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  • TUESDAY DECEMBER 11 2007 9:00 AM

Asshole Fuckface Roundup: Strike Edition #2!



Well, the strike is now rolling into its sixth week and the Asshole Fuckfaces are just piling up and staring at me with doughy eyes, hoping for the nod. Most of the honors will go to the studios, because they are truly being Asshole Fuckfaces of the highest caliber. Plus, it was our Lord Jesus Christ who first said, “Man, the studios are such Asshole Fuckfaces.” Eleven dudes nodded. One DID NOT!

A little over a week ago, the studios revealed their stunning new plan for our business. It was exciting and fresh! They dropped it on the table late on a Thursday and immediately sent out press releases, in which they basically blew themselves for being so awesome. The proposal was called the “New Economic Partnership.” It offered writers a whole $250 a year for streaming Internet use of television programs. It was an awesome deal.



Oh, also, if they label the program as “promotional” then they can air it in its entirety and not pay the writer a dime. And that $250 was for an hour program. A half hour program is worth $139 a year! Weeeeee!

When the studios dropped the proposal on the WGA, they said it was only half finished and the other half would come after a long weekend – on Tuesday. It would cover Internet downloads! The studios then picked up their phones and told the press that the WGA had walked away from the table until Tuesday after they made an offer worth $130 million dollars. Wha? But you…second half…long weekend...$250 dollars…I don’t…

Tuesday rolled around and the studios did not present their other half of the deal. Then Wednesday and still no second half, but they promised to stay in the hotel and work through the night to have it done in the morning.

We will not leave this hotel!


Members of the WGA then went down to the parking lot and staked out the studio negotiators cars. Rather than staying all night, they jumped into their cars and were all gone by 6:45 pm. Huh.

Thursday, no second half of the proposal. On Friday, the WGA decided to go ahead and start negotiating other demands they had been making for years. Literally, years. The studios were so offended that the WGA had brought up proposals they had been talking about for years that they walked away from the table. The studios immediately posted an amazingly well crafted press release on their website. What was really amazing about it was that it appeared to have taken quite a bit of time to write and yet it posted literally three minutes after they were horribly offended.

We’re disappointed to report that talks between the AMPTP and WGA have broken down yet again. Quite frankly, we’re puzzled and disheartened by an ongoing WGA negotiating strategy that seems designed to delay or derail talks rather than facilitate an end to this strike.


The poor bastards are running the show, with all the money and holding all the cards. Did someone ask the guys with everything for something? Must have been devastating.

The post then went on to list lie after lie. One gem was this one:

In other words, they want us to make membership in their union mandatory to work in this industry – even though thousands of people in reality and animation have already chosen not to join the WGA.


Really? There is a writer named Micah Wright, who a couple of years ago attempted to organize Nickelodeon into a Guild channel. Micah is now blackballed from writing animation ever again, as are many of the other writers who were involved. The shows they were writing on were immediately cancelled. I guess that is considered “choosing” not to join the WGA. I mean, what writer would want pension, health coverage and residuals when they can enjoy life without pension, health coverage and residuals?

The studios end their nonsense post with this gem:

Their Quixotic pursuit of radical demands led them to begin this strike, and now has caused this breakdown in negotiations. We hope that the WGA will come back to this table with a rational plan that can lead us to a fair and equitable resolution to a strike that is causing so much distress for so many people in our industry and community.


“Come back to the table?” Uh, you just left table in a huff, like a high school teenage girl who had just been told she couldn’t get a tattoo. In truth, the studios gave the WGA an ultimatum. Drop six important demands or they would no longer talk to us. Hey, we dropped nine out of our 25 important demands to get them to the table in the first place. If we drop six more, then we are down to 15 out of 25. Then they say something like, “Drop eight more” and on and on we go. I have another solution: How about the six media moguls gently take my cock into their mouths, one by one for a minute each, rotating until I shoot my load. Sound good? (I promise to shoot it in Peter Chernin’s eye.) Because my deal is about as reasonable.

When we first met the studios at the table, they made this demand:

The magnitude of that proposal alone is blocking us from making any further progress. We cannot move further as long as that issue remains on the table. In short, the DVD issue is a complete roadblock to any further progress.


Wanting to get talks started, the WGA leaders took DVDs off the table. The studios responded by doing NOTHING. And now they have given us an ultimatum to take these six demands off the table:

The guild proposal for Internet compensation; jurisdiction over reality; jurisdiction over animation; the WGA's demand for part of the ad revenue from Internet streaming; removal of the ban on members honoring strikes by other labor unions; and the WGA's proposal to use third parties instead of the marketplace to determine the value of a transaction.


