Devin "Legal Eagle" Stone breaks down the verdict in the E. Jean Carroll trial for us. Many Trump supporters won't let this come between them and The Man They Love but with each passing Trump scandal, it becomes harder for them to claim they're the party of "Law and Order" and "Family Values"…

It's Mother's Day so here's a replay of a piece I first published here on December 16, 2012 about my mother. In case you haven't read any of the other essays I've written about her, you should know that she was an extraordinary lady who did just about everything right when it came to rearing and mothering me. I did really well in the Parents Department…

My mother was a very intelligent woman and until about the last six weeks of her life, she was in possession of darn near all her mental faculties. As I've mentioned here, I spent much of the last decade hearing many of her many doctors hint or even state that she wouldn't be around much longer. She outlived all those predictions and even outlived one of those doctors.

In the last few months, two things made me realize they were the last few months. One was her primary care physician Dr. Wasserman changing his tone. He never said "Your mother's going to die soon" but he didn't have to. To be a good doctor, you obviously have to know a lot about how the human body works and what kind of pill or procedure fixes this or that. You also have to know how to talk to patients and their loved ones; how not to exaggerate or underplay what you know with reasonable certainty. I once asked my own doctor if in Medical School, he had to attend classes called "Breaking Bad News." He said yes, sort of. They weren't called that and there weren't enough of them…but it was a skill he had to learn just as sure as he had to learn how to stop bleeding or cure migraines or write illegible prescriptions.

Dr. Wasserman is real good at speaking between the lines. What he said and what he didn't say made me realize that the end was near for my mother.

The other indicator was that she was starting to get confused about things that had never confused her before. What day of the week it was. Names of people she'd known for years. I had long since taken over all her finances and bill-paying but about two months before she passed, she wanted to sign a certain check herself. And when she couldn't figure out where to sign, that was a bad indicator.

Before that, I used to tell friends, "She's a smart lady but when she gets sick, she gets stupid." That was why she needed me around. When she was well, she was fine at running her life and getting things done. She might need me or one of her endless stream of caregivers to drive her somewhere and then push her about in a wheelchair but she always knew where she was going and what to do when she got there. It was mainly her eyesight, not any mental deterioration, that prompted me to assume checkbook duties. When alert, she could take care of herself…and did.

She insisted on living alone after my father died. Other arrangements were proposed and rejected. Throughout four decades of married life, she'd lived by his timetable — and for a long part of that, mine. She got up when it was time to get him off to work and/or me off to school. She ate when we ate…and between his food preferences and my food allergies, it was usually a matter of eating what we would/could eat. When there was but one TV in our house, it was usually set to what he or I wanted to watch. Later, when I got a set for my room, the one in the living room was sometimes tuned to what he wanted to watch but not always.

Shortly after we lost him, I sat her down and told her I wanted her to be self-indulgent; to make wishes that I could make come true. She no longer had to cater at least in part to his needs and since I was living elsewhere, mine were of near-zero concern. It was time, I told her, to reorient her thinking to what she wanted and only what she wanted. She said, "Let me think about this for a few days." A few days later, she told me, "I've decided I want to live on my own schedule. I want to eat when I want to eat, sleep when I want to sleep, watch what I want to watch. Would that be okay with you?"

It was, of course, okay with me. How could that not be okay with anyone? So to the extent her eyesight, limited ability to walk and a few doctor's orders would permit, that was how she lived…and in the same house, with my old room converted to a den where she could smoke and watch TV at any hour.

She couldn't get out of things like having to go to the hospital at a certain time for a doctor's appointment but to the extent she could, she eschewed all demands to do anything when she didn't want. It was understood that when we had a date for me to take her out to dinner, she might just call me at the last minute and say, "I don't feel like it tonight."

For years, she'd loved Cirque du Soleil and I took her to see it whenever one of its traveling companies ventured near. One time, I called her and mentioned that a new Cirque show would be in Santa Monica in a few months and I was going to order tickets. "Don't get one for me," she said — to my great surprise. I was expecting joyous anticipation and when I didn't get it, I asked how come…

"Because the night your tickets are for, I might not feel like going. If you buy me a ticket, then I have to go." She still loved Cirque but she loved even more having no demands on her time.

