strike: the sequel? producers end talks with actors union
Here we go again.
Hollywood producers slouched away from negotiations with the Screen Actors Guild on Tuesday, like a mollycoddled little kid snatching up his marbles and running home. (Do kids still play marbles these days? Geez, I'm old.) After 18 days of talks, the prodouchers — er, producers — decided that the Guild's request for a larger share of DVD and online revenue just wasn't gonna work for them. Sorry, actors, guess you'll just have to make those $20-million paychecks stretch a little further this week.
OK, but seriously, the last time the producers pulled this crap we got a three-month writers union strike, resulting in endless reality shows, a shortened season of almost every scripted show, and the death of happiness. SAG's contract with the producers is set to expire at the end of June, and according to Variety, guild president Alan Rosenberg is going to "take the temperature of the membership" and might try to authorize a strike as early as next week.
Whether or not things will get that bad and we'll actually see Tom Cruise marching the picket lines, jumping up and down on benches is too far off to know. Something tells me the producers aren't going to be quite as hard-nosed with SAG as they were with the writers. As Quint over at Ain't It Cool News says:
"It was easier for them to snub the writers. There are literally hundreds of thousands of unmade scripts sitting at the studios. They could pull damn near anything off the shelf and have material. However, actors drive the marketing of all films, from cartoons to independent to big studio tentpoles. They need actors to convince their money guys to put a film into production, to sell foreign rights, to raise interest in films with the general movie going populace."
Yet Quint goes so far as to subtitle his article "SAG headed to the picket lines," so maybe he's not as confident as he appears.
For now, the producers are focusing their evil attention on the American Federation of Television and Radio Artists, a smaller actors union, whose contract also ends June 30. Negotiation — or "negoshe," as it's known in the biz — is expected to go much smoother with AFTRA, meaning it's possible the producers just want to sharpen their claws on the little guy first before attacking SAG.
But by securing a deal before SAG means TV programs that AFTRA covers — including "Reaper," "Curb Your Enthusiasm," and "Flight of the Conchords" — would get a leg-up, production-wise. And if SAG does indeed strike, and that strike lasts for any substantial length of time, that would mean further drought of new episodes, as well as a diminished fall line-up.
Thoughts? Concerns? Speculation on whether we'll actually see "Pushing Daisies" or "24" ever again?
I'm still bothered by the lack of effort for such a huge return. So after tossing and turning many sleepless nights -- partly due to continued nightmares of the awkwardness of Michael and Jan's dinner party fight -- I've come up with a few plot lines the writers of "The Office" should try. Free of charge!
1. Blackout at The Office - After another bat climbs its way into the office and gets fried on the main circuit source, the paper company finds itself in a blackout. Michael, not wanting to return home to Jan early, insists everyone remain in the office until the power is restored. Meanwhile, Dwight builds a small fire near his desk and forces co-workers to listen to his scary stories - as told on Schrute Farms.
2. Summer intern - Now that go-to-guy Ryan is his boss, Michael decides he needs a new protégé and hires an unpaid, summer intern to work at the office and learn about being a salesman. The application process is brutal and all applicants must suffer through an awkward and inappropriate interview with Dwight and Andy. Jim vies for a candidate that resembles himself as a young up-and-coming paper salesman - then, in an effort to save him, decides to tell the young man to go into pharmaceuticals.
3. Roy's back - Roy returns to announce his engagement to none other than Jim's ex, Katie -"the hot girl." He appears to be a different Roy - caring, attentive and respectful to his new fiancee -all which make Pam uncontrollably jealous. Jim works to remind Pam of the pigheaded jerk Roy was - all while staying clear of his right uppercut. Roy and Katie visit the office in an effort to sell products of their new business - jet ski themed purses - much like Katie did in the past.
The episodes really all write themselves. There ya go NBC, three episodes wrapped up with a bow, just for you.
Anyone else have other plot lines that would've been better than the horribly unfunny "Office" return?
Commercial Interruption: "The Office" Strikes Back
For five months we've hungered for new episodes of "The Office," keeping ourselves busy by placing various objects in jello, practicing Flonkerton and searching for those $4 Dwight Schrute glasses at Walgreens.
Finally, on Thursday, this beloved show came back with its first post-strike episode since last year, snagging some of its biggest ratings since Sept. 27. But Channel Surfing bloggersMalavikaJagannathan, Thomas Rozwadowski and Sara Boyd were less-than-impressed.
Malavika: I felt like I'd just been on a date with the guy of my dreams only to discover that he has deplorably bad taste in music.
Perhaps my hopes were too built up. Five months without "The Office" is the difference between two seasons. I expected the first post-strike episode to blow me out of the water. Or at least, give me some of that interoffice awkward-but-hilarious yumminess I had been yearning for these cold and lonely months. Perhaps a prank, a reference to Dwight's hopes of becoming the "assistant regional manager," a dry Stanley one-liner and a Jim-looks-at-the-camera moment. Was that too much to ask?
Instead we were treated to an inside look at the dysfunctional and awkward life of Jan and Michael outside the office. It wasn't unfunny, but, between Jan's shrewish Harpie yelps and Michael's public airing of their dirty laundry, the episode felt awkwardly forced. The only saving grace was Dwight's appearance and the subtle nonverbal "what are we doing here?" exchanges between Jim and Pam.
Don't get me wrong, I'm supremely happy to have "The Office" back, but I couldn't help but be disappointed with the way it returned.
Thomas: WE AGREE! WE AGREE!
I still love "The Office," and save for some major character or writing defections in the future, will likely not get "Scrubbed out" -- that's my new term for abruptly getting burned out on a favorite show -- and abandon ship.
I have two major beefs with "The Office" post-Season Two, one I think you've already told me is silly and pretentious -- the driving force of the show being an inner-office documentary. I get that it's a TV show and the cameras can go anywhere and probably should for the sake of fresh storylines. But I think it should have more of a purpose as it applies to DunderMifflin. So if Michael and Dwight want to knock the crap out of each other at a dojo, that's absurd but also within the construct of an "office" conflict. Cameras at a private dinner party where Jan and Michael are a real-life Bobby Brown and Whitney Houston? Definitely forced. Why not just have all the couples go to the Scranton Zoo in the next episode and Michael can get locked in a bear cage? C'mon, writers! Focus! Two: Jan. I can't stand her character anymore and she should have been written off a long time ago -- definitely after the deposition exposed Michael's loyalties. Yes, Michael wants a girlfriend. No doubt he'd make some huge sacrifices for companionship, even from a blow-up doll. But Jan is ... well, she's night and day from her old role, which I loved. And that shift from powerhouse, confident executive to crazy sex addict candle maker feels way too abrupt, like they're only keeping her on the show because they don't want to fire Melora Hardin. Sorry, but if Roy's time was done, then hers should be as well. It's about story, not character.
