Why aren’t we watching scripted television?

A year ago, change occurred in America. I’m not talking about the economy or the election. I am referring to the strike by the Writers Guild of America (WGA).

The strike, the end of which marks its one year anniversary today, crippled the entertainment industry at a time when it was already reeling from a depressed economy and changing business paradigms. For you and me, it meant reruns and more reality programming.

When the strike ended, it didn’t magically fix everything. It took time for television shows and films to restart production. It took weeks – sometimes months – but we saw a return of some of our favorite casts and characters.

It should have been a rebirth. It should have been a renewal. Instead, the ratings numbers continue to be dismal for scripted television.

It seems as if people found other things to do and shows to watch during the WGA strike. Some shows that had little chance of survival, died prematurely. Shows that were solid before the strike came back with weaker ratings.

ABC’s Lost, which finally came back to television last month after a very long hiatus, has seen its ratings decline every week since its return. Things aren’t any better for other shows, many of which are bottoming out in viewership even as they improve creatively.

In an open market, we get what we ask for. Because so many people seem to like reality TV and the repackaging of existing products, we are essentially saying to Hollywood that we will accept less creativity. By ignoring fresh, creative ideas in favor of the latest American Idol or CSI: Wherever, we are killing scripted television.

The writers may have come out on top as a result of the WGA strike, but they also lost. America has failed to back up their victory by giving the creative men and women who write television a chance to be creative.

As a result, the writers are pitching stories and programs in an increasingly unfriendly environment for creativity. Studio heads would be happier to green light a reality show that costs less to produce and has a built in audience than risk millions of dollars on a show that might be the next Knight Rider.

This is a big problem, both creatively and economically. We need to fix it. Tomorrow, I’ll offer my solution.