]]> video games and computer programs that will help us sharpen our mind and wits without doing a thing to work on our bean-bag sized asses. Learning without excersize effort or getting out of that REALLY comfy chair. If *that* isn’t smart nothing is. However there seems to be one tiny little problem that we’re over looking as we grab our cheetos and hand-held portables and hunker down for a bit o’knowledge. Which I could have told everyone and saved this country 80 Million dollars in the process. Playing video games will never make you smarter. Sure you might get better hand-eye coordination and you might pick up little “facts” here and there that you didn’t know before you played like; “How to kill your family because you trained obessively on a murder simulator and now no-one in your household has genitalia because your father didn’t lock up his pliers and you got your hands on a copy of Manhunt 2 in a sting operation to Best Buy.” In order to learn effectively you have to be healthy. Your brain has to be perky and firm and peeking out ever so-slightly so to catch the eye of a passing stranger whom you might entice with… Wait. No. That’s breasts. Sorry was thinking of breasts - if your brains are peeking out you are only going to attract medical personel and possibly zombies no matter HOW perky and firm they are. But that’s the point. In order to get your brain INTO shape it has to be healthy enough to step on that mental stair-master or drop and give you 20 frontal lobe squat thrusts. Let’s face it. No one plays video games to learn or further their knowledge. Sure those games are out there and have been our entire lives - and the educational ones DO exist. Reader Rabbit. Math Magician. Oregon Trail - these are all very popular learning games but do they help? Well yeah - but not because they are games. Usually teaching software has TEACHERS with it who explain encourage and help when you get stuck. These aren’t “games” like “Brain Age” and other honest-to-goodness FUN excersizes these are learning tools. And if your teacher isn’t around? You don’t learn JACK SQUAT from “Oregon Trail”. You learn that you can name your family “Fart. Poop. Stupid and JThompson” and that if you push them hard and fast EVERYONE in your wagon party can die of dysentary within a week. And that when you make a tombstone for a dead family member “Fart stank here” makes EVERYONE around you in Mrs. Emerson’s 3rd grade class laugh. Study? Read a book? Surf the net for information that doesn’t come in factiod or “porn” form? Only by LEARNING something can you truly…um. learn something. That’s not exactly an 80 Million dollar answer but it is the practical one. Doing something you already know doesn’t make you smarter. Answering elementary math problems as fast as you can or doing relation excersizes for memory might be fun - but it doesn’t make you smarter or firm up your gray matter. It just makes you good at a video game and maybe scootches you just a tad closer to that “Louisabama” State Line and your very own pair of overalls. So stop wasting your money on crappy games that you don’t want to play because you think that they’ll make you smarter. Instead waste your money on video games that have a lot of gratitious gore sex and violence. You’ll learn about the same but you’ll have a lot more fun in doing it. ((Friday Pimpage!! That’s right pimp-a-tude of the pimpiest kind. I’d like to direct your attention to a new MMO site on the block. - An MMO based blog that takes on gaming topics with one hell of a well written pouncing. More surfage of this community to help allievate all those hours you are supposed to be. ya know. WORKING. Also my boy Gothic got himself a nice new shiny blog. More views from the gaming world at. Mmm…ice cream. And last but CERTAINLY not least if you want pure drivel check out um…. Gaming sarcasm and answers to life’s little questions. -Coyote)) I don’t think these games are entierly devoid of merit. I mean you can’t expect your old out of shape brain to just leap up and start pounding out push-ups and sit-ups right off the bat Coy. You have to start easy. You don’t start off running a marathon you go for a nice leisurely walk around the block first. What? Don’t believe me? OK think of it this way… would you ever drink horchata now? Or coke when Lok’s been in the room? See there’s TWO things you’ve learned straight off. And of course by having an international audience he’s also helped teach the smarter people on here to use proper spelling (that’s the whole colour/armour/uhm extra U thing for anyone who hasn’t been paying attention.) We’ve even learned a lot more about how the other gender thinks. Sometimes we’ve learned far too much about how they think but hey it’s all a learning experience. Oh sure. Just because someone eats brains they’re automatically a zombie. That’s like saying just because someone is Asian they must know Karate. Or maybe it’s like saying just because someone knows Karate they must be Asian. Whatever. Look the point is that there’s no justice for brain-eating-Americans. You know. I’ve never seen any convincing evidence that Sylar is actually eating the brains. I know that’s the logical assumption given that his victim’s brains are just gone when he’s done with them but I’m skeptical. I think that one day they’re