Dwight was the saving grace of the entire episode. "Purely carnal." Yep, that's why I still watch.
Malavika: Now, let's not get ahead of ourselves. I'm still shunning you for rubbing it in about those "Flight of the Conchords" tickets.
You already know I disagree with you on your first point. While it's true the driving force of the show is the inter-office mockumentary, I think it's unreasonable to expect that gimmick to last for more than two seasons. After two seasons, you've discovered all you can about the characters in their environment, and it's necessary to either add new characters (which they tried in Season Three) or shift the environment. It's the natural flow of any situational comedy that outlasts its initial premise. "Cheers" did it. "M*A*S*H" did it. Even "Scrubs" has done it.
On point two, I can't agree more wholeheartedly. Jan and Michael's relationship was brilliant at the beginning because there was a sense that despite the obvious outward embarrassment, they genuinely liked each other in a crazy screwed-up way. Now it seems they're just crazy and screwed up, and, if I really wanted to see that on television, I can watch "Grey's Anatomy." Jan's character has unfortunately lasted too long, and, much like Roy, she needs to be written out.
I'd rather have seen more last night on the Andy-Angela-Dwight triangle. In a way, they're the new Jim and Pam. Do you agree?
Thomas: I like Andy's awkwardness around Angela, but I'm not quite sold that she'd put up with him for, well, whatever reason that hasn't been adequately explained. It's more funny to watch Dwight act out of desperation, and ultimately, if they want to string out the Andy-Angela "look, but don't touch" shenanigans so that Mr. Schrute has to get jealous and go through hoops to eventually regain his queen, I'm for that. I get how it has more comedic value, and Andy vs. Dwight in those early merger episodes was priceless comedy.
I never really had my reservations about Jim and Pam as a couple, I only wanted the show to remain about everyone, not just their too-cute-for-words relationship. The writers have done a great job with it so far, and we discussed this in person already, but it can't just coast on like this, can it? I mean, a few other TV sites are already discussing the scene where Jim potentially leaves Pam behind at the awful dinner party, and if you couple that with the Finer Things Club episode, it appears the cracks in their relationship will come from Pam realizing that she's too good for Jim. Or that he's not a really considerate boyfriend? Or maybe that he's just a guy and all males need to be trained by smart women? I haven't figured out where they're going with it, and if eventually a Jim-Pam fracture will consume the show. I don't want it to. At least not for the rest of this season.
I still want more "office stuff." We work together. We both know there's a GOLD MINE for comedy in any office setting. Even the concept of boredom being worked into the Office Olympics -- pure genius. It's a personal choice, but I'd rather see the natural interaction come during the eight DunderMifflin hours than something beyond those walls. Again, I think there's a happy, realistic medium. Especially for a work documentary. An office Fun Run? Fine. Dwight and Angela at dinner, about to break up? No.
But yes, everything probably has to outlast its initial premise. It's why Ricky Gervais knew to end his own show when he did.
Man, they really hid Angela's real-life pregnancy well, don't you think?
Editor's note: It's not our fault that Tom has problems with brevity. We apologize for your boredom.
Malavika: OK, a) I'm still shunning you, and b) quit writing treatises.
Duuuuude, I didn't know Angela was preggers! They clearly did a great job. Unlike in "Will and Grace" when Debra Messing got pregnant and had to walk around with large pillows and handbags in front of her. It was a tad ridiculous. The worst part is that in the storyline, Grace gets pregnant AFTER Messing gave birth and returned to her normal size.
The Jim-Pam love will probably face some pitfalls by the end of the season. Rachel-Ross. Sam-Diane. Meredith-McDreamy. No good television "it" couple makes it without a few breakups in between, whether they're temporary or permanent. That's just the way it goes. I'm calling that they break up in the finale. Either that or Jim proposes and Pam says no.
I think another problem this season has suffered is the one-hour episodes that kickstarted it. I enjoyed the occasional hour-long Christmas specials, but the format definitely cramps "The Office's" deliberate pacing. The jokes take too long to manifest themselves when the episodes are an hour long.
Thomas: Where's fellow Krasinski-stalker, Boyd? She needs to be brought into this exchange.
Short enough for you?
Sara: Wow. I feel like the secret weapon here only to be brought out of an undisclosed hiding space at the prime moment (a.k.a.: when Tom has bored everyone with this far too in-depth analysis).
That said, I must say I agree with a majority of what's been written. When I read the premise of "The Office's" return, I was very excited for a what seemed to be a return of hilarity. I was left feeling cold, alone and desperately wanting to call my parents and thank them for never fighting like Michael and Jan.
I agree with Tom that the basis of "The Office" should be just that, in an office. There are plenty of plot lines they could bring out just in the span of an eight-hour work day and I think they just need to get creative. They've done the basketball tourney, the betting episode (one of my personal faves) and the revision of the health care plan (with the notable Schrute Space office -- or work space) but there's room for so much more.
Take the advice of Michael Scott -- don't add complicated dramatic scenes at Michael's condo to the show -- instead K.I.S.S.: Keep It Simple, Stupid.
Malavika: Amen, sista. I think you've said it all.
In conclusion, I think we should both shun Tom, now.
It's almost April: Do you know where your episode recaps are?
It's been about three months, give or take, since many of my favorite shows came to an abrupt halt. This happens every year, of course: It's called "summer." But when it happens as the result of a writers strike and spans the entire bleak abyss of winter, it's called "torture." (Don't talk to me about water boarding -- going this long without Pam Beasley is a real violation of the Geneva Conventions.)
Luckily, the wait is almost over. Many of TV's top shows will soon be stumbling back into our homes, like a drunken husband after an extended Vegas bachelor party. In fact, for fans of "How I Met Your Mother," their long journey through the desert reached its end last week. (And surprise! Britney Spears was there waiting!)
While they say absence makes the heart grow fonder, it apparently turns the brain to Jell-O, because I would be hard-pressed to tell you much of anything that happened on the last-aired episode of any given series, such as, say, "Scrubs." (If I had to venture a guess, I'd say J.D. made a funny noise and fell down, while Elliot screeched and also fell down.) But why guess when there are handy-dandy sites like The Recapist and Television Without Pity that recap each episode to every TV show, in waaaay more detail that you could possibly need?
Here then are 8 brief recaps to the last-aired episode of some of TV's most popular shows, as well as when you can expect to see them again.
