
Growing up watching TV variety shows, I often wondered how the jugglers could keep so many balls in the air at one time. Today I wonder the same thing about my friend Dick Wolf who has nine hour-long dramas on the air every week. No other writer/producer in the history of television has ever come close to that feat. In addition to Law and Order, Wolf produces Law and Order: Special Victims Unit, Law and Order: Organized Crime, Chicago Fire, Chicago PD, Chicago Med, FBI, FBI: Most Wanted, and FBI: International. Perhaps even more impressive is that in this era of the 500-channel universe and a myriad of streaming services, all nine of Wolf’s dramas air on a broadcast network, and all nine are commercially successful.
I first met Dick in the spring of 1999 at an event for the Museum of Television and Radio (now the Paley Center) in New York City. A few months later I interviewed him at length for volume one of my TV Creators book series. Back then we talked about our shared love of old TV westerns and heroes like Hopalong Cassidy. Dick also recounted how he spent his summer breaks from the University of Pennsylvania working at ad agencies, then eventually ended up creating national campaigns for major brands like Crest Toothpaste. “I’ve essentially never earned a dollar that wasn’t somehow writing related,” he told me. And Dick came by his talent honestly. “My grandmother wrote title cards for Paramount in the silent era, and my father was a second-generation screenwriter.”
We reconnected by phone late last month, but our conversation was marked by irony because it took place during a writers’ strike. And so, as I spoke with a legendary wordsmith, not a single word was being written for any of Dick’s nine shows.
Jim:: I remember seeing a survey from years ago that said even in normal times, most actors and writers only make a few thousand dollars a year, because they can’t get work.
Dick:: Right, there’s 90% unemployment, and I’ve been saying this for 35 years, “Why can people who cannot qualify for health insurance vote on throwing people out of work?” This strike is incredibly complex. This is the end of May, and it looks like they’re not even going to start talking to the writers again until they close with the actors and directors. So, you’re looking at a very protracted period of labor upset.
Jim:: Back when you were only producing Law & Order and SVU, you told me that you employed anywhere from 120 to 150 people on each show. Is that still the average today?
Dick:: It’s much more now. I was talking about actors and writers and crew. But when you get into post and scoring, and all the ancillaries that are not direct production costs, it’s closer to 300 people on a show. Right now, I’ve got about 3,000 people out of work. This is my fourth strike, and in 1987 that strike went on for six months and two weeks. In my opinion, this current strike is going to go on just as long if not longer. And it doesn’t just affect writers and directors and actors. It affects everybody who works on those shows which are all shut down.
Jim:: Years ago, I asked you if you had a sixth sense about which shows will be successful, and you said, “It’s always a crapshoot.” Now that you’re the most successful TV creator in history, is it still a crapshoot when you start a new show?
Dick:: Every time. You never know what the audience is going to react to, but I’ve managed to at least cut down the size of the ranks. You do learn what not to do as much as you learn what to do.
Jim:: Somehow you and your shows have managed to stay relevant for over 40 years and across several generations. How have you managed to do that, and do you ever consciously concern yourself with going after the youth market?
Dick:: I have a strange belief that if you put out good stuff the audience will buy it, and I only do stuff that I want to watch, and there’s not that much on TV that I want to watch that I don’t make. It sounds terrible, but it’s true.
Jim:: Are you concerned about the trend toward artificial intelligence with regards to crafting stories and scripts?
Dick:: I’m not worried about it because I’m in a unique situation, but if I was a 30-year-old writer I’d be absolutely terrified. Five years from now, machines will be writing Shakespeare. We should not pretend that the genie can be put back in the bottle. It can’t.
Jim:: Is it still fun for you, or is it more like work?
Dick:: Well, it’s both. The work IS fun. I mean, it’s taken 40 years and not many people say “no” to me anymore [laughs]. That’s not a bad position to be in.
Jim:: What’s changed for you over the years?
Dick:: When I got out here, I was always the youngest person in every meeting, and now I’m always the oldest by much more than a decade.
