Elegance, and solving the Pun-Pun problem

One of the things that gives me immense pleasure in the world is solving a problem.

It’s why I do cryptic crosswords.
It’s why I started out as a programmer.
It’s why I became an internet strategist, then a website editor.
It’s why I write.

In writing, it’s finding the right line, the right character, the right plot twist, the right set piece.

As every hacker, writer, strategist, and crossword-setter knows, there are many acceptable solutions to a problem. But only a few are elegant.

Which brings us to Pun-Pun.

You may, if you’re reading this blog, be aware of my fondness for role-playing games such as Dungeons and Dragons. A selection of rules which allow you to create characters, who can then go and fight monsters.

As with any set of rules, you can find places where they allow you to do things that the creators might not intend. In hacking and MMORPGs, these are known as exploits, or (sometimes) just sploits. Where you take advantage of someone not seeing all the consequences of the rules they’ve made.

And, just like in hacking or MMORPGs, people have found exploits in D&D. Sometimes to get an unstoppable character, but more often just for the sheer hellacious fun of it all. It’s problem solving at a very pure level. Given this set of rules, what’s the most powerful character you can build?

Well, here he is: Pun-Pun the Divine Kobold, created by Khan the Destroyer.

For those of you who don’t want to work through the reasoning: A Kobold is one of the crappiest monsters in D&D. They exist purely to have the shit kicked out of them by first-level adventurers. But, thanks to some hard thinking, Pun-Pun can become a God.

By fifth level.

It’s the elegance that makes it great. (Of course, if you’re not going to read it you’ll just have to trust me on this one.)

Think of it: A simple Kobold! With the power of a God! Surely humanity is Doomed!

But no! On the horizon: a Saviour!

LordOfProcrastination has found a way for a simple Elf to raise themselves to Divinity.

By fourth level.

And the way they achieve this divine power is by hiring a few assistants, casting a few spells, and then throwing themselves off a cliff.

Elegance. I love it.

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A door just fell on me.

Walking into work just now, I opened one of those ten feet high doors made of solid wood.

(Not randomly. I have to in order to get to my desk.)

At which point it fell off its hinges. Fortunately I was able to step to one side before being squashed like a bug.

After checking that I was unharmed, two of us tried to lift the door to one side of the room.

We couldn’t.

I suspect my employer is trying to save money on both maintenance and staff costs in one fell swoop.

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I went on a negotiating course once, you know

So, here we are again. The AMPTP has thrown the toys out of the pram, and my cautious optimism has come to naught.

Let’s delve a little deeper.

Datestamp: 6th December 2007
Nikki Finke reports rumours that the AMPTP has no intention of making a deal, and is planning to storm out of the talks

Datestamp: 7th December 2007 (morning)
The WGA issues a statement saying they’ve heard the rumours, and intend to stay at the bargaining table no matter what.

Datestamp: 7th December 2007 (afternoon)
The AMPTP presents an ultimatum – withdraw the following items from the bargaining table immediately, or we’re walking away. The items in question are:

  • Allow a third party other than the studio to determine fair market value for a property.
  • Allow WGA to represent writers/storyliners/editors (call them what you will) for reality TV shows
  • Allow WGA to represent animators
  • Allow WGA to refuse to cross picket lines of other striking professionals (eg Actors, Directors)
  • Revenue to be dependent on overall gross

Datestamp: 7th December 2007 6:05pm
The AMPTP walks away, refusing to negotiate further.

Now, as far as the WGA are concerned, these five items are still on the table. Still negotiable.

And, as previously discussed, the reason the WGA is on strike is Internet Residuals. All of the above points are potentially sacrificable for movement on Internet Residuals.

To the title of this post.

I was on a negotiating course once, you know. And what you do in a situation like this, is you list the things you care about, and you trade them off.

So if the AMPTP finds these five negotiable items so terrible that they must be taken off the table, there’s a very simple solution: trade them for some movement on Internet Residuals. Boy, doesn’t have to be much. Just show willing.

Demanding that a bunch of items have to come off with no trade or you walk, is not a negotiation.

The companies are currently claiming that the proposals that they are offering right now will cost $130 million. (The source implies each year, as it then goes on to mention current yearly spend. But let’s assume, more reasonably, that this is over the lifetime of the next three-year contract.)

Unfortunately, the AMPTP has declined to show their workings for this figure. However, the WGA has done the workings for the cost of everything the WGA are asking for right now.

It comes to (drumroll): $151 million over three years.

(The WGA helpfully even breaks down how much each company would have to pay.)

And this is our starting point for negotiations.

So.

If the AMPTP are serious, we should be at the negotiating table right now, yes? We’ve established that the things they’ve walked out over are negotiable. We’ve established that the price difference is affordable. What conclusions can we draw from this?