(Note: I don't actually watch all of these shows, and got the information for these recaps from the aforementioned websites. Therefore feel free to yell at me if anything is incorrect.)
"30 Rock" (April 10) We last saw the gang from "TGS With Tracy Jordan" in mid-January. Liz fails spectacularly in buying a condo, but succeeds (accidentally) in purchasing a German television station as Jack's proxy. Speaking of Jack, he's spending more and more time with his girlfriend, a Liberal congresswoman, and shirking his work duties. Kenneth, meanwhile, becomes dangerously addicted to coffee and decides to move home to avoid further temptation. In the end, Jack and his lady friend have called it quits, Kenneth misses his midnight train to Georgia, and NBC narrowly avoids getting taken over by Germans.
"Brothers and Sisters" (April 20) Those Boniva ads not satiating your Sally Field fix? Then recall how when we last saw the Walker family in February, presidential candidate Robert (Rob Lowe), recently married to Kitty, had scored a big Super Tuesday victory. (Take that, Martin Sheen!) Meanwhile, Sarah's divorce is near its end, so what's the first thing she does? Karaoke at a gay bar, of course. Lucky for her, Graham shows up and whisks her off to his boudoir.
"Desperate Housewives" (April 13) Something big happened on this show a while ago, no? I'm trying to remember... Oh, that's right: Wisteria Lane was hit by A HUGE, WHIRLING PLOT DEVICE. The most recent events on the megahit ABC series dealt with the deadly tornado that cast the Hizzies' world in a tizzy. Ida has died saving Lynette's family, and Adam leaves Katherine (or did Katherine kick him out?) after the also-now-dead Sylvia was found in a tree. Bree's brood moves in with Susan, and Gaby is in a pickle after learning she's getting nothing from Victor's estate. "Gossip Girl" (April 21) Like, I'm not one to spread rumors, but on the last episode of this CW show, way back in, like, January or whatever, Serena was totally spotted buying a PREGNANCY TEST. OMG! But it wasn't even for her -- she was buying it for Blair! Honest to blog, Dan's sister Jenny told me. Turns out Blair had been getting it on with both Nate AND Chuck, and they totally started wailing on each. Serves Blair right that no one wants to talk to her now.
"Grey's Anatomy" (April 24) For those keeping score, at the start of "Grey's" previous episode, Meredith and McDreamy are in the "on-again" position. So much so, that McD shows Meredith a house he plans to buy -- wait for it -- for the two of them. Meredith freaks out of course, because if she were happy for even a minute, the show would be over. Looks like we're back at "off-again." Meanwhile, something actually important happens, as Bailey's infant son is crushed by a falling bookcase, and the docs rally to help save him. Also, Mrs. O'Malley finds out why George is getting a divorce. You naughty girl, Izzie.
"House" (April 21) Amidst all the usual Patient of the Week mumbo-jumbo of our last encounter with House, M.D. -- this time involving a bride who passes out during her wedding -- there is some tricky relationship problems for the curmudgeonly doc to diagnose. His best friend, Wilson, is dating Amber, the "cutthroat bitch" as House calls her. House confronts the harpie, convinced she'll end up hurting Wilson. But she is able to persuade him that she truly likes the guy, and House ends up telling his friend that he could do worse.
"The Office" (April 10) By the time our Dunder-Mifflin crew get back to work, they will have been gone nearly five months. Now that's a nice vacation. In the last episode, which aired Nov. 15, Michael and Jan are headed to the corporate offices for a deposition hearing concerning Jan's wrongful termination lawsuit. Michael has been called as a witness, and through a series of embarrassing turns involving his sexual relationship with Jan, his diary, and a disparaging written job evaluation from the CEO, Michael ends up losing Jan $4 million. Meanwhile, back in Scranton, Jim and Darryl are enjoying a friendly game of ping pong, which escalates when Kelly, who is dating Darryl, begins trash-talking Pam, who is dating ... oh, you know.
"Ugly Betty" (April 24) I'm having trouble remembering back to late January -- did anything wacky happen on the last "Ugly Betty"? What am I talking about -- it's "Ugly Betty." Anyway, when we last left our homely heroine, she was trying to make it as a writer, but to little success. She's given a shot at an interview with an author of a book aimed at helping men, what's the word, score. Betty is disgusted, but gives the article an objective try, and ends up succeeding. Daniel is having his own woman troubles, as his mother won't move out, and a girl he almost hooked up with turned out to be -- gasp! -- Wilhelmina's sister!? Or is she...
Did I leave out one of your favorites? Go ahead and leave a brief recap of your own in our Comments section. And be sure to check back with Channel Surfing for any updates on air times.
The strike is over. You still have a month or so to wait before things return to normal ... well, at least as it applies to being unproductive while watching TV.
It looks like April at best for the return of your favorite shows, with most of the major networks releasing schedules with firm return dates. Of course, VH1 will already have cycled through any number of washed-up musicians and sitcom stars during that time, so it's not as if you'll be working without a safety net.
Here's a rundown of shows that are either extremely popular or that we've been known to watch/cover at Channel Surfing:
24: Season 7 postponed until January '09. 30 Rock: Expected to shoot 5 new episodes to begin airing on April 10. Brothers & Sisters: Expected to shoot 4 new episodes to air beginning April 20. Chuck: No new episodes until fall. CSI: Expected to shoot 6 new episodes to begin airing on April 3. CSI: Miami: Expected to shoot 8 new episodes to begin airing on March 24. CSI: NY: Expected to shoot 7 new episodes to begin airing on April 2. Desperate Housewives: Expected to shoot 6 new episodes (including a two-hour finale) to air beginning April 13. Dirty Sexy Money: No new episodes until fall; three remaining pre-strike episodes will undergo some tweaking and kick off fall run. ER: Expected to shoot 6 new episodes to begin airing on April 10. Friday Night Lights: No new episodes expected for this season. Future unknown. Gossip Girl: Expected to shoot 5 new episodes to begin airing on April 21. Grey's Anatomy: Expected to shoot 5 new episodes to air beginning April 24. Heroes: No new episodes expected until fall. House: Expected to shoot 4 new episodes to begin airing in its new Monday time slot on April 28. How I Met Your Mother: Expected to shoot 9 new episodes to begin airing on March 17. Law & Order: Expected to shoot 5 additional episodes to begin airing on April 23. Law & Order: CI: Expected to shoot an indeterminate number of episodes to air in spring. Law & Order: SVU: Expected to shoot 5 new episodes to begin airing on April 15. Lost: Five pre-strike episodes remain. Expected to shoot 5 additional episodes to air beginning April 24. My Name Is Earl: Expected to shoot 9 new episodes to begin airing on April 3. The Office: Expected to shoot 6 new episodes to begin airing on April 10. Pushing Daisies: No new episodes until fall. Saturday Night Live: Returns Saturday with Tina Fey as host. Scrubs: Five pre-strike episodes remain and will begin airing on April 10. Up to four additional episodes may be shot; unclear whether they'll air on NBC or go straight to DVD. Terminator: The Sarah Connor Chronicles: Three pre-strike episodes remain. Future unknown. Ugly Betty: Expected to shoot 5 new episodes to air beginning April 24.