Jim:: You’ve innovated so many things like the split-format drama and streamlined pace. What will be your final innovation?
Dick:: My last innovation will be coming up with a show that can’t be cancelled. [both laugh]





























Posted June 20, 2023 By Triad TodayDisney v. DeSantis: ‘A Strange World’
Generally speaking, I don’t like to label people, but Florida Governor Rick DeSantis seems hell-bent on wanting to be called a homophobe. His “Don’t Say Gay” law, which was enacted in March, hasn’t just angered the LGBTQ community, it has also struck fear into the hearts and minds of teachers who dare not expose their students to words or images which might suggest that humans can be anything other than heterosexual. Much of Righteous Ron’s bombastic dogma of late derives from his war with the Walt Disney Company which dared to oppose his restrictive and discriminatory policies. Given the two adversaries’ battle for the moral soul of Florida and subsequent fight for who should control Disney World’s tax district, it’s not surprising that the latest controversy involves the showing of a Disney film to fifth-graders in Hernando County.
Though “Don’t Say Gay” only restricts the teaching of sexual orientation or gender identity in grades K-3, Florida collaterally restricts the use of certain books and films in all grades. Enter Jenna Barbee, a teacher at Winding Waters School in Brookville, Florida. Barbee elected to show Disney’s animated Strange World to her class because its environmental message was relevant to her lesson plan. But the film also features a bi-racial gay couple, and, as it happens, one of Barbee’s students is the daughter of school board member Shannon Rodriguez. Not surprisingly, Rodriguez called for a State investigation of Barbee’s Orwellian transgression. Fortunately, public support seems to be with Barbee, but that doesn’t change the laws and lists which continue to hamstring teachers and ban certain educational materials.
The thought occurs to me, however, that DeSantis’s war on Disney hasn’t gone far enough. If the Governor (and would-be President) is so concerned about protecting impressionable young minds against harmful messages, then why stop with Strange World? Why not expand his ban to include all subversive Disney films? Here, then is a list of other “dangerous” movies from Uncle Walt’s studio:
Snow White and the Seven Dwarfs (1937) — Two problems here. First, it’s not appropriate for kids to know that Snow White is a virgin, and second, who she sleeps with is her business, even though in this case, size does matter.
Pinocchio (1940) — This film suggests that all Italian boys are liars.
Bambi (1942) — Because of Florida’s “Stand Your Ground” law, hunters had every right to shoot Bambi’s mother. Normally images of murder would be suitable for a 6-year-old, but the film should be banned because it might spur a debate on 2nd Amendment rights.
Song of the South (1946) — In Florida, I guess it’s OK to show a film with a Tar Baby but to have a happy-go-lucky slave like Uncle Remus depicted as being smarter than his White owners is too much for Uncle Ron’s followers to take.
Lady and the Tramp (1955) — This is a horrible film for kids because it suggests that all males are tramps who refer to their lady as the “B” word.
Mary Poppins (1964) — After emerging from dirty chimneys, Bert and the Banks children are covered in soot. It’s OK to appear in Black face in Florida, but only if you’re a patriotic legal citizen. The Mary Poppins cast is from England, so they don’t even speak good American.
Bedknobs and Broomsticks (1971) — This film is all about witches and Satanism which is OK, but children do not need to know that magic can happen in a bed.
Gus (1976) — In this film, a farm animal is exploited by the local college and made to kick field goals without any financial compensation as was available to Florida State University students at the time.
Beauty and the Beast (1991) — While folks in Florida have no problem with beastiality, this film is banned because the main female character is allowed to read books.
Pocahontas (1995) — The problem with this film is that it depicts a Native American girl falling in love with a White man. Florida legislators probably believe this film is responsible for the bi-racial gay couple who later appears in Strange World.
I hope that Governor DeSantis will ban these and all other Disney films from being shown in public schools because children don’t need to be exposed to left-wing concepts like love, tolerance, and open-mindedness.