Boy am I tried! [EDIT: That should be tired. But I left it up there just to support my statement.]
It's been a busy life. I saw the most amazing football game of my life on Saturday and had a complete excitement hangover the next day. Literally, my voice has just recovered from the cheering.
I previewed an early sneak of Fox's new show, The New Girl with Zooey Deschanel. Don't ask me how. I'm a paid writer you know. I've been so stoked every since hearing it had been picked up. Zooey Deschanel is a favourite actress of mine, and it's sweet that she and her sister get to share a network.
But I was worried. With all the hype and adorable-ness that is Zooey Deschanel, would the first pilot show of the season disappoint?
September 20th, at 9 pm, get thyself to a TV and flip on Fox. This show wins.
Jess, Deschanel's character, is so wonderfully awkward. Like, really awkward. She's that offbeat kinda-not-cool-but-it-works-for-her character that usually appears as your female protagonist's best friend. Maybe I just love it because she reminds me of me and my girl friends.
The guys are not quite as solid as Deschanel, but I can see their personalities develop. But, so sad, the strongest character of the three in the pilot, Damon Wayans Jr., will be replaced because he already has a commitment on Happy Endings. That makes me UN-happy.
It is funny. The Hockey Player almost missed his bus home because he was trying to stay as long as possible. My only cavaet is that there seems to be a lack of complexity, but pilots usually have to cram in so much they have a unique tone. I am so looking forward to the rest of this show -- and the rest of the fall season.
Showing posts with label TV. Show all posts
Showing posts with label TV. Show all posts
Thursday, September 15, 2011
Monday, October 25, 2010
TV again and Nieces.
Hello, I'm adorable.
That's my niece would say if she could talk. I know newborn babies are usually ugly, but she is decidedly not. And yes, I am biased.
Since we're now a good six weeks into the fall season, I thought I'd reflect back on my insane week of TV premieres. I watched a lot of TV that first week to get a good sample--here's what remained.
MONDAY NIGHT--
What I watched: Lone Star, The Event, Castle
What I still watch: Castle
Well, I really didn't have much of a choice with Lone Star. I think The Event will go the way of FlashForward. It's safe for the rest of this season, but I think it'll slowly continue to fade. On the other hand, even though I ditched it after the pilot, the previews have gotten more interesting and occasionally I consider catching up to see if it's improved at all. Then I remember the pilot and how most episodes are probably following the same format--little character development and a giant plot tease. If it really does end up becoming the next Lost [or even making it to a second season], I'm ok with playing catch up.
TUESDAY NIGHT--
What I watched: Glee, Detroit 1-8-7, Running Wilde
What I still watch: Glee, Detroit 1-8-7
Running Wilde, another show that I did not make past the pilot. I'd rather watch reruns of Arrested Development.
Detroit 1-8-7 is the only true freshman show I'm picking up. Other than the two that got canceled. Maybe because so many of the new shows are cop/lawyer/US marshall shows. How many of those do you really want to watch? In truth, I probably wouldn't have even watched Detroit 1-8-7 if it was set in our fair city. I like it for reasons beyond that, especially the characters they've created, but I wouldn't have gone looking for a new cop show just because I like cop shows. The other freshman law enforcement shows--Chase, Outlaw, Blue Bloods, The Defenders, The Whole Truth, Law & Order:LA, to name a few--couldn't compel me to turn them on. Geez, guys, so many. Do you really think America wants to watch that many cop/law shows?
Glee I watch with my flatmate. Glee has me all confused about my feelings. On one hand, the story telling has improved vastly. This season they've actually started digging into the lives of their characters. And they've stopped threatening Glee Club every episode. That was my number one complaint last season--every episode the story was the same--Glee Club was going to be shut down. And, as an audience, we aren't stupid. We know it's not going to be. So stop giving us the same tired plot. This season the stories are new [if sometimes... odd. What was up with the Britney episode?] but the song integration sucks. At least half the songs are song just standing around in the classroom [in fact, ALL of them might have been sung there in the duet episode]. The beauty of musicals is that people break out in choreographed song and dance all over the place and it's treated as completely normal. If a good third of your show is going to be taken up by songs, make them actual performances. Otherwise you're just slowing down your story. One friend recently confessed that she's started fast forwarding through the songs. Yeah, because they're boring!
I forgot about The Good Wife for two weeks. Then when I tried to watch it on CBS' website the audio was messed up. That, combined with my guilt over how much TV I watch anyway, gives it a pass.
WEDNESDAY NIGHT--
What I watched: Undercovers, Top Chef: Just Desserts
What I still watch: Top Chef: Just Desserts
Undercovers played it safe, both in plot and character relationships, and it was boring. It wasn't edgy enough to be the next Alias, and it's not fun enough to get me to keep watching.
Top Chef: Just Desserts is just brilliant.
THURSDAY NIGHT--
What I watched: Community, 30 Rock, The Office, Bones, The League, Big Bang Theory, My Generation
What I still watch: Community, 30 Rock, The Office, Bones, The League
As these are all veterans for me, they were automatic go's [Big Bang Theory I tried and decided to forgo. Also it's nearly embarrassing how much TV I watch on Thursday nights]. My Generation was the only true freshman show, and that got canceled. I watched the first two episodes, and I might have stuck with it. Showrunner Noah Hawley did an interesting interview about blurring the lines of scripted TV and reality in My Generation, like including footage of one of his characters being on the Bachelor [I wish I could find the interview, but I can't], and I respect what he was attempting with My Generation. I'd like to see something that pushes the boundaries of entertainment work out. Except--since I've been thinking about it more--three of the four love stories they were building up would have involved infidelity. I mean, personally, that's not really the kind of love story I am inclined to root for. Didn't a lot of people cite that as the reason that Lone Star failed too? Too much moral ambiguity? People like innocent love stories.
[On a side, this is why I think Lone Star would have worked. Bob was such a poor morally deluded man, there was something very sweet and innocent about the way that he wanted to preserve his double life in order to do the best he could by both women. Maybe for Bob it worked because you had to realize a childhood of being raised by a con artist dad messes you up. For the characters on My Generation it didn't work because they had just gotten married without love and their boredom and lack of fulfillment in their marriage is what spurred them towards other options. Definitely not so innocent.]
And when it comes to comedy, 30 Rock is queen, Community is my favourite court jester, and The Office is that awkward but funny uncle who never knows when it's time to leave.
That's my niece would say if she could talk. I know newborn babies are usually ugly, but she is decidedly not. And yes, I am biased.
Since we're now a good six weeks into the fall season, I thought I'd reflect back on my insane week of TV premieres. I watched a lot of TV that first week to get a good sample--here's what remained.
MONDAY NIGHT--
What I watched: Lone Star, The Event, Castle
What I still watch: Castle
Well, I really didn't have much of a choice with Lone Star. I think The Event will go the way of FlashForward. It's safe for the rest of this season, but I think it'll slowly continue to fade. On the other hand, even though I ditched it after the pilot, the previews have gotten more interesting and occasionally I consider catching up to see if it's improved at all. Then I remember the pilot and how most episodes are probably following the same format--little character development and a giant plot tease. If it really does end up becoming the next Lost [or even making it to a second season], I'm ok with playing catch up.
TUESDAY NIGHT--
What I watched: Glee, Detroit 1-8-7, Running Wilde
What I still watch: Glee, Detroit 1-8-7
Running Wilde, another show that I did not make past the pilot. I'd rather watch reruns of Arrested Development.
