On Sunday, studios made a new offer — one reflecting improvements in some areas (health care) and scant movement in others (raises for streaming series) — and the unions on Monday afternoon made counteroffers<br />that held a hard line on multiple demands, according to three people briefed on the talks, who spoke on the condition of anonymity to discuss private meetings.<br />Mr. Lindelof, whose credits include “The Leftovers,” “World War Z,”<br />and “Lost,” also gave credit to studio negotiators for “being true to their word in hearing our membership’s concerns about the dramatic shifts in the way our business now functions.”<br />Carol Lombardini, who led talks for the producers’ alliance, declined an interview request.<br />After breaking off on March 24 — each side blamed the other — Mr. Young<br />and his cohorts immediately ratcheted up the pressure, sending letters to TV advertisers promising a strike if no deal was reached by Monday and asking members to authorize a walkout.<br />Doug Creutz, an analyst at Cowen and Company, wrote in a research note<br />that the deal with writers was “positive” for media conglomerates, “as a strike invited several serious risk factors,” including “permanent acceleration of audience loss away from traditional TV and ad dollars from TV to digital.”<br />Eileen Conn, whose credits include the Disney Channel series “K.<br />With that single aggressively punctuated tweet, Phillip Iscove, a creator of the Fox drama “Sleepy Hollow,” summed up what Hollywood<br />writers seemed to be feeling on Tuesday, after a middle-of-the night deal between studios and writers to avert a strike.
