluation. Conversely, they have the same right to mock writers disconnect to the the business principles that make their current standard of living possible.
If a writer is faced with losing their family home and must go Fi-Core to save it are you honestly going to begrudge them? If so then writers who are more affluent and stand on the sanctity of principle should be offering up their savings to assuage the plight of those who do not have their finacial security.
The best thing that could happen is for the production houses to have a “take a writer to work day” program so that there could be some enlightened negotiation. I am sure after a few days there would be more sympathy for the process of “Splitting the Baby” between financeers, stockholders, directors, writers, production costs and talent. In the end there is only 100% to divy out with competing interests.
Writers, I hope you succeed in being a part of a model that will keep the US as the premier source of entertainment to the world. In the end remember you do not have “rights” greater than the marketplace decides but have an economic value like the rest of us.
In conclusion, if you truly believe in your art, protect it by creating the foundation to support it long-term with clarity of understanding of the marketplace that supports it. If you believe that corporations are evil, those that run them demonic and souless then you care little for the craft and are little more than prostitutes taking money for services rendered
I have previously stated that a see both positives and negatives in this latest move by the WGA. But what I would really like to see to see is the details of the agreement between the WGA and WWP. The WGA has a press release trumpeting how good this deal is, so why not reveal exactly what the deal is?
Does anybody have this info? I for one am very interested to see exactly what the agreement is and ultimately what effect this will have on ratings / ad dollars
To A WGA Supporter:
Congrats on completely missing the point of my “angry” post directed at writer @ 9:18. The fact that you so vehemently deny that anybody in an industry of a few hundred thousand people could possibly have an opinion differing from your own without being paid by the other side marginalaizes your arguments, and hurts your cause among people that would normally support you…people like me who wish you guys would get a little more business sense and stop turning this into a good vs. evil fantasy land war.
But if you need to, keep on believing that I’m someone paid to post on a web board at 9 at night and 8 in the morning, and not an editor that’s steadily worked in this town 10 years and checks on the news here in the morning and at night when his kids are asleep. If that’s what it takes to get you through the strike go ahead, because in truth, I hope you guys get the cash you deserve.
the purpose of television shows is to get viewers to watch to make money for the company(thats the purpose of any company)not to give the employees a job. If a union decides to strike(ie. QUIT THEIR JOB) thats fine with me, but do not pretend that god is on your side and people who decide to work are evil.
And while I am still laughing at all of the clowns in this circus …
I think it is ironic that the leadership made its first deal with World Wide Pants because they are flying by the seat of THEIR pants.
It’s obvious there was no pre-strike strategic planning here.
In any strategic plan, the first step is to know your opponent so intimately that you have even counted the number of sheets of toilet paper he or she wipes their ass with. I doubt seriously anyone on the negotiating committee can answer that question if asked about any of the Big 6s bathroom tissue choice and use. I’d like to see the strengths and weaknesses flow charts the team created pre-strike to find the Achilles’ heal of the AMPTP and how they were going to aim the arrow straight at it to get this thing done quickly and neatly. All I’ve ever heard was this is going to be difficult and long … not the opponent is going to make this difficult and long and here are our strategic plans. The only plan it seems was go on strike and make it up as we go along.
At least one strategy needed to be pre-strike education. The leadership needed to have won the hearts and minds of all of our unions, not just SAG, but all of the unions that would be hurt by a strike and mobilized that pressure before the signs hit the streets. If in July they knew the AMPTP answer was NO to everything and that was pretty obvious by the roll back deal on the table, then six months spent championing the cause in a public forum may have brought a less entrenched opponent to the table because everyone would have known what the hell this was about before Big Media froze the WGA out of the headlines. The story needed to be created way before the strike deadline.