Well, sadly, there’s only one conclusion, and that is that the AMPTP is not interested in resolving these issues and having the writers return to work. They’ve attempted to pin the blame on the negotiating committee, but that has failed.

The bigger question is this: Why don’t they want to settle?

Well, at this point I have to introduce a new concept into the discussion: force majeure.

The studios have a lot of high-money contracts with various producers. By way of an example, let’s look at a deal that’s already expired, that with Cruise/Wagner, Tom Cruise’s production company. Paramount were paying Cruise/Wagner 10 million dollars a year in exchange for a first look at anything they produced. (It should be noted that this deal was not extended – so, actually, that’s made up the difference between the two proposals right there.)

There are a lot of these Producers with Overall Deals (or PODs). They cost a lot of money. And this pilot season has not been a good one.

Meaning a lot of money is going out for no good result.

Wouldn’t it be nice if you could, I don’t know, slim the number of PODs down somewhat?

Well, turns out they all have force majeure clauses in their contracts. So if they weren’t able to develop shows (for example if there was a writers’ strike) for, say, two or three months – they could all be fired. Potentially freeing up a lot more profit.

What’s that you say? We knew this was a possibility back in November?

Well. Yes. I suppose there’s always a possibility that we’re dealing with scumsucking lowlife pondscum who’d screw over anyone that got in their way of a quick buck, instead of a human being.

But, you know, I like to think the best of people until they prove me wrong.

Unfortunately, this last AMPTP manoeuvre would, indeed, seem to prove me wrong.

New prediction: the strike lasts until February, at which point producers – real producers – will start getting fired.

What’s the betting the AMPTP then attempts to blame that on the writers?

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The latest news from the world of airport security

So, Loli and I dropped off a friend at the airport yesterday, and it turns out that they have a new question at the check-in desk.

“Have you left any electrical device with someone else to be repaired since the last time you used it?”

Fair enough. That laptop could be full of all sorts of bombs, germs, or other nastiness, ready to be triggered the next time it’s used.

The best bit, though, was that we found out what the security protocol is if someone answers yes.

The poor bugger behind the counter has to switch it on.

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Another day, another rollback.

Well, the first round of the restarted talks has finished.
Reportage at Deadline Hollywood, The Hollywood Reporter, and Variety.

It’s another joke offer. Let’s crunch the numbers:

The studios are offering a fee of $250 to put a TV show on the Internet for a year. And that’s after six weeks “promotional” use, during which they would still sell ads in the show, paying nothing at all.
source

(To put this into context: a cinema release loses 46% of its audience from the first week of release to the second week of release. The value of a narrative repeat drops very quickly indeed after the initial showing.)
source

The studios currently pay $21,078 to the writer for the first repeat on one of the big networks.
source – PDF

So, if the network streams a show on the Internet instead of repeating it, they save over $20,000 in payments to the writer.

Minimum.

This figure becomes even larger every time they drop another repeat off network TV because people can see it on the Internet instead.

Let’s just look at that again.

If we accept this deal, we lose money.

All this before we even look at the other things the AMPTP are so generously offering us. Like, for example:

  • No residuals for showing a cinema film on the Internet
  • WGA not to ever get involved in any negotiations on made-for-Internet content

source

Now, I’m sure that this is just another negotiating tactic. Here is our ridiculous offer, what’s that, you don’t accept it? You bad bad people. Here is our slightly less ridiculous offer. And so on, and so on, kicking and screaming all the way until finally they agree with bad grace to something we can all live with.

But you know what, AMPTP?

Putting a ridiculous offer that we can in no way accept on the table does not make you look like a smart negotiator.

It makes you look like an asshat.

Please come back with something serious on Tuesday.

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Strike no-news.

Well, the AMPTP and the WGA are sat back at the table now, and beginning their talks.

(That’s if I’ve calculated the time differential between here and LA correctly.)
(Said time differential is, of course, why I can’t do the buttons up on my jacket properly any more.)

There’s a news blackout at the moment to help both sides make a decent deal without all the shouting. Let’s hope they can come up with something that we can all think is reasonable.

I’m hopeful.

In the meantime, though, Writers’ Guilds throughout the world are holding a day of solidarity.

For me, that’s going to take the form of a public demonstration in London. Your local Writers’ Guild will have more information about demonstrations local to you.

And there’s swag, too.

So if you can make it, come along and show your support for the writers. I’ll be there. Say hi.

Lucy’s also organising something in Bournemouth if you’re closer to her than here.

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So, Piers, what can I do to ensure the writers get a fair deal?

Well, funny you should mention that.

To those of us not in LA at the moment, it’s a bit difficult to get up and join a picket line. We need another way of bringing our sympathy with the writers to the studios’ attention.

So: send the moguls a box of pencils.

I’m serious.

It costs one dollar to have a box of pencils posted to a studio. That’s about 50p.