Detroit 1-8-7 is the only true freshman show I'm picking up. Other than the two that got canceled. Maybe because so many of the new shows are cop/lawyer/US marshall shows. How many of those do you really want to watch? In truth, I probably wouldn't have even watched Detroit 1-8-7 if it was set in our fair city. I like it for reasons beyond that, especially the characters they've created, but I wouldn't have gone looking for a new cop show just because I like cop shows. The other freshman law enforcement shows--Chase, Outlaw, Blue Bloods, The Defenders, The Whole Truth, Law & Order:LA, to name a few--couldn't compel me to turn them on. Geez, guys, so many. Do you really think America wants to watch that many cop/law shows?
Glee I watch with my flatmate. Glee has me all confused about my feelings. On one hand, the story telling has improved vastly. This season they've actually started digging into the lives of their characters. And they've stopped threatening Glee Club every episode. That was my number one complaint last season--every episode the story was the same--Glee Club was going to be shut down. And, as an audience, we aren't stupid. We know it's not going to be. So stop giving us the same tired plot. This season the stories are new [if sometimes... odd. What was up with the Britney episode?] but the song integration sucks. At least half the songs are song just standing around in the classroom [in fact, ALL of them might have been sung there in the duet episode]. The beauty of musicals is that people break out in choreographed song and dance all over the place and it's treated as completely normal. If a good third of your show is going to be taken up by songs, make them actual performances. Otherwise you're just slowing down your story. One friend recently confessed that she's started fast forwarding through the songs. Yeah, because they're boring!
I forgot about The Good Wife for two weeks. Then when I tried to watch it on CBS' website the audio was messed up. That, combined with my guilt over how much TV I watch anyway, gives it a pass.
WEDNESDAY NIGHT--
What I watched: Undercovers, Top Chef: Just Desserts
What I still watch: Top Chef: Just Desserts
Undercovers played it safe, both in plot and character relationships, and it was boring. It wasn't edgy enough to be the next Alias, and it's not fun enough to get me to keep watching.
Top Chef: Just Desserts is just brilliant.
THURSDAY NIGHT--
What I watched: Community, 30 Rock, The Office, Bones, The League, Big Bang Theory, My Generation
What I still watch: Community, 30 Rock, The Office, Bones, The League
As these are all veterans for me, they were automatic go's [Big Bang Theory I tried and decided to forgo. Also it's nearly embarrassing how much TV I watch on Thursday nights]. My Generation was the only true freshman show, and that got canceled. I watched the first two episodes, and I might have stuck with it. Showrunner Noah Hawley did an interesting interview about blurring the lines of scripted TV and reality in My Generation, like including footage of one of his characters being on the Bachelor [I wish I could find the interview, but I can't], and I respect what he was attempting with My Generation. I'd like to see something that pushes the boundaries of entertainment work out. Except--since I've been thinking about it more--three of the four love stories they were building up would have involved infidelity. I mean, personally, that's not really the kind of love story I am inclined to root for. Didn't a lot of people cite that as the reason that Lone Star failed too? Too much moral ambiguity? People like innocent love stories.
[On a side, this is why I think Lone Star would have worked. Bob was such a poor morally deluded man, there was something very sweet and innocent about the way that he wanted to preserve his double life in order to do the best he could by both women. Maybe for Bob it worked because you had to realize a childhood of being raised by a con artist dad messes you up. For the characters on My Generation it didn't work because they had just gotten married without love and their boredom and lack of fulfillment in their marriage is what spurred them towards other options. Definitely not so innocent.]
And when it comes to comedy, 30 Rock is queen, Community is my favourite court jester, and The Office is that awkward but funny uncle who never knows when it's time to leave.
Monday, October 18, 2010
Distractions and Research.
Since the breaking of CBS' script order for Dear Girls Above Me, I've tried to get some reactions from the screenwriters or industry people I follow. When The Bitter Script Reader rolled his eyes at the screams of sexism, I asked him to read my blog post about it and respond to the concerns I had. [I told him I wasn't pandering, but I was. Whenever you ask someone to read your blog, you're pandering.] Anyway, he did read and respond, and here is an excerpt--
If DGAM was instead about a man writing letters to every woman he meets about all the various ways they are inferior THEN it would be sexist. Instead his ire is directed at two such individuals (and idiots of either gender tend to run in packs) who just happen to live above him. It's not Charlie vs. womankind - it's Charlie vs. the co-occupants of his dwelling, who just happen to be women.
If it is a show where EVERY female character in every setting is equally vapid, then those railing against it might have a charge. At this point, we don't know enough to make that call. But it wouldn't be the first time that a sitcom used an execptionally dumb set of characters (both men and women) for the purposes of humor...
It's just the way I see it. Shouldn't we at least wait until a pilot script is written before we tag it as sexist?
Amanda the Aspiring Writer's response was similar--let's wait and see. And to that I say--
Fair enough.
Fair enough, Amanda. Fair enough, Bitter Script Reader. I see your points. And I don't really think McDowell is sexist--but I believe even less that we need this TV show. As Emily Blake said--"Oh, terrific. Girls everywhere get new role models."
I'm still not thrilled about this pilot. I still am unimpressed by the source material [which I think is my main issue--I don't find it funny. Not because of it's portrayals, but because I just don't think it's funny]. I still thinking making a TV show out of a Twitter account is pretty ridiculous. I still think that, if taken to series, DGAM is going to have a difficult time finding an audience. And I still feel bad for TV writers trying to sell TV ideas.
As for my ideas, I spent an hour researching World War II espionage the other day until to decide to set my story in the Cold War instead. Also I realized how suspicious it might appear to the people in the very public and diverse setting I was in that I was reading summaries of Hitler's Mein Kampf. Cold War it is.
If DGAM was instead about a man writing letters to every woman he meets about all the various ways they are inferior THEN it would be sexist. Instead his ire is directed at two such individuals (and idiots of either gender tend to run in packs) who just happen to live above him. It's not Charlie vs. womankind - it's Charlie vs. the co-occupants of his dwelling, who just happen to be women.
If it is a show where EVERY female character in every setting is equally vapid, then those railing against it might have a charge. At this point, we don't know enough to make that call. But it wouldn't be the first time that a sitcom used an execptionally dumb set of characters (both men and women) for the purposes of humor...
It's just the way I see it. Shouldn't we at least wait until a pilot script is written before we tag it as sexist?
Amanda the Aspiring Writer's response was similar--let's wait and see. And to that I say--
Fair enough.
Fair enough, Amanda. Fair enough, Bitter Script Reader. I see your points. And I don't really think McDowell is sexist--but I believe even less that we need this TV show. As Emily Blake said--"Oh, terrific. Girls everywhere get new role models."
I'm still not thrilled about this pilot. I still am unimpressed by the source material [which I think is my main issue--I don't find it funny. Not because of it's portrayals, but because I just don't think it's funny]. I still thinking making a TV show out of a Twitter account is pretty ridiculous. I still think that, if taken to series, DGAM is going to have a difficult time finding an audience. And I still feel bad for TV writers trying to sell TV ideas.
As for my ideas, I spent an hour researching World War II espionage the other day until to decide to set my story in the Cold War instead. Also I realized how suspicious it might appear to the people in the very public and diverse setting I was in that I was reading summaries of Hitler's Mein Kampf. Cold War it is.
Saturday, October 16, 2010
Nightmares and Hell.
I drove the 10 hours from Michigan to my parents' house yesterday. It was beautiful yesterday, and I made it in record time. I didn't tell anyone I was coming. It's nice to surprise people.
Unfortunately, all I dreamed about for the first half of the night was that I was driving through endless speed traps and past a plethora of police cars. Nothing like driving 600 miles only to dream about more driving when you finally get to sleep.
Deadline Hollywood broke a story about yet another Twitter to TV deal, "a comedy series based on Charlie McDowell's feed and Web site Dear Girls Above Me, about a single man who gains insight into the female mind by eavesdropping on his upstairs neighbors." This is CBS' third Twitter-based script order according to DH, along with Shh... Don't Tell Steve and $#*! My Dad Says. Dear Girls Above Me has gotten a script order to be cowritten by McDowell.