Perhaps another strategy – late night show leverage. IF and I say if there was any leverage in the late show franchises, then why not have brought all these hosts together pre-strike and courted them into being allies, not competitors trying to get back on the air to bring revenue and ratings to struck companies. Instead of making this an every man for him self playground, a “genius” negotiating committee would have had them organized in a way that would have made a collective voice to support the cause. If any of them had been persuaded to start making a potential writers’ strike a subtle topic of jokes in monologue or comedy it would have at least been in the minds of the audience that the writers were going to get nailed by big media and the audience would be on their side pre-strike. A strategic plan would have addressed the late night forum and put it to positive use. That plan would have rattled these late night hosts into trying to prevent this strike from happening rather than trying to play both sides of the fence to save face. Of course that would have been a real feat to pull off with WWP holding the trump card, but it would have been a strategy – not a scramble tactic to see if one little production company would bring the AMPTP back to the table. Now the late night hosts are all loose canons and all but your anointed savior Letterman thinks the guild sold them out by cutting this deal with WWP while stating both in private and public that WWP was too small a fish to sign first. Before the leadership cut this deal, they should have known damn well that NBC NEVER PROTECTS the late night hosts and GE (remember fellas GE not Zucker) isn’t going to be suckered into panicking over a small fish like World Wide Pants. I know one thing this is a chance for these late night hosts to step out of the box and create some real television … oh wait they have no writers to do it with. Let’s see if they can fly by the seats of their pants and if their producers can re-invent the format and actually make this REALLY interesting to watch. Remember Letterman is coming back with the same lame format everyone of these shows is locked into – nothing NEW there!
Is there a way to get strategic at this point? Perhaps the leadership needs to go back to the table themselves ALONE with some flow chart paper and a column A and column B and do redo their homework and come up with a real forward thinking, end of strike strategic plan before the AMPTP wipes their ass with the WGA in 2008.
PS Along with Jay, Conan, Dave, Jon Stewart, and Stephen Colbert, I forgot to add Jimmy Kimmel to the list of late-night talk show hosts who should be applauded for supporting the writers.
Ellen, you were a tremendous disappointment and I’m a big fan of yours. Carson, I’m glad you came back. Now I don’t need Ambien to help me fall asleep anymore…
Mike Scully
Leno has never been a real friend of writers. He pretends to support his guys (no gals just guys) by bringing them donuts but he really doesn’t care all that much about them. He’s happy getting jokes by fax. He should burn his WGA card on the air and go right into a monologue and say to hell with my not being allowed to tell jokes. I’d have a lot more respect for him if he did that because at least he’d be honest.
In regards to putting pressure on A List actors to not cross the picket you are facing an uphill battle. Actors are contractually obligated to do publicity for their show/movie. It is in their contract and no strike can change that because there is language in their contracts stating that as well. Do you think Will Smith or Tom Hanks is going to forfeit their $20 million dollar salary to support the strike. Think again. They will do the talk shows like they have to and the best you can hope for is they join you on the picket lines. But funny how I have yet to see the $20 million dollar actors/actresses out on the picket line. Hmmm, I guess it’s not the studios who are the only ones who are in in it for the money.
I’m surprised by the number of people willing to declare this a great victory or a dismal failure. Reality is, we don’t know what impact it will have. It may turn out to be important, and it may end up meaning nothing at all. Only time will tell.
Dave gave the writers what they were asking for.
Dear “Gavin Your Numbers Are Off”,
Who makes 8 grand a week? I’m a late talk show writer, and I make less than half that. Yes, there are a few writers who earn more on Letterman, Leno & Conan, but just a FEW – and those writers have been working a long time and deserve it. Therefore, your numbers are off. Residuals are what we’re fighting for. Be glad we’re getting any residuals at all.
The people who ask what will happen if writerless-Leno’s ratings remain higher are missing the point. So are the people debating over whether Dave will talk a lot about the strike on the air, and whether that will alienate viewers. Both these arguments are predicated on the idea that the WGA needs more public support and awareness. It doesn’t. The public is already something like 80/20 in support of the writers. The Guild has done a tremendous job of telling their story on the Internet and on the picket lines, and people have listened, and they want the scribes to get a fair deal. Meanwhile the AMPTP can hire all the expensive flacks they want, keep Variety in their back pocket, and so forth, but it doesn’t matter because no one’s buying their line of shit.
