…I’ve answered that question already.
It was a response to your disingenuous framing of a sentence I wrote that you took completely out of context.
And you’ve done it again. Explaining how long it typically takes to write a script is not “a simplistic interpretation of the creative process.” There is no reasonable way you could read what I’ve written in this thread and come to that conclusion.
To help you here: I never claimed there were such requirements in place.
I never used the word “superior.”
Okay. Education time.
Who decides how many writers a show can have?
Its the studios. Who are represented in these negotiations by the AMPTP.
Once the number of writers have been allocated and the budgets set, who decides how many hours the writers work?
It’s the showrunner.
And where does the showrunner come from in the vast majority of TV shows?
From the writer’s room.
Are you starting to understand yet?
The showrunner runs the show. The head writer, who is being represented by the WGA, controls the workplace practices that you are asking the WGA to demand the AMPTP do something about. The studios don’t decide whether or not the writers go home on time at 6PM and don’t work on the weekends. The writer (nee showrunner) does.
The problem here is you don’t understand anything about the thing you are arguing about.
That isn’t intended as a personal criticism. But the strikes are about very specific things. There is a hierarchy, there is history, things get complicated. And you are making very general arguments about very specific things that you don’t understand. The reason why the WGA are asking for minimums have been explained to you over and over again. You are free to disagree. But at this point in the negotiations, the request makes absolute sense.
But to put it as simply as I can: the studios control the amount of writers that can get hired. But the writers (nee showrunner) generally control the day-to-day operations that happen during the production.
You are asking the WGA to negotiate with the studios to demand WGA membership do the job they are paid for.
If they are the ones that I’m thinking of, then that’s up to the writers to control, and wouldn’t be part of the negotiations. If you meant something else, then let me know.
But why not have mandatory minimums? We aren’t talking about just exploitation. What about all the other things that I’ve bought up?
Strawman. That wasn’t what I was doing.
You know that they’ve been doing this for decades, right? Ask any experienced showrunner “we are doing a sitcom, its 24 22-minute episodes, shooting starts in six months, you can start putting a room together next week, how many writers do you need” and they could give you an answer straight away. No hesitation. They live and breathe this stuff.
What makes you think this is so difficult? They are filming hundreds of shows every year. They do this all the time.
Your constant implications that I’m saying things that I’m not are distracting and irrelevant to this thread.