DAVID KRONKE

david-kronke.jpgDavid Kronke was appointed Mayor of Television after a bloodless coup in 2000. Since then, he has improved infrastructure, championed greater educational opportunities and fought for reforms that have utterly erased corruption and incompetence from the television industry. Since Mr. Kronke has ascended to power, Television is a far better place.

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Writers strike good news/bad news

I troll the Internets so you don’t have to.

Now that the strike is (all but) over, the question is, which shows are coming back and with how many episodes? E! asked around.

Two that won’t be returning are a couple of the better new shows on the broadcast networks, ABC’s “Pushing Daisies” and NBC’s “Chuck,” which could end up being the biggest victims, series-wise, of the strike. On one hand, the networks are smart to recognize that airing a handful of new episodes won’t help those shows regain any momentum they may have had. On the other hand, when they return in the fall, they’ll have been gone for an awfully long time and there’ll be new shows in the mix for critics to champion and fans to embrace. So they could get lost in the shuffle.

Here’re some showrunner comments E! rustled up:

Damon Lindelof, executive producer of ‘Lost:’ "I and the rest of the writers have every intention of making sure you guys get more episodes this season beyond the eight already completed."

David Fury, executive producer of ‘24:’ "’24’ works best 24 hours in a row. I don't think we'll see it until 2009."

Bryan Fuller, executive producer of ‘Pushing Daisies:’ "Many of the shows are getting 'return to work' letters this week from their studios, but we won't be one of them. … I got the call on Friday that they didn't want us to go back to work until March, regardless of the strike outcome."

Josh Schwartz, executive producer of ‘Gossip Girl’ and ‘Chuck:’ "’Gossip Girl’ will most likely be on as soon as possible. ‘Chuck’ may not be back until fall to relaunch with ‘Heroes.’"

Bill Lawrence, executive producer of ‘Scrubs:’ "It doesn't seem like NBC is superpsyched to air the finale, but we're trying to work something out."

Marc Cherry, executive producer of ‘Desperate Housewives:’ "I think maybe I could cram in seven episodes [before the end of the season]. It would take us about two weeks to get back into production. I'm chomping at the bit."

The New York Times gets into the action on this, noting that ABC’s “Dirty Sexy Money” will also stay off the schedule until the fall, and that ABC’s “Big Shots,” CBS’s “Cane” and NBC’s “Bionic Woman” are done for.

Meanwhile, Variety wipes that smile off the happy face the WGA has put on the strike’s resolution.

“But the cost of achieving that principle through a strike has been considerable - particularly for the busiest and most successful WGA members with the most to lose. Meanwhile, the money to be made through the hard-fought new-media residuals is not exactly eye-popping. …

“Financially, the deepest cut was felt in the TV biz last month, when the majors invoked force majeure provisions on more than 70 overall term deals. The wave of pinkslipping not only affected scribes but the nonwriting producers who have become so ubiquitous on the talent rosters of major studios during the past decade. …

“Beyond the immediate pain, network and studio brass have vowed that they will never load up again on so much overhead in the competitive frenzy to lock up creative talent. Writers who are solid performers but not superstars will be grappling with more one-off deals in the future, rather than the studio housekeeping deals that paid them $1 million or more over a few years to develop pilots and pitch in on series.

“Networks, in varying degrees, are vowing to use the jolt provided by the strike to tame the madness of pilot season by cutting the volume of development -- not just this year but for good. If the nets hold to this promise, it will mean fewer opportunities for scribes and other constituents in scripted TV to draw their highest paydays, as pilot fees have traditionally been higher than regular episodic minimums. And, of course, the shutdown of scripted series production only spurred the broadcast nets to dive deeper into the well of writer-free reality programming.”

Here’s guessing that, for all their rhetoric, the networks welcomed the strike as an opportunity to relieve themselves of all that costly deadwood. Look how quickly the strike was resolved after the networks dumped all those contracts by invoking force majeure.

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