What the Writers' Strike Means to CSI: NY

Top41

Top41

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Since I've seen a lot of discussion about this pop up in recent days, I figured we should try to consolidate it to one thread and centralize discussion, since the writers' strike will potentially have a huge impact on CSI: NY--and all of network TV, really.

What is the writers' strike?
As of 12:01am on Monday morning, the writers in the Writers' Guild of America will officially be on strike. That means that no writers will go to work, and no new scripts will be produced. This will affect all writers in the WGA, meaning everyone working on CSI: NY.

Why are the writers doing this?
In short, because since the last time they signed a contract, the landscape of television has changed dramatically. DVDs and the internet are a huge part of how TV shows are seen, and also provide significant revenue (in sales and advertising respectively) for the studios. The writers, whose work is being aired in these new mediums, want a cut of that.

CSI: NY showrunner Anthony Zuiker put it really well in his latest CSI Files interview:

Zuiker:It's a very complicated topic. There's two sides to the argument. The one side is: if the networks pick up the risk, they should get the reward. If the networks get involved and an expensive TV show doesn't go, they don't go back and charge the writers. All the risk for the reward. The other side is: television is changing and content is being aired on different devices and being monetized and the writers are taking the position that if the network is making something from that, so should the writers. The writers are creating new content for one device but it's being used for multiple devices and being monetized and one can argue that the writers will be part of that also. There's a compelling argument on both sides.
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Can't they just hire other writers to do the show while the WGA writers are on strike?
They could, but generally that doesn't happen. Anyone who accepts a writing job during a strike is considered a 'scab' (someone who crosses the picket lines) and once the strike is settled, won't be able to get into the WGA, and therefore won't find work after the strike.

How far along is CSI: NY in their season?
Episode 406 just aired; as of last week, work had been completed on 411 and they were heading into 412. The last completed script that we know of is for 413.

Will those episodes that have already been written be filmed?
Unless the crew walks out, too, yes, they will. The SGA is still planning to work during the strike, meaning the actors will be reporting to film their scenes.

When will those episodes air?
That's up to the networks. They could keep to their regularly planned schedules--presumably, new eps in November, and a smattering here and there in December and January--or they could air new eps in November and hold the rest until February sweeps. Either way, it's likely new eps will dry out just before or in February.

What happens when the episodes run out?
Reruns and reality TV.

How long will the strike last?
There's really no way of knowing. It all depends on whether the two sides can reach an agreement or one side caves. Most reports seem to indicate it could last a while, but there are no guarantees.

Hope that helps answer some questions--if you have any further ones, please ask them here! However, as upsetting as this all is to TV fans, please try to avoid flaming either side (the writers or the studios). I think we can have a civil discussion of the issue here. :)
 
They'll all be part of it. :) That's a list of showrunners who are participating.
 
I'm sorry to hear about the upcoming writer's strike. Hopefully, the matter can be resolved immediately. If possible, one solution could be to offer a certain percentage or bonus to the writers based on DVD/internet sales or extra revenue. The deciding factor would then be how much percentage, etc.
 
Well, that could get an interesting winter, I guess. But honestly, I just hope the studios will see the writers point and make sure things are settled quickly. The industry serves not just the US, it is a world wide business that would come to a stop and that could affect the industry WAY more than just paying the writers a couple of bucks more.

Though, I hope the writers guild won't get stubborn and reach out for compromises. I don't think either side will get about everything they wish for.

Anyways... most of the shows have a whole lot of dedicated fans going on around the web who write great fanfiction. Maybe the networks will finally pay those attention! ;) Okay, the shows could get somewhat too shippery, but we would get new eppies! :D

Right, I am reaching and I know it! :lol:
 
Hey Top!

A lot of thanks for including that résumé in you first post, it really helped me to clarify the whole scenario.

Yas

******

"I'm glad you stayed"
 
The last writer's strike was in 1988, and lasted for 22 weeks, from March 7 through Aug. 7. It cost the industries millions of dollars. It was at the end of the TV season, rather than the beginning, but I know that the final episode of Magnum, PI doesn't have any of the usual Magnum voice-overs (something that was in all the other episodes) because the voice-overs couldn't be written due to the writer's strike. It is a very obvious drawback to the episode. The writers stayed on strike over the summer, however, and that seriously delayed the next fall's premiers.

How much it would affect show/film production depends on a lot of things. How long it lasts, how many other unions honor the strike, how many well the replacement series do. Keep in mind also that this is an industry wide strike and that some studios are willing to take a hit in television if they think that they can ride it out with big screen profits.