I hope this dies in development hell.
Look, I have no problem with web-based content being picked up for more traditional media, blogs turned to books, YouTube stars getting spots on talk shows, Twitters turned to TV shows [ok, that does sorta bug me]--if the content is any good. The $#*! My Dad Says feed is kinda funny. But I haven't bothered to watch the sitcom, so... Distribution is completely changing, and I'm not anti-progress. I think it's completely fair to "discover" talent online. And I wish McDowell continued success. But I do have some problems--
1. Just because you're internet popular doesn't mean you're Hollywood popular. McDowell may have a respectable following. I know if I ever broke a hundred followers I'd be thrilled, and he's near 35,000. Fine, I respect that. I respect that he's got a decent corner in the 140-characters of humor market. But if you make a TV show based on his Twitter feed and put it on network television--how are those 35,000 followers going to fair against competitors' programming? With Monday night football or The Big Bang Theory or Glee? How are you going to go from 35,000 to millions?
2. It's still a different format. A good writer is a good writer, true. I think all writing helps you improve your story craft. But the skills that go into making a Twitter feed funny are completely different than the ones that go into making a TV show funny. Networks do recognize that, I believe, which is why McDowell is only co-authoring the pilot and $#*! was mentored by sitcom veterans. However, just because something is funny in one format doesn't mean that it will translate effectively into another format.
3. Dear Girls Above Me isn't funny. I thought I'd check it out before I rail against it. It's not not funny. It's just not--anything special. And, I hate to be the humorless feminist in the room, but what a terrible portrayal of women. They are ignorant, self centered, and completely brainless. They're flat, one dimensional characters. Sometimes that works--Sue Sylvester from Glee was wonderful before they gave her the sister angle. But the way the Girls Above are depicted makes me cringe. Or, as one commenter at DH hypothesized, McDowell's going to inadvertently and unknowingly meet one of the Girls Above and fall in love with one of them. And that would just be tacky.
I don't think this is sexism on the part of the network because it works both ways. Shhh... Don't Tell Steve is about an idiot boy roommate. [I'd like to say people just being stupid isn't funny anyway, but the Jackass 3D box office proves me otherwise]. It still bothers me, and I think it's because men are continually drawn as fleshed out, full grown characters, but female characters regularly get slighted. Women are repeatedly depicted in TV and film not as characters but as plot points, foils, and objects of desire and ridicule. They do not exist except for how they are viewed and perceived by men. And that kind of characterization--not the one dimensionality--I strongly protest.
[EDIT: Elizabeth Banks posted this on her Twitter. I don't know where it came from, but it's fascinating. Not completely accurate, maybe--I'd argue some characters they don't list as being well developed as excellent examples of great characterization--but fascinating still. Female Character Flowchart.]
4. An audience? How many women do you think are going to be tuning into this show?
5. Really, CBS? All the material you get pitched and spec-ed and bombarded with and this is what you order? Now I just feel bad for all the talented television writers who just got screwed.
Speaking of people I feel pity for, as much as I love the Yankees, I feel kinda bad for the Rangers.
Unfortunately, all I dreamed about for the first half of the night was that I was driving through endless speed traps and past a plethora of police cars. Nothing like driving 600 miles only to dream about more driving when you finally get to sleep.
Deadline Hollywood broke a story about yet another Twitter to TV deal, "a comedy series based on Charlie McDowell's feed and Web site Dear Girls Above Me, about a single man who gains insight into the female mind by eavesdropping on his upstairs neighbors." This is CBS' third Twitter-based script order according to DH, along with Shh... Don't Tell Steve and $#*! My Dad Says. Dear Girls Above Me has gotten a script order to be cowritten by McDowell.
I hope this dies in development hell.
Look, I have no problem with web-based content being picked up for more traditional media, blogs turned to books, YouTube stars getting spots on talk shows, Twitters turned to TV shows [ok, that does sorta bug me]--if the content is any good. The $#*! My Dad Says feed is kinda funny. But I haven't bothered to watch the sitcom, so... Distribution is completely changing, and I'm not anti-progress. I think it's completely fair to "discover" talent online. And I wish McDowell continued success. But I do have some problems--
1. Just because you're internet popular doesn't mean you're Hollywood popular. McDowell may have a respectable following. I know if I ever broke a hundred followers I'd be thrilled, and he's near 35,000. Fine, I respect that. I respect that he's got a decent corner in the 140-characters of humor market. But if you make a TV show based on his Twitter feed and put it on network television--how are those 35,000 followers going to fair against competitors' programming? With Monday night football or The Big Bang Theory or Glee? How are you going to go from 35,000 to millions?
2. It's still a different format. A good writer is a good writer, true. I think all writing helps you improve your story craft. But the skills that go into making a Twitter feed funny are completely different than the ones that go into making a TV show funny. Networks do recognize that, I believe, which is why McDowell is only co-authoring the pilot and $#*! was mentored by sitcom veterans. However, just because something is funny in one format doesn't mean that it will translate effectively into another format.
3. Dear Girls Above Me isn't funny. I thought I'd check it out before I rail against it. It's not not funny. It's just not--anything special. And, I hate to be the humorless feminist in the room, but what a terrible portrayal of women. They are ignorant, self centered, and completely brainless. They're flat, one dimensional characters. Sometimes that works--Sue Sylvester from Glee was wonderful before they gave her the sister angle. But the way the Girls Above are depicted makes me cringe. Or, as one commenter at DH hypothesized, McDowell's going to inadvertently and unknowingly meet one of the Girls Above and fall in love with one of them. And that would just be tacky.
I don't think this is sexism on the part of the network because it works both ways. Shhh... Don't Tell Steve is about an idiot boy roommate. [I'd like to say people just being stupid isn't funny anyway, but the Jackass 3D box office proves me otherwise]. It still bothers me, and I think it's because men are continually drawn as fleshed out, full grown characters, but female characters regularly get slighted. Women are repeatedly depicted in TV and film not as characters but as plot points, foils, and objects of desire and ridicule. They do not exist except for how they are viewed and perceived by men. And that kind of characterization--not the one dimensionality--I strongly protest.
[EDIT: Elizabeth Banks posted this on her Twitter. I don't know where it came from, but it's fascinating. Not completely accurate, maybe--I'd argue some characters they don't list as being well developed as excellent examples of great characterization--but fascinating still. Female Character Flowchart.]
4. An audience? How many women do you think are going to be tuning into this show?
5. Really, CBS? All the material you get pitched and spec-ed and bombarded with and this is what you order? Now I just feel bad for all the talented television writers who just got screwed.
Speaking of people I feel pity for, as much as I love the Yankees, I feel kinda bad for the Rangers.
Wednesday, October 13, 2010
Motels and Surrender.
Specs versus pilots continues. Kyle Killen, writer of Mel Gibson pic The Beaver and showrunner of the late Lone Star, said that when hiring writers he prefers to see a pilot but has also hired candidates off of outstanding specs. And on the topic of TV shows, New York Magazine recently ran an article, This Platform Is Not Yet Rated, discussing the difficulties in tracking ratings with the rise of online and DVR viewing. Neilsen is making some changes to their tracking system, but not until next year. The second page of the article has a couple interesting charts breaking down audiences of various shows by which platform they consume content on.
As far as last night's TV--Glee, I like your stories so much better this season. They're actually different from episode to episode. I don't think the existence of the glee club has been threatened in two entire weeks! But--song integration has really gone down hill. Every single song was set in the classroom as students perform for other students. The beauty of musicals is that they're set in a world where spontaneous eruptions into song and dance are not only tolerated as normal but encouraged and choreographed. Get it out of the classroom--make the song performances just as interesting as the stories are becoming.