What does matter is that it’s a huge embarrassment for the other networks to be putting on neutered versions of their late night franchises while Letterman comes back in full force, top-ten lists and all. It’s another blow to the egos of the AMPTP members, and we know that this negotiation has nothing whatsoever to do with money from their perspective; it’s only about saving face and looking tough. Once they decide that the strike is causing them more embarrassment than settling it would, it’ll be all over.
To A WGA Supporter – funny list – my only bitch about it is that I only show up on it twice. I’m a better shill than that.
Once again, can we get together on one thing. Questioning our negotiating strategy is not the same as questioning what we are asking for. Questioning our strategy does not dismiss how unsavory or dishonest the other side has been. Does anyone on here really believe that 20 writers going back to work on one show is a good thing for the guild and ALL working writers. You’ve got to be kidding.
Please prove me wrong. PLEASE! Please show me that all along you knew what you were doing my esteemed negotiating committee and leadership. I remain skeptical.
Hey “Anonymous” –
Leno has two female writers. Every heard of research? If there’s anything else you need to know (which, obviously, is a lot), go ahead and post away.
Nick @ 12:13pm,
you stated that public supports the writers 80/20.
Oh my how naive you. Those numbers might (and i say might) be right in L.A. & N.Y. But 80% of this counrty doesnt not even know you are on strike! So for you to believe that 80% of people in this country support your cause when they don’t even acknowledge your cause is SILLY.
Also, can anybody provide the details of this “great” agreement the WGA reached with WWP???
Moderatewriter wrote: “Does anyone on here really believe that 20 writers going back to work on one show is a good thing for the guild and ALL working writers. You’ve got to be kidding.”
Yes, moderatewriter, I believe it is a good thing for ALL working writers. And I sure as hell can’t see how it’s a bad thing. I would be selfish and short-sighted to get jealous, especially when it proves that if Letterman can afford our incredibly reasonable demands, why can’t the big 8? Simply put: they can and they should. That’s what this deal means and that’s why I’ll be more than happy to walk in a circle until every writer is working again, even if the studio I work for is the last one to cut a side deal.
Not that I think it will come to that. The companies will eventually accept that we are resolute, that we can weather months without pay (as grueling as it may be), and that this IS the negotiation of a lifetime and we’re willing to hold out for nothing less than a fair deal.
BTW, I don’t believe half the posts I read on this site anymore. I used to work in PR and I would submit letters to a major newspaper’s op ed section in my friends’ names supporting the positions of our clients. So, I GUARANTEE that AMPTP shills are plastering this website every third post. In fact, since we’ve called them on it, I can already see how they’ve tempered some of their rhetoric to allow just enough poison into certain posts to still spread doubt. Don’t be fooled, guys. The guild is doing the right thing here.
I too am a produced feature writer who fully supports this move. I can’t understand why feature writers should be upset about this… especially once Sony, Lionsgate follow suit… more and more of us will get our projects re-activated.
And by the way – I am happy for those 20 writers – I’m glad our message is out there – all I’m asking, to stop my shilling – is to show me how the way we’re going about this strike is really a good thing.
I’ve read, heard, consulted on all the arguments – I don’t question our leadership’s motives – just strategy. If the rumors that our own guild circulates are true about big media just wanting to bust unions, is it well advised then for us to try and bust them back – on our own?
I understand the argument that we are fighting for the future, that we could do the most damage by going out on strike when we did — but in reality, isn’t there potentially a better way of trying to get what we deserve? Is it really so far fetched to wonder if it might not have been better to go out with the actors if necessary – isn’t it better to have Ben Stiller or Tom Cruise or Julia Roberts or (pick ‘em) on strike with us, rather than picketing with us for an hour before they go back to their 20 million dollar jobs?