And finally, The Wire, one of the few shows unaffected by the strike, has three episodes remaining. Ever. Expect lavish praise from yours truly in the coming weeks.
-- Thomas Rozwadowski, trozwado@greenbaypressgazette.com
The strike is over. Let us celebrate this agreement with the adding of chocolate to milk.
It's official. The Writers Guild of America voted Tuesday to lift the strike order that was enacted Nov. 5.
"Our membership has voted, and writers can go back to work," WGA West president Patric Verrone announced at a Beverly Hills press conference. "This was not a strike we wanted, but one we had to conduct in order to win jurisdiction and establish appropriate residuals for writing in new media and on the Internet. Those advances now give us a foothold in the digital age. Rather than being shut out of the future of content creation and delivery, writers will lead the way as TV migrates to the Internet and platforms for new media are developed."
Obviously this is great news for TV fans, which is what I'll assume you are since you stopped to read our little blog. Channel Surfing launched a week after the writers went on strike. And while the fracas has given us something to occassionally gripe about, it'll be a lot more fun to settle into routines and be entertained by everything from the "Daily Show's" election coverage to the ongoing saga of Michael Scott and ... man, I can't even remember what happened last on "The Office." It's been that long.
The LA Times chimes in with a predictable set of winners and losers, though it misses one of the biggest triumphs -- an unscathed Oscars telecast on Feb. 24. The New York Times reports that it's going to be a show with all the trimmings, and though host Jon Stewart "will have only about two weeks to work with writers on his introductory monologue, organizers hope the show will be welcomed with open arms by viewers starved for a full-dress celebration of celebrity."
Also known or highly speculated:
"24" will not be coming back until Jan. '09. "Heroes" not until this fall.
Because of shooting schedules, "Lost" will probably have a 12 or 13-episode season (down from 16) and put the rest onto next season.
"Pushing Daisies" will not have new episodes until fall. "Daisies" creator told TV Guide that "if we did come back we would land right in the path of the 'American Idol' juggernaut, and would likely be decimated." Let's see: Olive Snook or Simon Cowell? What's wrong with you people?
Popular shows expected to come back with anywhere from 4 to 10 new episodes by April or May: "30 Rock," all the "CSI" shows, "Desperate Housewives," "ER," "Grey's Anatomy," "Gossip Girl," "House," "How I Met Your Mother," "My Name is Earl," "The Office" and "Ugly Betty."
"Friday Night Lights" and "Scrubs" might never come back. In the case of "Scrubs," final episodes could be shot and sent straight to DVD.
More definitive answers will likely trickle in as the weeks continue. We'll try to be as up-to-date as possible with firm return dates on shows we've been known to cover here.
Hallelujah! We now return you to your regularly scheduled programming
It's Saturday afternoon and I'm blogging on an off day. That can only mean one thing.
No, not another "Lost" theory.
The writers' strike appears to be over.
(OK, deep breath ... 1, 2, 3 ... say it with me, WOO-HOO!)
After a week of optimism (and rampant speculation) from national media outlets, it appears as if Writers Guild of America East head Michael Winship is going to recommend to his members that they accept a deal.
According to the AP, writers gathered behind closed doors today in New York and were meeting later in Los Angeles to consider a deal that guild leaders said, "protects a future in which the Internet becomes the primary means of both content creation and delivery."
Winship cautioned that it's not a "done deal" until the contract is ratified by members. He also said that several steps must be taken before the West guild's board and East guild's council decide to lift the strike order.
"It conceivably could be Monday, but there are several different alternative ways that the board and council could determine how this should be dealt with," Winship told the AP.
Among key points of interest:
* In the third year of the contract, writers would receive two percent of the distributor's gross on streamed content (a hike from the $1,200-ish payment scribes will get in the first two years). However, as the Directors Guild of America does, the WGA has a 17-day window on all streamed content, meaning that studios can stream for free during that period.
* With regard to Internet sales, writers will get 0.36 percent of the distributor's gross receipts for the first 100,000 downloads of a television program and the first 50,000 downloads of a feature. After that, they'll bank 0.7 percent of distributor's gross receipts for TV shows and 0.65 percent for feature films.
* Ad-supported streaming of TV shows will net the writers two percent of distributors' gross receipts a year after the initial streaming window is closed.
But you don't really care about gross receipts, do you? YOU want to know when your favorite shows are coming back with new episodes so you can laugh, laugh, laugh at more Charlie Sheen-inspired antics on "Two and a Half Men."
The 3-month-old writers strike has been hard on everyone in the entertainment industry, but especially struggling have been late-night talk show hosts. Unlike Letterman, whose production company was able to make nice with the union, schlubs like Leno and Kimmel have been chugging along with C-list guests, even resorting to appearing on each others' shows, just to pass the time until the picket lines dry up.
Similarly affected have been two of Comedy Central's top properties, "The Daily Show with Jon Stewart" and "The Colbert Report." Both shows have been making do with a modicum of success, but the strain is apparent. Colbert, for example, has resorted to featuring two-to-three interviews a night, and Stewart rarely diverts from discussing the election -- something that's already such a circus he could ad-lib on it all night. That's not to say the shows aren't worth watching anymore -- if anything it seems to be sharpening the hosts' improv abilities. But when a good running gag comes along, both Colbert and Stewart are only too happy to let it drag on for as long as possible.
Enter Conan O'Brien, himself sans writers and looking for ways to kill time. Back in mid-January, O'Brien made a claim that he was responsible for Mike Huckabee's success in Iowa, because O'Brien had resurrected Chuck Norris' career, and Norris in turn has been seen stumping for the Republican presidential hopeful. This claim ruffled Colbert's on-screen feathers, because Huckabee had been a three-time guest on "Report," and thus Colbert claimed Huckabee's success for himself.
