The 2007-08 Writer's Strike Thread

[Chelsea]

http://online.wsj.com/article/SB119403509604480749.html
Strike Begins 12:01 AM Monday.

LOS ANGELES -- Barring a last-minute settlement over the weekend, Hollywood film and TV writers will go on strike at 12:01 a.m. Monday, people familiar with the matter said Friday afternoon. Picketing at the major movie studios and television networks would begin later in the day.

The decision to walk out on Monday comes four days after the Writers Guild of America's contract with the major Hollywood studios expired. Both the guild and the Alliance of Motion Picture and Television Producers have said they are willing to hold discussions over the weekend, in an effort to reach a new deal before the walkout begins. Among the issues at stake are questions about how writers will be compensated for digital distribution of their work as new media such as the Internet becomes a more common platform for TV shows and movies.

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As I understand it:
For most scripted non-talk shows (EG: Scrubs, Heroes, House) they've got 3-5 episodes in the can already filmed, plus another 3-5 scripts already completed.

Leno, Letterman, Ferguson, Conan, Kimmel, Carson Daly, Stewart, Colbert are pretty much all over with until the end of the strike. Daytime talk shows, like Oprah and Ellen, shouldn't be affected.

The soaps have about 2 weeks in the can, and 2-3 weeks of scripts.

Once each particular group of shows runs out of stuff, You're going to see a lot more reruns, a lot more game and reality shows, and a lot of newsmagazines until the strike is over

[Mr. Television]

It'll give me a nice long break. I watch too much television anyway.

[Brent88]

This is very depressing, and the season just started. I wish it had happened back in the summer so I never would have seen the new shows and gotten attached.

Sucks big time!

[Mr. Television]

Originally Posted by Brent88

This is very depressing, and the season just started. I wish it had happened back in the summer so I never would have seen the new shows and gotten attached.

Sucks big time!

I do understand how you're feeling. Back in 1980, 1981, and 1988 I was very down about the ongoing strikes not to mention the NFL strikes of 1982 and 1987. I prefer the writers do it in the summer too. The old shows should be okay but some of the new shows could suffer. People were just starting to get into them too.

[Chelsea]

Here's a thought: What if the networks elect to import, say, Canadian, British, or Australian TV. I don't mean adapt it, I mean air the foreign eps themselves. The strategy's always worked in reverse, I don't see why foreign shows couldn't work in the States.

[Brent88]

This may not be a total disaster... here's what I know is either unscripted and returning soon or midseason shows which should have at least some episodes.

Undoubtedly there will be some new unscripted shows also:

American Idol
Dancing with the Stars
Survivor(not watching this season but I will definitely pick back up in February if nothing else is on)
The Amazing Race 12
Deal or No Deal
1 vs. 100
5th Grader
(not currently watching those)
Power of 10(I'm sure it'll be back if it's a long strike)

Scripted

Lost(whatever airs)
24(whatever airs)
October Road
Cashmere Mafia
Lipstick Jungle
Eli Stone(?)(See Sarah Connor)
Jericho
The Sarah Connor Chronicles(?)(Much more likely to give this show a fair chance if the strike is ongoing in 2 months)

Plus I can watch repeats of some shows I haven't seen before. Maybe I'll see if I can stomach an episode of CSI.

[JulieSomoski]

I have no doubt the strike will happen. People are just so arrogant nowadays it has to effect our TV schedules.

[samanddiane4eva]

Ugh!
If any late night hosts are good at improv, new episodes could work.
Even if Stewart and Colbert would just knit for all 20 minutes they're on, I'd still be entertained and would watch.
Stupid writers strike...

[JulieSomoski]

Yeah, I have a feeling this strike will be effecting a lot of new shows this season. The ones that would get hurt the most would probably be Back to You, Bionic Woman, Chuck, Big Bang Theory, and Samantha Who? Back to You, because it really hasn't settled in the ratings yet. Bionic Woman and Chuck, because they've been falling the most in the ratings so far this season. Then Big Bang Theory because it's a sitcom, and if people stop watching, you could easily forget it's on (like I'd probably do) and Samantha Who?, because it's still new, and once Dancing with the Stars is over, we don't know what'll happen to it.

Makes me wonder: What'll happen to all the shows that already got a full season pickup? Could we be seeing original episodes through early summer if the strike really takes off?

[Chelsea]

http://www.thefutoncritic.com/rant.aspx?id=20071101

[Brent88]

UPDATE: In a last-ditch attempt to avert a strike, the Writers Guild of America will return to the negotiating table Sunday morning to meet with studios and networks.

News of the meeting emerged late Friday afternoon, a few hours after the WGA announced that its 12,000 members will go on strike Monday against studios and networks in the first major work stoppage in two decades.

