DISQUS

Asking for merchandising is like a record company wanting a piece of concert revenues. But if The Food Network was to extend its revenue streams to include ancillary activities,then they need to come up with a financial enticement. Madonna made a severely large advance on her next concert tour gross, movie appearances, albums, etc.

It's obvious that a Food Network show can often launch a thriving business centered around the very star that it created. So, pony up more advance money, fund some of the investment in to the various side projects and everyone is happy.

but to just expect a share of cookbook revenue without an initial incentive is wrong.

there is a parallel in the music biz. Recording artists want to have digital revenue treated as licensing revenue instead of royalty income. The latter is typically paid out at the artist's royalty rate and subject to the various recoupments associated with a record deal. However, most artist deals have provisions that have a 50/50 split on licensing revenue. This type of revenue may not even be subject to recoupment.

The Artist's case is based on the fact that labels "license" their content to services like iTunes. But this is really just semantics. Still, the distinction has real fiscal impact to both labels and artists alike.

This is why I am very interested to see how the issue of internet income is resolved in both the WGA strike and with simulataneous releases such as "The Bourne Ultimatum."

What is the real risk for a UK/Canadian writer if they have no intention of ever joining the WGA?

Also, is there a WPO issue at stake in the WGA strike? Do other countries pay DVD/Internet royalties to writer's in their country?

It's good to see the TV academy taking a strong stance. It would just be awful should the 20 producers on the next Fox sitcom clutter the stage durinng the Emmys.