David Carr of the NYT has a nice little overview of the ramifications of the Writer’s Strike, which ended yesterday after four months. I think my favorite part of the piece is where he insinuates no one really cared that their shows were missing. I think there’s some truth to that.

It is equally true, however, that the strike was bad for writers in the short term. The delays caused by the strike prompted the studios to ask themselves a fundamental question about the need to finance all manner of pilots for a traditional upfront extravaganza followed by a traditional introduction in the fall. That system, fairly unchanged through the years, has historically been lucrative for writers.

Emboldened by the strike, the studios severed existing contracts with writers, successfully turned over more of their prime-time schedules to reality programming and vowed to hold the line on filming new shows for next season.

Some 70 development deals in which writers were essentially paid lucrative stipends to come up with shows that might not ever be broadcast are now gone, and they will not be coming back any time soon.

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