Oh, so just everything we are striking over. Great. Then we can negotiate about nothing. I‘m very excited!

Another couple of Asshole Fuckfaces in this mess are a couple of guys who apparently call themselves“ The Masters of Disaster." And they do so without thinking they are retarded.

The Masters of Disaster are Mark Fabiani and Chris Lehane. They
are PR guys who have worked with Bill Clinton, Al Gore, Hillary Clinton and Michael Moore. They even worked for the Screen Actors Guild, which paid them $10,000 a month to craft a message to help SAG in their fight against… their new employer, the AMPTP.

The studios hired Fabiani & Lehane, at a crisis fee of around $100,000 a month, to battle the WGA members driven PR machine. They did so early in the week, which was another telling sign that they had no intention of making a deal. You don’t need “crisis PR” when you are doing the right thing. You hire “crisis PR” when you are going to walk out of talks and blame the other side for ruining Christmas. So, Lehane and Fabiani, longtime Democratic PR guys, have decided to switch sides and do some union busting. I guess they have come a long way since 2002.


“We both come from liberal, progressive backgrounds, and this union represents working people." Lehane also said the two were willing to bend on the fee because they realized that as a union, SAG does not possess the same resources as some of their previous clients.


Their first move was apparently coming up with the name, “New Economic Partnership,” which screams, “I work for politicians and am stuck in the recent past.”

Feel free to call or email Hillary Clinton and ask her why she is in business with Asshole Fuckfaces like Lehane and Fabiani. (I would call them union busters in the message.) Or if you are in California, you can email the Democratic group Californians for Fair Election Reform and ask them why they are working with union busters.

Californians for Fair Election Reform

Hillary Clinton (213) 908-0190 or socalhrc@hillaryclinton.com

My favorite Asshole Fuckface of the week is by far the head of the IATSE.

Meet Tommy Short, a grown man who calls himself Tommy without feeling any shame. He is the head of International Alliance of Theatrical Stage Employees, a union he took over through mob connections and with his daddy’s help. He consistently fucks over his own members and aids the studios every chance he gets.

Last year he totally fucked over the Camera Operators in his union with a new contract and then took the moment to make new friends.

We have a couple of local unions that have too many chronically unemployed or retired officers and officers with issues that have kept them from working in the industry. We don't want to end up emulating the Writers Guild of America, West and the Screen Actors Guild.


Hell yeah, we want a union with shitty pension and health and members who do the same job but are paid wildly different amounts. But none of his actions are surprising because the IA used to be run by Al Capone and Tommy is just keeping the tradition going.

Tommy Short also has a dark past. From the beginning, his career was marked by fits of violence and binge drinking. He associated publicly with known organized-crime figures, and in 1980 was indicted on federal charges, later dismissed, of embezzling from his own union. Tommy Short came up in the union ranks the old-fashioned way through a family-run, mob-and-pop operated local union in Ohio.


Tommy has enjoyed doing business in interesting places, according to one former union board member.

Tommy Short’s as guilty as anyone else of putting our business on the streets in saloons, and I’m getting tired of it. At one time, the people at Seagram’s Bar and Casey’s Lounge and Pat Joyce’s knew more about what was going on in our fuckin’ business than I did.


Tommy does not mind using his fists.

Tommy, a stocky, 5 foot-11 inch 190-pounder, called Bacchus a “whore” and then proceeded to beat him up. “Without any provocation,” Bacchus’ attorney said in a subsequent lawsuit, “Short seized Bacchus ripping his shirt, and began to shake him while continuing his offensive remarks. Short pushed Bacchus down, then pushed him against an automobile parked on East Ninth Street. Short then began to pound Bacchus violently with his fists while pushing him against the car, Bacchus was afraid and unable to defend himself because of the number of Short’s companions.”


He is an awesome family man.

A police report on the incident, filed by police officer M. A. Spaetzel, noted that Joey said that the fight began when Tommy “asked to talk to him about his pending divorce from Joseph’s mother.” Joseph stated his father blamed him for the divorce. Joseph walked away to go up to his room while his father kept taunting him and calling him a ‘wimp.’ Joseph returned downstairs to tell him to shut up, whereupon his father burned Joseph’s forehead with his lit cigarette."