It seems to me that while the fight is right – some of us may question the wisdom of using this strike to make the point for a whole industry – putting the membership in the unenviable position of being sacrificial lambs for our sister unions.
All the arguments have been aired – the shills, the loyalists, the moderates, the radicals, etc. I’ve been on the picket line – and I’m with this guild 100 % – I’m just asking, isn’t it just possible there was a better way?
If the strike is over in January or early February – before there is too much blood in the water – then I will stand corrected and thank my leadership for a job well done.
Happy New Year.
WinBEn wrote:
If a writer is faced with losing their family home and must go Fi-Core to save it are you honestly going to begrudge them?
Yes. Absolutely. Many of us are in exactly that situation. But we do possess a sense of purpose, of loyalty…and (maybe another negative critic, Semper Fi, would understand this one) honor. We believe that the future (and the very near future at that) is worth the hardships we’re undergoing now. The stakes have been explained a hundred times to anyone who takes the time to learn them. I don’t think you’ve bothered, WinBEn. But then, I might be wrong. You certainly are…in this longtime writer’s opinion.
Going Fi-Core means scabbing. Scabbing stabs your colleagues working for a better deal for everyone in the back. If you’re in danger of losing your home, borrow money from one of the funds set up to help you. Don’t betray other writers. Don’t betray yourself.
And, if every ex-Marine reading this will forgive me for borrowing a worthy phrase which I think applies: Semper Fidelis.
Word!
WInben –
How very eloquent and well put! If that doesn’t at least make a point to the more moderate and reasonable people who read this board, I don’t know what will. Be prepared to be called a shill by the hardliners, but your point was spot on. This demonization of the other side has to stop, how in the world do we expect to go work for these people when this is over if we keep calling them everything but a son of God for months and months.
Dave has always been my fave and this move just underlines why: He is smart enough to make a deal that takes care of his people and makes him a hero to most writers. The best part though – and I mean this sincerely – is he gave up nothing. Any extra money is probably negligible compared to what he was losing being off the air and paying bills out of his pocket. The new rights he signed off on he either doesn’t have much jurisdiction over or he doesn’t have dogs in those hunts plus when the AMPTP and the WGA do a deal (and eventually they will) he is part of that deal.
My hat (again with total sincerity) is off to you. Now we know why you own your shows.
If this has shown us anything, it shows us that we must take care of our own. Not those who will go back to work when they can, but our own, our families, the employees we support through our work. Monday morning I’m back on the job. I’m not going to further deplete my savings or skimp on any holidays so the rich at the top end can become richer while those in the middle and bottom are going broke. If the true future of writing is everybody for himself online, then the time to start is right (write) now. I don’t need anyone, company or union to tell me when I can write or for whom.
Call me a troll, shill, scab – whatever – those are words people make up to control other people and I have been controlled too long. Oh, and love that skywriting idea, right up there with the adolescent parody essay and the pencils.
I was a “militant” supporter of the strike. I believed a strong, unified strike against the AMPTP was called for and I’ve done everything and anyting I can for the strike and stand with my brothers and sisters of the guild — to “stick it to them”. I still am a loyal guild member and back the leadership as they try to “game plan” this thing… And I support Dave, Leno, Stewart,Colbert, Kimmel – all who are doing their best to be loyal to the union and to their employees.
BUT this news is disheartening to me. The majority of the country isn’t following the strike at all. By having Jay, Dave, Conan etc… off the air then we are having an impact that every person can see. It doesn’t matter what the deal with WWP is…the public sees their favorite late night shows back and… that hurts writers. Sorry. But that’s true. We just lost a bargaining chip. This seems screamingly obvious. We need to keep all shows off the air and then the public will put pressure on the networks (and AMPTP) to resolve this.
I am disappointed. I will continue to walk the line, but I am losing hope that it will have any net positive effect for the WGA.
