Yesterday, the Hollywood Reporter had an article about how, because the Writers Guild strike, ABC-TV just released its "Strike-Proof" primetime schedule for the fall. Just to be clear about something: "Strike-Proof" programming is easy. Programming that viewers will actually want to watch -- that's harder. The schedule they showed is laughable. And that's even if this was the only TV channel in the country, and the only option that people had to watch television. Hey, this really makes you excitedly look forward to the fall on ABC, doesn't it?! Alas, dismal as that programming is, all the serious problems now kick in that make it even far worse. For starters, there isn't just one channel. There are five networks. And a few hundred cable channels on any given service. (For the record, there are over 1,700 cable channels.) Along with premium cable channels like HBO and Showtime. Worse for ABC, there are also a massive number of streaming options for series and movies that one hasn't watched yet. And we're now going to go into a deep dive to look at that world -- Speaking only personally, I keep a literal list of Shows to Watch, and it's so long that there are limited series and original movies on it from three years ago that I haven't even gotten to yet! And then there are all the many theatrical movies from recent years -- along with from years past -- that I've never gotten around to watching, but would like to. And that doesn't include the great-many streaming series (American, British and international) that I've been sort of, kind of interested in, but not enough to add to my list because it was much too long already. Not to mention the streaming series and movies I scroll by that look like they could be okay, but I don't even stop to look into more because of all the other things already on my list and all good series that I'm actually kind-of interested in but didn't even make the list. And all of that doesn't even include the streaming reruns of classic TV series I loved but haven't seen in decades. And all of this above -- all of it -- I would much, much, much rather watch than Press Your Luck, The Golden Bachelor, Judge Steve Harvey, The $100.000 Pyramid -- and probably 90% of what else is on their schedule. And I suspect I'm not all that totally different from most people. Except for maybe keeping an actual list... But yes, it's worse than even this. Because contracts with the Directors Guild and SAG/AFTRA are both up within the month. And it seems unlikely that the AMTPT companies will reach agreements with them, since whatever they offer to those unions, they'd have to offer to the WGA. And if SAG/AFTRA strikes, it's going to be impossible to get the celebrities and hosts of these crack shows, since they're all members of SAG/AFTRA. And then who are networks going to get to direct them?! And just to put a cherry on top, there's even one more thing to include. Getting sponsors to pay to advertise on these shows. Let alone, with most-surely paltry viewership, pay a rate high enough to justify putting them on TV. So, does ABC-TV actually have a "Strike-Proof" schedule? Yes. As long as the public doesn't realize that there are hundreds of other cable channels and all the streaming services. And as long as ABC doesn't care how many people watch and care if sponsors want to advertise. And as long as the Directors Guild and SAG-AFTRA don't also go on strike in the next month.
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I was asked the other day what I thought would happen with the Writers Guild, if they would go on strike.
I haven't paid close attention, but the WGA just got the biggest strike authorization vote they've ever had -- 97.85%, so it seems near-certain they'll go on strike. The only reason they won't is if the companies are scared of that huge, united vote and agree to terms, which is very unlikely given their history. Whether the strike will be long or short is the bigger question. Most tend to be long, though none have had that strong an authorization vote. The DGA has only gone on strike once -- for about 15 minutes. They generally wait to see what the WGA gets after going on strike, and then settle with the producers for that. Their contract date, though, has moved up a bit from the past, I think, and expires at the end of June, so that only leaves two months for the WGA to settle its contract before the DGA can "know" what it's supposed to do. And two months would be a fairly short strike. My pure guess is that the DGA won't strike, but I don't know enough about the issues. The issues have changed a bit from what they generally have been in the past, now that the Internet and streaming are settled as foundations of the Industry. And when I think of that, I can only shake my head and laugh, because the last time there was a long, protracted strike was 2007-8 – and that was because the studios insisted it was too early to know if there would be any money from the Internet…when it was abundantly, blatantly clear even then, indeed studios were already making money from the Internet. The point being that whatever the AMPTP insists about streaming, you can rest assured it is not true and that even they don’t believe it. The core to most basic issues, of course, is money. And even if “residuals” aren’t the factor they once were, they’re nonetheless related to all money issues. I’ve explained what residuals are to people who wonder why writers should be paid more and continually after they’ve been paid (I remember being contacted by a morning radio show on the East Coast back in 2007 and asked if I would call in to talk with the hosts, which I did, made memorable because it meant I had to get up at 4 AM…). The short version is that residuals are delayed compensation that is built into the original contract when signed. You get paid less upfront so the producer can afford to proceed, on the agreement that you’ll get paid more later on when (and if) money comes in. But my pal Mark Evanier re-posted his own much better and much more detailed – and very interesting – description of what residuals are and how they work (and why) that’s well-worth reading, not just as a matter related to strikes, but how the film and TV industry work, period. You can find it here. On this week’s episode of 3rd and Fairfax, the official podcast of the Writers Guild of America, the guest is Dana Stevens. Among her many credits, she wrote the screenplay for such films as City of Angels, For Love of the Game, Safe Haven, Life or Something Like It, Blink, and Fatherhood – and created the series, What About Brian? She talks about her new movie, the historical epic The Woman King, based on a true story.
My friend, the inveterate Chris Dunn was at the WGA Awards a couple weeks ago, where he won for Daytime Drama. I’m going to say that this is his sixth WGA Award, but he’s won so many he’s lost count (and don't even ask about how many nominations) -- though in fairness to the other nominees this year, his show Days of Our Lives was actually the only one nominated. Really. Honest. Needless to say, that makes waiting to hear who the winner is SO less stressful. I like to say that Chris being in the category scared off all the other shows, who figured he's won so often why bother competing. That's not true, of course, but I like to say it. After returning from the event, he sent me this video of Charlie Kaufman getting the lifetime Laurel Award for screenwriting. Kaufman, if you don’t know his name, wrote such unique and eclectic movies as Being John Malkovich, Eternal Sunshine of the Spotless Mind, Adaptation, the animated Anomalisa and many others. He gave a wonderful, blunt, scathing five-minute speech about dealing with studio executives, that will make most screenwriters -- and perhaps audience members, too -- deeply appreciative, and so I'm posting it below And as a nice bonus to the video, he’s introduced by the terrific Jessie Buckley, who starred in his most recent film, I’m Thinking of Ending Things. I’ve adored here since before she started to get known here, and have recommended her for projects I’ve written before she started to break through. So, it's enjoyable to see her fun, enthusiastic introduction. As we head into Oscar Weekend, I thought it only made sense to have another episode of 3rd and Fairfax, the official podcast of the Writers Guild of America. The guest here is veteran filmmaker Walter Hill. Among his many credits, he wrote and directed the 48 Hrs, Another 48 Hrs, Red Heat, Sourthern Comfort, and wrote Aliens 3, The Getaway, The Drowning Pool. He also directed such films as The Long Riders, The Warriors and Brewster’s Millions. He talks about all this and his new film, the western Dead for a Dollar, which he wrote and directed.
On this week’s episode of 3rd and Fairfax, the official podcast of the Writers Guild of America, the guest is screenwriter Lucy Alibar (Troop Zero, Beasts of the Southern Wild) about her recent film Where the Crawdads Sing and more.
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AuthorRobert J. Elisberg is a political commentator, screenwriter, novelist, tech writer and also some other things that I just tend to keep forgetting. Feedspot Badge of Honor
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