Sunday, November 18, 2007
When Did Striking Writers Become More Sympathetic Than Stagehands?
New York Magazine: "As if the Grinch really had stolen Christmas, children cried and parents were crestfallen.” That’s the opening line from a Times article on Broadway’s stagehands’ strike—and it doesn’t get much cheerier from there. During the last week’s simultaneous shutdowns (ideally, both will be resolved soon, with smiles and hugs all around), coverage of the Writers’ Guild of America strike was all about Tina Fey on the picket line and Jay Leno handing out doughnuts, while the Grinchy stagehands were swiping Christmas dreams from weeping kids."
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7 comments:
I definitely agree with the reasoning presented by this article. Personally, I think the stagehands have done a pretty poor job getting sympathy from the public, considering the articles I've read and the way the strike has been framed. I've even personally felt little sympathy (although, it's not as though the writers have one any from me either) simply because I've never found their argument of "making ends meet" a very convincing one. When reading the specifics of the negotiations, it always sounds like the stagehands are griping about things that are unfair in their favor going away to make things more fair overall, at least when it comes to salary. Maybe this is the way particular articles have wanted us to see it? My question is, would it really help much to frame the strike in terms of relative inequality either? Would people care, or would they read the same numbers I have and be equally unimpressed?
I think it also has a lot to do with trends in modern entertainment. Maybe when theatre was the number one method of entertainment they would have received more sympathy, but people who watch movies more than plays are going to be more sympathetic to writers than stagehands. Also the stagehands strike has more immediate mall effects. When T.V. shows go into re-runs I am sure people will start to get pissed.
I did notice this and find it to be somewhat amusing. It's strange, I mean, I think we're sympathetic of both groups, but clearly the "public" is not. Because people are directly affected they feel personally attacked and that the Stagehands are being selfish. Since you can watch a few re-runs, who's to notice if you don't see another new episode?
Either way, I think maybe the new tactics suggested would be a good idea for the stagehands to gain public sympathy. To say, hey - in comparison, we're getting screwed over too. We'll see. Either way, I wonder how long the strike(s) will last. Because what good does public opinion do? At least we have a mediator from Disney.
I think that on one level it is a PR problem and on another level it is a lack-of-a-good-argument-to-begin-with problem for the stagehands. The writers talk about modern technology changing the terrain of their business and needing their contracts to keep up with it. This is something everyone can relate to. Office-workers the world over stress out about technology's effects on their jobs.
The stagehands on the other hand, are, like Corrina said, trying to cling desperately to unfair policies which benefit them. This is much like the RIAA trying so hard to protect the price and value of the CD which is already grossly inflated and excessive in the first place.
The other fundamental problem is that writers are stereotypically nice little brilliant, funny, interesting men and women behind desks wearing glasses and typing politely on computers to make the TV shows we all love so dearly.
The stereotypical stagehand is a thug who hauls around heavy things, or that kid on high school stage crew who was only there to flirt with actresses.
If those are the public's impressions about the people behind the picketlines, no wonder the impressions of the strikes follow suit.
After talking with some people involved with the strike in NY, it seems like the stagehands are really most concerned about being treated with respect. They feel like the producers are taking advantage of them and taking their incredibly skilled labor for granted. I mean, they do pull off pretty amazing feats under pretty difficult conditions.
But this felt lack of respect is not something that can really be measured by an hourly wage. It is also not somethign that can really be bargained for in a contract. So, the stagehands have latched on to things they can bargain for, whether or not those things are even remotely reasonable.
However, maybe a strike which puts other unions out of work, garners nothing but disdain from the public, and looks to be pretty unreasonable is not the best way to gain that respect...
I'm going to have to stay on the stage hands side of this argument. They have been getting a bad reputation since the beginning of the strike with writers making sure to note that the first show to go dark was a kids show (the only 11AM show). In contrast the press has been making the writers strike look like this sad story that these people aren't getting what they really deserve. It seems like the producers may be the real people writing the stories that we see on the news.
I don't think it is about who gets the more sympathy votes on their marketing strategies, but how both sides deal with these situations they were given. It's not important who makes more money, and who does less work, but how they bring up these issues to stand for the rights they deserve. Clearly the writers have been taking some clever choices to approach to the audience they want to convey their arguments to. I wish both sides come to a peaceful agreement.
I think the issue is that film and television has become a much more universal American interest than theater. Theater is typically elitist and attracts minimal support from minorities and lower classes. The nature of theater is generally expensive and historically for higher classes. TV has become the average mans past time. I think the writers strike affects a larger range of people and a larger poulation thereof. This sole reason means more people probably care about it and as a result are more "sympathetic" to the cause to get the strike to end.
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