This back-and-forth continued for weeks, even dragging Stewart in, and culminated last night when all three men appeared on each others' shows with the intention of instigating a cross-network brawl. After two half-hours' worth of teasing, viewers had to stay tuned for "Late Night" to catch the epic ass-whooping. The fake fight featured baseball bats, fire extinguishers, a flight of stairs, ice skates, a dance-off, and a freeze-frame finish straight out of "Rocky III."
It was a gut-bustingly funny way to waste some time, and probably couldn't have been written better.
In case you're wondering, here's the latest news on what's going on with that supposed agreement between the writers and the studios. Fingers crossed!
-- Adam Reinhard, lifeisfunnybutnothahafunny@gmail.com
Today in unfortunate assumptions: Strike could be over soon. Patriots also supposed to win the Super Bowl.
It's been awhile (like, never) since there was any good news to report regarding the writers' strike. Well, practically every major media outlet is reporting that a source close to negotiations says a tentative deal has been reached between the Writers Guild of America and the Alliance of Motion Pictures and Television Producers.
According to the Associated Press, a meeting is scheduled for Monday to tie up the final details.
The two sides breached the gap last week "on the thorniest issues, those concerning compensation for projects distributed via the Internet," said the person, who requested anonymity because he were not authorized to speak publicly.
A second person familiar with the talks, also speaking on condition of anonymity because he wasn't authorized to comment publicly, said that "significant progress had been made and a deal might be announced within a week."
However, Entertainment Weekly points out that they obtained an e-mail sent to the writers by WGA West President Patric Verrone and WGA East President Michael Winship, urging the membership to "disregard rumors about either the existence of an agreement or its terms."
"We are still in talks and do not yet have a contract," the e-mail said. "When and if a tentative agreement is reached, the first thing we will do is alert our membership."
Verrone also said that picketing will resume Monday.
Way to kill the feel-good vibe, man. Don't be such a Belichick.
(By the way, his pouty post-game interview with Chris Myers made up for the Packers not making it to the Super Bowl. Seriously. Eli freakin' Manning?)
Apparently the Academy of Motion Picture Arts and Sciences is preparing a contingency show for the 80th annual Oscars if the writers strike isn't resolved by Feb. 24. A dancing monkey pulling names out of a giant top hat will probably be an improvement on the Golden Globes "press conference" with the mystic tan twins (Billy Bush and Nancy O'Dell) stumbling and mumbling their way through the winners for an hour.
According to the academy president, the contingency show will feature "history and packages of film and concepts that are not normally ones that we would have for the show if we were moving straight ahead." So, no teary-eyed rambling speeches, then? Darn.
If you're looking for an Oscar-fix, though, check out Turner Classic Movies. Starting today, the channel airs its 31 Days of Oscars, a great way to catch up on all those classics you know you should watch but are too lazy to rent. But don't let the term "classics" fool you - these are 353 Oscar-winning movies from every era including the 1990s and 2000s. Each day has a theme during the day ("Communists" on Feb. 20, "Alfred Hitchcock" on Feb. 23 and "John Wayne" on Feb. 17), then a primetime schedule to make classic movie buffs drool into their "Casablanca"-inspired gin and tonics.
Here's the complete schedule. Overwhelmed by the choices? Here are a few suggestion for the next few days:
Tonight: "Jaws" (1977) at 11:15 p.m. Saturday Feb. 2: "War of the Worlds" (1953) at 5:30 p.m., "Gandhi" (1982) at 7 p.m.
Sunday Feb. 3: "An American in Paris" (1951) at 5 p.m., "Sense and Sensiblity" (1995) at 7 p.m.
Tuesday Feb. 5: "The Best Years of Our Lives" (1946) at 7 p.m., "Casablanca" (1942) at midnight
The lack of new episodes is making me cranky. Like almost Dr. House cranky. I haven't resorted to painkillers, yet, but I may start my own Survivor-type contest to help me pass the time.
Since I haven't watched "Lost" since Season 1 and I'm not really into "American Idol" and I don't hate myself enough to watch "Celebrity Apprentice," the weight of the writers strike has finally sunk in with most of my favorite shows - save a few - on semi-permanent hiatus. I was so giddy last night to see the label "New" next to an episode of "Gossip Girl" that I continued to watch it even though it turned out to be an extended version of the pilot with a few cast interviews. (Also, how is that NOT misleading?!).
Entertainment Weekly did an entire issue devoted to ways to survive the writers strike blues, but here are a few of my personal tips - tried and true - to live in this wretched strike-addled world.
1. Rent or Buy TV on DVD: It's a no-brainer. Since the strike killed many of my favorites, I've found new ones via Netflix including Showtime's "The Tudors" and HBO's "The Wire." Best of all, there are no commercials. That means you don't have to watch those annoying Cadillac commercials five thousand times in an hour.
2. Reality TV. Love it or hate it, at least it's new. Take your pick of a wide field of candidates - from the ridiculously perverse ("Moment of Truth") to the suprisingly intriguing (anything on the Food Network or Travel Channel), there's a reality show for all of us out there.
3. Don't give up hope: Many shows that are currently in reruns still have a few new episodes left, including "House," "Law and Order," "Nip/Tuck," Friday Night Lights," "Boston Legal," "Psych" and "Smallville." Plus, there are several midseason replacements including "Terminator: The Sarah Connor Chronicles," "Lipstick Jungle" and "Eli Stone."
4. Election 2008: Sure, it's politics and that's "boring," but the Presidential campaign is the most interesting reality (or scripted) show currently unfolding on the small screen. Don't believe me? Go to youtube.com, type in "Mitt Romney" and "AP reporter" and enjoy. Rinse and repeat with any candidate of your choice.
5. Watch sports: It's college basketball season and you want to be prepared for your March Madness office pool, don't you? Start picking early favorites. Not a tried and true sports fan? The jersey colors are pretty. Also, not that it means anything, but the championship often goes to a team wearing blue, orange or some combination. (Editors note: this strategy has never helped me in my aspirations to win the March Madness pool).
6. Old Favorites: When I've lost all hope, there's always an episode of "Seinfeld," "Friends," "The Cosby Show" or "M*A*S*H" to save me. Rediscover an old show or rewatch a favorite episode. It's better than selling your soul to watch "1 vs. 100." I promise.
Forget the inappropriate Red Carpet interviews, the repeated query of "who are you wearing?" and the awkward cutaways of the losers when the winners are announced. The Golden Globes awards show - scheduled for this Sunday - has been scuttled in favor of a one-hour "press conference" starting at 8 p.m. on NBC that will announce the winners.
