Continuing our coverage of the 2007 Writers Guild of America strike, here are samplings of a few interesting posts in the blogosphere about the subject:
From ScrappeFace, Scott Ott pointed out that despite the writers billing themselves as the creative force behind the shows, so far their strike is pretty ho-hum:
Critics slammed the new strike by the Writers Guild of America (WGA), which debuted Monday, calling it “unimaginative,” “derivative” and “a tired rehash of previous work by other unions.” [...]
“When the greatest minds in Hollywood get together,” the unnamed Variety critic wrote, “what do they produce? Picket lines, posters, inane slogan chanting…in others words, exactly what the United Auto Workers or the International Ladies Garment Workers have done before.
In Huffington Post, actress Jamie Lee Curtis declared her support for the writers, but lamented their inability to come up with witty slogans for the strike:
I am for the writers. They are the starting point for any movie or TV project so without a writer, there is no content. My beef is that the slogans that they are chanting are so poorly written.
"What do we want?... INTERNET!... When do we want it?... NOW!"
That's the best these writers can come up with?
Darren Barefoot asked the question in many of our minds: so, exactly how much are the writers being paid anyhow?
Assuming Ms. Vernoff wrote both the story and the teleplay for each episode, she’d earn a minimum of US $30,823 per episode, or about US US $92,500 for the three she wrote. This has nothing to do with the popularity of “Grey’s Anatomy”–these are standard minimums for writing sixty minutes or less of network prime time TV. Maybe there are bonuses or premiums for working on popular shows? [...]
Network prime time television is pretty splashy, admittedly. What about somebody who’s slaving away for a daytime soap opera or so-called “strip program”? If you’re the head writer on an hour-long soap opera, you earn US $31,879 a week, minimum. If you’re a contributing writer on a soap opera, you earn a ’script fee’ of US $3,087 per script.
Forbes has an article about why the strike is do or die. The writers must win, if the union wants to survive:
When 12,000 Hollywood writers traded pencils for picket signs this week, they took a huge risk. Even riskier: not striking. Losing to the studios now could doom their union as television gives way to the Internet.
“We know that the future of the industry is the Web, and that in the near future television sets and computer monitors will merge into the same screen,” says Kate Purdy, a writer for CBS' (nyse: CBS - news - people) Cold Case and a blogger behind a new strike-related writers' blog, United Hollywood.
Despite the excerpts above, most of the postings in the blogosphere and on the web in general came out in support of the writers.
United Hollywood, an unofficial blog started by a group of strike campaigns, has an online petition you can sign to show your support for the writers. So far, they've garnered over 8,000 signatures in just 24 hours.
One final thing: despite the wide coverage over the writers strike here in Los Angeles, it's interesting to note that the strike seems not to be a major concern everywhere else. The term "writers strike" does not appear in the top searches on Technorati, Google Hot Trends, Yahoo! Buzz, and AOL Hot Searches.
Image above is from Here in Van Nuys [Flickr], who has a few more shots of the strike.