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LegalDispatch 0.49

THANK YOU

The last edition of LegalDispatch garnered more engagement than any previous edition. The feedback I received from your comments, emails, texts, and phone calls was truly overwhelming. I cannot overstate how warm and supportive everyone has been nor can I overstate my deep and profound gratitude for same.

One of the many common threads in the responses was the desire that I continue on with this newsletter. The vast majority of you encouraged me to “keep it real” by eschewing my previously stated focus on positivity in exchange for the truth — be it good, bad, or ugly.

Well, get ready and be careful what you wish for.

Kidding. While it’s nice to know that I can use this space to occasionally vent, I’m not going to take advantage of that privilege.

Just know how deeply appreciative I am for each and every one of you and I’m particularly grateful for your encouragement and support.

WORK UPDATES

I actually intended on publishing this last Friday, but work has really been crushing me. I wish I could say that this was all paying work, but a lot of it has been — as they say — “on spec.” Specifically, this includes some more revisions on PROJECT SPECTRE, which I’m happy to say is finally (for real this time) finished and out to producers.

In addition, I’ve been hard at work on pitches — and accompanying visual decks which really take quite a bit of time to build — for no less than three different potential TV projects. As I’ve noted here before — and as I’m sure many of you know either anecdotally or through direct experience — but the current television landscape resembles pretty much any location in The Last of Us. Which is to say that it’s all a horrible shitshow.

Now, you may be wondering, “If the TV market/landscape is so horrible, why are you bothering with so many pitches?” Great question. I’ll get back to you when I figure out an answer.*

*Beyond just, “I’m stubborn AF.”

Anyways… in addition to the aforementioned spec work, I’ve also been working away on PROJECT ARTERY (which I’m hoping to have a new draft of by the end of the week) and revisions on the screenplay for Too Dead To Die.

On the comic book front, I delivered three things recently: The script for the third issue of PROJECT RAMBLE, the first issue of a new, yet-to-be-announced Star Wars project, and the outline for the second issue of PROJECT HOURGLASS, the non-Star Wars Marvel mini-series I’ve mentioned before.

Art is actually starting to come in on the first issue of PROJECT HOURGLASS and it’s truly incredible. I can’t wait ‘til I can show it to you all.

WGA MATTERS

I recently spoke with a reporter from Variety about “why the WGA and Studios are on a collision course” towards a potential strike. You can read that article here.

In the article, I’m quoted as saying, among other things, that the notes process has become “abusive.” Because it has. But I wanted to take this opportunity to clear up a little bit about this comment.

First, I was speaking only about the television development process. (And if I’m being really honest, I was referring specifically to my LA Law experience.) I also want to be clear that while I think — know — that the TV notes process needs systemic overhaul, it’s overly simplistic to suggest that such reform can be achieved — or is best achieved — through a strike.

Let me zoom out a bit further and tell you about a dinner I had last night with a fellow WGA member. This’ll all become tied together shortly, I promise. At dinner, this writer — a Co-Ep level — was telling me about a room full of staff writers (junior level writers) he’s working with. They all want to go on strike in May. Their primary reason/motive is because they’re angry about how the television job market has radically shrunk recently. Short version: They want to go on strike to get more jobs.

I’ve heard this sentiment expressed by quite a few writers myself.

What does that have to do with the TV notes process? Well, in both cases writers are angry — quite justifiably so — about the current state of affairs, be it endless rewrites or fewer jobs. But the thing to keep in mind is that there are only two reasons for the WGA to go on strike: (a) as a form of protest; or (b) in order to win improvements in the MBA (Minimum Basic Agreement) that governs Guild-writing for the studios.

I humbly submit to you that the former is an immature, unrealistic, and Stupid Ass Fucking and Stupid As Fuck™ reason for a labor action. Which leaves us with the alternative reason: We go on strike in order to win concessions from the studios that will improve the lives/careers of writers. In other words, we should only go on strike to win changes/improvements in the MBA. The MBA. That’s it. That’s the ballgame. The only ballgame.

Do I think there are ways to improve the TV development process through the MBA? Yes. (Mandatory steps for pilots just like there are in features is one idea, so they at least have to pay for the privilege of demanding multiple drafts.) But I think that’s a heavy lift and I think we have other, bigger, more important fish to fry. (Just my opinion.)

That leaves the issue of fewer available jobs for writers. This would be a great thing to ask for and get, but I don’t see it happening. There are smarter folks than I out there, so I’d never say it’s impossible, but I’m having a hard time seeing a way to negotiate for the studios to commit to hiring more writers or creating more writing jobs. (See also, shelving/canceling TV shows and movies for tax write-off purposes.)

All of which is to say — to those of you in the WGA — please put your justifiable anger aside and focus only on what can be bargained for and won in our upcoming negotiation with the studios. Everything else is, unfortunately, a waste of time.

TORRENT

The first issue of Torrent is out this Wednesday. (And, if I’m being honest, that’s why I’m putting this newsletter out today rather than waiting for the customary Friday.)

aiptcomics.com published a simply GLOWING review today which you can check out here, but here are some choice quotes:

“A nail-biting, invigorating issue.”

“Guggenheim does a good job” (I admit, I stopped reading after this.)

“Expertly paced and plott[ed]”

“Art by Justin Greenwood is great” (I agree)

“A great first issue for a superhero book”

Under the heading of “keeping it real,” I’ll be honest and say that I wish the pre-order numbers for this book were higher. I know that a lot of that has to do with the fact that orders for books all across the board are down. All of which is a long way of saying that if you’re inclined to support the book (by buying it), it would really help.

Part of the challenge, I characteristically realized far too late, is that it’s really, really — REALLY — difficult launching a new superhero franchise if you’re not DC or Marvel. In fact, even DC and Marvel have had a very difficult time making new properties popular in recent years.

That being said, the fact that Torrent is introducing a new superhero — in fact, a new universe of superheroes — is what excites me so much about it. Our popular culture is bereft of original stories that aren’t prequels, sequels, or otherwise based on preexisting IP.

FANBASE PRESS

Last Sunday, while the rest of America was watching the Super Bowl, I participated in a rather fun panel discussion with the very lovely folks at Fanbase Press. Among the various things we chatted about was James Gunn’s DC Studios plan and presentation. You can check out the podcast here.

Well, I believe that’s enough rambling from me for this week (though I reserve the right to post again on Friday if for no other reason than to get back “on schedule”).

Thank you all again for reading, subscribing, and encouraging me.

Be good to each other.

Best,

Marc

Encino, California

2.14.23