More on wga strike

Several friends have pointed me toward Doris Egan’s Livejournal. Ms. Egan is the real deal, a true industry pro who has written some of the greatest episodes of House MD, which is to say that she’s written some of the greatest episodic television in ever. She’s the sort of person who knows how hard the life of a Hollywood pro is, how the real, paying gigs are few and far-between and how the studios burn through writers like junkies burn through friendships. She has a lot to lose by going on strike in the middle of her show’s season, but she has more to lose — her profession, basically — if she does not go on strike.
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Those poor, poor media corporations
Writers have heard this a thousand times. When they’re talking about their revenue, everything corporate is up, up, up. When they’re talking about writers’ fees, the cupboard is bare.
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Some thoughts on the writer’s strike part 2

Here’s how it works:

I get a call from my representation. They say “Todd! Big Producer has a project, Massive Pop Behemoth, and he’s only talking to a very few writers, and you’re one of them! He wants to hear your ideas!”

So I’m “in the game.” I’m not some poor schmuck with his nose pressed up against the glass, I have an invitation to play at the big table. I am grateful for this chance. I used to write experimental plays to be performed in 60-seat theaters with seven-foot ceilings on the Lower East Side, I probably shouldn’t even be here.

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