Tommy was gifted the presidency of IATSE in 1994 when the union’s general election board selected him four days after the death of the previous president. Interesting thing about IATSE, once you are on a board or are the president, you never lose an election. Never.

So, what does Tommy have to do with the current situation? Well, he can’t keep his little anger hole shut. On Friday, Short teamed up with his studios buddies and sent out a press release at the EXACT MOMENT the studios walked away from the table. Turns out Tommy also was offended and jotted down a press release in one minute.

In the press release, Tommy called the WGA leaders “a huge clown car that’s only missing the hats and horns.” He went on to call the WGA irresponsible and then ranted about the guild trying to steal his members. He neglects to mention that he destroyed a WGA attempt to unionize America’s Top Model, by making a deal with the studios and swooping in at the last minute. Now those lucky “story editors” don’t have health insurance. He also doesn’t mention that animators hate his union and desperately want the WGA to cover them, because they like health insurance and pension.

Tommy Short attacks other unions because they fight for their members and he wants to distract from his total lack of concern for his members. Tommy Short is a studio bitch. Anytime you hear a word out of the IA, know it is coming from the mouth of an enormous Asshole Fuckface who put a cigar out on his kid’s head, beat his wife, was not elected to his position, is a drunk and was arrested for stealing money from the union.

And finally, I was walking the picket line the other day with a writer for "The Simpsons." I have known a few guys who have written for the show over the years, but I never knew that the show has never turned a profit. Yeah, you read that correctly. According to Fox, "The Simpsons" has never turned a profit. Fox has kept a show on the air that has been losing money for 18 years. Pretty generous of them, isn’t it? The reason the show has never made a profit is because if it did, they would have to pay people, like writers, money.

That is why the studio is so upset about those six demands. Check out number six:

The WGA's proposal to use third parties instead of the marketplace to determine the value of a transaction.


A third party would really fuck up the Asshole Fuckfaces accounting practices. One thing writers can be thankful for, is the AMPTP's continual lack of understanding of the Internet. Turns out when the AMPTP set up their website, they bought the domain AMPTP.org. But they forgot to buy AMPTP.com. So a writer grabbed it and made them look like fucking fools.

Congrats to all of this week’s Asshole Fuckface Roundup’s winners! You will receive nothing. And I want a cut.

 

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Comments
BlastProcessing

BlastProcessing

USA
OLD SKOOL

DEC 12, 2007 01:13 AM

Speaking of tangible - did that last guy have a tangible point?

FearTheReaper

FearTheReaper

NEWSWIRE

I'm lost

DEC 12, 2007 01:38 AM

nnerd said:
FTR on copyright,

Hi. I think your idea that copyright law somehow makes your products different and more special than mine is incorrect and actually pretty much the opposite of reality. We both know the reason for copyright and intellectual property law and the whole motivation for providing protections for them in the constitution is that intellectual property is not a tangible thing (unlike a physical script or a printed book or an electronical doodad that you can pass between two peoples' hands). So the aim of copyright law is actually to hopefully put your type of products on the same par as my type of products, to make them legally tangible so that they can be legally bought and sold just like real physical items. In other words, it's thanks to copyright law that there is NO FUNDAMENTAL DIFFERENCE between the products I make and sell and the products you make and sell. Now that you have a legally tangible product thanks to the constitution you are welcome to sell it or lease it or give it away according to whatever terms you like and no one can take you to court and force you to sell it for any less than one hundred billion dollars up front and 100% of the gross if that's what you want to sell it for. In fact, there's no particular reason why terms of sale have to include internet residuals or anything in particular, as you obviously must know. Most everyday people who sell stuff don't make their clients sign contracts that obligate them to share profits earned from those products. However, I think it's your right to do so, and considering the way profits are usually shared around in hollywood, I do think you should probably do whatever you can to get a fair piece of the pie. As a matter of fact I'd probably do it with my stuff as well if I thought I had any reasonable chance of getting my clients to go along with the idea without laughing their heads off. It's a real good idea if you want to get rich.

You yourself quoted about work for hire, and so I assume you know what that means. Really work for hire was mostly what I was talking about, which I hoped the use of words like "salary" and "no share in ownership" would have implied.

Maybe what I do for a living isn't the best example. Probably to make an analogy you're more likely to accept I should say software developer. I know at least a dozen, only one of whom that i can think of is lucky enough and high up enough in her company to have a contract that gets her a share of sales. I hope you're not going to tell me that what you write is somehow legally more specially protected than what they write. None of these guys care because, hell, they're making 60 grand anyway, which is crazy good money to the normals.




