Question: There is one aspect of the entire writers' strike I don't really understand. Following the arrival of Dana Delany, Desperate Housewives is enjoying a lot of positive buzz this fall. Or what about Private Practice — the critical response hasn't been very good at all, and three million people have abandoned the series since its debut, but it's still the most-watched new drama on any network this fall. And then there's Dirty Sexy Money (the show I personally adore with the kind of passion I haven't felt since the early days of Desperate Housewives in 2004). It's not a blockbuster, but not a failure either, and I hear it's doing really well with adults 18-34 and all female demos. All these shows and many, many others are in a very delicate state this lackluster fall. There is buzz and a prospect for growth, but you have to nurture them and ensure they bloom and grow. You take that away and all the hard work done by them and thousands of production people (whom, by the way, this strike is putting out of jobs) is futile. My question is: How can creators like Marc Cherry, Shonda Rhimes and Craig Wright support a strike that may do nothing but damage the shows they put so much time, emotion and effort into creating? I understand they are writers and union members themselves. But these shows are their babies. How can they do that to them? Don't they care?
Answer: Of course they care. This strike is likely to cause a lot of pain, personally and professionally, up and down the creative food chain. But most of these writer-producer hyphenates appear to be taking a long-term perspective on this, seeing the situation, possibly rightly, as a pivotal moment for the industry as a whole as well as for the guild members' long-term future. If the strike goes on for as long as many fear, will there be casualties from the current crop of TV? Possibly. But this is an awfully complicated situation whose outcome no one can confidently predict.