The 10 a.m. Sunday meeting was called at the behest of federal mediator Juan Carlos Gonzalez.

After a fall launch that's left everyone a bit bruised, network execs hoped to see a bit of healing come January -- but a writers' strike now threatens to leave them even more bloodied.

The strike - set to begin just after midnight on Monday - couldn't come at a worse time for the broadcast webs. This fall, success stories have been few and far between, and increased DVR usage is challenging the way networks, advertisers and pop culture arbiters evaluate the performance of new shows and returning tentpoles.

Digital downloads, Internet streaming, ever-more competish from cable originals, and Web and vidgame options are among the countless reasons thrown out as contributing to primetime's season of discontent. And while no one seems to have a magic formula for reversing the trend of declining primetime ratings, just about every one in the biz agrees that a strike -- and the loss of original, scripted skeins for the time being -- will only make things worse.

"It's been an abysmal season," says one entertainment president. "What ultimately worries me about a strike is, are we hastening the narrowing of network TV? If we have to put up a sign that says 'gone fishing,' luring viewers back is going to be even more difficult."

January is when old reliables like "American Idol,'' "24" and "Lost'' (which is expected to bow by the first week of February) could inject a little more life into the 2007-08 campaign, and the period when the networks will launch a slew of reality shows, any one of which could turn out to be the next game-changer. It's also the point at which most scripted skeins will run out of fresh episodes if the writers continue to strike into the new year.

Although there were no instant smashes out of the gate, this hasn't been a complete disaster of a fall: ABC has reason to crow, with several new shows looking like winners, including "Grey's Anatomy" spinoff "Private Practice" and the critically lauded "Pushing Daisies." And with fewer baseball playoff games breaking up its primetime sked in October, Fox was able to improve its fall fortunes even without a new breakout hit, ranking as the only Big Four web to post year-to-year gains among young adults.

But elsewhere, several of the new shows people were talking about heading into fall -- think "Bionic Woman,'' "Reaper,'' "Cavemen'' and "Viva Laughlin'' -- have been disappointing enough to make execs ready for a midseason "do over."

And whether they want it or not, that's exactly what a strike may deliver. Here's a network-by-network look at the state of the primetime biz heading into midseason and what the webs have coming up for the rest of the year, no matter what plot twists may come from the Writers Guild of America's white-knuckle contract negotiations with Hollywood's majors.


ABC

The season so far: Net has managed to come up with several promising freshman: "Private Practice," "Samantha Who" and "Pushing Daisies" are looking like keepers, while "Dirty Sexy Money" and "Women's Murder Club" could also be around for the long haul.

Jury's still out on "Big Shots" and "Carpoolers," while things are looking grim for "Cavemen." Among returnees, "Grey's Anatomy" remains TV's top-rated series in the adults 18-49 demo, while "Dancing With the Stars" continues to shine.

Midseason gameplan: ABC has bulked up for midseason, with a hefty bench of reality and scripted shows. Some of them are already set to bow this month: new drama "Cashmere Mafia," and the return of last year's midseason entries "Notes From the Underbelly" and "October Road."

In January, ABC will bridge the gap between "Dancing With the Stars" cycles with the spinoff "Dance War: Bruno vs. Carrie Ann." Then, in early February comes a significant piece of the Alphabet's primetime puzzle: "Lost."

Where "Lost" might wind up its fourth season is the subject of debate (logical spots would be Tuesday or Wednesday at 10 p.m., with either "Boston Legal" or "Dirty Sexy Money" taking a rest), as ABC's Wednesday night lineup is working well even without the show that has been its anchor on the night for the past three seasons.

Other midseason shows on the shelf include comedies "According to Jim" and "Miss/Guided," new drama "Eli Stone," and reality skeins such as "Oprah Winfrey's The Big Give," "Wife Swap," "Supernanny," "Wanna Bet," "Just for Laughs," "Here Come the Newlyweds" and "Duel."

Contingency plans: Given its fall successes, ABC potentially has the most to lose in the event of a long strike, at least when it comes to momentum.

Nonetheless, the mantra is to operate as normally as possible, even if most of its scripted shows are forced into repeats. Alphabet execs would prefer to keep their signature shows on the air, rather than confuse viewers further by bringing in cable originals or other imported fare.

"We're not going to do anything we wouldn't do if there wasn't a strike," one exec says. "Reruns don't do much better than repurposed fare anyway."

Of course, ABC was looking at the highly anticipated promise of 16 uninterrupted "Lost" episodes to give it a big midseason boost.

That pledge could be shortened, as only eight episodes will be ready to go by January. But rather than wait, ABC will still air what it has, as scheduled.

"It's better to come on with some season than no season," one insider says. "If there's a strike we'll need scripted programming."