I also watched Detroit 1-8-7 last night--which everyone should--and I was excited to see a location we had shot at when I was working in July. They had changed the name, but you could still see the real name in a window reflection for a quick shot. It was pretty cool. Probably because that location was so sketchy. Detroit 1-8-7 kinda makes me want to be a detective, but maybe that's just because I'm about to open up my career options.
I moved back to Michigan with the hope of breaking into the budding industry here. It has not been so easy. I worked on one film in July, but unfortunately the important contacts I made all went back home to LA at the end of the month. Which is too bad, because getting jobs is all about contacts, and I know I'd be working if I was in LA. HW Guy was telling me the other day about how the Key PA from our July shoot was considering moving to LA for a while and how if I could get out there, he would take the two of us on every shoot as his 2nd and 2nd 2nd. We'd be the dream AD team. And that people would actually like the AD team for a change [ADs are usually obnoxious. In fact, I told HW Guy so. I told him I thought 1st ADs were all supposed to be tools and that I was surprised when he wasn't].
But the truth is I haven't been working here in Michigan. I have had two other jobs lined up since then, and they've both fallen through due to poor communication and, frankly speaking, unprofessionalism. And now winter's coming and productions are not. I'm thinking about shifting my focus, taking a low stress non industry job for the winter, and keeping up my high productivity on my writing. I don't want to, mostly because I'm kinda a proud person and there were people who didn't think I could get film jobs here and I don't want them to be right. But I need to get a job, if only because I'm turning into a writer recluse and feel pretty boring.
I am being insanely productive on the writing side. I finished the first draft of Places yesterday. It took me two weeks to write that draft. Granted, draft one of any script isn't the hardest. Usually it writes itself or it falters and flails and I give up. It's rewriting that takes more stamina. But if I can get a first draft banged out in two weeks, I should be able to get a pilot done from brainstorming to reader-ready in six to eight weeks. I wouldn't be able to do that if I was working 12+ hour days, 6 days a week on a set. Maybe it's worth it to take a non film job for the next six months if it means that I'll really be LA ready at the end of my year in Michigan.
As far as last night's TV--Glee, I like your stories so much better this season. They're actually different from episode to episode. I don't think the existence of the glee club has been threatened in two entire weeks! But--song integration has really gone down hill. Every single song was set in the classroom as students perform for other students. The beauty of musicals is that they're set in a world where spontaneous eruptions into song and dance are not only tolerated as normal but encouraged and choreographed. Get it out of the classroom--make the song performances just as interesting as the stories are becoming.
I also watched Detroit 1-8-7 last night--which everyone should--and I was excited to see a location we had shot at when I was working in July. They had changed the name, but you could still see the real name in a window reflection for a quick shot. It was pretty cool. Probably because that location was so sketchy. Detroit 1-8-7 kinda makes me want to be a detective, but maybe that's just because I'm about to open up my career options.
I moved back to Michigan with the hope of breaking into the budding industry here. It has not been so easy. I worked on one film in July, but unfortunately the important contacts I made all went back home to LA at the end of the month. Which is too bad, because getting jobs is all about contacts, and I know I'd be working if I was in LA. HW Guy was telling me the other day about how the Key PA from our July shoot was considering moving to LA for a while and how if I could get out there, he would take the two of us on every shoot as his 2nd and 2nd 2nd. We'd be the dream AD team. And that people would actually like the AD team for a change [ADs are usually obnoxious. In fact, I told HW Guy so. I told him I thought 1st ADs were all supposed to be tools and that I was surprised when he wasn't].
But the truth is I haven't been working here in Michigan. I have had two other jobs lined up since then, and they've both fallen through due to poor communication and, frankly speaking, unprofessionalism. And now winter's coming and productions are not. I'm thinking about shifting my focus, taking a low stress non industry job for the winter, and keeping up my high productivity on my writing. I don't want to, mostly because I'm kinda a proud person and there were people who didn't think I could get film jobs here and I don't want them to be right. But I need to get a job, if only because I'm turning into a writer recluse and feel pretty boring.
I am being insanely productive on the writing side. I finished the first draft of Places yesterday. It took me two weeks to write that draft. Granted, draft one of any script isn't the hardest. Usually it writes itself or it falters and flails and I give up. It's rewriting that takes more stamina. But if I can get a first draft banged out in two weeks, I should be able to get a pilot done from brainstorming to reader-ready in six to eight weeks. I wouldn't be able to do that if I was working 12+ hour days, 6 days a week on a set. Maybe it's worth it to take a non film job for the next six months if it means that I'll really be LA ready at the end of my year in Michigan.
Monday, October 11, 2010
Recovery and Subtext.
I had a great weekend [minus that really really horrible and embarrassing football game]. But it was not relaxing. Today it was a struggle to get back into productivity mode. But I did it! [I am very proud of work done on Mondays.] I wrote my 8 page quota in Places, a segment of another project, and had a lengthy phone call with my mother concerning my next trip home, relationships, and leftovers.
I watch less television than I could. That's what I would say if anyone ever asked me if I watch a lot of TV. Maybe, but less than I could. It's all research, anyway. I mean, it mostly is. Scott Myers' mantra is "Read scripts. Watch movies. Write pages." One thing I've been picking up on recently is the lack of subtext in television.
I feel like when I'm working on a film script, the biggest pitfall I want to avoid is to have my dialog be too on the nose. Characters shouldn't say exactly what they feel or mean because as people we don't do that very often. However, when I'm watching TV, that seems to be all they're ever doing. There are usually two extremes--either burying their emotions completely or just coming out with them. Scenes with subtext shine at a low percentage.
For instance, on Bones this season, nearly every single character has asked Brennan if she's ok with Booth dating Hannah. Or Daisy and Sweets have real conversations about their relationship status instead of having scenes with subtext. On Grey's Anatomy last week [and this was the first time I ever watched Grey's], no one felt any inhibitions about stating their opinion on whether or not Cristina Yang was ready to work in the OR again. In Sex and the City, the girls go out for drinks or lunch for complete disclosure at least three times an episode. In Modern Family, Jay and Gloria fight about what's really bothering them as it is, not disguised as something else.
Does television get away with more on the nose dialog? Usually honest dialog comes up in scenes of strong conflict, which makes sense. Yeah, the stakes were there in Glee when Terri was trying to conceal her fake pregnancy from Will, but things got really good when he actually found out that she was lying. You can have characters dance around an issue to make it engaging, but when they start getting raw is when the emotional stakes jump to a different level.
Also, there seem to be way more confident characters in television. How many times an episode do Lorelei and Rory Gilmore rehash their problems and advise each other towards a solution? How many plans did the boys in The League come up with to get Rafi out? How many episodes of the Undercovers will it take for the main characters to talk their way into a balance between being partners and being married? A character may be hesitant to broach a problem with the character they have it with, but they always have a friend who they can hash it out with, and the audience is always privy to that council.
Sometimes it's strange to write those on the nose scenes. But at the same time, they feel right. Because my heart doesn't pound when I'm dodging an issue with someone. It starts thumping right before I get terrifyingly honest with someone. And TV is drama, so it's going to capture those moments right as your emotions are exploding out of you, making a terrible mess of whatever you've been trying to be polite about.
I watch less television than I could. That's what I would say if anyone ever asked me if I watch a lot of TV. Maybe, but less than I could. It's all research, anyway. I mean, it mostly is. Scott Myers' mantra is "Read scripts. Watch movies. Write pages." One thing I've been picking up on recently is the lack of subtext in television.