going to show us what happens to someone’s brain when Sylar takes their power and we’re all going to “Huh. That was unexpected.” Kinda depressing that we might end up with a 13-episode season. But I support the Writer’s Guild strike (for the most part) so missing out on my favorite shows sorta comes with the territory. I just hope that the five or six episodes that are left have a little more action and suspense than the first seven. I won’t mention the whole ‘U’ issue that is the normal beef we have but today we can bang on about something new! Mr C…. Exercise. ExerciSe this is a new form of abuse to the english language that hopefully we can correct while we are talking about educating the brain. I agree. I’m not saying that the Writer’s Guild should necessarily get EVERYTHING they’re asking for; the actual percentages should be negotiable. But for producers to give writers - who do the lion’s share of the creative work in television - nothing from DVD and Internet revenues is ridiculous. That’d be like shutting writers out of film profits in the 1930s or out of television profits in the 1950s. Digital media (whether downloaded or purchased on disk) is quickly becoming the prefered means of distribution. The people who actually create the content deserve a share. Period. I certainly understand the writers position but where does the line get drawn. They are part of the creative process that makes the show but so it the camera man who films it the make-up artists who make the actors look the way they do the editor who puts it together should they get part of the profits? OR should they draw a wage? Who’s to say? Certainly not me. LOL Morv. I didn’t think they were yours just saying they look familiar. Maybe it’s just the picture tho,. doesn’t it look familiar to anybody else? I certainly understand the writers position but where does the line get drawn. They are part of the creative process that makes the show but so it the camera man who films it the make-up artists who make the actors look the way they do the editor who puts it together should they get part of the profits? OR should they draw a wage? Who’s to say? Certainly not me.———————————- I don’t want to be the one to make those decisions either. But where would you be without the writers? The whole process of entertainment productions begins with them. No writers = no stories do you think the producers and directors come up with this stuff? Not hardly. It goes over WELL - damn well - to the point where the media population and everyone out there picks up on it. It becomes a “tag line” and the actor who said it is now known for his catch phrase. T-shirts novelty items profit made from this tagline goes to the producers and to the ACTOR WHO SAID IT - in the form of royalties and cold hard cash. Now go back to the creator. The man who had the wit and the timing to perfectly craft a turn of phrase. What does he get. A camera man is there to film - he is recording the show. He is “overhead” in the creation process. He had nothing to do with creating developing and studying audience and timing. He is essentially a device. A WRITER is your engineer. He creates from nothing gives premise idea and muse and then watches as his work is birthed by production people and actors. I am certainly not discounting the writers contribution! So don’t think I am. I am simply saying how can one quantify that? How can you judge the words used to the make-up artist who made the actor/actress look the way the did when they said it? Or the wardrobe person who picked out the EXACT outfit to wear? The Lighting guy who made the shadows fall a certain way? The sound editor who made the voice sound ever so slightly deeper than normal? Who deserves to share in the profits and who doesn’t? I wouldn’t want to make that call but the only way that everybody is going to be happy is that they all should. Coy sez:A camera man is there to film - he is recording the show. He is “overhead” in the creation process. He had nothing to do with creating developing and studying audience and timing. He is essentially a device.—————————————————————————————————————– You ever make a home movie Coy? Did the camera shake? Did you look at it and go. “damn wish that was wide angle.” the Director pics the shots he wants it is the camera man’s job to GET those shots. He has a talent and a skill that is put into each and ever shot he/she shoots. I’d call that skill and talent a part of the what the audeinece sees at the end of the day. Seems to me that taglines get picked up more based on their delivery than any inherent brilliance in them. “We are SPARTA!” is based on well-oiled washboard abs and the oh-so-wonderful homo-erotic overtones rather than any particular brilliance in the line itself. Most taglines are quite simply rather silly. But hey you wanna sit on your ass and rake in the cash based on someone else taking your drivel and making it worthwhile; who wouldn’t? The whole thing starts with the writers. Everything else is secondary. The writer could put his words on paper send them to a publisher and get paid for every book sold. If it wasn’t for the writers then that whole industry would be null and void. N sense in having actors lighting guys producers whatever if there were no writers to give them something to do. The point is who is responsible for ongoing profits from tv and films? It starts with the writers yes; but there are many well-written shows and movies that fall by the wayside and poorly written ones that succeed. The best script in the world will go nowhere with a hack director and a bunch of d-list actors. November 9th. 2007 at 10:36 amLOL Morv. I didn’t think they were yours just saying they look familiar. Maybe it’s just the picture tho,. doesn’t it look familiar to anybody else?