Writer's Three-Month Walkout Ends

“Writer’s Three-Month Walkout Ends”

Analyzing an article written by The Associated Press, “Writers Vote to End 3-Month Walkout,” February 13, 2008. As working citizens, should we not be paid for the labor we put in? Hollywood writers believe they should be paid for the hard work they put into writing scripts for producers, giving them credibility for their hard efforts.
The article introduces its (logos) as a crucial, three month walkout bringing the entertainment industry to a standstill ending when Hollywood writers voted to lift their union’s strike order allowing them to return back to work. Residuals for TV shows and movies distributed online was the most contentious issue in the bitter dispute involving 12,000-member union and the world’s largest media companies and other producers. The author is focused more on the writers at this point because they are the main focal point in this issue concerning media companies and other producers. It is assumed in the article that producing companies were withholding monies from TV shows and movies distributed online. After an approved contract by the union’s board of directors, writers would get a maximum flat fee of about $1,200 for streamed programs in the deal’s first two years and then get 2 percent of a distributor’s gross in year three, a key union demand. Other provisions included increase residual payments for downloaded movies and TV programs. The author presents the argument of writers not being compensated with pay for aired or downloaded TV shows or movies directly online. He then presents a solution to the problem by stating that the union’s board of directors approved a contract to insure writers get paid for their work whether it be aired on television or downloaded online.
Patric Verrone, president of the guild’s West Coast Chapter states, “These advances now give us a foothold in the digital age.” “Rather than being shut out of the future of content creation and delivery, writers will lead the way as television migrates to the Internet.” Patric Verrone’s statement in this article ensures that writers now hold more power to how much money will be made since the new generation era deals with more technology and relies more on internet usage and digital devices, streaming up revenue for the internet as well as for writers, producers, and actors.
The publisher introduces its (pathos) in the article by stating that the writers who voted in New York and Beverly Hills were overwhelmingly in favor of ending the strike with a value of 3.492 voting yes, with only 283 voting to stay off the job. As statistics show most writers were happy about the outcome and eager to return back to work. Chris Mundy, co-executive producer of CBS’ drama “Criminal Minds,” stated “It will be all hands on deck for the writing staff.” He hopes to get some scripts written and aired right away, with about seven episodes airing by the end of May. Although, writers were ecstatic about returning back to work, not all shows will get back on the air. The article states that networks might not resume production of low-rated programs that have a questionable future. Sid Ganis, president of the Academy of Motion Picture Arts and Sciences, which stages the Oscars, expressed relief when the strike ended. Ganis states, “I am ecstatic that the 80th Academy Awards presentation can now proceed full stream ahead,” without “hesitation or discomfort” for the nominees he said.
The article referring back to Hollywood writers concerns, states that writers did not vote on whether to accept the tentative deal, which was reached after a Feb. 1 breakthrough between union negotiators and studio executives. The guild will mail contract ratification ballots to members over the next few days. Writers may vote at meetings. All ballots must be cast by Feb. 25. The effect of the walkout stopped work for dozens of TV shows. The strike took a $ 3.2 billion toll in direct and indirect cost on economy of Los Angeles County, the home of most of the nation’s TV and film production, according to a new estimate from Jack Kyser, chief economist for the Los Angeles Economic Development Corp. Pressure to reach an agreement mounted after the studio alliance reached a tentative contract Jan. 17 with the Directors Guild of America. The deal also brought improved payment for content offered on the internet. With saying so, the (ethos) is presented giving credibility to the writer’s work because of the deal made by the union’s board of directors. Michael R. Perry, a writer for “Persons Unknown and other TV dramas stated that the deal made him hopeful the guild and studios could be “partners in a growing pie” of Internet revenue. Although, “Hollywood’s labor pains may not be over,” states Jonathan Handel, an entertainment attorney with the Los Angeles firm of TroyGould and a former associate counsel for the writers guild. He points out that the contract between studios and the Screen Actors Guild is due to expire in June.
The article sends mixed signs as to whether this argument will arise again to another difficult negotiation. The actors face all of the new-media issues that writers as well as directors face.