The breakdown is the latest turn in what has become one of the nastiest labor disputes in recent Hollywood history. It comes after eight days of contentious negotiations that yielded very little, if any, progress.
Each side blamed the other for the breakdown of the talks, which fell apart over disputes about how much writers should be paid for shows distributed online and whether writers who work in reality TV and feature animation should be covered under the Writers Guild of America contract.
In a statement, the Alliance of Motion Picture and Television Producers, which represents the studios, said it was "puzzled and disheartened by an ongoing WGA negotiating strategy that seems designed to delay or derail talks rather than facilitate an end to this strike."
The WGA's chief negotiator, David Young, said in an interview: "What they want us to do is give up our future, particularly in new media. . . . The other side doesn't view us as partners, they just view us as someone they can play with."
If talks don't resume soon, the strike will have far-reaching consequences across Hollywood and for many businesses throughout the region that depend on the industry.
It may also foreshadow a new period of labor unrest in Hollywood, which has enjoyed relative peace for most of the last two decades.
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A continued walkout won't affect only the 10,500 writers on picket lines, but also thousands of other workers -- from crew members and actors to talent agents and studio office employees. Already, the strike has taken a heavy toll on so-called below-the-line production workers who work behind the scenes on film and TV shows.
"It's going to be a very black Christmas for everybody," said veteran producer Alan Ladd Jr., whose credits include the Oscar winner "Braveheart."
The television industry, which already has been disrupted by the shutdown of more than 50 shows, will be even harder hit. Virtually all scripted TV shows are expected to stop production by next week, causing a loss of 15,000 jobs and costing the Los Angeles economy about $21 million a day in direct production spending, according to one recent estimate.
Viewers, instead of watching new episodes of their favorite shows, will see reruns and a plethora of reality, sports and news programs.
With no fresh episodes, networks stand to lose tens of millions in ad revenue as they are forced to give free commercial time to sponsors to make up for a shortfall in ratings. They could also see a further exodus of disaffected younger viewers to the Internet and other forms of entertainment, eroding the networks' market share.
Studios plan in the coming weeks to ratchet up the pressure on writers by invoking force majeure clauses in contracts with producers and others. The provision allows studios in a crisis such as a strike to stop paying TV show producers and their staffs, which has already begun.
Most studios have contingency plans to pare overhead after Jan. 1 that include shedding some production deals and employee layoffs, several studio executive said this week. Talent agencies, which have slashed expenses, plan similar job cuts.
The studios will now try to strike a deal with directors, whose contract expires June 30. The Directors Guild of America has struck only once in its 71 years -- for five minutes.
Studios hope that a deal with directors will set the template for agreements with writers and actors, whose contract also expires June 30. Such a strategy, however, could harden the resolve of the striking writers and drive them even closer to actors, who share many of the same concerns. Screen Actors Guild leaders have strongly backed writers during the walkout.
Studios have been preparing for months for the prospect of an actors strike by moving up movie production start dates so they could wrap by June 30.
A prolonged strike also carries risks for the Writers Guild. Although union members have been strongly united behind their leadership, the solidarity could fracture if the strike drags on, creating severe hardships for many lower- and middle-income writers.