Okay then we totally disagree.

nnerd

nnerd

I'm lost
June 2005

DEC 12, 2007 01:43 AM

FearTheReaper
Okay then we totally disagree.



Cool. But I had fun talking to you, as usual.

FearTheReaper

FearTheReaper

NEWSWIRE

I'm lost

DEC 12, 2007 01:57 AM

nnerd said:

FearTheReaper
Okay then we totally disagree.



Cool. But I had fun talking to you, as usual.



As, usual, nnerd.

Oh, also.

"To promote the Progress of Science and useful Arts" was the first stated purpose of U.S. copyright. The U.S. Constitution ratified in 1788 proposed to do that "by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries." The first U.S. copyright law, passed in 1790, protected books, maps, and charts if they were created by residents or citizens of the United States. The term of their exclusive right was a mere 14 years, with the right of renewal for 14 more.

So, not exactly about intellectual property being a useful thing as much as it was about creating art and science.

Elichrusos

Elichrusos

I'm lost
October 2007

DEC 12, 2007 04:21 AM

FearTheReaper said:
A lot of interesting points here. Many misinformed.

SPOILERS! (Click to view)
First on the point of residuals and why we get them when you don't for building custom electronic equipment. It's in the Constitution and it is called copyright.


Whether you write a song, a book or a screenplay, you're protected by copyright. More than that, you're acknowledged as the Author of the work, which has important (but eye-glazingly complicated) implications under international law, including certain inalienable creative rights. When movie studios read your screenplay and decide they'd like to make it into a film, they hit a few snags. Two examples:

1. As the Author and copyright-holder, you the writer control the ability to make derivative works, such as a movie. Or a sequel. Or a videogame.
2. Some of your inalienable2 creative rights as Author (e.g. "no one can mutilate or distort the work in such as way as to be prejudicial to the honor or reputation of the author") are potential nightmares for a company about to spend $100 million on a movie distributed worldwide.

So a compromise was made.

Screenwriters would sell the "authorship" of their screenplays to the studios,3 and allow themselves to be classified as employees. Original works would thus become works-made-for-hire.

In exchange, screenwriters would get a host of benefits and protections covered by the Writers Guild of America (the WGA), which as a labor union can only represent employees.

The WGA would also collect royalties on behalf of screenwriters. Royalties were renamed "residuals," since only "authors" collect royalties. 4



Next up, why did we wait so long to demand 25 things? As far as the 25 demands goes...you do realize this is a negotiation, right? If we come to the table with one thing, we get nothing. If we have a bunch of shit, we get some, other stuff we don't. A good settlement is when both sides are unhappy. I expect the same here.

Over the years we have had shitty leadership and were often undermined by the DGA. But the real answer is that this is a twenty year contract. They come up every 3 years, but this was a big one. In the forties we struck to form a union. Big one. In the sixties we struck for pension and health. In the eighties we struck for home video residuals. Now we have the internet. We didn't suddenly "throw a hissy fit" We are striking at the exact time we should to protect out interests online.

The idea that we would put the entire town out of work over a few bucks is laughable. The reason the Guild voted 90% for a strike is because this is literally the end of the line for writing if we don't get it. The internet will be tv in 5 to 10 years. There will be no broadcast tv. Everything will be coming through the internet, so if we don't create a formula for that, we make no money. We have decided to die or live now as a union instead of dying slowly over years. I'm all for it.

As far as the BTL guys, I'd smile but a lot of them are being dicks. Sorry. They need to read up because I don't like taking shit from people who don't know what the fuck they are talking about. Many writers want us to be very kind to the BTL guys and I am with the ones who treat us with respect. But they would walk out in a second and not give a shit about us. The certainly are good at bringing up what they can and can't do on a set because of union rules, but when a union stands up and fights, they get mighty pissed off.

This is a middle class strike. The majority of writers are middle class and we would like to stay that way. We don't want to end up like the guys represented by the IA, who get fucked in their ass during every negotiation.



This is the sexiest thing I've read all day.

