“This is not stuff you can read in a book,” he said. Mike Schur, the creator of “The Good Place” and co-creator of “Parks and Recreation,” said in an interview that when he was a young writer on “The Office,” he learned how to write a script, rewrite, edit, work with actors and became familiar with specialized crafts like set design and sound mixing. Writers have also said that the sudden growth of minirooms has also disrupted the decades-long art of learning how to make a television show. But writers are often paid less to work in minirooms, W.G.A. But in one example, studios convene a small group of writers before a show has been given an official green light to compose a script. There is no one definition of a miniroom. The unions have taken particular aim at so-called minirooms, which have proliferated over the last decade. But global streaming services like Netflix and Amazon have cut off those distribution arms, and pay a fixed residual instead. Years ago, writers could receive residual payments whenever a show was licensed - into syndication or through DVD sales. The writers want to also fix the formula for residual payments, which have been upended by streaming. However, in the streaming era, episode orders have declined to 8 or 12, and the median weekly pay for a writer-producer has gone down slightly, the W.G.A. In the network television era, a writer could get work on a show with more than 20 episodes a season, providing a steady living for an entire year. Writers, however, said that their pay has stagnated. Over the last decade, a period that is often referred to as Peak TV, the number of scripted television shows broadcast in the United States has risen sharply. But the most pressing issue to them is compensation. In a very of-the-moment twist, the writers are seeking to put significant guardrails around the use of artificial intelligence. The writers have raised numerous grievances. “If you don’t see me here next week, know that it is something that is not done lightly, and that I will be heartbroken to miss you as well,” he said. Meyers said he was a proud member of the W.G.A., and that he felt strongly that what the writers were asking for was “not unreasonable.” And it would really be a miserable thing for people to have to go through, especially considering we’re on the heels of that awful pandemic.” “It affects all the incredible nonwriting staff on these shows. “It doesn’t just affect the writers,” Mr. late night show, alluded to the devastation of the last strike in a segment late last week. Seth Meyers, the host of NBC’s 12:30 a.m. When the writers last went on strike, for 100 days in 2007, the Los Angeles economy lost an estimated $2.1 billion. It would take a long strike before there is a slowdown in the arrival of new TV shows and movies, because the production process for them can take months or more than a year.Ī prolonged production shutdown could also prove damaging to local economies, particularly the workers who help support productions, such as drivers, costume dry cleaners, caterers, set carpenters and lumber yard workers. Reality series and some international shows, which are not covered by the guild, will be aired in heavy rotation. Late night shows like “Saturday Night Live,” “The Tonight Show Starring Jimmy Fallon” and “The Late Show With Stephen Colbert,” will likely go dark immediately. It has described this as an “ existential” moment, and that “the survival of writing as a profession is at stake in this negotiation.”Įntertainment companies, which had previously said they were approaching the talks with “the long-term health and stability of the industry as our priority,” are confronting a rapidly changing business as network and cable television viewership plummets.įor viewers, the most immediate effect will be felt on talk and sketch shows. painted the dispute in stark terms, saying that the ascendance of streaming services and the explosion of television production have eroded their working conditions. The dispute has pitted 11,500 screenwriters against the major studios, including old guard entertainment companies like Universal and Paramount as well as tech industry newcomers like Netflix, Amazon and Apple. negotiating committee, said in an interview that “philosophically, and practically, we’re very far apart.” The unions representing the writers, the East and West branches of the Writers Guild of America, said “the companies’ behavior has created a gig economy inside a union work force, and their immovable stance in this negotiation has betrayed a commitment to further devaluing the profession of writing.”Ĭhris Keyser, a co-chair of the W.G.A.
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