The entertainment gods have smiled on us – the insufferable writers strike is over.
Gone are the fears of insane, ridiculous reality shows like “Farmer Wants a Wife” taking over.
No longer will the public wonder about the future of the destined-for-disappointment movies like “Justice League of America” – previously on hiatus with an unfinished script.
But even with the writers returning, these projects and many more horrible films and TV shows will fill the American media over the next few years as executives continue to deal with larger issues than their writers.
The movie and television studios are struggling with a changing media that is making it hard for them to make the millions they have raked in for decades and, despite the return of the writers, executives are going to be stingy about where they spend their money.
The TV studios are likely to forgo expensive new pilot shows, which means we’re more likely to see regurgitated spin-offs of more popular shows: Look for “Heroes: Origins” and “Heroes: Kids,” “The Office: The Dwight and Pam Chronicles” and “Las Vegas: State Line.”
Even as writers hail the end of the strike as a victory and we sit through a fun, if strike-joke filled, Academy Awards in a couple of weeks, what does this mean for us, the audience?
We fully support the writers and are glad the studio executives finally conceded to the will of the Writers Guild of America, forking over 2 percent of the revenues from advertising, which supports online broadcasting of network television shows.
But what about the quality of the programming?
The return of the writers does not necessary mean the rejuvenation of prime time television.
The same idiots who fill the airwaves with terrible shows year in and year out are still in charge and that’s not likely to change any time soon. Reality TV still reins supreme. Shows like “The Bad Girls Club,” “Janice Dickinson Modeling Agency” and “Celebrity Rehab” are more popular than ever and execs don’t miss a beat when it comes to ratings. The fact of the matter is that’s 2 percent more that goes into their pockets.
They are well aware of what the public wants and when they find it, studios will milk that one idea for all it’s worth.
And now the studios are more likely to make bad decisions simply because they have to be more careful with how they spend their money.
Executives cannot afford to take chances on risky new, but potentially visionary, shows like “Pushing Daisies.”
Instead they must go back to the well time and again in order to secure their ratings and, essentially, their profits.
Even though the writers got what they wanted, 2 percent is a huge deal to the executives and could mean the difference between going forward with a dynamic show created by ingenious writers and a reality show made popular by angry girls screaming at each other and walking around in their underwear.