The first casualty of the writers strike - thanks to an unscripted show and the lack of actors willing to cross the picket lines - the cancellation of the Globes begs the question of what will happen to the Academy Awards next month if the strike continues. Bigger question yet: what are Ryan Seacrest and Joan Rivers going to do?
Speaking of the writers strike, here's a fascinating collection of essays from various TV and film writers including Bill Lawrence ("Scrubs") and Greg Berlanti ("Brothers and Sisters") called "Why We Write." Aside from a peek into television’s creative minds, it's nice to know they love DVR as much as the rest of us mortal folk. Here's an excerpt of an enjoyable entry from Greg Garcia, the creator of "My Name is Earl:"
"The first few days of the strike were great for catching up on my shows. My TiVo was bubbling over with new episodes of "Dexter," "Family Guy," "Friday Night Lights," "30 Rock," and a whole bunch of other shows I’m not going to admit to watching. One by one they were watched and deleted. And now my TiVo is empty. I fear that as the strike goes on my TiVo may try to eat itself to stay alive. Nothing is more depressing than going through the guide for the next few weeks and seeing shows like "American Gladiators," "Clash of the Choirs," "Duel," and "Celebrity Apprentice." I’m not gonna watch that foolishness."
A few links for your consumption as the buzz fades on a first night back for Leno (no strike beard) and Letterman (awesome strike beard.)
As is the custom with the two late night heavyweights, it's all about ratings. It appears Jay won the first round with viewers. But you probably won't hear too many cheers from the Writers Guild of America, who are mighty miffed that Leno decided to pen his own monologue.
According to Deadline Hollywood Daily, "a discussion took place today between (its member) Jay Leno and the Writers Guild to clarify to him that writing for 'The Tonight Show' constitutes a violation of the Guilds’ strike rules." Leno tried to cover himself on-air by saying ,"We are following the guild thing. We can write for ourselves," but it'll be interesting to see if he defies them now that they've issued a stern warning. If you think the WGA is being pushy by picketing outside their bosses' studios (and ardent strike supporter Jimmy Kimmel certainly seems to think so), I can only imagine what they'd resort to if one of their own kept bending the rules for his benefit.
DHD also has a great round-up of the evening's festivities, as does one of our personal favorite TV critics, Alan Sepinwall of the Newark Star-Ledger, who sums everything up thusly: "We learned that Letterman intends to keep doing the same show he always does (with writers), that Leno intends the same (without writers), that Conan (without) is going out of his way to point out how much he needs his writers, that Craig Ferguson (with) is doing the same, and that Jimmy Kimmel (without) isn't happy about any of this."
Flipping back and forth between Letterman and Leno (not to mention even staying up for Conan/Ferguson/Kimmel) probably proved to be a challenge to more than just this avid TV viewer. Now that the first night is in the books, does anyone care what happens from here on out? Or do we just move on to Monday's re-launch of "The Daily Show" and "The Colbert Report" and pray they can keep the funny going before we all waste away in a humorless society while wishing everything would return to normal?
Also: In case you missed it, Letterman's Top Ten list with striking writers from last night.
Tonight's return of late night television is voyueristic for reasons that extend beyond "first show back" status since the writers' strike launched a slew of angry slogans in early November. (Holy crap! Remember November? Tila Tequila hadn't even found the love of her life yet!)
First off, David Letterman and Craig Ferguson are playing with a full deck since World Wide Pants struck a deal last week to get writers back into the fold. Time off aside, things should be pretty smooth for both -- and with the annoyingly hyperactive Robin Williams as Letterman's guest, might even make Jay Leno and Conan O'Brien the more interesting viewing experiment, at least for this evening.
Are Leno and Conan allowed to pen their own monologues? (Reports are hazy on this.) Will both shows be invaded Bill Maher-style by angry writers who want to make a grand statement about network tyranny? If forgotten host Jimmy Kimmel isn't funny with writers, how badly will he flounder without them? And will Leno guest, Mike Huckabee, subliminally cross his arms constantly in order to wink at conservative evangelicals and further anger the Catholic League?
Bottom line: How is this delicate dance going to play out?
According to TV Guide, the Writers Guild of America revealed plans to picket scribe-less shows by Leno, Conan and Kimmel, as well as "The Daily Show with Jon Stewart" and "The Colbert Report" (both returning Monday with new episodes) for as long as its necessary. The WGA maintains the move isn't meant to batter the hosts (after all, some of the picketers will essentially be badmouthing their direct bosses and WGA supporters), but instead the bloated networks they work for. They're also going to give Letterman and Ferguson some serious love by pressuring Screen Actors Guild members/guests to appear only on those two shows.
Yeah, if you're Leno or Conan, it might be a bit difficult to not have hard feelings about that one. "Hey, Letterman has Johnny Depp, Steve Carell and Jessica Alba on tonight! Leno has ... a guy with the nation's largest collection of Star Trek pogs."
So Letterman has the writers. Letterman's getting the guests. Both should equal bigger ratings -- though again, the trainwreck possibilities for the others might be worth watching in the short term.
One thing is certain, though. If Leno, Conan and Kimmel don't take the Letterman favoritism too hard, you'd expect all hosts to use their natural soapbox and call for an end to the strike. With bitter writers in tow, Letterman might even have a grand opportunity to really bludgeon the Alliance of Motion Picture and Television Producers and rally the left-behind troops more. Letterman isn't known to play nice, after all.
FYI: Letterman's guests for the rest of the week are as follows: Thursday, Bill Maher, "Juno" star Ellen Page, and performers from the Broadway musical "Young Frankenstein." Friday features Donald Trump.
UDPATE! UPDATE!: The Associated Press is reporting that Hilary Clinton joins Letterman tonight in a segment taped from Cedar Rapids. Comics Bob Saget and Dwayne Perkins and musicians Robert Gordon and Chris Spedding are Conan O'Brien's first-night guests.
Score one for the writers -- or at least those who work for David Letterman and Craig Ferguson.
When "Late Show with David Letterman" and "Late Late Show with Craig Ferguson" return Wednesday -- the same day Jay Leno, Conan O'Brien and Jimmy Kimmel also get back to work -- Dave's writing staff will be intact thanks to an agreement Worldwide Pants reached with the Writers Guild of America.
Worldwide Pants CEO Rob Burnett told Variety that it wasn't tough to ink a separate deal with the WGA.
"I found the guild straightforward and easy to deal with," he said. "It was a big decision so it took an appropriate amount of time."
The WGA issued a statement Friday confirming the agreement, citing the deal as proof that its demands aren't unreasonable.
