Jane Hamsher at FireDogLake reports that Fabiani & Lehane, the formerly-Democratic PR firm, has been canned by SEIU Local 99 and will have lost all of its union clients by week's end. From Jane's post:"By the end of the week, I believe Chris Lehane will have no union clients because of his work for the AMPTP," says SEIU President Andy Stern, who confirms that all Change to Win Unions are severing ties with Lehane. "His days are numbered in the labor movement." ... Change to Win unions include the Teamsters, Laborers, SEIU, Carpenters & Joiners, United Farm Workers, Food and Commercial Workers, and UNITE HERE.

As the Industry Support Fund and The Actors Fund (which administers the ISF) continue to help industry workers who lost income and health care coverage during the strike, we offer this helpful post from freelance journalist and United Hollywood lover Becca Bryan. -TES

DON'T GET CAUGHT WITH YOUR PANTS DOWN! THE ACTORS FUND IS THERE FOR EVERYONE.

by Becca Bryan

As someone who has lost a few

With the launch of our new video campaign, Voices4Action! we'll be interviewing people who want to speak out about the strike and the larger issues of a changing media world.

Adam Brooks' interview of Tony Gilroy, the writer-director of Michael Clayton, starts the series. Tony speaks passionately about the partnership between writers and studios and about the trust that needs to exist

(The following is from Teamster Member, John Jabaley. The opinions expressed are not the IBT's point of view, but John's.)

Where I grew up in the deep south in the 1970's, union was a dirty word. Even in my family, conspicuously liberal (in our neighborhood, at least) for our attendance of public schools, unions were considered a way for workers to loaf on the job without being punished. Coming from the management side of the equation, most people I knew were happy they didn't have to deal with workers who stuck together.

I sailed through childhood with this belief essentially unchallenged.

"The Newshour with Jim Lehrer" (PBS) reported on how the internet is at play in the Writers' Strike. Featuring an interview with Shawn Ryan, and clips from the first Strike TV meeting. Check out the clip at this address:

http://www.pbs.org/newshour/video/module.html?mod=0&pkg=25012008&seg=4

Oscar-winning cinematographer Haskell Wexler released this statement in the wake of IATSE president Tom Short's letter to Patric Verrone, president of the WGA. Wexler is a legend, and when he evaluates the state of our unions, he does so with authority. Without minimizing the difficult decisions that everyone faces in a strike, we found this note stirring and wanted to share it. -JA I walked the WGA picket line along with 6000 film workers demonstrating in front of Fox Studios.

The spirit I saw in that demonstration is exciting to me, it gives me hope. These strikers are resisting further concessions, concessions which compromise all our futures.

I caught the eye of a couple of grips and electricians driving through the line. Although I understand why our guys go through the line, it saddens me.

This was submitted by WGA member Robert Eisele, who was present for both the strike in 1985 and the longer strike of 1988.

"Those who cannot remember the past are doomed to repeat it."
-- George Santayana, 1905

In 1988, writers endured a strike of nearly six months. In 2008, we are now approaching the halfway point of the length of that strike.

Although most Guild members in ’88 stood strong

One day, hopefully very soon, the WGA strike will end. But the technological changes that sparked it will continue.

Over the past three months, we realized that in covering the dispute between writers and media conglomerates, we were also covering the evolution of the entertainment industry. Digital technology is changing how music, television, films and games are created and consumed. Old

As we keep talking about here, the future of the industry (for forward-consuming audience, the present of the industry) could be a brave new world of creator-owned content. As horrific as the strike is, it may be providing the perfect storm for the people who create content to start going straight to the audience, via the distribution of the Internet, and cut out all the studio and network

Today, Tuesday, 11/20/07, Los Angeles will experience a labor rally in support of the WGA strike. Marching west on Hollywood Boulevard from Ivar and gathering in front of Grauman's Chinese Theater, thousands upon thousands will join together to celebrate the importance of labor unions in American life.

And how will you know about this momentous occasion? You'll have to be there.

At the last rally in front of Fox Studios, 4,000 writers and their supporters marched and rallied, but when you watched the evening news, you'd never know it . There was plenty of time that night to talk about lost kittens but nothing about the peaceful march that closed down Pico Boulevard and Avenue of the Stars.

Today's rally marks a crucial juncture: a mass demonstration of our strength before the negotiations restart.

