While tooling around the internets yesterday, I came across this post on Entertainment Weekly's PopWatch blog which pondered what, if any, affect the ongoing writer's strike (as well as the potential DGA and SAG strikes) could have on this year's Comic-Con. We already know the WGA strike has shut down The Golden Globes, and folks will start talking Oscars next, but in April we have the New York Comic-Con and in July we have the biggie -- San Diego Comic-Con. Last year, New York didn't give us too much by way of Hollywood product. However, after all the complaining, one would think the studios would pay closer attention to New York and pimp out some of their summer fare, along with bigger flicks coming down the pipeline. If the writer's are still on strike in April, and if they decide to picket the Con in New York, that could potentially mean no talent showing up for panel discussions and the like.

Now I'm just talking about film here; TV is already f**ked. Even if all this strike nonsense is over and done with by early summer, I imagine the after-shocks will still affect the geeked-out TV presence at the San Diego Con. Remember, after the writer's cut a contract, we're still looking at deals that need to be made for SAG and the DGA. Both of their contracts expire at the end of May. Should SAG go on strike at that time, how on earth will Hollywood promote movies like Harry Potter and the Half-Blood Prince, Watchmen, Star Trek XI and G.I. Joe if none of the talent will show up to partake in panel discussions? San Diego Comic-Con was perhaps the biggest fanboy-ish event of 2007, and I imagine there are plans to make it even bigger this year (in terms of Hollywood presence). The show will go on either way (after all, the convention is supposed to be more about comics than anything else), but I wonder how much of Hollywood will be there in 2008? Thoughts?

Earlier this evening, talks between the WGA and AMPTP broke down once again. Negotiating between the two sides for a second time began shortly after the Thanksgiving break following three weeks of picketing, protests and celebrity spotting. This time, things were nasty, with each side releasing a statement that pretty much amounts to a spit in the face (though the WGA's letter kind of wipes off that spit, and makes an attempt to hug it out). Here's the breakdown (without all the strike lingo and number stuff): AMPTP delivered a proposal that was better, but not really, because it would require the WGA to remove several of their important demands. The WGA ran into a hotel room, locked the door and debated their next move. While still in the hotel room, AMPTP knocked on the door and told them they were leaving the bargaining table -- that this was a take it or leave it proposal -- and when the WGA send a letter stating that all of those demands are taken off the table, they'll go back to talking. Game on!

A few noteworthy lines from each side's official statement:

WGA: "We reject the idea of an ultimatum. Although a number of items we have on the table are negotiable, we cannot be forced to bargain with ourselves. The AMPTP has many proposals on the table that are unacceptable to writers, but we have never delivered ultimatums."

"We remain ready and willing to negotiate, no matter how intransigent our bargaining partners are, because the stakes are simply too high. We were prepared to counter their proposal tonight, and when any of them are ready to return to the table, we're here, ready to make a fair deal."

AMPTP: "While the WGA's organizers can clearly stage rallies, concerts and mock exorcisms, we have serious concerns about whether they're capable of reaching reasonable compromises that are in the best interests of our entire industry."

"Their Quixotic pursuit of radical demands led them to begin this strike, and now has caused this breakdown in negotiations. We hope that the WGA will come back to this table with a rational plan that can lead us to a fair and equitable resolution to a strike that is causing so much distress for so many people in our industry and community."

Then there's this gem from the studio and network reps: "Under no circumstances will we knowingly participate in the destruction of this business."

So, are things f**ked ... or are they f**ked?

[via Deadline Hollywood]

In case you haven't already heard, the writers officially went on strike at midnight last night, marking the first WGA strike since 1988. Negotiations between the WGA and AMPTP were ongoing last night, but when the clock struck midnight on the east coast, and writer's began their strike, talks collapsed. Both sides claim the other walked out first, but regardless AMPTP refused to discuss the WGA's larger key issues (new media residuals and new media jurisdiction). For us fans, we'll first feel the strike on television with late night shows like David Letterman and The Daily Show going dark immediately, airing re-runs indefinitely. From there it will move onto live television; if the strike lasts through the winter, awards shows like The Golden Globes and Oscars could find themselves without a script and, if the actors decide to align with the WGA, such shows could find themselves without anyone to pick up the statues.

Over in Hollywood, they've stockpiled tons and tons of scripts ahead of time, so we won't feel this strike as much on the big screen for awhile. Problem is, the scripts will need to be shot as is; meaning no re-writes, no nothing. This could potentially lead to a slew of sub-par flicks next year; stuff that was rushed into production without the necessary time and care given to the product. We don't know how long the strike will go on for, but since AMPTP will need to start negotiating the DGA's contract toward the end of this month, it could be some time before the WGA and AMPTP come back together to hammer out a deal. And in that time, expect lots of jobs and money to be lost.