Writer – The Tonight Show writers and Letterman writers actually average about 10 grand per week. That’s base salary, not counting residuals. Several weeks ago the Hollywood Reporter reported the average salary of a Tonight Show writer as $500,000 per annum.
Mike Scully – Thanks for pimping Juno and The Huffington Post. Any more plugs? I think that’s our highest priority, promoting our friends’ projects. I have several BTL friends who’d enjoy Juno but since they’re out of work they can’t afford 11 bucks per ticket.
moderatewriter, do you have any suggestions to make about how we should be conducting the strike? There’s been plenty of complaining here about various elements of strategy, including making the deal with WWP, being far too soft on the hosts who are going back, etc. We all have opinions about what’s going on right now.
But as far as the question of whether it’s possible that there was a better way, I think the point is, does that really matter at this point? As you say, all the arguments have been aired, we’ve heard them. But the truth is, 90% of the membership supported this action, we knew what we were getting into. So unless you’re proposing that we just surrender and agree to whatever the AMPTP wants to force on us, and it doesn’t sound like you are, isn’t it kind of pointless to continue to engage in all this woulda shoulda coulda? If you have some suggestions for what we can do that doesn’t involve going back in time, I have no doubt the leadership and organizing committee would love to hear them.
Hey “Anonymous” -
Leno has two female writers. Every heard of research? If there’s anything else you need to know (which, obviously, is a lot), go ahead and post away.
Comment by TV Fan — December 30, 2007 @ 1:58 pm
Every heard?
Have you ever heard of reading a post correctly? Here’s the original:
It’s nice that a dozen white male writers get to go back to work. Too bad there are no women or minorities on Letterman’s writing staff to join in the fun.
Comment by a writer — December 28, 2007 @ 10:10 pm
LETTERMAN doesn’t have any female writers, genius (my using that term in reference to you is called SARCASM), NOT Leno. Obviously your bigotry & ignorance have made you incapable of proper noun comprehension, grammar, syntax, etc. For substantiation of the statistics on the decline of female & minority hiring, please see http://www.portfolio.com/views/blogs/the-hollywood-deal/2007/05/09/tough-times-for-womenminority-writers
Best of luck in your other endeavors.
“a “genius” negotiating committee would have had them organized in a way that would have made a collective voice to support the cause.”
Right, with the Genius Negotiating Committee Magic Wand. You are getting sleepy…very sleepy…stop being greedy selfish bastards, you greedy bastards…care about your writers…care about all writers…pretend you’re WGA…get some damn dignity and stop trying to make money for the company that pushed you out, you pathetic suck-up….Uh, anything concrete?
“If any of them had been persuaded to start making a potential writers’ strike a subtle topic of jokes in monologue or comedy”
Yeah, it would absolutely strike fear into the hearts of the suits to hear that strike-related jokes were going out over the sirwaves. They’d certainly stop counting the vast sums of money earned by consuming this form of strike ed long enough to keen over it at regular intervals. Fuck dude, you know how there was a huge groundswell of generalized support for greedy moguls against those unnecessary writers and their extravagant 4 cent demands? One jab from Jimmy Kimmel and the tide has turned!
“That plan would have rattled these late night hosts into trying to prevent this strike from happening”
This is so feasible and realistic, you should be running the Negotiating Committee. We need a plan…a strategic plan….a plan that can do magic in some unspecified, but totally STRATEGIC way! Strategy is key. I mean, let’s get strategic! That’s key. If we followed your super strategicness, we’d know how throughly Nick Counter wipes his ass, and we’d be shoo-ins to win this thing with that strategic bit of information. Dude, that alone would provide enough strategicness to form a cabal of severely rattled late night hosts who can retroactively prevent this strike. Why didn’t we think of this sooner.
“Now the late night hosts are all loose canons and all but your anointed savior Letterman thinks the guild sold them out by cutting this deal with WWP while stating both in private and public that WWP was too small a fish to sign first.”