I feel like when I'm working on a film script, the biggest pitfall I want to avoid is to have my dialog be too on the nose. Characters shouldn't say exactly what they feel or mean because as people we don't do that very often. However, when I'm watching TV, that seems to be all they're ever doing. There are usually two extremes--either burying their emotions completely or just coming out with them. Scenes with subtext shine at a low percentage.
For instance, on Bones this season, nearly every single character has asked Brennan if she's ok with Booth dating Hannah. Or Daisy and Sweets have real conversations about their relationship status instead of having scenes with subtext. On Grey's Anatomy last week [and this was the first time I ever watched Grey's], no one felt any inhibitions about stating their opinion on whether or not Cristina Yang was ready to work in the OR again. In Sex and the City, the girls go out for drinks or lunch for complete disclosure at least three times an episode. In Modern Family, Jay and Gloria fight about what's really bothering them as it is, not disguised as something else.
Does television get away with more on the nose dialog? Usually honest dialog comes up in scenes of strong conflict, which makes sense. Yeah, the stakes were there in Glee when Terri was trying to conceal her fake pregnancy from Will, but things got really good when he actually found out that she was lying. You can have characters dance around an issue to make it engaging, but when they start getting raw is when the emotional stakes jump to a different level.
Also, there seem to be way more confident characters in television. How many times an episode do Lorelei and Rory Gilmore rehash their problems and advise each other towards a solution? How many plans did the boys in The League come up with to get Rafi out? How many episodes of the Undercovers will it take for the main characters to talk their way into a balance between being partners and being married? A character may be hesitant to broach a problem with the character they have it with, but they always have a friend who they can hash it out with, and the audience is always privy to that council.
Sometimes it's strange to write those on the nose scenes. But at the same time, they feel right. Because my heart doesn't pound when I'm dodging an issue with someone. It starts thumping right before I get terrifyingly honest with someone. And TV is drama, so it's going to capture those moments right as your emotions are exploding out of you, making a terrible mess of whatever you've been trying to be polite about.
Wednesday, September 29, 2010
Write Well Everywhere You Go.
I had really productive plans for this morning. I was going to mount some shelves with E. my flatmate, do laundry, and make awesome delicious pancakes with butterscotch chips and walnuts and bananas! Well, now it's 1:00, and I'm just finishing my pancakes. I did do everything I wanted, I was just sidetracked by my computer going on strike. See, I hate deleting files off my computer. And, well, it's sort of cluttered in here. And I ran out of space. I couldn't even save files anymore. I have an external hard drive that has a complete back up copy of my computer. Still, I don't like deleting anything. But I spent some time combing through my folders, carefully deleting things I knew I'd never need again, just so I could have a little space to save the current draft of The Garden.
Scott Smith from Screenwriting from Iowa gave me a shout out on his blog, which was very nice. I like the screenwriting community outside of LA, and Scott is very encouraging to the writers who write outside of Hollywood. He referenced my "Spec Scripts and Powerball," giving his own input on the spec script market. I've been thinking more about this fairly well propagated theory that the spec market is dead, that hoping to sell a spec is a more vain wish than hoping to win the lottery. But really, I've decided, it's not analogous. Winning the lottery depends solely on luck, whereas there are numerous factors involved in selling a spec script, chiefly of those, how good your script is. It doesn't matter how brilliant your lottery ticket is--you have the same chance as anyone else of winning. But if you have a terrific script, your odds are terrifically better than everyone else's.
And so it all comes back to the same thing--write a great script.
I've been watching Detroit 187 while writing this post. And it's been hard to multitask. If you haven't seen this show, you need to start. Not only is it a great procedural, but the characters are wonderful. Here's the thing--The Event's been taking the criticism of being a weird hybrid of Lost and 24 and turning it into a promotional tactic. You think a show that's a cross between Lost and 24 would be great, right? I DVRed The Event. I meant to watch the second episode. But I haven't. Because quite frankly, there's not much character there. But on Detroit 187--a procedural show--there's a moment from last night's show with Fitch and Sanchez that'll make your heart bleed. That's good writing.
Scott Smith from Screenwriting from Iowa gave me a shout out on his blog, which was very nice. I like the screenwriting community outside of LA, and Scott is very encouraging to the writers who write outside of Hollywood. He referenced my "Spec Scripts and Powerball," giving his own input on the spec script market. I've been thinking more about this fairly well propagated theory that the spec market is dead, that hoping to sell a spec is a more vain wish than hoping to win the lottery. But really, I've decided, it's not analogous. Winning the lottery depends solely on luck, whereas there are numerous factors involved in selling a spec script, chiefly of those, how good your script is. It doesn't matter how brilliant your lottery ticket is--you have the same chance as anyone else of winning. But if you have a terrific script, your odds are terrifically better than everyone else's.
And so it all comes back to the same thing--write a great script.
I've been watching Detroit 187 while writing this post. And it's been hard to multitask. If you haven't seen this show, you need to start. Not only is it a great procedural, but the characters are wonderful. Here's the thing--The Event's been taking the criticism of being a weird hybrid of Lost and 24 and turning it into a promotional tactic. You think a show that's a cross between Lost and 24 would be great, right? I DVRed The Event. I meant to watch the second episode. But I haven't. Because quite frankly, there's not much character there. But on Detroit 187--a procedural show--there's a moment from last night's show with Fitch and Sanchez that'll make your heart bleed. That's good writing.
Monday, September 27, 2010
Stunning Upset.
You know what baffles me? Why does microwave popcorn have two nutritional facts columns? One for popped and one for unpopped? Who eats popcorn unpopped?
You know what also baffles me? How a TV show is already in danger of being canceled, after just one week. If you'd like to see a critically acclaimed, under rated TV show by an award winning writer, if you'd like to help promote good scripted television drama over crappy reality TV concepts, tune into Fox tonight at 9 pm for Lone Star.
You know what also baffles me? How a TV show is already in danger of being canceled, after just one week. If you'd like to see a critically acclaimed, under rated TV show by an award winning writer, if you'd like to help promote good scripted television drama over crappy reality TV concepts, tune into Fox tonight at 9 pm for Lone Star.
Friday, September 24, 2010
Thursday night.
Here we go. The star night of premiere week. Here's what I have to say. Plots discussed in detail, so if you're like my darling best friend D. who is using 30 Rock quotes to threaten my life if I spoil the episode for her, come back when you've caught up.
COMMUNITY--
Community did a little Twitter promotion right before the premiere. It was clever and led perfectly into the first second of the show. Whether it actually attracted new viewers or reminded people who forgot about the premiere, I find doubtful. If you were aware enough to pick up on the promotion, you definitely were aware enough to know there was a premiere later that night.
Community is hilarious. It wasn't the best episode of Community ever, but I love how self-reflective it is. How many times did Abed talk about how he wished the year was starting off with a bang, like a paintball war. Which is one of the most popular episodes of Community from season one.
At first I didn't like how the group was fighting for most of the episodes -- but if you're going to do an episode like that, it's best to do it once and get it out of the way. Glee is an example of how that's a tired threat. When every other week the group is threatened with disbandment, it becomes boring. And the exchange between Starburns and Jeff near the end of the episode, which motivates Jeff to reconcile, reinforces how the study group has gone beyond a group of strangers to a family. Jeff isn't in the group in order to get Britta -- or any girl -- anymore. He's in it because he really cares about these people. It was sweet.
I don't know how I feel about Senor Cheng in the study group. His character is so much more interesting when he has power over the study group. Not when he's pandering to get in it. Then he's just pathetic. I did like his Gollum-esque split personality monologue though -- maybe it means that his plan to get into the study group is all just a rouse to take it down from within. THAT would be interesting.
BONES--
Excellent permiere. I loved the twist on the usual case format, how they ended up having the remains of one child but not one that fit the missing persons report and yet they managed to solve both crimes. That's cause they're amazing.