That was why she recoiled in horror whenever I mentioned the dread words, "assisted living." She accepted the need to have a caregiver around a few hours a day, though she resented having to get up at a specified hour to let one in. She hated the idea of having one on the premises full-time and would often send one home early. The idea of relocating to an Assisted Living Home was even more dreaded. "I'll die before I let that happen," she'll said…and I knew she would. It was bad enough that she had to spend as much time as she did in the hospital with all those strangers around telling her when and what to eat.

Those who observe the time stamps on these postings note that I keep odd hours. In her final decade, my mother's were odder. She was as likely to be up watching TV at 4 AM as at 4 PM. She ate meals so irregularly that she couldn't classify them as breakfast, lunch or dinner. They were just meals.

I arranged with two nearby restaurants to deliver to her and to charge everything — the meal, the delivery fee, the tip — to my credit card. She just had to call one and say, "I'd like chicken tonight" (or shrimp or beef or…) and within the half-hour, a man would bring a freshly-prepared, low-sodium dinner to her door. The problem with this system? She might not feel like waiting the half-hour. Or she might not get the craving 'til after 10 PM when both restaurants closed. So she'd pop a Stouffer's frozen entree into the microwave and that would be dinner…or maybe breakfast.

MSNBC used to air three hours of Don Imus from 3 AM to 6 AM on this coast. Who would be up watching at that hour? Often, my mother. She didn't like Mr. Imus but she liked the lively discussions on his program and enjoyed, she said, when his guests often put him properly in his place. In 2007, he got himself fired because of one particular remark that many took as racially-offensive. My mother was disappointed to lose her middle-o'-the-night entertainment and a bit bewildered. As far as she was concerned, this was like firing Don Rickles for calling someone a hockey puck. Imus, she felt, said something stupid and insensitive about as often as he threw to commercial. Why did that offensive remark doom him when the eighteen the day before hadn't? Or the 143 the previous week?

She never warmed to his replacement, Joe Scarborough. She thought he was just as miserable a human being as Imus but Imus at least didn't pretend to be anything else. Imus also didn't talk so much about the boring minutiae of Congress and he gave his guests a fair shot at telling him he was full of crap. She found her way to other 3 AM programming (often QVC or some other channel via which she squandered my inheritance) and when I later told her Imus was back on another channel, it was like, "I'm over that." In my ongoing monitoring of my mother's mental state, I thought that was a good sign.

I'll get back to the topic of Western Publishing and its panel borders soon, I promise. Right now, we start with this question from Mark Palko…

One of the dirty little secrets of Netflix, et al. is that, despite all the hype, viewers spend most of their time watching older shows like Golden Girls or M*A*S*H or NCIS. (I recently rewatched Justified.) How do streaming residuals for a show like Welcome Back, Kotter compare to what you'd see with broadcast or cable?

It's a matter of comparing something to nothing. I have received zero streaming residuals for Welcome Back, Kotter. If and when I do, I'll bet you the check won't be enough to buy me a Milky Way candy bar…not even the fun-size kind.

And here's one from my old pal Jerome Sinkovec…

Mark, I was wondering…if you are writing on your blog, are you "crossing the picket line" of the Writers Strike?

No…the strike is against certain companies for certain kinds of work. I have stopped laboring on a project I had going with one of those producers and I'm instead working on a couple of books and on a comic book or two. One of them is about this really stupid barbarian who wanders around with a spotted dog. A lot of writing is outside the jurisdiction of the Writers Guild of America. Even though it would mean I'd be totally out of work (and therefore, income) during a strike, I wish that it was all covered.

Lin-Manuel Miranda, Josh Groban and the current casts of Hamilton and Sweeney Todd get together outside the Richard Rodgers Theater on W. 46th Street in New York to merge their musicals. Thanks to Tom Galloway who alerted me to this…

I will be the guest live this evening at 6:30 PM (West Coast time) on the San Diego Comic-Con Unofficial Blog Podcast. If the show's in progress as you read this, it'll appear in the window below. After the show's over, it'll replay in the window below. Ain't modern technology amazing?

My old pal Pat O'Neill sent me this the day after this year's Tony nominations were announced…

The Tony nominations were announced yesterday and the ceremony is scheduled for June 11, to be broadcast by CBS. If the WGA strike is still going on that date (as most seem to be predicting), I assume there will be pickets outside the theater.

