Using the directors' contract as a jumping off point, the writers came to an agreement with the producers. The end of any strike brings the question, "Was it worth it?" I think the producers got pretty much what they wanted, the writers, not so much.
The producers were able to dump a bunch of lousy new shows and streamline the pilot process (not produce as many that will never see the light of day). They kept the union from having jurisdiction over reality shows and certain animated shows and also kept a three week non-residual window for new online content.
The writers got what they said they wanted, which was residuals for web content (after a flat fee for two years) and increases in movie residuals. Strangely, they didn't get an increase in DVD residuals, which was one of their original beefs.
In the end the settlement means that the successful writers will do better and there will be fewer opportunities for new or less successful writers for cable and television shows. And they gained all of this while throwing half the industry out of work for 100 days. The flip side is that if scripted entertainment delivered over the web is the wave of the future, tons of new writing jobs will be created. You can decide which side got the better end of the deal. I'm thinking it's the producers who are lighting the cigars.
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