Hostages and Strikes

I would be remiss if I wrote this blog without discussing the recent violent situation in New Hampshire. I get "Politico Breaking News Updates" (and I highly recommend them to any other political junkies out there) to my gmail and I nearly fell out of my chair when news of the hostage situation popped up on my screen. I think NBC Nightly News correspondent Andrea Mitchell deftly covered the story, providing analysis on the possible political ramifications of the event without appearing callous to the ordeal the people of Rochester, NH endured. It seems this is a perpetual challenge in the news media: balancing humanity with journalistic responsibility. To simply overlook the possible political ramifications of this traumatic event would be irresponsible. As Mitchell said, this hostage situation could irrevocably alter the deep-seated "open door" retail politics that characterize the New Hampshire political milieu. However expressing this analysis without insulting those who went through the hostage situation (and an entire town put into lock down) is a formidable challenge. There was a fine line to walk in reporting that story.

On an entirely unrelated note the WGA strike continues, leaving millions adrift in a sea of lackluster reality TV entertainment where once there were legitimate sitcoms to enjoy. I suggest tuning into the Pats vs. Ravens game tonight at 8:30 on ESPN (one that challenges my loyalties, what with being a Maryland gal living in Boston) or the classic Charlie Brown Christmas (I love it!) on ABC at 8 pm rather than suffer through yet another E! True Hollywood story or, worse yet, the Surreal Life. All joking aside, the WGA strike has the potential to forever change the entertainment industry. Here's how it breaks down: writers (and other crew members) get residuals (money) every time a "re-run" of a show they were involved in airs. As Jenna Fischer, cast member of The Office, explains in her blog, "We all count on the extra income that residuals provide as it can help us through a slump in our career when we aren't working as regularly. It is our safety net. In 10 years I may need those residual checks to cover my electric bill. You never know. Hollywood is a fickle town." (Fischer, in her blog, offers great insight on life as a sitcom actor during the strike. I highly recommend taking a look.)

With the advent of online reruns--episodes of popular shows aired on network websites like NBC.com, ABC.com, etc.--the issue of residual pay has become tricky. Writers do not receive any cut of profits made from online reruns--and there is lots of money made. The distribution cost of submitting an online rerun is lower and the increased popularity of watching reruns online is ever-increasing, allowing network execs to bump up the cost of ads shown during the online runs. As internet media becomes increasingly important in the entertainment industry, residual pay for online reruns becomes a critical issue. For ongoing analysis, I suggest Slate's "Hollywoodland" blog. Let's hope for a swift and equitable solution to the strike.