This leads to a question: Most of the actors who will be on stage for this show are not only members of Actors Equity, but of SAG-AFTRA. The latter has announced it is supporting the WGA and will honor its picket lines. (For that matter, so has IATSE, representing the technical people who would be involved in the broadcast.) So, what's the likelihood that the Tony presentation broadcast will be canceled or postponed? It's an important question for the theater community, because the Tony broadcast is a big "commercial" for Broadway.

Well, first of all, I question that "most" are predicting the strike will last that long. Writers Guild strikes do tend to last long but a settlement in the near future is not impossible. In truth, no one knows. In the past, they've lasted a long time for two reasons, one being that the producers sometimes have a hard time agreeing among themselves about a new offer.

Secondly, Writers Guild negotiations tend to be the battleground for issues that may eventually lead to increases or rollbacks for some or all of the other Hollywood unions. This is one thing it helps to keep in mind to understand Hollywood strikes. To you, it may look like it's an intermittent battle between The Producers and The Writers Guild. But from the viewpoint of the AMPTP, it's one long never-ending series of battles between them and 58 (that's right — I said FIFTY-EIGHT) guilds and unions. What they give us or take back from us impacts what happens with the other labor organizations.

It's like if you have a big family and you give one kid a bicycle, you're probably on the hook for more bicycles. It's called Pattern Bargaining and they can sometimes manipulate things to their advantage but it can also sometimes work against them.

In past strikes, we did not have the unusual timing of this one. The Directors Guild is commencing negotiations on its new contract tomorrow and the actors begin formal contract negotiations on June 7. I'm not saying this will cause the WGA strike to end sooner or later; merely that you can't look at past years and figure out how that will impact any of the bargaining for any of these guilds.

In the past, there was almost zero chance of all three being on strike at the same time. It's still unlikely but it's not impossible. The current DGA and SAG-AFTRA contracts both expire on June 30. The AMPTP may feel the need to get our deal wrapped-up before dealing with possible strikes from those guilds. Note my use of the word "may." Nothing is certain.

Also, past Writers Guild strikes were at a time when the broadcast networks were frantic to get things settled so as not to disrupt their Fall Seasons. Nowadays, the Fall Season isn't a major "thing" at those networks and those networks are not driving the AMPTP bus the way they used to. So we're really in uncharted territory.

So…as for how the work stoppage may affect The Tonys, this is one of my biggest "I dunno" answers. I dunno…and it's not just about The Tonys. There are a lot of shows that have to decide what they're going to do. And if there is a picket line outside whatever theater will be the location for the Tony Awards telecast, it may be up to individuals to make a difficult choice. Maybe the show will be postponed.

The DGA and SAG-AFTRA can't strike until their contracts expire at the end of that month but a general labor unrest could start well before then. Might it make a difference? It might…but I have no friggin' idea how. No friggin' idea.

I feel the way most of you probably do about the verdict in the E. Jean Carroll matter.  And it's educational in a way.  If you're the kind of guy who likes to to grab women by their private parts against their will — and I sure hope for everyone's sake, you aren't — it's probably not a good idea to get recorded bragging about how you can grab women by their private parts against their will. It's almost as bad as getting recorded saying you want someone to find you 11,780 votes — one more than your margin of defeat.

If we're going to mention newspaper strip guys who drew a lot of strips, it's only fair to mention Mell Lazarus, a very funny man who had two long-running strips…

Miss Peach (eventually renamed Ms. Peach) started on February 4, 1957 and ran until September 8, 2002. That's 16,652 days.

Momma started on October 26, 1970 and ended July 10, 2016. That's 16,694 days.

Together, they add up to 33,346 strips…and Mell also wrote but did not draw a couple of other short-lived strips. There seems to be some argument among cartoonists and Friends of Mell as to whether or not he ever had assistants. I seem to recall him telling me that he did at times but that may have been with gags, not drawing. Others say he did it all himself so I'm not sure. Both looked like strips that one guy could draw several of in a day.

But in any case, the record for launching one newspaper strip and drawing it day after day after day, still belongs to Russell Myers on Broom-Hilda. Today's Broom-Hilda strip is #19,378. But it should be noted that Mell Lazarus came close…twice!

