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Writers vote to end 3-month walkout

A devastating, three-month walkout that brought the entertainment industry to a standstill ended Tuesday when Hollywood writers voted to lift their union's strike order and return to work Wednesday.

The move allows some TV series to return this spring with a handful of new episodes. It also clears the way for the Academy Awards to be staged on Feb. 24 without the threat of pickets or a boycott by actors that would have dulled the glamour of Hollywood's signature celebration.

"At the end of the day, everybody won. It was a fair deal and one that the companies can live with, and it recognizes the large contribution that writers have made to the industry," Leslie Moonves, chief executive officer of CBS Corp., told The Associated Press.

Moonves was among the media executives who helped broker a deal after negotiations between the guild and the Alliance of Motion Picture and Television Producers, which represents studios, collapsed in acrimony in December.

Residuals for TV shows and movies distributed online was the most contentious issue in the bitter dispute involving the 12,000-member union and the world's largest media companies and other producers.

Under a tentative contract approved Sunday by the union's board of directors, writers would get a maximum flat fee of about $1,200 for streamed programs in the deal's first two years and then get 2 percent of a distributor's gross in year three — a key union demand.

Other provisions include increased residual payments for downloaded movies and TV programs.

"These advances now give us a foothold in the digital age," said Patric Verrone, president of the guild's West Coast chapter. "Rather than being shut out of the future of content creation and delivery, writers will lead the way as television migrates to the Internet."

Writers who voted in New York and Beverly Hills were overwhelmingly in favor of ending the strike: 3,492 voted yes, with only 283 voting to stay off the job.

Most writers were happy about the outcome and eager to return to work.

"It will be all hands on deck for the writing staff," said Chris Mundy, co-executive producer of CBS' drama "Criminal Minds." He hopes to get a couple of scripts in the pipeline right away, with about seven episodes airing by the end of May.

Not all shows will get back on the air. Networks might not resume production of low-rated programs that have a questionable future.

Sid Ganis, president of the Academy of Motion Picture Arts and Sciences, which stages the Oscars, expressed relief that the strike was over.

"I am ecstatic that the 80th Academy Awards presentation can now proceed full steam ahead," without "hesitation or discomfort" for the nominees, he said.

Writers did not vote on whether to accept the tentative deal, which was reached after a Feb. 1 breakthrough between union negotiators and studio executives.

The guild will mail contract ratification ballots to members over the next few days. Writers can also vote at meetings. All ballots must be cast by Feb. 25.

The walkout stopped work on dozens of TV shows, disrupted movie production and turned the usually star-studded Golden Globes show into a news conference. It also dealt a severe financial blow to a wide range of businesses dependent on work from studios.

The strike took a $3.2 billion toll in direct and indirect costs on the economy of Los Angeles County, the home of most of the nation's TV and film production, according to a new estimate from Jack Kyser, chief economist for the Los Angeles Economic Development Corp.

The last writers strike, a 153-day walkout in 1988, caused an estimated $500 million in lost wages.

The latest strike began Nov. 5, and formal negotiations broke off Dec. 7 after the guild pushed to unionize writers on reality and animated productions.

Informal talks began Jan. 23 between studio heads and the union, which extended an olive branch by withdrawing its proposal to organize reality and animated shows. It also decided against picketing the Grammy Awards.

Pressure to reach an agreement mounted after the studio alliance reached a tentative contract Jan. 17 with the Directors Guild of America. That deal also brought improved payment for content offered on the Internet.

Among the executives who took the lead in breaking the impasse were Peter Chernin, chief operating officer of News Corp., and Robert Iger, CEO of The Walt Disney Co.

Michael R. Perry, a writer for "Persons Unknown" and other TV dramas, said the deal made him hopeful the guild and studios could be "partners in a growing pie" of Internet revenue.

"I want them to be fabulously, filthy rich. I just want my piece," Perry said.

Hollywood's labor pains may not be over, said Jonathan Handel, an entertainment attorney with the Los Angeles firm of TroyGould and a former associate counsel for the writers guild.

