Striking out?

It’s been more than 14 weeks since the Writer’s Guild of America decided to strike against the Alliance of Motion Picture and Television Producers, and those 14 weeks felt like an eternity to TV junkies. Most of our favorite shows ran out of episodes early this season and some were even put into such jeopardy that they may never return. And don’t forget the damage the strike did to those involved in the industry, most specifically through unemployment. \nThat said, it was easy to measure the excitement when it was announced that the strike had finally ended, with a new agreement to be signed later this month. \nIt’s wonderful news that the awful process has met its endgame and the writers’ reasons for striking were validated; there is no questioning that. However, I am already sensing that people will look back and realize all of this wasn’t worth it. \nWhile the writers mostly got what they wanted – an increased stake in the “new media” residuals of online content and DVDs – it’s arguable that they could have had this much earlier. Early in the process, their unwillingness to budge destroyed any chances to end the strike quickly. It’s as if the WGA forgot that the AMPTP didn’t seem to care if it had written content or not. The WGA’s rough approach led to the stalemate in early December that required it to attempt its “divide and conquer” technique with each individual production company, which worked somewhat, but ended up ticking off the AMPTP brass and creating a chasm within the WGA’s own ranks.\nAnd let us not forget that the Directors Guild, who also had a contract ending soon, began and completed negations with the AMPTP within two weeks, basically making a mockery of the WGA’s efforts. It was even said that the Directors Guild agreement – which was similar to what the WGA wanted – would be the template to use, proving the WGA obviously had issues with their tactics.\nBut more than just the WGA lost here. It’s been estimated that the strike cost the Los Angeles region more than $2 billion, the majority of which was lost through service jobs. It seems more than $730 million was lost just in production of shows and films. None of that compares to the 10,000 crew members who lost their jobs, some of whom won’t even get those back.\nA more telling measurement of the strike’s effects might still be in development. Even the new scripted shows that have been airing recently have delivered anemic ratings, signaling that although people supported the WGA, they’re turned off by the strike’s length. Most of the networks will hurry their big-time players back, but only time will tell if those missing viewers will ever return.\nIt’s truly great news the WGA got what it wanted, but the repercussions of the guild’s actions may have negatively altered the industry for a long time. For now, I guess we’ll just have to be satisfied we’re getting more “LOST” and less “Heroes” this season.