Ringwood Ragefudge - STRIKE!

Fellow bloggers: I would appreciate you linking to this small index of information and actions, or at least discussing the matter on your platforms. This WGA strike is, in many ways, about the very nature of the internet. This shit matters, people. Silence is unacceptable.

Let's show them what we can do.

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 John August explains what residuals are, and why WGA members get residuals while other occupations and industries do not. Good for refuting the inane "do plumbers get paid every time you flush?" line of argument.

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Mark Evanier also clears up some misconceptions about residuals in clear, concise terms.

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Here's a video if you're more of a visual learner:



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Mark Harris, whom I believe to be one of the best industry analysts going:

"It's a shame that the WGA so neglected its own image in the weeks leading up to the strike, since it has led too many observers to embrace the laziest kind of neutrality — a position that sneers at the hyperbole of both sides, and in so doing suggests that the writers and producers are somehow equally far from reason — that a magical midpoint of compromise could be found if everyone would just calm down. That's not what's going on here. The writers may be conflicted and prickly, but they're also right. The studios and networks are wrong. And yes, when you strip everything else away, it really is that simple."

(More.)

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John Rogers lays it out eloquently, then knocks down some of the stupider counter-arguments to make the rounds. Check the comments, too. (I knock down some of the other stupid counter-arguments in the comments of this post.)

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Some rather telling video clips from the six media companies' head honchos. It seems they weren't always so confused and uncertain about how digital distribution would make them money.



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Contact information for network CEOs and show-specific producers here.

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Hillary Clinton, Barack Obama, and John Edwards have made statements in support of the WGA. They have not, of course, given back any money given to them by higher-ups in the entertainment industry, or perhaps used some of those donations to help feed the strikers or people in related industries (caterers, costume designers, etc.) who will soon be out of work as a result.

Make that change. It is a Democratic principle to stand by unions; they need to put their money where their mouth is if they want to lay claim to the party name.

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While you're at it, let some theater chains know that you're going to be spending your money elsewhere until the AMPTP wises up. Don't harass local franchises; go right for corporate.

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Go to fans4writers.com (founded by Whedon fans, who I made fun of not too long ago) to find out how to politely but persistently tell the studios what your stance on the matter is.

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Here's a list of advertisers for the major networks, complete with contact information. Let them know how you feel about the studio's treatment of writers on their dime.

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CSI's David Rambo on where you can donate:

"Thank you so much for your support. It's very much appreciated.

The WGA currently has a $12 million strike fund. However, the people who will need assistance as this drags on longer are those in film and TV who don't have access to the strike fund: the office assistants, crew members and actors. They will really need the help to be able to continue in support of our strike, and there's no fund for them. There is, however, a wonderful 125-year old nonprofit organization that provides direct, confidential assistance to all entertainment professionals in need, such as those I just mentioned. It's called the Actors Fund, and you can find out more or make a donation through their website: http://www.actorsfund.org/

If you do donate, let the Actors Fund know that your contribution is in support of those affected by the writers strike. They'll appreciate it, and so will I."

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They actually cancelled 24 over this? I have never been more convinced this strike was the right idea.

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