CBS

The season so far: "The Big Bang Theory" has emerged as a solid comedy success, and Friday newcomer "Moonlight" is doing OK numbers. And as always, Eye has few craters -- especially after the quick cancellation of "Viva Laughlin."

"We have some bright spots and competitively, as we do most years, we feel good about our position," says CBS scheduling supremo Kelly Kahl.

Still, the net's bid to diversify its sked hasn't been well-executed. "Laughlin" was an instant dud, "Cane" has been a non-starter and "Kid Nation" wasn't the gamechanger CBS was looking for in reality (though credit the Eye with toughing it out).

Midseason gameplan: After the quick fade of "Laughlin," the net's already gone to its bench for "The Amazing Race," which should bring some stability to Sundays starting this week. Come January, it'll have to fill Wednesday's "Kid Nation" timeslot, and, for a few weeks, the Thursday 8 p.m. slot normally occupied by "Survivor." By March, it'll also need to replace "Amazing Race."

Net still has two more wildcards to play this season: edgy new drama "Swingtown" and the return of "Jericho." Both skeins fit into entertainment prexy Nina Tassler's mission of change, but skedding both will be a challenge.

"Jericho," which won't be back until January at the earliest, could return to 8 p.m. Wednesdays, though that means facing "American Idol" on some weeks. Sunday nights are an option, too.

As for "Swingtown," 10 p.m. on Sunday or Tuesday nights are the most likely options, assuming the net is brave enough to put the show about '70s swingers on the air.

With Monday's comedy block working, Eye might want to leave things alone there. That means a possible new comedy night built around midseason returnee "The New Adventures of Old Christine" and newcomer "The Captain."

Contingency plans: Look for CBS News producer Susan Zirinsky ("48 Hours Mystery") to be pressed into duty, filling numerous hours with specials. And the Eye is hoping its crime dramas still repeat well (they've been slipping a bit lately).

CBS reality czar Ghen Maynard has been stocking the shelves with reality and gameshow contenders, including new episodes of "Power of 10" and the Regis Philbin-hosted "Million Dollar Password."

Then there's "Big Brother." Summer staple could easily return as soon as March -- maybe even with a long-rumored celebrity edition.

Launching a new comedy night might be easier. CBS could use "Two and a Half Men" repeats to help build a new half-hour beachhead. And a newcomer like "Swingtown" might have a better shot of getting sampled in a strike atmosphere.

"If you're a new show with completed episodes and you can get on the air against mostly repeats, it could give you a leg up," Kahl says.

Fox

The season so far: Net has been buoyed by the strength of its Tuesday combo of "Bones" and "House," as well as its Sunday animated comedies. A lighter baseball sked (playoff games are now split with TBS) also helped; as a result, Fox's ratings are up by double-digits vs. last year.

Net was also assisted by the fact that it mostly eschewed launching new shows in the fall. Just two frosh scripted skeins bowed: "K-Ville," which remains on the bubble, and "Back to You," which has posted so-so numbers but has been given a full-season pickup.

On the reality tip, "Kitchen Nightmares" has been a decent player, and has already earned a second go-round; Friday night entry "Nashville" was DOA and talent competish "Next Great American Band" hasn't made any noise.

Midseason gameplan: "American Idol" will be huge, natch, filling three hours or more in some weeks. It's assumed that the megahit will stay in its regular Tuesday-Wednesday pattern, but there's always the possibility that the net may tweak things to allow "House" to air every week on Tuesday.

And then there's the return of "24," which is garnering headlines because of its move to Washington, D.C., and star Kiefer Sutherland's move to a county jail cell come hiatus time. Fox also has big-time sports events like the Super Bowl and college football's Bowl Championship Series.

To capitalize on all that action, the net has held back most of its new crop of skeins for January bows. Dramas include "Terminator: The Sarah Connor Chronicles," which will air Mondays at 8; as well as "New Amsterdam" (Fridays) and "Canterbury's Law" (Thursdays).

Comedies set to go include "The Return of Jezebel James" (Wednesdays) and "Unhitched." Fox's plate is full enough that it has cut back orders on several shows, including "Amsterdam" and "Jezebel James."

Contingency plans: No net is better positioned than Fox because of the elastic "Idol." It would also be a shock if reality honcho Mike Darnell didn't have a midseason trick or two up his sleeve. One that's already in the works is gonzo gameshow "Lie Detector."

NBC

The season so far: Moving "The Office" to 9 p.m. has boosted the show's profile and turned it into a bona fide ratings hit. NBC's new shows, however, are struggling -- particularly "Journeyman" and "Life." Look for NBC to stick with buzz-friendly "Chuck" and the expensive "Bionic Woman," which the Peacock sees as worthy of getting more time to grow.

Overall, NBC has the least amount of demo decline among the Big Three nets, but it's also got no clear-cut winners to show and no other real growth stories, save "The Office."