Life on Strike was originally produced for The Strike Show, a live comedy-variety show that raised money to benefit members of the industry who are affected by the strike via the Motion Picture and Television Fund. and features Ana Ortiz (UGLY BETTY), Nick Kroll, (CAVEMEN), and Kat Foster (TIL' DEATH).

(This just in from the WGA... I've heard similar sentiment from friends and family all over the nation. The temperature I'm reading -- the whole country is fed up with corporate conglomerates caring only about the bottom line, and not about the welfare of their workers.)

StrikeSwag.com - the non-profit site which donates all profits to the Writers Guild Foundation Industry Support Fund to assist non-WGA members of the industry who are in financial distress as a direct result of the strike - is out with its January 2008 line which Fashion Week boldly called "the black and white shield tee." This 100% cotton shirt a variant of the official WGA West strike shirt.

The strike is over. The WGA contract has been ratified. SAG and AFTRA are now center stage and there is still a lot of work to do before the town gets back to normal. At this moment it's useful to look back at our own history. There are lessons to be learned about how the process can move forward even against what seems like overwhelming odds.

There are many who labored behind the scenes to support the writers' strike. At United Hollywood we worked with people who put their energy on the line but wanted to stay off the media's radar. Not content to just talk a good game, these are members and supporters who knew that if they wanted to make a difference, they had to work at it.

One group in particular came of age during the early part of the strike: the writer-directors. Nicknamed the WD-40, forty writer-directors met to search for ways they could help facilitate the negotiation.

From the beginning of the strike, most journalists accepted the AMPTP's lead and described the DGA and WGA as antagonistic to one another. Nicholas Counter was frequently quoted in the trades as preferring the DGA as a negotiating partner. The writer-directors objected to that characterization and felt that the AMPTP was doing what it always did in positioning the Guilds against one another to diminish each union's power.

What we have been calling the "Union Solidarity Fund" is now officially called the Writers Guild Foundation Industry Support Fund. Our friends at the Foundation have stepped up to coordinate the tremendous outpouring of generosity from businesses, fans, writers, actors, directors and the public to help non-WGA professionals affected by the strike. We will link to information on how to apply for assistance as soon as it is on the Foundation site.

The Foundation is accepting donations now. Send them to 7000 W. Third St. LA 90048, and indicate "Industry Support Fund."

The Industry Support Fund, founded by the Writer's Guild Foundation to provide financial relief to non-WGA industry members impacted by the strike, has raised over a quarter million dollars, and has already given away more than half of what they've raised. The fund anticipates continuing to donate $40,000 - $45,000 a month over the next several months as industry members find their feet financially.

The Writer's Guild Foundation is working closely with the Actor's Fund to help distribute the money. Separately, The Actor's Fund has spent half a million on strike-related relief since the beginning of the strike. A non-profit that offers an array of services to all performing arts professionals, The Actor's Fund is not just for actors. For more information check out their website at www.actorsfund.org.

To find out how to get help from the Industry Support Fund, or to make a donation, go to www.wgfoundation.org/supportfund.html.

(We want to welcome SAG Member Justine Bateman as a regular contributor to United Hollywood. We hope to continue opening the site up to more voices from SAG and other unions. Justine reminds us that this fight belongs to all of us. We're all on the same page.)

Attention all SAG Actors:

I believe it's appropriate at this time to call all actors into action in support of the Writer's Guild on strike.
I know many of us have been walking the picket lines and attending the rallies, but I want to challenge ALL SAG members to see if they can commit an HOUR-A-DAY to walking the picket lines.
The AMPTP has been jerking the Writer's Guild around.
1. They offered nothing but insulting Roll-Backs to the WGA in the negotiations that caused the strike.

“RECONCILIATION” BENEFIT!

WHEN: Tuesday, March 4th at 8 p.m.

WHERE: The Laugh Factory

PROCEEDS WILL GO TO THE WGF INDUSTRY SUPPORT FUND

To celebrate the end of the strike, Laugh Factory owner Jamie Masada will host a “Reconciliation” Benefit at the Laugh Factory, Tuesday, March 4th at 8 p.m. Proceeds go to the Writers Guild Foundation Industry Support Fund to assist all those NON-WRITERS

United Hollywood is proud to announce that FairDeal4Writers has become the first annual United Hollywood Short Film Contest.

Unlike Strike TV, films in this contest will tackle the issues that are roiling the entertainment industry right now. The winner of the contest will receive an authentic WGA strike poster with over 175 signatures by writers, actors, actresses and directors who autographed

Will 1+1 someday = 2?