In three years, I'm going to be trying to make it as a writer. I wish I could be there at your picket lines.

handsome_rob

handsome_rob

Burlington, IA
May 2004

DEC 12, 2007 05:00 AM

here's what's spewing from my brain to my computer right now. it may or may not make sense, but i hope someone (anyone) appreciates some part of it.

first, the sequence of "musements" this strike causes in me.

i'm never amused by strikes, except the local union in my town striking at case new holland over a pay raise (sounds normal and maybe justified except this place was one of two companies in town - the other being the utility provider, alliant - that paid in excess of $20 an hour while the next best non-college-degree job was around $12 an hour at the local bakery) while the corporation drove in literally hundreds of vans from minnesota filled with workers willing to do so for $11 an hour without benefits. the point is that in this case, the union had done its job and the fact escaped them that not only were there people in town who would kill for such a job, though were afraid to do so during the near-riot caused by the busing in of out of town scab workers; but that people from over a full day's drive away were more than willing to feed their children and pay their bills by driving so far and crossing a picket line to do so. it got so nasty that the mayor, a striking worker, was photoraphed and put on the front page of the paper flipping off the caravan.

this would be an example of the truly overpaid union striking against an equally greedy company.

however, the wga strike doesn't "strike" me (sorry) as this type. and from reading the articles on here, i certainly understand how a royalty for something you've done in the past can help provide in the future.

thus, i turn to bemusement, as amusement at this strike is not appropriate. but bemusement died when i read this particular article and what the studios had written about the negotiations.

so i guess my question is, what comes next, c-musment? d-musement? how far into "musement" do we go in trying to unlock the secret of fully comprehending this strike?

i knwo the jokes are terrible but someone's got to write something during the strike as a protest. wait. does that make me a scab?

but seriously. six weeks and not much gained, it seems. how long did the last big strike go on for? and can we expect things to get better or worse from here?

handsome_rob

handsome_rob

Burlington, IA
May 2004

DEC 12, 2007 06:24 AM

sorry about the double post.

i thought maybe the writers who inhabit this site could use a little encouragement and support from a highly powerful entity. plus, maybe his description of the situation can help the non-writers comprehend better. i understand the idea of vikings intimidating a giant monster in a suit that eats money on behalf of the writers much better now.

perhaps... A NINJA?!?



check it out.

videoeye

videoeye

Los Angeles, CA
July 2005

DEC 12, 2007 07:09 AM

FearTheReaper said:
The idea that we would put the entire town out of work over a few bucks is laughable.



Thanks for clarify that, the "... put the entire town out of work ..." for big bucks.

I'll say no more, and thanks for all the fish.

skot11

skot11

Sherman Oaks, CA
May 2003

DEC 12, 2007 09:20 AM

FearTheReaper said:

skot11 said:
A paycheck is all i get, I dont get paid every time the show airs, i'm not part of the team, i don't get more money if the show does well, I'm there as a daily hire employee.

screen writers are the only industry that i can think of that get paid for a product, and then paid every time it gets used .... it would seem ridiculous if these principles were applied to, lets say, hammers, I buy a hammer and every time i am being paid to sink nails i have to pay the hammer designer a few cents a strike?

hopefully soon the actors contracts, that state that after six weeks hiatus, they need to be paid full rate or be fired, will force some sort of actual negotiation. Its gona cost alot more to rehire the cast of breakout shows now that the stars of the shows are established.



Dude, the six week contracts that you speak of our for producers, most of whom our writers. It will not force is to cave if they cancel the contract. If we cave, we will be totally fucked in five years.

We are not the only people who make money for creating something as long as the product makes money.

Songwriters.
Playwrites
Novelists.
on and on.

Do you think a band should not make money for each album they sell?

It's in The Constitution. You're going to have to change that.

If the strike is still on, you PM me and I will pay for your membership to be extended. And I'm sorry, but this strike will be going on for a while.



-with the contracts i was actualy saying the producers are gona want to come to an agreement a bit more, if they are paying full contract wages to actors that are not working ...

im sure both sides knew about this .... I hope it works to settle this ... but it will probably end up with alot of productions just ending for good ..... hopefully not cool new shows like pushing daisies.

subwayfare

subwayfare

Los Angeles, CA
October 2004

DEC 12, 2007 09:20 AM

man, do I get sick of these hammer, retail store clerk, electronics maker anti-intellectual property arguments, which force me to re-state the obvious, once again.

since the studios obtained the authorship copyright on screenplays in exchange for the work-for-hire, residual arrangement, they benefit from the laws that allow an author to be compensated every time the work is used.

