A tremendous amount of infighting just occurred over not only artificial intelligence, but also the parameters for writers’ rooms. But for even many in the entertainment industry, they don’t understand them, nor do they understand the WGA arguments surrounding where the sausage gets made.
The following article is a transcription from various conversations with highly knowledgeable individuals who have worked on guild strikes in the past. We thank those who provided such detailed information.
Regarding the issue of writers’ rooms and why the persist unto this day:
Well, you see, the matter at hand, regarding the endurance of writers’ rooms, be they extensive or compact, is a rather intricate one. It’s imperative to clarify, and with all due respect to the matter at hand, that this isn’t fundamentally about educating writers in the nuances of production. I can attest, from my own observations, that the level of unfamiliarity these writers’ room collectives exhibit concerning the intricacies of TV show production is rather substantial. This ignorance, often persisting despite years of involvement, is rather disconcerting. Frankly, the lack of inquisitiveness displayed by writer/producers regarding the workings of production, as distinct from the pragmatic line producers, UPMs, and a handful of competent Exec Producers who are now, to some extent, being replaced by studio executives dictating the show’s “bible” and narrative framework—those who can guide AI on the rudiments and summon the writers into the “room” to refine and humanize the ostensibly mechanical—this, as I’ve articulated before, is a significant concern.
The key point to comprehend when contemplating the inner workings of writers’ rooms, staffs, and their modus operandi is as follows: EVERYONE engages in a collaborative effort to refine a given script or episode, offering their own contributions and insights. However, before this process proceeds too far, a specific episode is “assigned” to a particular individual who then assumes ownership of it, with their name affixed as the primary author. Under the rules set forth by the WGA, it is these individuals who are entitled to the residuals. It is vital to note that the WGA plays a substantial role in determining script credit, primarily due to residual concerns. This applies both to scenarios involving multiple writers or teams collaborating on script development and, often in the realm of feature films, how residuals are distributed based on the percentage of contribution. It also extends to situations where established writers disassociate themselves from projects that have deviated so significantly from their original vision that their reputation would be tarnished by association. This is the genesis of the pseudonym “George Spelvin,” a name written into contracts as a placeholder for anonymous writers, a practice dating back decades.
Now, as we navigate the landscape of larger writer rooms in the context of 8-episode series, we encounter a quandary. Traditionally, the lead writer would be assigned MORE episodes, thereby yielding increased residual income. However, in the realm of 8-episode seasons, this dynamic shifts substantially. And it’s a misguided presumption to think that if it’s limited to 8 episodes, each writer gets their own—a simple solution, for it’s not so straightforward. More often than not, senior writers demand MULTIPLE assignments as part of their compensation, while prodigious talents like Taylor Sheridan manage to secure them ALL.
Thus, if we set aside the legal ramifications under the NLRB concerning featherbedding, it becomes evident that this issue, exacerbated by the rise of AI, will be profoundly influenced by the intricate details of the WGA’s agreement. The devil, as they say, resides in those very details.
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