But let's be honest -- we don't watch Bones for the murder cases. Angela and Hodgins--we knew that was coming. And that, I think, is an excellent plotline for them to follow this year. Can you imagine Angela, free spiritied cool girl Angela, dealing with pregnancy and impending motherhood? It's going to be excellent.
I'm glad Wendell is back, but I have to wonder about the other interns. Will Daisy come back to work from time to time? Will we get new interns? Or is boyishly handsome Wendell going to replace boyishly awkward Zack? [Wendell is *not* the squintern that I have in my spec. Which is partially why I hope some of the others are coming back.]
Booth and Brennan. Unlike many Bones fans, I am excited about adding Booth's new love interest Hannah to the mix. Someone said it, and rightly so I think, that it's now Brennan's turn to pine over Booth. I think that the writers manage to create some excellent moments out of Brennan and Booth's suppressed feelings and that Hannah will allow even more opportunities for those. Also, I am delighted that Brennan seems to have regressed in her social skills since leaving DC. Her awkwardness in the early seasons was hilarious, but as she spent more time with Booth she definitely normalized to some extent. I'm glad to see more of her socially unaware tendencies resurfancing in this episode. Because that's who she is.
I'm just glad it looks like Sweets is going to cut his hair and get rid of the scruff. Maybe we'll let him keep the hat.
30 ROCK--
Potentially the best premiere of the week. But I'm not going to give my votes out yet. One thing I love about 30 Rock is how the writers manage to get so much mileage out of each plotline. With the Jenna/Pete story, for example, at first Pete was disappointed Jenna was a producer. Then he was delighted because she could do all the heartless things he couldn't. Then he was scared that she was going to have him fired because they had one extraneous producer. Then she surprised them all by abdicating for the greater good. Or Jack and Avery's power struggle. The one-up-manship, the attacks and retreats, and the eventual reveal of the master plan. Superb writing like this keeps the story going at a pace that engages and retains the viewer.
Oh Carol and Liz. I hope you get married.
30 Rock also does an excellent job of carrying its jokes from episode to episode. Pete's strained relationship with his children pops up subtly every couple episodes. As does Liz's fear of dying alone in her apartment.
But where is Kenneth? I forgot he was fired! He had better come back from CBS ASAP. Because he is the funniest character on this show.
THE LEAGUE--
I hope one day to have a marriage as perfect as Jenny and Kevin's.
THE OFFICE--
Well, awkward Micheal Scott is definitely back. Sometimes watching The Office makes me feel weird. Like I'm really not sure if I can laugh--if I want to laugh--at it because it's just so awkward. Awkard has ALWAYS been The Office's MO.
Excellent opening. Everyone was so--them.
I thought Andy and Erin got back together at the end of last season. But clearly I was wrong. This has potential.
Pam and Jim, was that a real fight? Because, it's sweet that Pam can tell when Jim's mad by his subtle cues, but guess what, none of the rest of us could.
I like The Office. But this is Steve Carell's last season. It will most likely be my last season too.
I like Kelly's pink power suit.
THE BIG BANG THEORY--
I don't understand, guys. I DVR'ed it and watched it. It was funny. But I just don't find it as engaging as Community, and the writing is definitely not as sophisiticated as 30 Rock. It's funny but why is it winning?
COMMUNITY--
Community did a little Twitter promotion right before the premiere. It was clever and led perfectly into the first second of the show. Whether it actually attracted new viewers or reminded people who forgot about the premiere, I find doubtful. If you were aware enough to pick up on the promotion, you definitely were aware enough to know there was a premiere later that night.
Community is hilarious. It wasn't the best episode of Community ever, but I love how self-reflective it is. How many times did Abed talk about how he wished the year was starting off with a bang, like a paintball war. Which is one of the most popular episodes of Community from season one.
At first I didn't like how the group was fighting for most of the episodes -- but if you're going to do an episode like that, it's best to do it once and get it out of the way. Glee is an example of how that's a tired threat. When every other week the group is threatened with disbandment, it becomes boring. And the exchange between Starburns and Jeff near the end of the episode, which motivates Jeff to reconcile, reinforces how the study group has gone beyond a group of strangers to a family. Jeff isn't in the group in order to get Britta -- or any girl -- anymore. He's in it because he really cares about these people. It was sweet.
I don't know how I feel about Senor Cheng in the study group. His character is so much more interesting when he has power over the study group. Not when he's pandering to get in it. Then he's just pathetic. I did like his Gollum-esque split personality monologue though -- maybe it means that his plan to get into the study group is all just a rouse to take it down from within. THAT would be interesting.
BONES--
Excellent permiere. I loved the twist on the usual case format, how they ended up having the remains of one child but not one that fit the missing persons report and yet they managed to solve both crimes. That's cause they're amazing.
But let's be honest -- we don't watch Bones for the murder cases. Angela and Hodgins--we knew that was coming. And that, I think, is an excellent plotline for them to follow this year. Can you imagine Angela, free spiritied cool girl Angela, dealing with pregnancy and impending motherhood? It's going to be excellent.
I'm glad Wendell is back, but I have to wonder about the other interns. Will Daisy come back to work from time to time? Will we get new interns? Or is boyishly handsome Wendell going to replace boyishly awkward Zack? [Wendell is *not* the squintern that I have in my spec. Which is partially why I hope some of the others are coming back.]
Booth and Brennan. Unlike many Bones fans, I am excited about adding Booth's new love interest Hannah to the mix. Someone said it, and rightly so I think, that it's now Brennan's turn to pine over Booth. I think that the writers manage to create some excellent moments out of Brennan and Booth's suppressed feelings and that Hannah will allow even more opportunities for those. Also, I am delighted that Brennan seems to have regressed in her social skills since leaving DC. Her awkwardness in the early seasons was hilarious, but as she spent more time with Booth she definitely normalized to some extent. I'm glad to see more of her socially unaware tendencies resurfancing in this episode. Because that's who she is.
I'm just glad it looks like Sweets is going to cut his hair and get rid of the scruff. Maybe we'll let him keep the hat.
30 ROCK--
Potentially the best premiere of the week. But I'm not going to give my votes out yet. One thing I love about 30 Rock is how the writers manage to get so much mileage out of each plotline. With the Jenna/Pete story, for example, at first Pete was disappointed Jenna was a producer. Then he was delighted because she could do all the heartless things he couldn't. Then he was scared that she was going to have him fired because they had one extraneous producer. Then she surprised them all by abdicating for the greater good. Or Jack and Avery's power struggle. The one-up-manship, the attacks and retreats, and the eventual reveal of the master plan. Superb writing like this keeps the story going at a pace that engages and retains the viewer.
Oh Carol and Liz. I hope you get married.
30 Rock also does an excellent job of carrying its jokes from episode to episode. Pete's strained relationship with his children pops up subtly every couple episodes. As does Liz's fear of dying alone in her apartment.
But where is Kenneth? I forgot he was fired! He had better come back from CBS ASAP. Because he is the funniest character on this show.
THE LEAGUE--
I hope one day to have a marriage as perfect as Jenny and Kevin's.
THE OFFICE--
Well, awkward Micheal Scott is definitely back. Sometimes watching The Office makes me feel weird. Like I'm really not sure if I can laugh--if I want to laugh--at it because it's just so awkward. Awkard has ALWAYS been The Office's MO.
Excellent opening. Everyone was so--them.
I thought Andy and Erin got back together at the end of last season. But clearly I was wrong. This has potential.
Pam and Jim, was that a real fight? Because, it's sweet that Pam can tell when Jim's mad by his subtle cues, but guess what, none of the rest of us could.
I like The Office. But this is Steve Carell's last season. It will most likely be my last season too.
I like Kelly's pink power suit.
