Since the Daily News on today’s front page posited this site as a repository for writers strike information, what follows, as opposed to our investigative efforts on Monday and Tuesday, while no doubt far less entertaining, at least has the virtue of being all true.

* Not unexpectedly, Variety’s reporting that we’re likely in this thing for the long haul: The Scrooges at AMPTP are declining to negotiate while there’s a strike, but then, if there’s no strike, there’s not much of an impetus for AMPTP to give writers what they’re asking for. The Hollywood Reporter has a similar story, suggesting both sides are playing Russian Roulette with one another, only the guns have more bullets than empty chambers:

“‘But right now, it feels like (a resumption of talks) will come later rather than sooner,’ the insider added with a sigh. ‘Both sides are going have to feel the pain before people are going to go back in and negotiate. Everybody has painted themselves into a corner.’”

* “Jimmy Kimmel Live” may return to the air soon, with Kimmel coming up with his own material. He’s said to be deciding on a day-by-day basis, although tonight’s episode will be another repeat. Other late-night shows could follow – Craig Ferguson, for example, delivers an extemporaneous monologue every evening, so he could conceivably return, as well, though if David Letterman remains dark it might not be worth the effort. Someone at NBC told me it’s unlikely Jay Leno would cross the picket lines and, given he’s already shown solidarity with the writers, I tend to believe that.

* All three networks say they have enough scripts to keep daytime soaps running original episodes into January or February 2008.

* ABC has pulled one midseason show, “Cashmere Mafia,” from its original debut date later this month in order to stockpile some original scripted material for next year. Other midseason shows, depending on when they began production, could end up stillborn: If they began production significantly later than the fall shows, they could only have a handful of episodes in the can, hardly enough to be worth airing and subsequently squandering any momentum they might have.

* Low-rated new shows may simply disappear after their original episodes are aired, since there’s little chance of their ratings improving after the strike ends.

So prepare to soon bid adieu to NBC’s “Journeyman” and “Life,” ABC’s “Cavemen,” “Carpoolers” and “Big Shots,” Fox’s “K-Ville” and The CW’s “Life is Wild,” “Aliens in America” and “Reaper.” Also in danger: CBS’s “Cane” and “Moonlight,” ABC’s “Dirty Sexy Money” and NBC’s “Chuck.”

* Also affected: “24.” Would viewers be willing to get potentially hooked by the new season’s storyline, knowing that no resolution is in sight? For that reason, Fox might resist airing the episodes already shot. “Lost” faces a similar problem, but then, “Lost” never resolves anything, so its fans wouldn’t be so scandalized.

* As a midseason show set to debut in January, Fox’s “Terminator: The Sarah Connor Chronicles” may not lose as much momentum as the new series that premiered in the fall - if the strike is resolved soonish, and, granted, that's a big if. The series produced nine scripts that will have the show in production through mid-November, “And then we’re buggered,” said Lena Headley, who stars as Sarah Connor.

James Middleton, consulting producer on the show, said, “We will shoot the episodes that we have scripts for. But once we don’t have scripts, we are going to stop. And that is sad, and it will impact the show. I hope there’s going to be a quicker resolution to this dispute rather than a longer one, but I don’t see any scenario where it doesn’t impact our show.

“I’m an independent producer,” he continued. “I come from the feature world, where the producer works with writers in developing scripts. I’m not a guild member. I’m a producer of this show, but I know that their talent is irreplaceable. It is the heart of the show. If they are not able to continue working on the show, there will be no show.”

For the final episode, two endings were written – one with some closure and one with a shocking cliffhanger.

“We have responsibly designed some scenes that could give us a reasonable season finale if our production is halted,” Middleton said. “But we would rather have 12 episodes than eight [nine including the pilot], but we will go out with a bang.”

“I don’t think anybody knows which [ending] we’re going to use until they air it,” said Thomas Dekker, who stars as John Connor, who in “Terminator” mythology leads the rebellion against the robots in the future. “They’re both really exciting. Neither one is wrapped up nicely, but one is a little bit more of an ending.”

Dekker added, “(The strike)’s a hard thing, it’s a detrimental thing for everybody on TV. I’m hoping we have a little bit more of an advantage for being a (midseason) show, as opposed to these shows that won’t have any new shows to air as of January.”

Dekker tried to find a silver lining in the strike: “My plan for John was to slowly over the course of the show to bulk up and really get the body he needs to be a warrior – I’m trying my best, but we work 14- to 16-hour days every day, and it’s pretty impossible to get to the gym, so maybe with this writers strike I can take the time and get ready for when we come back.”

Headley added, “I can’t put my energy into worrying about it. It’s not a decision, it’s not a choice of mine. I’m behind those guys (writers), and we’ll just see what the outcome is.”

Summer Glau, who plays Cameron, the good Terminator protecting John and Sarah from those pesky evil Terminators from the future, said of the strike, “If it could’ve been resolved easily, I think it would’ve been already, and that’s what worries me.”