Renowned alumni of the Jeffersonian Institute, the fictional research institution featured in the TV show “Bones,” gathered outside Fox Studios on Friday to participate in a lively picket organized by writers who were on strike. The event brought together actors, directors, crew members, and showrunners from the popular Fox drama series, highlighting the positive and happy working environment that characterized the show during its 12-season run from 2005 to 2017.
Emphasizing the harmonious atmosphere on set, showrunner Hart Hanson stated, “All the truisms of why a show is a happy, non-toxic place is why ‘Bones’ was such a happy place.” He attributed this success to the amiable relationships between the actors, writers, and crew members, which created a pleasant working environment for everyone involved.
Moreover, the long-lasting success of “Bones” stood out in an industry where shows rarely make it past a few seasons. The show’s episode-of-the-week format, coupled with a slow-burning romance between the main characters, played by Emily Deschanel and David Boreanaz, contributed to its enduring popularity and steady employment opportunities for those involved in its production.
However, the current landscape of the television industry has shifted significantly over the past decade, with shorter seasons, smaller writing teams, and fewer episodes per season becoming the norm. This shift has taken a toll on the working conditions of writers, prompting the Writers Guild of America (WGA) to demand the hiring of more writers per series and a minimum 10-week employment period.
Reflecting on their time working on “Bones,” writer-producer Michael Peterson expressed gratitude for the steady employment and stable work schedule the show provided. He expressed sympathy for the next generation of writers who face uncertain and unpredictable working conditions, emphasizing the importance of stability and the ability to plan their lives.
The ongoing strike has given writers ample time to compare the traditional linear television model with the current streaming model. Many writers find themselves frustrated by the short shelf life of contemporary TV shows and the resulting inability of fans to build deep connections with long-running series. The success of enduring network procedurals on streaming platforms demonstrates the value of a deep library and the impact of long-term viewer engagement.
The changing economics of television production worry industry professionals, as fewer opportunities for long-running shows like “Bones” may become scarce. Co-creator of Comedy Central’s “Workaholics,” Anders Holm, recalls the invaluable experience he gained as an assistant to “Bones” showrunner Hart Hanson during the show’s first season. The decrease in episode orders and apprenticeship opportunities poses challenges for aspiring writers and assistants.
Despite the show’s conclusion six years ago, the fandom surrounding “Bones” has continued to grow, thanks in part to its availability on streaming platforms. Die-hard fans of the show, like Gary and Nancy Hairfield, traveled from San Diego to participate in the picket and demonstrate their unwavering support.
The impact of “Bones” on viewers’ lives is evident, as demonstrated by a young woman who asked Emily Deschanel to autograph her anthropology diploma. The show’s portrayal of an intelligent and savvy anthropologist inspired the woman to pursue a similar career path.
The strike is not limited to WGA members, as a South Korean woman attending the picket expressed her passion for advocating for authors’ rights. She shared concerns about the rise of artificial intelligence and its potential threat to human jobs in the television industry.
As the strike continues, industry professionals hope for a resolution that will allow for the creation of long-lasting and meaningful television shows, fostering deep connections with viewers and nurturing the careers of aspiring writers.