Courtesy of John Rogers, a concise, easy-to-follow, and surprisingly entertaining explanation of why all your favorite shows are drifting into re-runs:

And in case you’re wondering, yes, I support the WGA wholeheartedly in this matter. Writers don’t typically get a lot of recognition or respect in the film and television industry, but they are, to my mind, the most important part of the process. If somebody doesn’t write the story to begin with, the guy in the jodhpurs and riding boots has nothing to direct, and the “talent” have nothing to say. It’s that simple. And in a business as flush as Hollywood, to say there isn’t enough money to go around is disingenuous at best. The vast majority of WGA members really don’t make much money for their efforts, and if they’re trying to survive purely on screenwriting, their income is likely to be pretty sporadic. In my book, they deserve their modest cut of the residuals pie a lot more than the suits deserve another Gulfstream…

Joss Whedon, the revered creator of the cult-fave TV series Buffy the Vampire Slayer, Angel, and Firefly, has been venting online about the way some in the press describe the ongoing writer’s strike out in Hollywood. His comments are worth reading in their entirety, but I like the way he describes the act and art of writing (something I am not entirely unfamiliar with myself…):

Writing is largely not considered work. Art in general is not considered work. Work is a thing you physically labor at, or at the very least, hate. Art is fun. (And Hollywood writers are overpaid, scarf-wearing dainties.) It’s an easy argument to make. And a hard one to dispute.

 

…Writing is enjoyable and ephemeral. And it’s hard work.

 

It’s always hard. Not just dealing with obtuse, intrusive studio execs, temperamental stars and family-prohibiting hours. Those are producer issues as much as anything else. Not just trying to get your first script sold, or seen, or finished, when nobody around believes you can/will/should… the ACT of writing is hard. When Buffy was flowing at its flowingest, David Greenwalt [Ed. note: Greenwalt was a writer and producer on Buffy] used to turn to me at some point during every torturous story-breaking session and say “Why is it still hard? When do we just get to be good at it?” I’ll only bore you with one theory: because every good story needs to be completely personal (so there are no guidelines) and completely universal (so it’s all been done). It’s just never simple.

 

It’s necessary, though. We’re talking about story-telling, the most basic human need. Food? That’s an animal need. Shelter? That’s a luxury item that leads to social grouping, which leads directly to fancy scarves. But human awareness is all about story-telling. The selective narrative of your memory. The story of why the Sky Bully throws lightning at you. From the first, stories, even unspoken, separated us from the other, cooler beasts. And now we’re talking about the stories that define our nation’s popular culture – a huge part of its identity. These are the people that think those up. Working writers.

“Human awareness is all about story-telling.” Nice.