God, this is worse than Hamlet in its tragic inevitability. I don’t think I can go on knowing that a bunch of backstabbers who betrayed their own union now feel betrayed by that union. Now that we’ve completely sold out that late night hosts, they’re going to get back to us by scabbing in a really scabby way, as opposed to the unscabby, half hearted attitude they committed to scabbing with before. I told everyone it would behoove us all to take the time when the moguls are in Palm Springs to hold a “Scab Self-Esteem and How to Increase It Or, YOU Feel Betrayed When Others Do the RIGHT Thing!” seminar outside Paramount, but nobody ever listens to me.
Funny thing, though, it does occur that if these guys were so ripe to form a cabal ro cover each other in staying OFF the air instead of all going back at once and acting like it’s no one’s fault, then they wouldn’t really care if WWP gets a deal. In fact, they’d applaud it, since they’re all about the strike and the writers and not themselves and the networks. I mean, after all, they were forced to go back, and they’re all such gosh darn big supporters of our cause anyway that we made a key error in not magically organizing them (and specially organizing them, since the rest of us all seemed to get the memo to stop work, stay out, picket–they should check their email more often), they pretty much should feel delighted, not betrayed. After all, they don’t own their shows and if their ratings suffer a bit, well, we’re all suffering, they seem to be doing a bit better than most what with getting to work and getting paid and being fabulously wealthy and all that.
To “ACTUALLY ‘NOT’ A WORKING WRITER” from 12/29… Look, obviously the ’successful writer’ who is crying and wanting to go fi-core pissed you off but come on… you really define ’successful’ as being the top five percent of the guild in earnings? I think i’m successful because i’ve made a living in features for the last five or six years and i assure you i am not close to the the top five percent. i also don’t think $ = success. I’d like to think not, even in this town. the rest of your post, I hear you. I am not, though, in agreement with the conspiracy theory that all these huge writers got all the jobs in the run up to the strike. i might not be clear on what you’re saying but why is taking a job two months before a (possible, at that point) strike something awful? I actually got hired to do rewrite at a viacom company a few months before and they stalled on the paperwork but even when everything was signed they didn’t send me my commencement money. that’s 25k and it’s a huge amount of money for someone like me but that’s the way it goes. of course, i was contacted by the producer who offered to ‘loan’ me the money if i did the work because the studio wants it. i said no. frankly, i think the guild has handled this poorly and i’m not convinced it was a great idea but you know what? it’s my guild and i continue to picket and support and, of course, turn down scab money. i’m NOT near a top five percent and i’ve already been contacted twice by producers and dir/producers to do a little ‘underground’ work (as they called) if that’s happening to a minor leaguer like myself i’m sure there are writers scabbing – on all rungs of the economic/success ladder. a weak man or woman will scab, regardless of how much they make or how they rationalize it. i’d be lying if there wasn’t a pang of jealousy that some writers are going back to work but that’s the way it goes. what i’m most curious about is seeing how many feature and pilot scripts are going to ‘magically’ be ready to go the day after the strike ends. then we’ll see who walked the walk or were just pathetic, self-centered pussies.
Good for Letterman and his writers. I fully support this deal and have no bitterness that I will still be out picketing while fellow writers work.
Letterman’s writers are our carrot; this is what you could have, AMPTP, if you’d make a fair deal. Hope Dave’s ratings are sky-high. And I hope Dave uses his host desk to let the world know how brutally the AMPTP is ass-raping writers.
As for a few feature writers using this deal as an excuse to go back to work… I agree with the PP who said those are the types whom haven’t even spent a minute on the picket line. Personally, I don’t want whiners and quitters on my line anyway so those self-serving crybabies may as well toddle off and do whatever their damaged conscience allows. Pitiful.
For the long haul, for a fair deal, for the future of all writers.
LKB
“TV Fan” –
wow, you’re some fan to know the gender breakdown of the Leno staff. I’d venture not many “fans” are aware of that info. You’d think only a member of Leno’s own staff would be aware of the breakdown.