"This is a comprehensive agreement that addresses the issues important to writers, particularly new media," the Guild said in the article. "Worldwide Pants has accepted the very same proposals that the Guild was prepared to present to the media conglomerates when they walked out of negotiations on December 7. Today's agreement dramatically illustrates that the Writers Guild wants to put people back to work, and that when a company comes to the table prepared to negotiate seriously a fair and reasonable deal can be reached quickly."
As Variety also pointed out, it helps that Worldwide Pants is a dramatically smaller company than any of the members of the Alliance of Motion Picture and Television Producers, and doesn't have nearly as much at stake. Letterman is uniquely situated as the 100 percent owner of his shows.
Worldwide Pants reached out to the WGA for an interim agreement shortly after the strike began on Nov. 5. The guild only recently engaged in talks with the company, after making the strategic decision to seek individual talks with AMPTP members. And even then, it had been thought that WWP wouldn't be able to cut a deal because CBS controls the new media rights to Letterman's shows. However, as the studio that produces the shows, World Wide Pants "is responsible for paying residuals to our writers" for Internet use of said shows, Burnett said.
UDPATE! UPDATE!: The Associated Press is reporting that Robin Williams will be Letterman’s first guest on Wednesday. It "may be Letterman’s way of quickly trying to draw a distinction between his show and his late-night rivals, who are without writers and may also have trouble booking major entertainers as guests." Also, NBC’s “Tonight Show" said today that Republican presidential hopeful Mike Huckabee will appear on Jay Leno’s first show back.
Return of Letterman, Leno could be music to bands' ears
The trickle-down effect of the writers' strike has apparently caused the music industry to spring a leak. In case you haven't heard, that's a sinking ship that can't really afford to take on more water.
With CD sales down a whopping 14 percent -- the equivalent of the size of oh, say, Kanye West's ego -- from last year, according to Nielsen SoundScan, the music biz is not only hurting, it's on track to end the year with its steepest losses yet.
One of the problems --besides the fact that not everyone considers Hannah Montana a must-own for their CD collection -- might be the writers' strike.
“You don’t have late-night shows promoting new albums or songs getting placed on new shows,'' Daily Variety associate editor Phil Gallo told USA Today.
The chance to perform live on the "Late Show with David Letterman'' or "Late Night with Conan O'Brien'' is huge exposure for an artist. Take away that outlet, and they're left with things like radio airplay, and we all know how non-artist-friendly that can be, particularly for acts who don't fit neatly into a specifc format.
Even Larry the Cable Guy, who has a new "Christmastime in Larryland'' CD to pimp, made note of the lack of opportunity recently on his Web site.
"I was supposed to be on Leno tonight (December 4), however it was canceled because of the writers strike,'' he writes. "I will say right now, I support all the writers in this except for the ones that wrote anything for UPN, the caveman show, and the guy that came up with Jar Jar Binks.''
It also knocks out The Fray/"Grey's Anatomy'' factor, by which lesser-known bands have a shot at breakout success, thanks to one of their songs getting played during a McDreamy/McWhiny love/breakup scene, for example.
But there is hope. USA Today reports that Jay Leno and Conan O'Brien's late-night shows will return to the air with fresh episodes on Jan. 2 -- without writers supplying jokes. It also reports that Letterman may be back on the air in early January with new episodes -- with writers. (We're pretty sure Leno more desperately needs the help of writers to be funny, but that's just us.)
Also interesting is a breakout with another USA Today story on the subject that provides a network-by-network breakdown of how many episodes remain for each of the top shows and what will be taking their place after the first of the year.
Internet stars show solidarity with striking writers
The Hollywood writers strike has been dragging on now for five weeks. Food no longer tastes good. The laughter of babes has been silenced. Plus it's darker out a lot longer these days than when the strike started. That can't be coincidence.
This post will offer no insight into the recent renewed talks between the writers and the studios, the scribes and the scum, or any possible reconciliation. Mostly because I have none, but also because you're probably sick of hearing about it by now.
Instead I wanted to pass along this hilarious video that a couple of "Colbert Report" writers slapped together recently, in which popular Internet video stars show solidarity with their brethren walking the picket lines. If those money-grubbing suits aren't swayed by the possibility of no more dogs riding skateboards, then I don't know what else we can do.
-- Adam Reinhard, lifeisfunnybutnothahafunny@gmail.com
New episodes of "Law and Order" - how else will TNT survive?
Well, folks, NBC has confirmed my worst fears.
The midseason line-up announced yesterday - one that takes into account the ongoing writers strike - indicates that a delightful dose of sub-par television awaits us at the end of the winter hiatus.
Returning shows include "Deal or No Deal," "American Gladiators," "Medium" with newcomer "Baby Borrowers" thrown in for good measure once Gladiators ends its run. The latter is a take on a British show in which teenagers are shown the pitfalls and pleasures of parenthood by taking care of babies. Here's a more comprehensive look from Variety.
The only silver lining in all this is the return of "Law and Order" in its longtime Wednesday slot at 9 p.m. Not that it matters, considering rarely an hour goes by on cable TV without an episode of Dick Wolf's beloved franchise. Still, for loyal viewers, it'll be a nice change to see Sam Waterston's ADA Jack McCoy finally taking the big chair as Manhattan's District Attorney now that Fred Thompson is making a bid for President in the real world. At least Waterston's native Bostonian brogue won't seem as far-fetched as Thompson's Tennessee drawl.
In its 18th season - yes, you read that correctly - "Law and Order" is one of the few shows that has managed to retain fairly consistent ratings, thanks to endless syndication and successful spin-offs such as "Law and Order: SVU." The success of CSI - and other criminal procedurals - owes a lot to the L&O formula of "one episode, one story" that's perfect for the non-ritual TV watchers among us (not sure who those people are, but I understand they exist).
With its infamous "dun dun" sound to its "ripped from the headlines" plots, it's a show that, despite its long run on television, doesn't seem to get old. Doubtful anyone will be talking about "Borrowers" in 18 years, for sure.
Much has been written about the writers' strike - we’ve linked to some of the best sites already - but other than a few soundbites and photo ops, the big names haven't been terribly outspoken. Well, unless you count Conan O'Brien and his awesome strike beard (see clip below).
This week, "30 Rock's" Alec Baldwin stepped up to the plate, fitting when you consider that his character, Jack Donaghy, is always trying to mentor Tina Fey's Liz Lemon. At Huffington Post, Baldwin says that while the writers are fighting a good fight, they're trying to make up for failed 1988 strike negotiations, which is why this mess could drag on for awhile.