————————- I do have a slight issue regarding the writers strike- yes they should get a tad more BUT the writers are following the direction of the producers directors and (in far too many cases) even advertisors. A writer that creates an original idea that is used- YES give them royalties (just like SONG writers do). But writers that are given a “job” of writing a script that has so much input from so many other places? Those writers are not much more than working on an assembly line making widgits and if I am the owner of the widgit factory there is no way I want to give every person that looked at the widgit a percentage of sales (including resales) for a 30 year period. This is exactly the correct response to Lok’s question. And Coyote’s points were spot-on as well. Writers are the creative force behind everything in Hollywood. Directors actors set designers camera men grips best boys (whatever the hell they do) and lots of other folks add their little piece but it ALL begins with the writers. They create the content everyone else just manipulates or interperets it. You don’t need to look any further than the current strike to see how true this is: Leno and Letterman were off the air IMMEDIATELY upon the writer’s walk-out. The producers or camera men couldn’t fill in … hell. Leno and Letterman themselves couldn’t fill in. Why? Writing is hard. I do it for a living and trust me sometimes I wish I had a joe job that I could just snooze through. But I don’t; I have to be thoughtful and creative and detail-oriented almost every day. Screen writers have it even tougher because they have deadlines every week (my own are monthly). They get royalties because without them the entire machine grinds to a halt; writers are literally the prime movers of the entertainment industry. Producers are making truckloads of money from distributing television and film content via DVD and the Internet. And they don’t have to pay the people who actually CREATED those shows and films a dime because the contracts haven’t caught up with the technology. Digital media has essentially given the studios a way to avoid paying royalties. Seeing as how DVD and Internet sales are unquestionably the way of the future writers would be insane to let them keep getting away with it. Ten years from now film and television rights are going to be small potatoes; the big bucks are going to be coming from downloads and DVDs and the people who actually create that content deserve a share. Dar are you being devil’s advocate or are you sincere? (or as I suspect a mixture). While actors are key to a script the script is key to a show. Hence the stopping of Leno. Letterman. The Daily Show. Colbert Report and the like - they have amazing delivery actors and front men…but if it was more actor than writer… I think the fight-the-power sentiment being tossed around is a little overblown; they took a job they knew the terms they got compensated for their work. They were not indentured servants being exploited. They’re renegotiating now good for them. But I’m not shedding a tear for folks who got paid exactly what they knew they would get paid for a job. That’s the solution! Make all the film and tv studios into employee owned cooperatives. Everyone gets a share of the profits at the end of the year. What you really think you can make an episode of ooh say House without somebody there to do the catering? Make sure the SaniLav is working? Run out and pick up that ’special’ delivery for the talent? The workers should rise up and seize the means of production from the greasy hands of the capitalist running dogs… (hang on gimme a minute or two to cut and paste some more stuff out of 1970’s trades union pamphlets) “Firefly made more in royalties on DVD than they ever did as a show. People got RICH off of Firefly which failed on normal television.” This is exactly the point of the strike. Royalties from film and television are going to become worth less and less as the 21st Century progresses; they’re old-school media and while not off the stove altogether they’re certainly being relegated to the back burner. No one made a dime syndicating “Firefly” on television but FOX sure raked in a bundle on the DVD sales. By insisting on royalties from digital media the Writer’s Guild is simply protecting the future earning power of its members. It’s obvious that the royalty rights they currently hold are quickly losing their value; Internet and DVD sales will be where most entertainment revenue comes from in the future. If I write a book and someone turns it into a TV show they have to pay me royalties. If I write a TV show straight up they have to pay me royalties. But if I write a TV show and someone turns it into a DVD. I get nothing. The ONLY difference there is that there is no law or contract that says they have to pay me; the technology has advanced faster than the industry could adapt and the studios are taking BIG advantage of it. Once again to see how critical writers are just look at how quickly the industry is grinding to a halt. All the other folks are important too but without writers there is NO scripted television and NO film. When they’re on strike it doesn’t make it harder to make shows it makes it impossible. As the creative force behind the entire industry the writers deserve a piece of the pie regardless of how their work is distributed. 