On the other hand, some media writers work their asses off, and, after turning in their final drafts, wield relatively little control over what becomes of “their” work, and often receive relatively small compensation and credit compared with their directorial and studio-honcho counterparts. The hot, young Writers Guild of America (and no, I’m not a member) has ever-updated info on this year’s contract negotiations posted. Most of the WGA’s demands focus on three areas: creative rights (increasing writers’ participation by allowing them to sit in on production meetings and filming, and by having the writers remain employees of the studio for the duration of filming, so that they themselves can make script changes), credits (removing the “A Film By” credit for nonwriting directors, and giving writers equal credit to directors and producers in publicity campaigns for films) and residuals (increasing residuals for television sales to foreign markets, home-video releases and the three smaller networks — UPN, Fox and “the” WB — generated after a film or television show’s initial release).
“Looked at my kingdom/I was finally there/ To sit on my throne/As the Prince of Bel-Air.” Marx/Engels Internet Archive keeps a copy of Marx’s Manifesto of the Communist Party(as translated by Samuel Moore in 1888). Compare Will Smith’s lyrics to The Fresh Prince of Bel-Air theme song, or listen, if you really think it’s necessary, to a WAV from Sitcoms Online.