>>> As of this morning, more
than 11,000 TV and movie writers
are on strike halting multiple
productions and delaying new
seasons of some of your favorite
shows, and what this means is
late night TV shows will see the
first impact, because they rely
on the writers for realtime
writing.
And also with other shows like
"Big brother" and "The boom"
vaulted in the void.
From Netflix to Disney plus,
they have shows readily
available, and they can offer
new content for quite some time.
As for the last strike in 2007,
it left a mark, and cost roughly
$2.1 billion after that strike
lasted over 100 days.
And right now, the media and
tech companies are grappling
with weak advertising market
that has driven the stock prices
down, and driven them to cut
cost and the labor forces.
And the writer face a tough
reality, too, because the tough
market and combined with lower
pay is making the situation
unsustainable.
90% of the writers guild voted
in favor of the strike just last
year.
Sara.
>> Thank you, Kate.
The show runner of the show
"Adam ruins everything," Adam
Conover, and since you are known
for ruining everything, is this
your a fault?
>> Well, I am off of the clock,
and I'm not ruining anything at
the time being, except for maybe
the profits of the companies.
>> All right.
Explain why you feel like it is
so important that this strike
goes forward and that it has to
happen now?
>> So, the studios and the
streamers have tried to turn
television writering from a
career into a gig job.
They are spending more money to
make the shows and making more
profits than ever, but the
writers are making less money,
and employing us for less time,
and if you are looking at the
proposals that rejected that
caused to us go on strike, it
would have been proposals to
protect us and employed not just
by the day or the weaker to
month, but that we can build a
sustainable life in New York or
Los Angeles or where ever we
live and not to live in
procarety, and we are fighting
for a stable life like all
workers.
>> We are showing the sticking
points.
Can you give us what some of the
sticking points are, because 98%
of the writers were in favor of
the strike, and what is it that
you are not going to compromise
on?
>> The writers room, and this is
where the writers get together
and break a story and write
scripts.
The companies are trying to
eliminate it, and make the room
smaller, and employ us on a
freelance basis and rather us
stay home and email in the
script and we cannot make a
living that way.
And we want a writer's room on
every show, and that is a
sticking point.
We want to make sure that the
writers are paid the same on
streaming as television.
My first show was for TRUTV and
the second show was for Netflix,
and the second show had the same
way, and on Netflix, no
minimums, and residuals are less
than 1% under broadcast, and
that is true for everybody in
late night, and true for the
screenwriters and true across
all of the worker a yas.
>> What about those who run the
industry, and say, times are
changing, and we are not making
the money that we once did, ale
though some of us argue that the
shows are great.
What would you say?
>> I would point out that David
zazlov was paid $250 million
last year, and a quarter of a
billion, and that is about the
same level of what 10,000
writers are asking him to pay
all of us collectively.
So I would say that if you are
paid $250 million and Ted
sorantz made about $10 million
last year, and it is ridiculous
to be paying that they cannot
make it, because I know people
who have had to go on
assistance, because they can't
go on the year, and they have
lost their homes.
And it is the people who are
making shows for them that are
making less.
>> Adam Conover, you may have