On this blog, I often tell you about talented people I know…and I know a lot of them. One of my more interesting friends is the international performance artist, Ptychka…a person who does so many things, it's hard to put them into any one category. Ptychka writes, she acts, she models, she dances, she performs amazing aerial choreography, she makes music, she sings…and she does all these things in English and Spanish and French and Russian and Japanese…

One time when she dropped by, my partner Sergio Aragonés was here and the two of them began talking in several of those languages. I didn't even understand the occasional parts of the conversation that were in English. You can read more about her at this link. It discusses her newly-released Japanese-inspired song, "Ichi" — which you can listen to in the embed below. You're going to hear a lot about this lady…

My Great Interrogator, Brian Dreger, writes to interrogate me thusly…

I am re-reading the DC Archive editions of the Legion of Superheroes (I find these old stories charming with their simplistic storylines, and I love this eras artwork). But on the inside page with the copyright info, I noticed this credit: "black-and-white reconstruction on selected interior pages by Rick Keene." What does that mean (all the stories printed inside are in color)? And why would they need to be reconstructed? As far as I can tell, these stories are from the late 1950s & early 1960s.

Okay. At some point in our history, the coloring of comic books switched from what were sometimes called "hand-cut" color separations to digital color separations. "Hand-cut seps" were done by hand with people cutting multiple overlays for each page and it was a tedious, labor-intensive and not all-that-good process. The digital kind are done on computers.

Reprinting the latter merely involves using the original digital files again and those are almost always available. Digital files are a lot easier to store than the old film was. They don't rot and it's easy and basically free to make plenty of back-up copies.

Reprinting comics from the earlier era can be way more complicated depending on what source material is available. This would be the case with anything from the seventies or earlier and some comics from the eighties. The absolute best thing would be if you had access to the film or negatives from which the original printing plates were made.  That material though is almost always long-destroyed or thrown away…and even if it is around, it's probably decomposed.  If you do locate good film, it may be difficult to adapt it for certain modern-day printing techniques.

In the absence of that, you have two choices. You could scan copies of the printed comics in color and have someone do a lot of computer clean-ups and adjustments on the scanned images. This is a form of reconstruction but often, it yields a product that looks a bit muddy and has all or most of the flaws of the cheap, original printing.

Or you could do reconstruction starting with the original black-and-white image that the artist(s) drew. This work would have to be recolored and you would then have the option to copy the original coloring or to do new coloring. Since the work would now be printed with better printing on better paper, and since coloring techniques have improved since then, you would probably opt to have someone do new coloring that didn't slavishly follow the original coloring.

But to reconstruct, you need that good black-and-white image of the page. Once in a while, the original art is available and that can be scanned but usually those pages are hard if not impossible to find.

Publishers usually (not always) kept good black-and-white photostats of their published material in case they wanted to reprint it later or some company overseas wanted to buy the rights to reprint that material in their country. Those stats would enable you to begin reconstructing the work but sometimes, they just plain don't have any. They were lost. They were thrown away. In a few cases, a publisher somewhere — let's say in the Republic of Botswana — purchased reprint rights so someone at the company shipped a set of stats to Botswana not realizing it was the company's last set.

Also, comic book publishers have sometimes been some of the cheapest people on this planet and they didn't bother to make good stats. That is an example of a widespread problem that many businesses in this country face. The folks running the company at one point didn't want to spend the dough to preserve certain assets which could now yield revenue.

You're probably aware that certain movies or TV shows cannot now be shown or monetized via home video because no decent copies of them exist. The same thing happened with some comic books. Someone didn't want to spend money on preservation. If they made stats at all, they made them on really cheap paper and the images have faded or the paper has turned brown and moldy.

So what they do in this case is to locate a printed copy of the comic, scan it and then have someone filter the color out of the page leaving the black-and-white line art. But the process that takes out the darker colors will probably take some of the black lines with it so the pages may need serious retouching. This is what they mean when they say "restoration." It's doing a digital re-inking of the pages to repair damaged linework.

So that's what they're talking about when they mention "reconstruction."  Someone had to fix up bad source material so that the comic book could be reprinted.  Sometimes, minor surgery is necessary.  Sometimes, major.  Sometimes, it's done so well that it's hard to detect.  At other times, it's obvious and collectors have been known to complain.  My own observation is that it's getting better and better…with occasional exceptions.

I love websites that provide valuable services and ask little or nothing in return. One such is The San Diego Comic-Con Unofficial Blog, run by a couple of enthusiastic folks who love Comic-Con (the one in San Diego) and WonderCon (the one in Anaheim) and make a great effort to help others enjoy those cons as much as they do. Their enterprise is totally unaffiliated with the conventions themselves but it offers valuable information and suggestions to make your con-going experience easier, safer, less expensive and just plain happier.