1) Coyote. You do realize that Alabama is the home of most of our country’s rocket scientist right? (NASA Headquarters is in Huntsville… ) =)2) Darammer. Firefly is in fact in syndication especially on HD channels3) Darammer. Just because people took a job on certain terms neither means that those terms were fair nor that they should not try to improve their benefits… but that’s just my opinion… What I want to know is why they waited til now to strike instead of renagotiating their contracts before fall sweeps during their NORMAL NEGOTIATION PEROID. Not that I care that the usual content is being disturbed - my shows were not only written but filmed weeks to months ago and have not been interrupted. But their timing does smack of being petty and childish. “Oh but no one would care if it didn’t happen now.” True enough I suppose but I’ve always thought better of people who’ve done things in the proper manner at the proper time. Wars of attrition always look better for the little guy when the public comes in late. “Oh but they would have lost their jobs if they didn’t sign the contracts they were handed!” No they wouldn’t have. They’re union. Duh! Beyond that things like this strike don’t strike overnight. If there’s enough writers unhappy for the union to have called a strike then there was enough unhappy writers that would have “lost their job” to make the networks reconsider. Or at least they would have reconsidered once the Fall season on TV this year was even more crappy than it already is. (Or - hey - it might have been better. Who knows?) This brings me into a side point. People in Hollywood are communists. Not your average person but at least the average writer person in Hollywood is a communist. This is shown by the fact that instead of being the greedy capitalist jackasses we all know and love by hardballing the networks during normal contract negotiations and being a few pioneering writers who got these royalty benefits and having it eventally trickle down to the writers who didn’t have the balls or innovation to go for it - they decided to be pissy get everyone else pissy and have a strike. (That’s a very communist thing to do. (Really just ask Lenin.)) If you don’t think they could have hardballed the networks all they had to do was hire Scott Boras (and if you don’t know who Mr. Boras is you need to spend more time paying attention to the baseball offseason! (and while I don’t like what he’s done to baseball. I have to admire the size of the balls on that man!)) “Oh but they didn’t want to have a long strike. It loses money for everyone.” Good point. But they still could have timed it for when the writing of the all important season openers were happening. This would have made the network guys look twice just as well without the feel of childishness and media-whoring I feel coming from there. Now for my conclusion firstly. SORRY FOR THE NOVEL!Secondly yes. I do think the writers should get a lot of what they are asking for. I’m not against their demands at all. Just their methods. Thirdly. GOD HELP ME I’M TYPING LIKE PSIBR! (You know. The whole parenthesis (within parenthesis) thing. (Creepy!)) They aren’t the only creative ones in the industry. Composition of a shot is an artform; lighting is without a doubt THE hardest part of the entire process. How much do THEY get in royalties? I see your points - I honestly do but the world is changing and changing fast. In 10 years will we have TV channels or will EVERYTHING be on demand? The renegotiation had to happen - and yer right. They knew what they were getting into when the stepped up. But with the changes you can’t expect them not to ask for more to ensure their future. And since we’re spouting off opinions about the writers strike. I’m going to have my cake and eat it too! I agree that writer’s aren’t being compensated enough for the work that they do. I’m not saying writers alone keep shows running. Although it’s pretty obvious to me when the writing is poor; not even the best actors can save a scene that has the lines: Gordon: “I never said thank you…”Batman: “…and you’ll never have to.” WTFBBQ? You just kicked my ass for 2 hours with the best Batman movie ever made and you end with THAT!? Seriously? Writers are an important part of the (not-so) well-oiled machine that is the entertainment industry. I think Darammer has a good point - the writer’s strike has become something more than just renegotiating contracts. It’s become a David & Goliath type battle. We’re all rooting for the little guys to win. But they’re no different from any other union that’s decided to go on strike - be it airline workers technical library staff (just happened where I work) or assembly line workers at your local auto plant. So yeah let’s not forget that they did know what