when the studios spend $150 million to make "pirates of the caribbean" or whatever, they don't just sell one $2,000 print of it to regal cinemas and all the other exhibitors, watch them rattle off copies, play it on 4000 screen and pocket the $200 million the exhibitors take in. The studios get paid for every screening. They also don't sell one DVD to blockbuster and amazon for $14 bucks or whatever and sit back while those companies make unlimited copies and pocket the next $200 million. they get paid for every copy because of intellectual property and copyright law.

trust me, the studios believe very deeply in intellectual property and copyright law. they also know very well that they obtained authorship and copyright from writers in an arrangement that pays the writers a portion of what would normally be royalties in the form of residuals. the dispute is simply over the split on a distribution format that didn't exist the last time the contract was updated.

so please, for the love of everything holy, can the anti-writer camp please come up with some other argument than the one that implies the studios are getting shafted by writers invoking some crazy, alien notion of payment for re-use of intellectual property? please?

and for all you hammer makers out there, if you can find someone willing to pay you a minimum of 100k and a cut of gate receipts because there are millions of people out there willing to pay admission to view your unique hammer over and over, then godspeed, go get 'em, i'm with you all the way.



skot11

skot11

Sherman Oaks, CA
May 2003

DEC 12, 2007 09:34 AM

subwayfare said:
man, do I get sick of these hammer, retail store clerk, electronics maker anti-intellectual property arguments, which force me to re-state the obvious, once again.

since the studios obtained the authorship copyright on screenplays in exchange for the work-for-hire, residual arrangement, they benefit from the laws that allow an author to be compensated every time the work is used.

when the studios spend $150 million to make "pirates of the caribbean" or whatever, they don't just sell one $2,000 print of it to regal cinemas and all the other exhibitors, watch them rattle off copies, play it on 4000 screen and pocket the $200 million the exhibitors take in. The studios get paid for every screening. They also don't sell one DVD to blockbuster and amazon for $14 bucks or whatever and sit back while those companies make unlimited copies and pocket the next $200 million. they get paid for every copy because of intellectual property and copyright law.

trust me, the studios believe very deeply in intellectual property and copyright law. they also know very well that they obtained authorship and copyright from writers in an arrangement that pays the writers a portion of what would normally be royalties in the form of residuals. the dispute is simply over the split on a distribution format that didn't exist the last time the contract was updated.

so please, for the love of everything holy, can the anti-writer camp please come up with some other argument than the one that implies the studios are getting shafted by writers invoking some crazy, alien notion of payment for re-use of intellectual property? please?

and for all you hammer makers out there, if you can find someone willing to pay you a minimum of 100k and a cut of gate receipts because there are millions of people out there willing to pay admission to view your unique hammer over and over, then godspeed, go get 'em, i'm with you all the way.







see ... thats debate ... he didn't call anyone stupid, attack there spelling or grammer, he addressed a pevious point with a well thought out counter opinion.


thats kinda why im posting what i am, i hear things from grips, and writers, and other "industry" people .... and they seem reasonable at the time .... so i bring it up with other people, and post it on various boards to get other opinions of the statement.

since there is realy no real "news" in this country seems like a good way to get a well rounded view of whats realy going on.


i'm glad artists get residuals, I get them too ... in the form of a pension. I just wanted to post some other opinions.

thefreak

thefreak

NEWSWIRE

Gardner, MA

DEC 12, 2007 10:43 AM

handsome_rob said:
i thought maybe the writers who inhabit this site could use a little encouragement and support from a highly powerful entity. plus, maybe his description of the situation can help the non-writers comprehend better. i understand the idea of vikings intimidating a giant monster in a suit that eats money on behalf of the writers much better now.

perhaps... A NINJA?!?



check it out.


Awesome.

-TM

FearTheReaper

FearTheReaper

NEWSWIRE

I'm lost

DEC 12, 2007 10:50 AM

skot11 said:
FearTheReaper said:
[
-with the contracts i was actualy saying the producers are gona want to come to an agreement a bit more, if they are paying full contract wages to actors that are not working ...

im sure both sides knew about this .... I hope it works to settle this ... but it will probably end up with alot of productions just ending for good ..... hopefully not cool new shows like pushing daisies.



They froze all actors contracts the 2nd week. No actors from shows have been paid for work not done.

Colinism

Colinism

Atlanta, GA
July 2005

DEC 12, 2007 11:18 AM

How is your friend doing, the one who was hit by a car.

thefreak

thefreak

NEWSWIRE

Gardner, MA

DEC 12, 2007 11:31 AM

Colinism said:
How is your friend doing, the one who was hit by a car.


I concur. how is he?

-TM

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