He pointed out that the contract between studios and the Screen Actors Guild is due to expire in June.

"The signs are mixed whether this is going to be another difficult negotiation," Handel said. "The actors face all of the new-media issues that the writers and directors faced."

Winehouse dominates Grammys from afar

A resoundingly retro Grammy Awards left its biggest winners nearly speechless. On a night filled with nods to the show's 50-year history, the most trophies went to a 24-year-old singer known for her old-soul voice, and the most sought-after prize went to a veteran jazzman's Joni Mitchell tribute album.

Both Amy Winehouse and Herbie Hancock were dumbstruck by the honors, fumbling for words and thank-you lists, respectively.

"I can't believe I've won five awards," Winehouse said. She coyly sang "Rehab" and "You Know I'm No Good" via satellite link from London, then dedicated her record of the year trophy to her hometown, parents and jailed husband, "my Blake, my Blake incarcerated."

Hancock, whose "River: The Joni Letters" won album of the year, said after the show Sunday night at the Staples Center that it was "immeasurable how surprised I am."

Presenter Quincy Jones seemed even more excited for the 11-time Grammy winner, throwing his hands wide after reading Hancock's name. "Aaaahhh! Unbelievable. That's unbelievable, man," Jones exclaimed.

Industry observers had expected either Winehouse's "Back in Black" or Kanye West's "Graduation" to take the prize. There was speculation the two may have split the vote of younger, more pop-centric National Academy of Recording Arts and Sciences voters, leaving the door open for Hancock.

That result left the typically outspoken West in no mood to share his thoughts. West won four trophies, but after losing out once again in the album of the year category he'd made no secret of coveting, he skipped post-show interview rooms to instead pose for photos with his fiance and members of his entourage.

"I'm good," he said quietly, in response to questions about how he felt. It was a subdued echo of the exuberant call on his "Good Life," which won for rap song.

Winehouse, who won five of the six awards for which she was nominated, perhaps best embodied the evening's spirit of joining the old with the new. Her sound, cultivated on "Back to Black" by producer of the year winner Mark Ronson, blends '50s flavors with modern subject matter and hip-hop influences.

Along those lines, show producers began the evening with Alicia Keys singing "Learnin' The Blues" alongside archival footage of Frank Sinatra, a la Natalie Cole's "Unforgettable" duet with her deceased father in 1992.

"Yeah, Frank," Keys interjected during a Sinatra verse. "Tell 'em."

Beyonce was paired with Tina Turner for a showy — and leggy — rendition of "Proud Mary." Kid Rock joined up with Keely Smith, a winner in the very first Grammys in 1958, for "That Old Black Magic." Hancock and Chinese wunderkind Lang Lang did the dueling pianos thing for a compelling take on George Gershwin's "Rhapsody in Blue."

The Beatles were honored by performers from two new interpretations of their music, the Cirque du Soleil show "Love" and Julie Taymor's film "Across the Universe."

Memories dominated West's performance of "Hey Mama," a once-exuberant song from his 2005 album "Late Registration" that he has transformed into a somber tribute since his mother Donda's sudden death last year.

"Last night I saw you in my dreams. Now I can't wait to go to sleep," he sang in the night's most emotional performance.

Accepting the award for rap album, West spoke to his mother: "I appreciate everything and I know you are really proud of me right now and I know you wouldn't want me to stop and you'd want me to be the No. 1 artist in the world."

Veteran rocker Bruce Springsteen took home three Grammys, including best rock song for "Radio Nowhere." Chaka Khan picked up two trophies, including one for best R&B album for "Funk This."

Politics were a subtle backdrop to the evening. Democratic presidential candidate Barack Obama won an award for spoken word album, for the audio version of his book, "The Audacity of Hope." Presenter George Lopez took note of the historic nature of the Hillary Clinton and Obama candidacies, and will.i.am urged the crowd to vote after a strange free-wheeling freestyle billed as a "mash-up."

And finally, Hancock borrowed Obama's favorite campaign phrase, "Yes we can," when summing up the significance of a jazz artist winning album of the year. (The last was 1964's "Getz/Gilberto," a collaboration between Stan Getz and Joao Gilberto.)