THE BIG BANG THEORY--
I don't understand, guys. I DVR'ed it and watched it. It was funny. But I just don't find it as engaging as Community, and the writing is definitely not as sophisiticated as 30 Rock. It's funny but why is it winning?
Thursday, September 23, 2010
Wednesday Night.
I love premiere week. It's like your first week of college classes, when you're deciding if you liked the classes you registered for or if you want to switch over to SciFi and Horror Film or Frauds and Myths in Archeology [that was an actual class I took. They taught us all the un-true things in archeology. Kinda a different approach]. Thursday night is like your star class, your most anticipated, the one you're most excited about.
But first let's talk about Wednesday [again, spoilers included].
UNDERCOVERS--
The best part of this show is the acting, Gugu Mbatha-Raw especially. I struggled with the tone. It didn't quite have the charming cheese of Chuck or the grittiness of Alias, leaving it somewhere in the middle. And in the middle is not always a place you want to be because it often reads boring. I also didn't feel like the Blooms recruitment was justified strongly enough. There was a throw away scene with Carlton Shaw where he says that the Blooms don't suspect the real nature of their reinstatement. Unfortunately, neither does the audience. And why did they take the offer? Where they just bored in their marriage and their normal lives? Because I hate when TV shows and movies do that. Like marriages without spy missions and life endangerment are lacking something. That excitement validates a relationship. I can see how the Blooms, in their earlier lives, had qualities that attracted them to each other that probably faded over time as they switched career paths into catering. I can see how they might miss each other's bravery and ingenuity and daring. But I still find it irritating when, especially after just five years, a couple rejoins the CIA just because they need a little shake up in their married lives.
Undercovers gets a week two from me, but I'm worried that it'll be one of those shows that I don't find compelling enough that I make a point of watching and that it will eventually just slip off my radar. Especially with the explosion of spy and CIA pilots that have recently been purchased and ordered by various networks.
TOP CHEF: JUST DESSERTS--
This was not premiere week for this Top Chef spin-off. It's first episode aired last week, and I jumped on this bandwagon faster than a kid grabbing for mellocreme pumpkins at Halloween. I love baking shows. And there is SO MUCH DRAMA. Oh man, there was more interpersonal conflict in last night's episode of Top Chef: Just Desserts than maybe any other hour of television I've watched this week. It was INSANE. It's wonderful, it's like you get a world class baking competition and an episode of the Real Housewives of Hell's Kitchen all in one.
Seth went freakin CRAZY.
And the wrong person got sent home. But you can't send the person who had TWO emotional meltdowns in one week home. That just looks cruel.
Even if it's fair.
MODERN FAMILY--
Modern Family. Are you funny? Yes. Did you manage to beautifully and poignantly work in themes of family and identity into each storyline? Yes. Did you win an Emmy for Best Comedy? Yes.
Mmm, are you REALLY the best comedy?
Modern family is hilarious. And I will most definitely continue to watch it. But NBC Thursday night is where the award-winning comedy is for me.
BETTER WITH YOU--
It has been so long since I've watched a traditional three-camera laugh-track sitcom. It feels old. I know there are shows that still use it, right? How I Met Your Mother? The Big Bang Theory? Two and a Half Men? I think...
Better With You felt like a cross over between What I Like About You and Modern Family. It was funny, but the acting felt awkward and forced at times. And the humor definitely came from jokes and one liners, not from characters and scenarios. The characters and situations drove the plot, but it was what the characters SAID that created the humor. Look, I'm not saying one kind of comedy is better than the other. I'm just saying that if I gave you a logline of Better With You it wouldn't read inherently comedic whereas if I gave you a logline for a 30 Rock episode, the comedy stands out immediately. The humor of Better With You was definitely more organic and character driven than Running Wilde, but I'm not sure this is a enough of a stand out show in a season when we have so many wonderful comedies.
I am just so excited about Thursday night television. I am going to catch Bones, Community, 30 Rock, The Office, and The League, while also at some point relinquishing the remote to E. the Flatmate for Grey's Anatomy. Might DVR a few other shows, The Big Bang Theory, Outsourced, and %*&^ My Dad Says. It's William Shatner, guys.
But first let's talk about Wednesday [again, spoilers included].
UNDERCOVERS--
The best part of this show is the acting, Gugu Mbatha-Raw especially. I struggled with the tone. It didn't quite have the charming cheese of Chuck or the grittiness of Alias, leaving it somewhere in the middle. And in the middle is not always a place you want to be because it often reads boring. I also didn't feel like the Blooms recruitment was justified strongly enough. There was a throw away scene with Carlton Shaw where he says that the Blooms don't suspect the real nature of their reinstatement. Unfortunately, neither does the audience. And why did they take the offer? Where they just bored in their marriage and their normal lives? Because I hate when TV shows and movies do that. Like marriages without spy missions and life endangerment are lacking something. That excitement validates a relationship. I can see how the Blooms, in their earlier lives, had qualities that attracted them to each other that probably faded over time as they switched career paths into catering. I can see how they might miss each other's bravery and ingenuity and daring. But I still find it irritating when, especially after just five years, a couple rejoins the CIA just because they need a little shake up in their married lives.
Undercovers gets a week two from me, but I'm worried that it'll be one of those shows that I don't find compelling enough that I make a point of watching and that it will eventually just slip off my radar. Especially with the explosion of spy and CIA pilots that have recently been purchased and ordered by various networks.
TOP CHEF: JUST DESSERTS--
This was not premiere week for this Top Chef spin-off. It's first episode aired last week, and I jumped on this bandwagon faster than a kid grabbing for mellocreme pumpkins at Halloween. I love baking shows. And there is SO MUCH DRAMA. Oh man, there was more interpersonal conflict in last night's episode of Top Chef: Just Desserts than maybe any other hour of television I've watched this week. It was INSANE. It's wonderful, it's like you get a world class baking competition and an episode of the Real Housewives of Hell's Kitchen all in one.
Seth went freakin CRAZY.
And the wrong person got sent home. But you can't send the person who had TWO emotional meltdowns in one week home. That just looks cruel.
Even if it's fair.
MODERN FAMILY--
Modern Family. Are you funny? Yes. Did you manage to beautifully and poignantly work in themes of family and identity into each storyline? Yes. Did you win an Emmy for Best Comedy? Yes.
Mmm, are you REALLY the best comedy?
Modern family is hilarious. And I will most definitely continue to watch it. But NBC Thursday night is where the award-winning comedy is for me.
BETTER WITH YOU--
It has been so long since I've watched a traditional three-camera laugh-track sitcom. It feels old. I know there are shows that still use it, right? How I Met Your Mother? The Big Bang Theory? Two and a Half Men? I think...
Better With You felt like a cross over between What I Like About You and Modern Family. It was funny, but the acting felt awkward and forced at times. And the humor definitely came from jokes and one liners, not from characters and scenarios. The characters and situations drove the plot, but it was what the characters SAID that created the humor. Look, I'm not saying one kind of comedy is better than the other. I'm just saying that if I gave you a logline of Better With You it wouldn't read inherently comedic whereas if I gave you a logline for a 30 Rock episode, the comedy stands out immediately. The humor of Better With You was definitely more organic and character driven than Running Wilde, but I'm not sure this is a enough of a stand out show in a season when we have so many wonderful comedies.
I am just so excited about Thursday night television. I am going to catch Bones, Community, 30 Rock, The Office, and The League, while also at some point relinquishing the remote to E. the Flatmate for Grey's Anatomy. Might DVR a few other shows, The Big Bang Theory, Outsourced, and %*&^ My Dad Says. It's William Shatner, guys.
Wednesday, September 22, 2010
Tuesday Night.