If you are thinking of attending either con any year, you should keep an eye on the SDCCBlog. Among other things, they'll tell you how to perhaps get badges for the San Diego one when it is possible to perhaps get badges for the San Diego one. It's pert near impossible now, 72 Days before the event, but it was sorta/maybe possible several months ago. You'd have known when that was if you followed the SDCCBlog. (You should also keep an eye on the official Comic-Con website, which is also very good. The SDCCBlog provides supplemental info.)

You should also listen to their fine podcasts which commence in May each year. The first one leading up to this year's Comic-Con will be live online tomorrow night, May 9, at 6:30 PM West Coast Time, which of course is 9:30 PM back east. As has become customary, their first guest of the year will be me. I will be talking about my history with the con and the thousand-and-one panels I'll be hosting there this year. (SPOILER ALERT: It's most of the same ones I host every year but with some different people on them.) Tune in. Ask questions. I'll embed the video on this site after the fact but you'll enjoy it more if you watch live.

Following yesterday's mass shooting, we have the usual Internet Discussions. "It's too soon after the tragedy to be discussing this" doesn't work when we have one of these every day or so…so here's a thought: Why don't we try some of the things that over 75% of the American population thinks we should try?

And I'll bet if you change "Ban Assault Weapons" to "Limit Access to Assault Weapons," it would be over 75% too.

I've been asking here if anyone could come up with a newspaper strip that's been drawn by one person, unassisted, longer than Russell Myers has been drawing Broom-Hilda. Someone finally wrote in to suggest Tank McNamara as a likely runner-up. While it hasn't been around as long as Russell's witch, Tank McNamara has had a pretty impressive run and is still running.

The Tank McNamara newspaper strip debuted on August 5, 1974 and I think it was daily and Sunday from the start. It was then written by Jeff Millar while Bill Hinds did the drawing. Hinds took over writing it when Millar passed away in 2012.

Broom-Hilda started Monday, April 20, 1970 so Myers' strip is 1,568 days ahead of Tank McNamara and always will be as long as the two strips' makers are still making 'em. But as of today, Tank McNamara has appeared for 17,807 consecutive days and as far as I know, they've all been drawn by Mr. Hinds. I may be wrong but I don't think he's employed any assistants or reprints.

17,807 strips means he's 90 strips shy of Charles Schulz's run on Peanuts. If my numbers are correct, that means that in about three months, Tank McNamara will be in second place among newspaper strips drawn by their original artist. But it's also worth noting that for a time, Hinds also originated and drew a strip called Cleats that ran from 2001 to 2010…so maybe he's drawn more strips total than Myers.

I haven't gotten into figuring out who might be the leader if we add up multiple strips. (Myers had another newspaper strip for a time and both men did a lot of work not in daily comic strip format.) Mort Walker was probably involved in the production of more individual strips than anyone but after the first few years of Beetle Bailey, they were all team efforts.

A few folks who wrote in asked about artists like Milton Caniff, Al Capp, Mell Lazarus, Johnny Hart, Chester Gould, Walt Kelly and Chic Young. Yes, they all had long runs signing their names to newspaper strips but all of them used assistants — sometimes sparingly, sometimes a lot. Al Smith ghosted Mutt & Jeff for centuries (it seemed) but he didn't start it just as Bud Sagendorf didn't start Popeye or the guys who drew the bulk of Gasoline Alley or The Katzenjammer Kids didn't start them.

And a couple of readers — who could easily have looked up this information — seemed certain that Doonesbury has been around longer than Broom-Hilda. Nope. Broom-Hilda, as mentioned, started 4/20/1970 and Doonesbury started 10/26/1970. It's a great, ground-breaking strip but Garry Trudeau has taken many a hiatus and had a lot of help and the daily strip is now reprints. Broom-Hilda has been in papers for a longer time without its artist taking vacations or having someone else do much of the drawing.

You can catch up on Tank McNamara on this page. If, like me, you didn't follow it often when the place to do that was in something called a newspaper — which ran it in something called a "Sports Section" which you had no interest in opening — you might be delightfully surprised. And you can sample Cleats over on this page.