So, I ask you: Have you been following the strike? How do you, as a moviegoer, feel about the whole thing? And for those WGA members out there: What are you doing now?

Here it is: I'm sick of this Hollywood strike. I'm sick of hearing about it, I'm sick of writing about it, I'm sick of thinking about how many films could potentially suffer because they're being rushed into production faster than folks have time do dry the ink on their screenplays. It's ridiculous. I'm sick of reading quotes and analysis -- I'm sick of the words "new media" -- and I'm sick over the fact that, amidst all this, I haven't heard one person mention the average moviegoer. The person who's taking their wallet on a Saturday night, and shoveling out an absurd amount of money (if we're to include their hungry dates and/or children) to help pay the salaries of those who want to walk off the job.

"Oh, but the writers! It's the writers that are being shafted!" Yeah, talk to me when they're not making high six-figures on a script. I'm sure not all the writers are making that kind of money, but none of them are making minimum wage, busting their ass to put food on the table, living paycheck to paycheck while their significant other works three jobs. Perhaps there are working writers who don't make a fortune, but I doubt the extra "new media" dollars will help them get off welfare. I'm not exactly sure what the actors (SAG) and directors (DGA) are looking for (enough money to stop waitressing at Outback Steakhouse?), but how about we settle these damn disputes already. Is it really that hard? Do human beings exist out in Hollywood, or are they all designed to bleed absurd amounts of money out their ass?

Here's what I suggest: How about WE strike. What are WE getting? I didn't see a studio executive standing outside my screening of The Brothers Solomon with a coupon for a free tub of popcorn and a "Thank You" note after I spent 10 bucks on a ticket and another five on a small soda that gave me more gas than a 24-hour Taco Bell binge. They're threatening to walk off the job on June 1st -- how about WE stop seeing their films when that happens? There are plenty of things I could spend my money on (whatever little I make doing this -- yup, I don't have the luxury of being in a guild) -- perhaps I'll read a book. There's a friggin' thought! I'd like to know what Hollywood is giving us. You don't hear much about that, do you? Best case scenario: There's no strike and we continue to get crummy movies. Worse case scenario: There is a strike, we have to read about it twelve times a day, and we still get crummy movies. Man, do I wish us moviegoers had our own guild. Then we could threaten to strike, demand that with every fifth movie ticket we buy, we get two free. Demand that those so-called "value meals" inside theaters actually live up to what they're preaching, instead of raping the word for all its worth. What value? 13 bucks for a soda and a popcorn is a value? On what f**king planet?

So let's band together and strike on June 1st. While the actors, writers and directors fight over how many bags of money they get to stick under their pillows at night, we'll just do something else. Like read a book. Or take our loved ones out for dinner. Maybe then -- get this -- someone will actually appreciate us.

As it stands right now, the end of the world as we know it (aka the potential Hollywood strike) is eying a June, 2008 release date. However, when it comes to the WGA (Writer's Guild of America), their contract is up on October 31, 2007. Yup, that's in a month from now. According to a New York Times article, the WGA could one-up their pals from SAG (Screen Actor's Guild) and DGA (Director's Guild of America) and strike early -- leaving some scripts, which aren't finished yet, in limbo. And if the NY Times is correct, one of those scripts includes Justice League of America. While the current draft, penned by Kieran and Michele Mulroney, was thought to have been handed in already, the NY Times claims it "still does not have a so-called green light to begin production." If more work needs to be done, and the writer's strike next month, it could seriously damage the status of those projects (like Justice League) that still need a bit more work.

And guild leaders are eying projects like Justice League, as well as the highly-anticipated follow-up to Night at the Museum, tentatively titled Another Night, because those are the movies studio's care about the most. But they're also the ones that need more work; projects that, if a strike were to happen, could be seriously delayed and/or shelved indefinitely. It's a smart move by the WGA; I mean, why strike in June when studios have already managed to stockpile enough canned beans to last a year or two? Strike now while they're still rushing to secure casts, and budgets and rewrites. Strike now when they need you the most. Personally, I'd be very surprised if Justice League of America actually makes it into production by early next year. Even if the writer's don't strike next month, casting has been one helluva uphill climb.

Rumors have been flying all over the place, with every other website claiming to have the exclusive on another name added to the film's potential roster. (I'm still game for Fred Savage to play Batman and Ralph Maccio as Superman , but that's me.) The way I see it, anyone who is not working early next year could be up for a role. Pick a name, any name, and write the following sentence: "We've been told by a super secret inside source that (insert actor) is being looked at to play (insert superhero)." Publish post. Congrats, you have an exclusive!