Twelve pencils. In a box. Unsharpened so they can’t hurt themselves. Pencils from sustainably managed forests, so it doesn’t impact the environment. And with an address so that they can be sent on to programs teaching kids how to write. (Because, after all, what’s a mogul going to do with a pencil? It’s not like these people can write.)

What does a box of pencils achieve?

A box of pencils doesn’t achieve anything.

But it’s not a box of pencils.

It’s a pallet of pencils.
It’s a truck of pencils.
It’s a dozen trucks of pencils.

Suddenly, it’s a message.
And, most importantly, it’s a symbol.

So if you support the writers, send a box of pencils to the AMPTP.

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The Internet. It’s too new!

So, according to the Studios, the use of any content on the Internet is promotional.

Even if the entirety of the work is shown and they make money from it.
source, point 2(a) and (b)

Mm. Interesting. I wonder how much those moguls think these new media streams might impact their bottom line? I mean, can’t be much if it’s just promotional, right?

In case you’re wondering what the title of this post refers too, it’s from a linking piece on the Daily Show, where Jon Stewart represents the view of the corporations on the Internet. “Can we make money on this or not? I don’t know! It’s too new!”

He then points out that all of his Daily Shows are available online.
Which has advertising.
Sold for actual, real money.

Perhaps unsurprisingly, many people have linked to the clip of this piece which was posted on YouTube

But if you follow the link above, you’ll see no Jon Stewart. Instead, there’s a DMCA copyright takedown notice.

Which is bizarre.

I mean… why would they want to take down a copy of their content on YouTube?

It’s just promotional, right?

But, hey, here’s an embedded copy of the video for you from Defamer.

No need for me to link directly to the Daily Show site.

I’m certain the studios won’t mind.

After all, it’s promotional.

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I’m It

Tagged by Helen. So here are five things about me which other people might think lame, but which make me who I am.

1) I cry at sad stories.

Including but not limited to Casualty last Saturday, and the sad song that Jessie sings in Toy Story 2 about how people grow up and grow apart from the things that they love as children.

Also and particularly, in one of the Doctor Who books. It’s called Happy Endings, and is written by Paul Cornell, who now writes for the TV series.

It’s the seventh Doctor. One of his companions (Bernice) is getting married, and the book is set at the wedding.

Despite various complications, she’s finally tied the knot and the Doctor (as is his wont), nips out back and heads toward the TARDIS, preparing to slip quietly away before anyone notices. Just an old man, preparing to travel the universe on his own. Pretending to himself that he doesn’t need anyone. That he’s fine on his own, and he’ll just quietly disappear.

And then Bernice appears and tells him to come back inside, where it’s warm, and he has friends that love him.

And he goes back inside.

And here I am, writing this, in an open plan office, crying. I don’t think anyone’s noticed. Shh.

2) I’ve recently started playing Dungeons and Dragons again.

And enjoying it.

3) I’ve just bought a new dictionary.

And I’ve been so excited about it that I’ve told everyone within nattering distance at both places I work how good it is. Several times.

Sixth Edition, baby, that’s where it’s at.

4) I like programming

It’s fun. Especially on Unix systems. But not C, because, frankly, pointers suck. Give me something a little more high-level to work with, eh?

5) I enjoy doing medium strength Cryptic Crosswords

Quixote in the Independent is good, as are many of the setters in the Sunday Times – though as they don’t credit their setters, you never know whether you’re going to get a good one or a bad one.

But I get really annoyed if the clues aren’t Ximenean.

I tag Loli, Christine, William, Jason again (because the holiday-taking slacker hasn’t got round to it yet), and Phill.

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Put the pencil down, and move away from the keyboard

Well, iacta alea est, as Julius Caesar reportedly said before entering a big fight that he really didn’t want to have.

No deal was reached yesterday, so as of 12:01am today, the Writers’ Guild of America is on strike.

Here’s what we’re asking for

It’s not much.

But as you can see here, the studios don’t want to engage us on these issues.

The showstopper is a very simple one: We would like a share of the money coming in from the use of our work delivered electronically, while the companies would prefer to keep all of that money for themselves.

What that share actually is, is negotiable.

That’s it.

It’s not about DVDs, it’s not about being greedy, it’s not about sticking it to The Man.

It’s about being fair.

So what does this mean to writers based in the UK?

Well, we can still sell to UK producers. Also Canadian, Australian, European, and so forth.

What you mustn’t do is help the studios out by selling your work to an American producer until this strike is over.

There are two reasons why this is a bad idea.

Firstly, if you perform work for a company during the strike, you will not be allowed to join the WGA after the strike is over. Which means no work from America, the largest market for writing in the world. You want a career, don’t break the strike.

But there’s a second, stronger reason.

Because it would be wrong.

The reason 12,000 people have put their pencils down is to ensure that in the future, when your work is used, you will get an equitable payment for the work that you have done.

Don’t let them down.

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