There is a lot of talk about having scripts "in the can" so that filming can go on, however, that's not always a good thing. You have to keep in mind that the writing for play/film endeavor isn't complete until the film is cut together. The original script for a show/movie is just a starting point, writers are involved throughout the production making changes and improvements as they go along. Many of the little things that change a show from "average" to "great" come from the writing changes made to a script while it is being filmed. While this is most true of film, as the story about the Magnum PI final showed, it's true of television, too.

I'm hoping for a quick settlement not only because I will miss my shows, but because I think the writers have a solid grievance.
 
The last writer's strike was in 1988, and lasted for 22 weeks, from March 7 through Aug. 7. It cost the industries millions of dollars.
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According to a story off the AP wire, the 1988 strike cost the industry $500 million.
 
^ That's exactly what I mean. It would cost the industry this time WAY much more money and as well, count in all the oversea business, the DVDs sales and stuff. If a season is crap in the end cause half of it wasn't written well, than ppl aren't willing to invest in DVDs or whatever. I think that second line media such as internet etc. are making this even more expensive for the industry.

I think though, that this time it won't take that long to settle the issue. Suits will make sure, that until the Feb sweaps, everything's off the table.

Well... in any case... all of this might undertake intersting developments.
 
One difference between now and 1988 is that back then pretty much everything was scripted television--now we have more reality-type-shows (for better or worse :p). That's not to say this couldn't be a major problem for all parties involved, but I just thought I'd point it out since we're talking about that one too. :p

[random]I read that "Cops" got started because of the 1988 strike--just think, a world without "Cops"! Some good things can come out of a strike then, obviously. :p ;) :lol:[/random]

I definitely think it's going to be a long road since they've been negotiating for a bit already and couldn't come to a satisfactory compromise for everyone. Like Zuiker said, both sides of the issue have valid points. I'll be interested to see how things turn out and how this might affect the industry in the long run.

BonaTaylor said:
Anyways... most of the shows have a whole lot of dedicated fans going on around the web who write great fanfiction.
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:p Well, I expect that's how a lot of us will deal with a slew of reruns, myself included. :lol:
 
This will give me a chance to get caught up with the CSI books, as well as those for Criminal Minds, Monk, Bones, Diagnosis Murder, Star trek, etc.
 
One difference between now and 1988 is that back then pretty much everything was scripted television--now we have more reality-type-shows (for better or worse :p). That's not to say this couldn't be a major problem for all parties involved, but I just thought I'd point it out since we're talking about that one too. :p
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Absolutely. The same with news shows, such as 48 Hours and the like, they don't fall under the WGA. From what I've read, the networks have a lot of news and reality shows in the wings. Which means a whole hell of a lot less television viewing in my future. It will be interesting, however it goes. The landscape of television is changing so fast, the strike is a gamble for both sides.

The CSI shows have an advantage in that they aren't cliff-hanger, new-ep-every-week driven. Shows like Heroes, Lost and 24 are going to take the biggest hits. Of course, they are all big draws and have fairly rabid fans so they may survive. The CSIs also have their stars under long term contracts and have a secure future (as secure as they come these days). New shows like Pushing Daisies, on the other hand, run the risk of cancellation, not because the show isn't good, but because the studios can't carry over the stars of the show and the actors can't sit around and not get paid while they wait for the strike to be over.

That last bit is actually a concern for CSI, in that the bit part characters that we love -- Sid, Adam, Angell -- all may have to move on to new jobs if the strike stalls production on CSI:NY. The same will be true of set and production designers -- all those people who's vision help make CSI:NY what it is and who's leaving will affect the show in some manner.
 
I'm glad that you were able to point to both sides of the issue, Top, since I was having a hard time seeing the networks' and studios' side of the issue :p

This will also give me a chance to not only catch up on my reading (the stack of unread books is getting out of control) but also to troll the internet and other channels for reruns of new shows this season that I might have missed. I had wanted to catch Cane and a couple others but never got around to it; if they get rerun from the beginning, I guess this will be my best chance.

I hope the strike doesn't go on too long though; so many shows have such fragile audiences that when they finally return to the air it might be the death of them if the viewers don't come back.
 
I think they should put the WGA and the AMPTP in a room together and then release a box of kittens. I mean, nobody can ever be pissed at someone else when there are kittens in the room it just doesn't happen.
 
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