they were getting into when they signed they’re contract and that now they are renegotiating that contract for what they feel (and I agree) is a more appropriate salary. There’s no need to make it a good versus evil battle for social justice. It’s just business. You said it was “petty and childish” because it was not done durring their normal negotiaing period. Whoever is running the Union decided that it would be a good tactic to go on strike now. I don’t see it as being childish. They simply assume that by going now it gives them an advantage. Morvy sez:And I also said Lok that they could have struck at another time that would have been just as effective (read tactics!) while not being such drama queens…———————————————————————————— It’s possible that another time may have been just as effective. I really don’t know about that. However durring sweeps seems like a pretty effective time to me as well as the guy leading the strike so I can’t be too far off. “lighting is without a doubt THE hardest part of the entire process. How much do THEY get in royalties?” If the lighting guys went on strike would Leno and Letterman be off the air? Would all production on all scripted television stop? Or would everything continue pretty much as normal just a little less well-lit? All the other industry professionals make their contribution and I have already gone out of my way several times to acknowledge that. But while lighting might be hard it isn’t essential. And I’m sorry but it’s not creative in the same way that writing is. Directing isn’t either nor is producing nor setting up the buffet table in the green room. No one is discounting the hard work those folks do but it is work of a different nature. Writers create something out of nothing; everyone else just works WITH or ON the something that has been created. Uhm Sandor. I disagree. The fact that those shows are off the air simply shows how powerful the UNION is. Letterman and Leno could be on the air just with slightly less funny jokes. If the Labor union was as powerful as the Writers union was and no extra labor could be brougth in to light film edit set the stages work the mics and soundboard then yes absolutly the whole production would stop. No lighting directing etc is not creative in the same way; but that doesn’t make it any less of an artform. Letterman. Leno et al can get by with poor lighting; those shows are indeed built largely on writing. Although the ad libbing talents of the host are essential as well probably moreso than any script they’re handed. Most other shows? Poor lighting can KILL a good script. Yes it can. I’ve seen it on shows that don’t make it past a pilot. It is the most underappreciated skill in the industry imnsho. The point of all this? A successful show is a collaborative effort unlike a novel which is solely dependent on the writer. Writers are an important part of it but really not moreso than any other part (with the possible exception of the caterer.) “If the Labor union was as powerful as the Writers union was … then yes absolutly the whole production would stop.” Absolutely true. But the REASON that the labor union (I don’t know what it’s called) isn’t as strong as the Writer’s Guild is because their jobs are not essential in the same way. There’s not some mysterious reason as to why writers have more clout in Hollywood than camera men or lighting techs; they weild the power they do simply because their work is the creative foundation upon which everything else rests. Anyway. I’m getting tired of making these points. I’ll respond to a couple further points then I’m done. It has been an interesting discussion though. I appreciate everyone taking the time to share their viewpoints. Unions are important in two situations: Where the safety of workers is concerned (which is why miner’s unions are a must) and when management is genuinely trying to screw over labor. Other than that they should shut the hell up and go away. I wouldn’t say unions have “outlived their usefulness” but I do agree with the sentiment that they generally weild too much power (and do so too often) and have a tendency towards corruption. I’m a staunch capitalist at heart but not a lazziez-faire capitalist; unions shouldn’t be too powerful or too wealthy but they have their place. Okay that’s it. I’m done for today. Great discussion utterly fascinating. Now let’s talk about boobs. I think you are completely underestimating the role of other aspects of the creative process. The whole thing is a colaborative effort on the part of everybody involved. Writers. Directors. Actors the crew etc. I certainly don’t see one as somehow more important that the others. The writers simply provide a idea one that they may have gleened from another place or seen something on the news. I don’t see that as any more important that those who actually MAKE the show. They work together they provide feedback and support for each other. As for going to the theatre. I’m doubt that the LoTR movies the line in the script that says. “Shot 15,004: Mountains with snow on them.” Is just as impressive as the actual footage of the camera man who shot it cinematographer who found the mountain range or the sound engineer who scored the scene. No one goes to see a movie because they hear that it is well lighted or because