The WGA, the Teamsters and California State Senator Sheila Kuehl have just announced the introduction of the "Fair Market Value Bill." The bill seeks to prevent studios from selling programming to sister companies for below market value. This particular strain of Hollywood accounting is designed to shift profits away from the studios (where they must be shared with talent and producers and serve as a basis for pension and health contributions) to networks, where they may be enjoyed without the pesky need to pay one's "partners."

Press release below. We'll have more soon on the bill in particular and Hollywood skulduggery in general.

And if you're a studio accountant or lawyer looking to go all Michael Clayton on the Big Six, send us a tip or a post.

NEW BILL TAKES AIM AT HOLLYWOOD ACCOUNTING

California State Senator Sheila Kuehl Introduces Bill to End the Practice of Selling Television Series and Films for Less Than Fair Market Value

Los Angeles and Sacramento – California State Senator Sheila Kuehl (D-Los Angeles) has introduced Senate Bill 1765, the "Fair Market Value Bill," to end the practice by some major studios and networks of “underselling” television series or movies.

It's terrific that the two parties have joined together for the public good in this time of financial stress to send checks to the American people, and give tax breaks (that is, "incentives") to corporations. At least we got past the eager opportunists who argued that because we need an immediate economic stimulus the Bush tax cuts set to expire three years hence should be made permanent now. Go figure.

In the spirit of bipartisanship, I thought it might be useful to recall the 1909 words of uber-capitalist Andrew Carnegie:

At today’s Los Angeles City Council meeting, over 300 writers and supporters came to hear Councilmember Eric Garcetti speak to the City Council about the writers strike, and the need to bring the AMPTP back to the table so negotiations can resume.
<>
The AMPTP did not bother to send a representative, apparently feeling that the $20 million a day damage to the Los Angeles economy is more the City Council's problem than theirs.

Garcetti introduced an emergency motion asking for both parties to resume bargaining, and to come to a just and fair deal as quickly as possible. He also pointed out that the writers are still at the bargaining table, ready to negotiate, and called specifically on the AMPTP to return as well.

Below is the latest Strike Life video, a series of improvised shorts performed by WGA members and produced by WGA members, Chris Nolan and Laurie Nolan. Since the internet is the center of the current WGA labor strike against the Alliance Of Motion Picture & Television Producers – what better place to tell our side of the story.

See all the Strike Life videos at StrikeLife.net.

WGA Press release from yesterday:

Los Angeles – Paul Howes, national secretary of the 135,000-strong Australian Workers’ Union, joined striking writers on the picket line in front of Fox Studios today in Los Angeles. In California for various meetings, Howes asked to meet with the WGA and discuss mutual labor issues.

“The AWU is one of Australia’s largest and most influential labor unions, and

Interesting things, facts. They are simply what they are. And yet sometimes you can read a lot into them.

Here's a fact:
On December 18, the Writer's Guild testified before the Los Angeles City Council about the economic impact of the strike.

Here's another fact:
The AMPTP didn't show up. [Gosh, just like at the negotiating table.]

Instead, they asked the MPAA to take care of it. The MPAA represents the AMPTP before all levels of government throughout the world. The MPAA also provides economic data and information on the motion picture and television business to the public.

And one more fact:

This was submitted by Phil Alden Robinson, writer-director-producer, and member of both the WGA and the DGA.

While we anxiously await the results of the "informal talks", I've been doing some hard thinking about the DGA deal. There's quite a bit in there to be pleased with - deal points that should serve us well in the future, and that never would have been achieved without our strike. But there

FCC Chairman Kevin Martin seems dead set on pushing through a wildly unpopular media consolidation policy that would allow media moguls to gobble up more local news, radio, and newspaper outlets. The American people aren't happy about it, and neither are many leading politicians.

How, you ask, is this directly related to the writer's strike against the giant media conglomerates? This policy

Lots of good stuff to share.

- Patrick Goldstein of the LA Times is a sharp and skeptical columnist. He took a few shots at writers before the strike began. But in his most recent column, he argues that the companies are dead wrong to use fear of a digital future as an excuse not to cut in content creators. "If the studios really believe they can't share a sliver of profits with the people who create what they sell, they'll be the losers. If you don't believe in the future, you shouldn't be in show business."As Patrick writes, entertainment is a business built on optimism. Writers believe in the future. CEOs only seem to when investors are listening. Which is it going to be, guys?