Re WWP: It remains to be seen how this will enhance the WGA. But it was a move that absolutely had to be made. It may turn the tide, but will most likely have a lesser, though still beneficial role in hastening the end of this strike.
The bottom line: the guild had to do something to shake things up. This was a static situation going nowhere. We’ll see where it takes us.
For Intrigued — December 30, 2007 @ 2:20 pm who wrote: “you stated that public supports the writers 80/20. Oh my how naive you. Those numbers might (and i say might) be right in L.A. & N.Y. But 80% of this counrty doesnt not even know you are on strike! So for you to believe that 80% of people in this country support your cause when they don’t even acknowledge your cause is SILLY.”
Hmm – “you writers.” Obviously a member of the ruling class. Yes, we have already won the PR war. This is a top issue on everybody’s mind – everybody who turns on Desperate Housewives and sees a rerun says, Oh yeah, the writers are on strike. Good for them. They should be paid for their work. I heard it all thru the holiday from all kinds of people – lawyers, accountants, dog trainers, retirees.
Keep up the good work, WGA. I’ll volunteer to help organize a fundraiser or two to help pay the striking writers who need financial help. Just say the word.
While I am not a member of the WGA, I am a member of another Hollywood union: Teamsters Local 399 Location Managers.
I promise to never see any Feature or TV production written by a SCAB writer.
I promise not to watch any TV show with picket lines outside. In fact, I may never watch Ellen again.
All WGA members need to stick together to get this strike over sooner and with better results. Any Feature writer who considers this a TV fight and is considering going FiCore is a whimp and a SCAB.
As far as the AMPTP goes; everytime they point out all the contracts they’ve “successfully” negotiated over the years I’d like to make them eat the ones they’ve shoved down the throats of Location Managers since day one. Not including a provision to pay for the gas Location Scouts and Managers use to find and secure the locations needed for film & TV is indicative of the stance on not paying for new media. They want us not only to work for poor wages, they want us all to provide the tools of the trade needed for their product and profits for free.
GO WGA. Stay together and stay strong & focused.
Location Lady
The AMPTP pulled their statement/breaking news regarding the WWP agreement with the WGA.
It’s the only statement to be pulled from their site since the strike began.
Must be bothering them a little more than they’re letting on.
Happy New Year.
Thank you, Dave and Worldwide Pants, for providing intelligent, quality late night talk.You really know how to sock it to ‘em! I’ll get to watch your programs tomorrow–Jan. 2nd–instead of a simulcast of Maineautoking ads on all 6 stations in the southern Maine market @12 midnight.
This brand new deal with Worldwide Pants
Makes me want to get up and dance…
Happy New Year!
Just so we’re all clear here… I don’t know why David Letterman does not have any female writers currently on staff, but I know it’s not because he’s sexist in any way.
Anyone who knows anything about Dave’s history knows that his very first head-writer was the brilliant Merrill Markoe. She has been credited with helping develop Dave’s show. From Wikipedia:
She may be best known for her work on Late Night with David Letterman (a show for which she won five Emmys). She was the show’s original head writer, and was the head writer on Letterman’s short-lived live NBC morning show in 1980. She engineered most of the original concepts and architecture for the ground-breaking late night talk show, along the way creating the segment “Stupid Pet Tricks,” as well as “Stupid Human Tricks” and “Viewer Mail.” Many of the ideas behind the remote segments outside the studio came from Markoe.
The defense rests.
… on the other hand, if the Leno v. Letterman ratings don’t change much (or if there’s not a discernible difference in the quality of the writing), WGA is shooting itself in the foot again.
My parents (and most of middle America) have been tuning into the Tonight Show every night for years and I bet most viewers won’t notice the difference enough to change their viewing preferences.
Wasn’t Merrill Markoe also Letterman’s longtime girlfriend? Not that that fact dilutes her talent and contribution in any way, shape, or form. But it doesn’t seem like Dave’s been interested in having women writers since then.
So…sorry, the defense doesn’t rest.