Midseason strategy: Look for Peacock program chief Ben Silverman to try to razzle-dazzle 'em with an onslaught of flashy reality skeins ("Clash of the Choirs") and high-concept gameshows ("Amnesia"), as well as some specials and maybe a movie or two (a new "Knight Rider" is in the works).

Net's got some solid players on the bench, including "Medium" and "Law & Order" (which could replace fall failures at 10 p.m. on Monday and Wednesday). There's also "Sex and the City"-style drama "Lipstick Jungle."

It'll be interesting to see if NBC finally decides to try out a new show Thursday at 10, resting the weakened "ER" for a few weeks in what may very well be that show's last season.

Contingency plans: Net has already pulled the plug on "Heroes: Origins," citing the uncertain future of the WGA talks as a reason. Look for more cost-saving moves as NBC bulks up on reality -- and maybe even buys some already-produced episodes of British or Canadian shows.

The CW

The season so far: From a distance, things look pretty bad, with double-digit declines in many key demos. But dig deeper and CW has reason to hope. "Gossip Girl" is doing respectable ratings and is off the chart buzz-wise with the net's core aud of young femmes. "Reaper" is also doing well on those measures, as are the net's unscripted skeins.

"We did a good job of getting our priority shows off the ground," says CBS' Kahl, who also oversees the C-Dub's sked. He says "Gossip" and "Reaper" are on their way to becoming signature shows.

Midseason gameplan: Reality -- and lots of it. In addition to more "Top Model" and "Beauty and the Geek," net will launch newcomers "Crowned" and "Farmer Wants a Wife," along with another "Search for the Next Pussycat Doll." Also in the can: New episodes of vet drama "One Tree Hill."

Past history suggests CW will take off "Reaper" or "Gossip Girl" to make room for new fare, but Kahl hinted one or both could stay on the air in order to build new auds. Whatever it does, look for at least three weekly hours of reality (plus two hours of WWE on Friday). "Unlike last year, we won't be limping to the finish line," Kahl says.

Contingency plans: Except for a slowdown in originals, a CW strike sked wouldn't be too different from a regular sked. "One Tree" will return, while "Everybody Hates Chris" -- which has already wrapped production -- will stay in originals most of the season.

CBS' Maynard, who also oversees reality for CW, has a slew of possible reality replacements ready to greenlight if a strike drags on. In fact, some wonder if a strike wouldn't be good for CW, which could establish a strong identity as an unscripted network.

[Scoobiedoo30]

I sure hope things work out

[Tubehead]

I hope they don't get rid of jourany man. thats one of my favorite new shows.

[Scoobiedoo30]

What other Show maybe in Touble if they go on Strick

[Pavan]

The below statement was issued today on behalf of all the producers represented by the AMPTP regarding the WGA’s announcement of a strike commencing at 12:01 AM on Monday, November 5, 2007.



November 2, 2007 Statement from AMPTP President Nick Counter



The WGA's call for a strike is precipitous and irresponsible.



The writer is one of our most highly regarded assets and one of our most highly rewarded.



Working writers on average earn over $200,000 a year. All they have to do is earn $31,000 to qualify for a full year of coverage in the finest health care plan in the country. And they are among the few employees in the world who get an "additional annuity" in the form of residuals beyond their initial compensation.



Last year alone, WGA West writers made in excess of $56 million in additional compensation from DVD residuals. It makes absolutely no sense to increase the burden of this additional compensation. Their DVD proposal would more than double the cost to Producers.



As we said on the 31st, we worked very hard to come up with a package in response to their last proposal and the companies believe that movement on other issues is possible. But the magnitude of the DVD proposal alone is blocking us from making any further progress.



Instead of working toward solutions that would give the industry the flexibility it needs to meet today's business challenges, the WGA leadership continues to pursue numerous unreasonable proposals that would result in astronomical and unjustified increases in our costs, further restrict our ability to produce, promote and market TV series and films, and prohibit us from experimenting with programming and business models in New Media.



The WGA leadership continues to mischaracterize the current provisions for compensation in New Media. When a consumer pays to view a TV program or a feature film for a limited period of time, the writer gets a residual. When the consumer pays for a permanent download of a TV program or feature film, the writer gets a residual. As agreed to in past negotiations, the writer gets paid (plus gets pension and health contributions) for projects made specifically for New Media. The amount of the compensation is not a fixed amount, but is negotiated with the producer.



It is crucial that we have provisions that encourage--not inhibit—our ability to experiment, innovate, analyze and adapt to the transformative changes confronting us. We cannot ignore the challenges of today's economic realities, the shifts in audience taste and viewing habits and the unpredictability of the still-evolving technology.



Our goal continues to be to reach a fair and reasonable agreement that will keep the industry working.



As we receive additional information, we will keep you posted.