Now that we know what this whole Hollywood strike is about, a new list has been circulating which details all of the films (and their directors) the various studios and production companies have fast-tracked. Not all of these films will wrap production by June 1, 2008, but it does give us a clear indication as to which movies are taking priority. Interestingly enough, the list also confirms some details that (as far I can recall) weren't previously known -- for example, Guy Ritchie is directing a remake of The Dirty Dozen? For real? Another fascinating tidbit is that Fox lists the A-Team as one of their top priorities, however I thought that flick was stationed way toward the bottom of development hell. Also on that list for Fox is Used Guys, directed by Jay Roach -- although we were told production had stopped due to scheduling problems. Is it back on?

Some other stuff worth pointing out: Dimension lists Eli Roth's Cell as a pre-strike priority, even though Roth has said the script still isn't done and that it may be awhile before the film takes shape. They're also fast-tracking a Porky's remake, with no director currently attached. You superhero fans should be happy to know that both Magneto and Wolverine are on the list, as well as Justice League, Thor and Punisher II. Those that love Martin Lawrence in a fat suit, well, they're fast-tracking a Big Momma's House 3, without a director attached. And hey, Fletch Won is on there too -- with Steve Pink at the helm. Random sequel time: The Birdcage 2? Really? There's a bunch of untitled stuff on there (including one from Cameron Crowe and one from Jon Favreau), so who knows how many of these will manage to get things going in time. Regardless, it's a good chance to see what the next year will look like at the movie theater. I've included the full list after the jump (courtesy of FilmJunk); let us know what you think.

I wrote about the impending Hollywood strike earlier today for a reason; mainly, so that you at home will better understand the following bit of info regarding the much talked-about Transformers 2. So, before you read this post, you might wanna read the other one first. Done reading? Good. Anyway, Transformers producer Don Murphy stopped by his message boards last night to give fans a quick update on some of his projects, including that Transformers sequel. And in case you haven't figured it out by now, the reason why we're not hearing much about it (according to Murphy) is because the folks in charge don't want to make a move until this whole strike thing goes away. And if they wanted to make a Transformers 2 (which they do), it would have to be done prior to June 2008. Which, realistically, is impossible.

Murphy sums it up well when he says, "But since no one wants to be filming IF a strike happens, everything needs to be done filming by the end of May 2008. So this is affecting the lack of news about Transformers 2 at least for now." If a strike is averted sooner rather than later, I imagine Transformers 2 will be one of the first projects we hear about -- Transformers is currently sitting at number three in box office totals for 2007 ($311 million and counting), and you bet your ass the film will earn a heckuva lot more once the DVD is released in multiple formats on October 16. I'm sure a lot of you are itching to see a sequel, and I hate to say it but this impending strike could seriously delay that sequel from happening anytime in the near future. As always, Cinematical will let you know as soon as more word is announced ...

Or, do you look at it the same way you do a sports strike -- that these friggin' people make so much money as it is, why on earth should they be striking? Lets' backtrack first, because I want to explain this strike to those who keep hearing about it, but don't really know what the hell anyone is talking about. Who's striking? Why are they striking? When are they striking? And what does their striking have to do with me and my electric bill? Okay, here's how it's playing out: The WGA (Writer's Guild of America) contract with the studios is up in October, but they're going to delay negotiations for a bit so as to catch up with the DGA (Director's Guild of America) and SAG (Screen Actors Guild), whose contracts end in June of 2008. The current notion around Hollywood is that all three of these guilds could team up in June, go on strike and literally cripple the entire industry (look at it as the equivalent to getting punched in the nuts ... hard).

"Why would they have a reason to strike in the first place?" Easy ... money. Why else? Essentially, all parties are looking for better residuals on "new media entertainment" -- internet, stuff like that. So, in the meantime, studios are stockpiling scripts and rushing productions in order to have a slate lined up so that if there is a strike, they still have a product to put out. But like with any rush job in any field, I wouldn't expect that product to be any good. Devin from CHUD makes a good point when he says that no matter what happens, studios are still going to be left with all these films they rushed to complete -- which means, no matter what, we're still going to be exposed to the crappy "pre-strike" movies because studios will have no other choice but to dump them on us since, well, they're already completed. Which kinda sucks. As Devin points out (as well as the LA Times), the same thing happened in 2001, and that's the same year we got Men in Black II, The Talented Mr. Ripley, Reign of Fire and Tim Burton's Planet of the Apes. Nice. But if the strike doesn't happen, it also means actors and directors will have open schedules and be available to take on smaller projects over the summer. So, there's a chance we may get some good movies out of this after all. Who knows ...

So, I ask you: Are you concerned about this strike now that you know what it's about? Do you think the guilds have a reason to strike in the first place? And if you're in one of these guilds, feel free to add your two cents to the conversation?