the movie is amazingly edited. Children of Men sold itself at least partially on the fantastic camera work and editing. It may be the exception and not the rule; but you’re making sweeping generalizations. At least point out when you’re doing so: “I may be generalizing here but I think very few people go to see a movie because they hear that it is well lit or because the movie is amazingly edited.” I think part of the problem is that people see the “lighting” as just part of the way the mood is established. It kind of falls into that greater goal. If the mood is established well then the lighting is probably part of that. Top grossing movies of all time…2. Star Wars3. Shrek 25. Star Wars Episode I The Phantom Menace12. Jurassic Park14. Finding FREAKING Nemo19. Transformers25. Independence Day32. Home Alone33. The Matrix Reloaded39. Jaws43. Men In Black49. Twister Every single one of these movies I would say succeeded based mainly on visuals (Special effects fish eating people. Daniel Stern getting crotch-shotted). One of my favorite movies to go back and watch time and again is Kill Bill. Vol.1; the writing is dreck the acting is wooden. The fight scenes are ok but cartoonish. However the LIGHTING the SOUND are UNBE-FREAKING-LIEVABLE. I think Kill Bill Vols 1 & 2 are brilliant the fighting and acting was supposed to be a tribute to the Shaw Brothers most influential Martial Art movie makers of all time… IMNVHO And while the sound and lighting are great it was the writing that did it for me many many little jokes and references that had me in stitches… What I am actually more concerned about is that the writers want a % of the shows they write for that goes to DVD. Syndication and Internet. I agree that they should get a % but currently it cost MORE for a studio to put a show up on ITunes and most networks currently let you see the shows the following day (example CBS uses Innertube and you can watch any prime time show the following morning (and then until the next season starts)). As the % of US households are watching less TV at night (talking about the top 5 networks- ABC. CBS. CW. FOX. NBC) ad revenue drops and there is less $$ to make the shows. When a TV show is “posted” on the ‘net normally one advertisor foots the bill and is the only advertisor (with ads you can’t bypass) allowing you to watch the said show knowing that you WILL see there ad. No person makes any $$ for these (unless you buy what the advertisor has) but now the # of people that watch these shows do help with Arbitron ratings (new this fall season). The real issue for the networks/tv producers is that if the writers get 100% of what they want you will need to pay to see shows on the net- and not through ITunes (Apple refuses to budge on the 99 cent price) and for some shows the ratings will plumment (ie Heroes gets about 10% of its ratings straight from the net) reducing the amount of ad revenue… you get the picture. This was a topic of discussion on local talk radio earlier this week (Jason Lewis Show currently filling in for Rush). Back on the topic of SMRT Americans…. One can’t make sweeping generalizations about a country’s population based on the fact that a certain percentage of said population may in fact validate said sweeping generalization. That said…Us Canadians sometimes like to test just how SMRT you really are. Search for “Talking to Americans” on YouTube it’s quite enlightening. Don’t be offended we only want to help. We’re with the Brits on this one…we have ways of making you pronounce/spell the letter U. …and yes. Coyote’s used that picture before…he does that sometimes. It’s OK though because some are worth a second look (o)(o) Now if you’ll excuse me I’m taking my dogsled team and going back to my igloo to finish eating my back bacon and drinking my molson before the hockey game starts. Well firstly. I love your irony diggler. Secondly yes you can make sweeping generalizations about a population based on a small percentage of that population. Is it right? Probably not. Can we and do we do it? Abso-frickin-lutely. Tell me what you think of when you think of say a person from Africa and then really examine it. Is it a sweeping generalization? Probably it is because not many people in North America have direct contact with a large popluation of people from Africa. We rely on generalizations to fill in the gaps of what we do not know from our own expirience. I was born into the Awkward Squad so when I read Morv (fantastic jiggling by the way. You should do tha tmore often) asking “Tell me what you think of when you think of say a person from Africa. ” my immediate thought was “Okay which part?” But I agree with the thrust of your argument it’s something people do using stereotypes as a shorthand to save us having to actually think our way through each and every single encounter we make in our lives. Problems arise when we don’t adjust those placeholders to deal with actualities. Now just to be kind to Coy and make Mad go “grrr”… there are Brits who are every bit as ‘dumb’ as the stereotypical ‘yank’. Witness the fact that this week the National Lottery has had to with draw one of it’s instant scratch and win games because it was to complicated. You had to reveal a number a temperature and then get two numbers that were lower than that first