You've probably seen the news about how certain Supreme Court Justices have not been reticent about accepting what some might call bribes. The bribes come from wealthy folks who have perhaps profited mightily from certain Supreme Court decisions. Here's Devin "Legal Eagle" Stone breaking down the controversy for us…

Brian Dreger, who sends me a lot of good questions, sent this one…

I've always wondered: what would happen if some producer or someone not in the Writers Guild wrote a script during a strike, and it was produced (never mind about the quality being crappy, etc.). It seems obvious someone will find out and report it…but what are the real penalties involved? I don't mean what would happen down the road after the strike, when no writers would ever work for those people again. Is there some sort of standing, official penalty to prevent this sort of thing? If scabs break a union line in other types of strikes, there is often violence and name-calling, etc., but I'm not aware of any penalties that ever happen.

People who are members have been brought up on charges of scabbing and people who were not members have been banned from ever joining the Guild, at least for a while. The Guild is not the police. It can't throw people in prison but it has enforced the penalties it could enforce. In the past, there was some anger over incidents where someone was or was not "prosecuted" (that's not precisely the right word) because they were so famous but I don't know enough about those to be more specific. Yes, people have been penalized.

It isn't that no writers would ever work for the employer again. It's more often that no writers would ever work again with people they thought were scabs. I do not know of any violence that has ever resulted but there maybe has been a bit of name-calling.

Generally speaking, scabbing usually turns out to be a bad career move. During the '88 strike, a gent I later knew as a researcher did some writing on one of the daytime dramas. He went back to being a researcher after the strike was over because the show for which he wrote didn't want him around after the strike ended and the "real writers" (that's what he called them) came back.

Daniel Klos writes…

In most industries, when union employees go on strike, they strike against their specific employer. My understanding is that most (all?) screenwriters are not employees in the traditional sense but rather independent contractors, and the strike is not against a specific employer. So who exactly is the WGA striking against? The studios? The networks? Producers? If it's against producers, does that put certain people who are both producers and writers in a conflict of interest situation (where they are both labor and management)? And if it's a strike against the studios and/or networks, is it against each entity individually? Or is it a strike against a collective organization that they all belong to? And if it's the latter, does that mean that no studio or network is allowed to craft their own independent agreement with the WGA?

A labor organization like the Writers Guild (or the Directors Guild or SAG-AFTRA or others) makes a contract with this group called the AMPTP. That contract is called the Minimum Basic Agreement (the MBA) and it specifies, for example, the minimum amount each member studio will pay a writer for a certain kind of script. It sets down all sorts of terms and working conditions and promises that we won't do these things to them and they won't do these other things to us. My agent or lawyer or I can negotiate for better terms on a given job but not for less favorable terms.

The AMPTP is made up of the major employers. Employers who are not voting members of the AMPTP can employ WGA writers on the same terms by signing onto what are sometimes called "Me Too" contracts. That term has nothing to do with the current "Me Too" movement and if I had more time, I could probably come up with some ironic remark about producers like Harvey Weinstein who signed onto one and was brought to justice by the other.

A strike of both major and minor employers results when the old MBA expires and no new one has been agreed-upon to take its place. So we are striking against a collective organization but also the other employers who piggyback on whatever contract the AMPTP and the WGA agree upon.

Yes, there are people who are both writers and producers and they are often caught in a conflict of interest situation. Some studios are now demanding that writer-producers cross WGA picket lines to produce. The fact though that the membership of the WGA authorized the strike action by almost 98% should suggest that very few of those folks have trouble deciding that the writing part of their two job descriptions is of great importance to them. And a lot of the remaining 2% are probably not writer-producers but actor-producers or maybe something else along with being a producer.

During a strike, the Guild may (note the italics for emphasis) decide whether to offer interim contracts. An interim contract specifies the new terms but it can be replaced by the new MBA once there is one. If such contracts are offered, a given company may (emphasis again) elect to sign one, in which case writers can work for that company while the strike continues elsewhere.

For instance: During the last strike, David Letterman's show went back to work while the competing Tonight Show with Jay Leno remained shut down. Letterman's company, Worldwide Pants, owned his show and when the WGA offered interim contracts, it signed on. Leno's show though was owned by NBC and NBC was not about to sign any interim agreement.

There are pro and con arguments within the Guild about whether it's good strategy to offer interim deals just as there are pro and con arguments within the studios as to whether signing them is a wise strategy for them. If this strike lasts a while, both parties will be having internal debates about all this but so far, the subject probably hasn't come up.

And I think I covered everything. Thank you, Brian and Daniel.