"I'd like to thank the academy for courageously breaking the mold this time," he said. "This is a new day, that proves that the impossible can be made possible. Yes we can, to coin a phrase."

Hollywood writers back tentative pact

Striking Hollywood writers on Saturday gave resounding support to a tentative agreement with studios that could end a strike that has crippled the entertainment industry. However, it appeared the approval process might briefly delay their return to work.

About 3,500 writers packed the Shrine Auditorium in Los Angeles to hear from union leaders about the proposed deal that was finalized just hours before meetings were held on both coasts by the Writers Guild of America.

A person familiar with the guild's plan, who requested anonymity because of a media blackout, said the WGA board would meet Sunday and decide on whether to authorize a quick, two-day vote of its members to determine if a strike order should be lifted.

Giving writers a 48-hour window to vote on lifting the strike order would help alleviate concerns that the agreement was being pushed too rapidly by the guild's board.

If guild members support lifting the strike order, they could return to work as early as Wednesday.

"The feeling in the room was really positive," said screenwriter Mike Galvin, adding that no one at the Los Angeles gathering said the deal "was crummy."

Compensation for projects delivered via digital media was the central issue in the 3-month-old walkout, which idled thousands of workers, disrupted the TV season and moviemaking and took the shine off Hollywood's awards season.

"I believe it is a good deal. I am going to be recommending this deal to our membership," Michael Winship, president of the Writers Guild of America, East, told reporters before the New York meeting at a Times Square hotel.

Winship said afterward that he was encouraged by the membership's response.

"We had a very lively discussion. I'm happy with what happened. ... At the moment, I feel strongly it (the proposed deal) has a strong chance of going through," he said.

Writers leaving the two-hour-plus New York meeting characterized the reaction as generally positive and said there was cautious optimism that the end of the strike — the guild's first in 20 years — could be near.

Carmen Culver, a film and TV writer, lauded the guild "for hanging tough."

"It's a great day for the labor movement. We have suffered a lot of privation in order to achieve what we've achieved," Culver said.

Michael Moore, the Oscar-winning documentary filmmaker ("Bowling for Columbine") and a nominee this year for his health-care film "Sicko," attended the New York meeting.

"It's a historic moment for labor in this country," Moore told The Associated Press.

Winship cautioned that it's not a "done deal" until the contract is ratified by members who need to be polled by mail in a process that usually takes two weeks.

An outline of the three-year deal was reached in recent talks between media executives and the guild, with lawyers then drafting the contract language that was concluded Friday.

According to the guild's summary, the deal provides union jurisdiction over projects created for the Internet based on certain guidelines, sets compensation for streamed, ad-supported programs and increases residuals for downloaded movies and TV programs.

The writers deal is similar to one reached last month by the Directors Guild of America, including a provision that compensation for ad-supported streaming doesn't kick in until after a window of between 17 to 24 days deemed "promotional" by the studios.

Writers would get a maximum $1,200 flat fee for streamed programs in the deal's first two years and then get a percentage of a distributor's gross in year three — the last point an improvement on the directors deal, which remains at the flat payment rate.

"Much has been achieved, and while this agreement is neither perfect nor perhaps all that we deserve for the countless hours of hard work and sacrifice, our strike has been a success," guild leaders Winship and Patric Verrone, head of the Writers Guild of America, West, said in an e-mailed message to members.

Together, the guilds represent 12,000 writers, with about 10,000 of those involved in the strike that began Nov. 5 and has cost the Los Angeles area economy alone an estimated $1 billion or more. Studios are represented by Alliance of Motion Picture and Television Producers.

One observer said the guild gained ground in the deal but not as much as it wanted.

"It's a mixed deal but far better than the writers would have been able to get three months ago. The strike was a qualified success," said Jonathan Handel, an entertainment attorney with the TroyGould firm and a former associate counsel for the writers guild.

The walkout "paved the way for the directors to get a better deal than they would otherwise have gotten. That in turn became the foundation for further improvements the writers achieved," Handel said.