Writers strike could pull plug on TV favorites

But he might not have much of a choice. And both he and the folks at CBS, ABC, CW and even Fox (for non-“Idol” nights) are currently working on all kinds of reality shows that they can plug in if the strike happens.

And for viewers, that might not even be the worst of it. Shows that premiered just a few weeks ago that are doing marginally well in the ratings might not get the benefit of the doubt by the networks in terms of a full-season order or second-season renewal. It costs a lot of money to build and keep sets functioning, pay cast and crew, etc., and if the strike continues on, a network or studio accountant might convince the programming people that losing this much money on a show that’s not airing doesn’t make financial sense.

And here’s something else. Although the new fall season has just begun, in a few months TV executives will start to see scripts for the new shows that will air next September. Sometimes a network will buy a show based solely on the pedigree of the writer (if you’ve ever worked on “Friends,” “Frasier” or “Seinfeld,” you can get by on your reputation), but those scripts haven’t been written yet.

For WGA members without that impressive resume, you can’t pitch your brilliant new show if you can’t write it. It’s a brutal cycle.

Not all popular dramas will be affected come January or February, however. Season four of “Lost,” for example, wasn’t supposed to air until February anyway, and several episodes have already been filmed, meaning they’ll have a bunch to broadcast while everything else will be reality in one form or another.

“24,” which normally starts up in January, is in the same situation. With Kiefer Sutherland now serving 30 days in the pokey, though, who knows how that will affect production.

With the studios and TV studios having circled Nov. 1 on their calendars as a potential doomsday, they’ve been asking their writers to try and get as many episodes done as possible before that date. Because of an already intense work schedule, made even more daunting by this deadline, writers are burning themselves out. All of which means the quality of shows might suffer. Quantity, as TV is concerned, has rarely equaled quality.

So that’s where it stands now. Networks are hording scripts like squirrels saving nuts for winter, putting as many in storage as they can, hoping they don’t run out before a possible strike is settled.

Hopefully, like in all negotiations, eventually clear-minded folks can find a middle ground and order will be stored.

Here’s a word to the wise: For those episodes that you Tivo in January, don’t watch them too quickly. You might just want them on hand when the viewing options turn bare.

Stuart Levine is an assistant managing editor at Variety. He can be reached at .

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