Of the evil studios, he pulls no punches, writing, "They are owned by huge, creativity-deadening corporations and operated by lawyers and marketing executives who lord over the worst creative decline I have witnessed in a long time, particularly in films. In television, companies like GE view properties like NBC the way realtors view square footage. GE does not care what is on NBC. So long as the programming is relatively inoffensive, they want to earn as much per square foot as they can. In the current strike, the writers expect the buyers to have a soul. The buyers, who cannot count a real filmmaker or television programmer among them, view a soul as an impediment to business."
This was similarly discussed by me a few posts back, and it appears Baldwin knows the networks don't have to blink first because they have plenty of reality-based and game show options to fall back on. Sure, the public might gripe. But they'll sit, watch and wait for a resolution while worrying about their own problems, which, you know, are kinda important, too. Which is why he thinks "the strike should end now. The writers should go back to work. Continue negotiating, but go back to work ... one can envision a future where more scripted programming moves to cable. Eventually, HBO and Showtime, et al, may become the place to find the bulk of scripted shows. With these people calling the shots, anything is possible."
Also, quite humorously, Baldwin proposes that media executives should be forced to face the music (or just put up with Pat O'Brien.) He wants the writers guild to set up a Web site and skewer their bosses, Letterman-style.
"These people have bigger egos than even the stars themselves, but without any sense of humor. I want the WGA to set up a website and on that website we can all post stories about every no-talent, idiotic, amoral producer and executive we have ever dealt with. Just like they do to us on shows like Extra and sites like TMZ. Set up a website and tell the entire world, via the Internet, your own anecdote about some of the witless boobs you have endured in Hollywood and beyond. The strike will end in a week."
The REAL fear factor? Writers aren't all that important.
Based on a previous post, an e-mailer wrote me a few weeks ago to ask if I actually thought people would rent or purchase shows like "Curb Your Enthusiasm" or "The Wire" on DVD if the writers' strike blacks out familiar favorites well into next year.
No. I don’t.
That post was rhetorical, and admittedly, a really cheap way for me to plug my new favorite show, "The Wire." (Just as evoking "Fear Factor" in this post is a cheap way for me to publish a picture of a guy sticking his face in a pile of rats.) Like I told my brother-in-law during a Thanksgiving Day conversation, for the writers to strike meant they had to completely overvalue their work while subsequently underestimating the public's ability to consume mass quantities of unscripted rubbish. That, and perhaps fail to realize that everyday folks have more to worry about than new episodes of TV shows. Yes, "Lost" is something to look forward to. But it isn't vital in the long haul - at least not in terms of rallying for the cause, rallying for art.
Don't take this the wrong way. The writers are justified to seek Internet and DVD residuals, and no one appreciates well-crafted shows like "30 Rock" and "Pushing Daisies" more than me. I hope they get everything they want. But most creative types fall into this trap. They figure, "Man, what we're doing is SO funny, SO original, SO creative! This is why we suffer for art! People can't possible live without this, right?" (I say this about our little TV blog about 50 times a day ...)
Um ... if NBC could make money airing nothing but "Deal or No Deal," "Deal or No Deal: Fear Factor Edition," "Fear Factor: Celebrity Edition with Howie Mandel and the cast of 'Biggest Loser'" and "Fear Factor's Biggest Losers eating pieces of Howie Mandel dunked in pig's blood and cow urine," trust me, they would. And they probably will based on reports of network plans as the strike lingers.
The ratings juggernaut "American Idol" proves as much. Whereas most discerning TV viewers turned that show off the minute Kelly Clarkson was crowned karaoke champion in Season One, the show has become THE pop culture phenomenon of the past 10 years. That isn't an elitist jab at the American populace (ahem, see my "I Love New York" post). Just because I loathe Ryan Seacrest's cheeseball grin doesn't mean you have to.
But a quote from Martin Short really stuck with me after I interviewed him for the Press-Gazette prior to a show he did at the Weidner Center a few months ago. Short made a guest appearance as Uncle Jack on "Arrested Development," and since it's one of my favorite shows, I asked about his involvement.
When I inquired about "AD's" fatal flaw - or the show's refusal to dumb down its comedy to get more viewers - he said, "The reality is, TV as an art form, commercial TV continues to play down and down and down and down. There's not so much pride in what's being created as there is in the overnights. Top shows are reality shows and game shows. It's much harder to accomplish a show. It's like that Stephen Sondheim line, 'All they ever like is repetition. All they ever want is what they know.'"
Not so coincidentally, the e-mailer who inspired this post eloquently ended his diatribe by writing, "Most people don't understand that it takes a great writer to make a good show like the 'Office' or 'House.' People like what they can relate to. Life is hard with all the things that make people all-'American.' They ... want what is easy. Life is too short to think about things that make your brain work."
So no, people aren't going to dig into previously neglected shows to make up for their favorites being off the air. If they're compelled to watch TV, they'll take the easy route and stick with what they're spoonfed by the greedy, "same ol', same ol'" networks. I mean, c'mon, "American Gladiators" (with Hulk Hogan as host) is returning to the airwaves! Who isn't down with that, brother?
The Green Bay Press-Gazette's TV Blog. Or where we write about characters named Jim and Pam as if they were actually real. Brought to you with limited commercial interruption by...
Malavika Jagannathan Metro reporter All-time shows: The West Wing Gilmore Girls The Wire Current favorites: Desperate Housewives, Top Chef, Flight of the Conchords Guilty Pleasure: E! News
Kendra Meinert Entertainment editor All-time shows: Friends Gilmore Girls Beverly Hills 90210 Current favorites: Damages, 24, Brothers and Sisters Guilty Pleasure: Rock of Love Bus
Adam Reinhard Copy editor All-time shows: Lost Arrested Development Veronica Mars Current favorites: The Colbert Report, Scrubs, The Venture Bros. Guilty Pleasure: SpongeBob SquarePants
Thomas Rozwadowski Features reporter All-time shows: The Wire Freaks and Geeks Breaking Bad Current favorites: Modern Family, Lost, Mad Men Guilty Pleasure: Saved by the Bell
Kelly McBride Education reporter All-time shows: Seinfeld Cheers The Cosby Show Current favorites: Top Chef, Project Runway, The Office Guilty Pleasure: The Biggest Loser
Here we go again.
Whether or not things will get that bad and we'll actually see Tom Cruise marching the picket lines, jumping up and down on benches is too far off to know. Something tells me the producers aren't going to be quite as hard-nosed with SAG as they were with the writers. As Quint over at Ain't It Cool News says:
For five months we've hungered for new episodes of "The Office," keeping ourselves busy by placing various objects in jello, practicing 
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