"Accusing guild leaders of pursuing “an ideological mission far removed from the interests of their members,” representatives of the Alliance of Motion Picture and Television Producers expressed outrage over continuing demands of the writers that were not strictly related to pay.

These include requests for jurisdiction over those who write for reality TV shows and animated movies; for oversight of the fair-market value of intracompany transactions that might affect writer pay; and the elimination of a no-strike clause that prevents guild members from honoring the picket lines of other unions once a contract is reached.

The tone of shock in the producers’ statement seemed a bit artificial, as Mr. Verrone has for months laid out his plan to elevate the writers’ industry status. Yet their anger is genuine. Executives know that to concede the writers’ noneconomic demands would lead to a radical shift in industry power. Only a death wish, for instance, would prod companies to let one union walk out in support of another, particularly on the eve of negotiations with both the Directors Guild of America and the Screen Actors Guild, whose contracts expire in June. “It’s kind of like saying ‘Oh, while we’re in the middle of this knife fight, I demand the right to have a gun next time,’ a comment on a screenwriters’ blog, The Artful Writer, said.

Similarly, company negotiators know that to grant jurisdiction over workers not currently represented by the guild would bring up against legal questions — can they impose union membership on a unit whose members have not signed up? And it would lead to a collision with other unions.

That matter provoked a blast on Friday night. Thomas C. Short, president of the International Alliance of Theatrical Stage Employees, which already represents some reality and animation writers, compared the writers’ guild leadership to “a huge clown car that’s only missing the hats and horns.”

http://www.nytimes.com/2007/12/10/business/media/10strike.html?ei=5065&en=4f7b2dd8be7a6435&ex=1197954000&partner=MYWAY&pagewanted=print

Yes. Except that the animation/reality writers thing is there as a bargaining chip. My husband will be on one of the first rafts to be jettisoned and set adrift. (Wait. I don't think that metaphor worked. Can I re-write this later?)

The point is, the AMPTP is not bargaining in good faith--they walked away from the talks.

If more executives were looking for quality, the market would change for writers in Los Angeles, and getting a good property optioned/made wouldn't be so much like winning the mother-fucking lottery.

Attila, what motivation do the executives have for quality if the viewing public will happily swallow crap and ask for seconds?

I know it sounds like I bag on the writers. Really, my disgust lies with the viewing public. I just think the writers haven't seen the writing on the wall and come to grips with what little leverage they have. That's all.

But when the extra effort is put into quality writing and good production values, they do make money--and more than they do on schlock.

I understand your point: "the masses are asses." Beta vs. VHS, and all that.

But I've seen good work, and I've seen it bring in money hand over fist. (Recently, the Harry Potter series and Lord of the Rings both were decent semblances of fine, existing books. Why not bring other children's classics to life, instead of endlessly remaking sitcoms from the 1960s?)