temperature. But they were using negative numbers well it’s Winter and we’d normally be expecting to see -ve values on the weather. They had so many complaints form people who couldn’t get their thick mulleted chav Burberry cap wearing heads round the idea that -8 is NOT higher than -6 if you are dealing with temperatures. (Then again global warming most of these scrotes have grown up without ever seeing frost let alone sub-zero temps) My understanding in film is the major catigories are Writer. Actor. Director. Cinamitgrapher and Producer. All of wich are REQUIRED for a particular scene to come into being from the Void that all art comes from. Of those catigories I beleave ONLY the writer does not get a piece of the residuals from the work. If you have those 5 positions filled you have a movie or show(though 1 person can fill two or more of those roles) if you are missing one of those jobs then thier is no show. Think about this another way Playwrites get ALL the credit for there plays and get a roalty every time someone does thier plays(why do you think alot of Community Plays are done by dead writers and public domain scripts). TV and Film writers(basicly the same thing as Theater from the stand point of the script) get virtually NONE of the credit and absolutly none of the residual cash. Accually morvelaira its very possable the timing of the strike is accually because of the Stupidity of the Sudios and not the Writers Guild. The reason is this. Leagally you CAN NOT strike while still under a Union contract(its part of the law that also protects Union Jobs after the strike is over) as such the reason they Striked now and not over the summer is because now is when the blanket contract is up. My understanding of the entertainment industry is basicly there is a basic contract for all the profestions(thats where the term “Working for Scale” comes from) that is the starting point for all personal negoiations of all the profestions. The Blanket contract for the Writers Guild was do to end this year so the Writers Guild and the verious Studios got together to work on the new blanket contract. The two parties where probly negoiating all summer long but came to an impass and as the contracted ended befor a new one was complete the writers striked to force the siduation. That how all strikes happen they try to get what they want through hardball negoiations if the “Managment” dissagrees then thier is a Strike. Remember thier have been Sports Strikes too most resontly Basketball and Baseball. Oh,and one more thing this strike is not about the super star Writer that can more or less demained whatever they want most of wich are producers now(Joss Weoton. Matt Georning etc). Its about the dime a dozzen writers slaving away at talkshow and such who noone even knows. Just like the SAG contract is not about Tom Hanks but about that waiter that handed Tom Hanks a note in Scean 23 act 2 of that movie Tom Hanks was in that time.

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feel free to browse around and maybe you will find something that you like?]]> ]]> moms video games are one of the top requested items on my kids' Christmas enumerate (of course they are only allowed to ask for one item so it exceed be good). Fortunately. I'm glad I don't have to go into the gaming world blind. All video games have an ESRB rating (Entertainment Software Rating Board) so make sure you check it out before making that acquire. Here's the rundown:EC: Early Childhood (ages 3 and older) contains nothing questionable so it's a good buy. E: Everyone (usually ages 6 and up) this is the cram my kids use. It may contain very minimal cartoon violence but all in all pretty safe. E 10+: Everyone 10 and up (usually ages 10 and up) this may contain mild cartoon or fantasty violence mild language or suggestive themes. You be to be careful here if you are buying these games. alter sure they are allot for your child's age and (just on a personal say here) if they are not allowed to play these games make sure you tell them that before they go to a friend's accommodate and compete them and end up grounded for two weeks. T: Teen (ages 13 and up) this may include violence suggestive themes crude humor gambling strong language. This is where I displace the line so check it out carefully and read plenty of reviews. M: Mature (ages 17 and up) intense violence blood and gore sexual circumscribe and strong language. Yuck! This is where you give those shoppers picking these items up the "evil mommy eye" and go away. AO: Adults Only (ages 18 and up) these include prolonged scense of intense violence and/or graphic sexual circumscribe and nudity. You could buy these but why not save money and just lick the inside of the dumpster outside the porn shop?RP: Rating Pending. This hasn't been rated yet so read lots of reviews and communicate to like-minded parents. Personally. I am so glad to undergo a rating system like this. It helps me be a smart shopper around the holidays. Also there are some great ways to set the parental controls on your gaming system (just in inspect Billy from down the street decides to go over for a visit and bring along Grand Theft Auto). For more on this check out this cerebrate: http://www esrb org/about/resources jsp

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