First of all, before we get any further, let me just say that if you have an opportunity to go see CATFISH in theatres, you need to. It's an exceptional movie. And it's a Cinderella story for the indie filmmakers. But really, it's wonderful. It deserves to be a hit.
Ok, let's talk Tuesday television --
[So, if you haven't watched all your shows from last night yet, you'll probably not want to read my following reviews because I talk about plot and characters and all that.]
GLEE:
Glee. Glee, Glee, Glee. You delightfully surprised me. If you have been on the fence about this show, which I have for most of its run, you will find the premiere to be surprisingly fresh. Of course, there is the tired plot line of -- Glee is in danger of not having enough members! -- but for once I feel like the stakes are real. The writers are introducing problems that don't get solved before the end of the show. Glee is still one member short. [Which is too bad, because I was really hoping Sunshine would stay around. She has got a killer voice.] Power dynamics are shifting. Finn is off the football team with little hope of being reinstated. Quinn is back to her life as a head Cheerio. And Artie and Tina -- aww, so sad! Finally I feel like both Glee Club and the kids in it are risking and losing and NOT getting everything resolved neatly in the last act. A show where the stakes feel fake is a show with no real drama. And for once -- there was no love interest for Mr. Shu.
I do wish the songs were a little more integrated into the plot, but at least I didn't throw anything at the TV when they did "Billionaire" [cannot stand that song anymore]. And let's be honest -- IS there a more unlikeable character than Rachel?
RUNNING WILDE:
Will Arnett. David Cross. Keri Russell. Cute little girl with interesting facial expressions. Oh how I want to like you. But at the end of the pilot, my flatmate and I looked at each other. "Eh" was the consensus.
What was it that failed to resonate? I think part of it was, sadly, it just didn't seem that funny. There were funny moments, but it felt like comedy I would write. Forced. Humor seemed not to stem from characters but rather from weird scenarios the writers could throw in. I'm not saying there weren't funny parts. But in Running Wilde humor comes from Will Arnett investing in a tiny pony and giving himself a humanitarian award where as in an excellent show like Arrested Development, humor comes from the things the characters say and do that come from just being who they are.
Running Wilde, I'm sorry that you'll be uselessly and detrimentally compared to Arrested Development for most of your run. That's the blessing and curse of hiring Will Arnett.
Worth a second shot, if only because I desperately want to like it.
DETROIT 1-8-7:
I have ulterior motives for wanting this show to do well, it's true. And I have to admit that I was a little distracted when I was watching it [it's a cop show. Procedurals give you an excuse to multitask]. But they have definitely reeled me in for a second episode next week.
First of all, who doesn't like a good who-done-it? And like I said yesterday, L&O has left a hole. Detroit 187's pilot followed Detective Washington on his first day as a homicide detective, an excellent entrance into the homicide world. And I think they did a great job keeping true to their cop format but drawing in little things about the characters, their work lives and their home lives. You can tell they've put a lot of thought into developing their characters and their relationships. Washington and Fitch have a great awkward relationship going as the green detective and the stern veteran. And you just have to feel for Fitch's crush on Sanchez. Especially now that she's got Mr. February John Stone riding with her.
But the thing that really brought me in was the last 30 seconds. These writers showed that they aren't afraid to take risks and raise the stakes and leave us in a cliff hanger. Way to go, procedurals!
THE GOOD WIFE:
I forgot to DVR this and it's not on Hulu yet [EDIT: Because it premieres NEXT week], so instead I'll offer you...
LONESTAR:
Lonestar was the scaping goat of Monday night. I myself opted not to DVR it though I was mildly interested [I don't know why. Was I afraid we were going to run out of room on our DVR?]. I wish I had because, though the ratings were bad and the trades were calling it DOA, the people who saw it had only excellent things to say about it. So I watched it on Hulu instead of my excellent television to see how I swung in the controversy around it.
Lonestar deserves a shot, people.
This was an hour of good television. You have a likeable character [in MY opinion, though people will disagree with me] caught in a terrible situation that is mostly the fault of the emotional manipulating of his father where he is really trying to do the best he can and follow his heart. This kid is morally CONFUSED yes, but you can still see him trying to do the right thing, which doesn't make him completely reprehensible.
At first I was annoyed that his dad let him out of the con that easily. And then confused and disappointed by the last minute where he takes his girlfriend to Vegas to marry her. Then I realized why I had a problem -- I wanted to story where a reforming con man must struggle with his oppressive, manipulative, and blackmailing father to establish himself as a legitimate businessman with a sacred marriage.
This is not the story the writers are telling.
Instead, they're telling a story about a morally confused man who's trying to do the right thing by one part of his life while following his heart at the other end, reimplicating himself in the con. So now the con isn't externally forced upon him by his dead. He's WILLINGLY returning to his double life and moral ambiguity, all the time thinking that he's going to be able to do right by everyone. And honestly, that's way more interesting than the story I thought I wanted them to tell.
The sad thing is, you hardly ever increase your ratings. If a show has poor ratings in the beginning, the predictable thing is that it will continue to decline. The bad press hasn't helped either -- can you imagine how nervous the people who greenlit the show are with all the devastating headlines? No matter how engaging Lonestar turns out to be, I think it's been bludgeoned beyond resuscitation.
Ok, let's talk Tuesday television --
[So, if you haven't watched all your shows from last night yet, you'll probably not want to read my following reviews because I talk about plot and characters and all that.]
GLEE:
Glee. Glee, Glee, Glee. You delightfully surprised me. If you have been on the fence about this show, which I have for most of its run, you will find the premiere to be surprisingly fresh. Of course, there is the tired plot line of -- Glee is in danger of not having enough members! -- but for once I feel like the stakes are real. The writers are introducing problems that don't get solved before the end of the show. Glee is still one member short. [Which is too bad, because I was really hoping Sunshine would stay around. She has got a killer voice.] Power dynamics are shifting. Finn is off the football team with little hope of being reinstated. Quinn is back to her life as a head Cheerio. And Artie and Tina -- aww, so sad! Finally I feel like both Glee Club and the kids in it are risking and losing and NOT getting everything resolved neatly in the last act. A show where the stakes feel fake is a show with no real drama. And for once -- there was no love interest for Mr. Shu.
I do wish the songs were a little more integrated into the plot, but at least I didn't throw anything at the TV when they did "Billionaire" [cannot stand that song anymore]. And let's be honest -- IS there a more unlikeable character than Rachel?
RUNNING WILDE:
Will Arnett. David Cross. Keri Russell. Cute little girl with interesting facial expressions. Oh how I want to like you. But at the end of the pilot, my flatmate and I looked at each other. "Eh" was the consensus.
What was it that failed to resonate? I think part of it was, sadly, it just didn't seem that funny. There were funny moments, but it felt like comedy I would write. Forced. Humor seemed not to stem from characters but rather from weird scenarios the writers could throw in. I'm not saying there weren't funny parts. But in Running Wilde humor comes from Will Arnett investing in a tiny pony and giving himself a humanitarian award where as in an excellent show like Arrested Development, humor comes from the things the characters say and do that come from just being who they are.
Running Wilde, I'm sorry that you'll be uselessly and detrimentally compared to Arrested Development for most of your run. That's the blessing and curse of hiring Will Arnett.
Worth a second shot, if only because I desperately want to like it.
DETROIT 1-8-7:
I have ulterior motives for wanting this show to do well, it's true. And I have to admit that I was a little distracted when I was watching it [it's a cop show. Procedurals give you an excuse to multitask]. But they have definitely reeled me in for a second episode next week.
First of all, who doesn't like a good who-done-it? And like I said yesterday, L&O has left a hole. Detroit 187's pilot followed Detective Washington on his first day as a homicide detective, an excellent entrance into the homicide world. And I think they did a great job keeping true to their cop format but drawing in little things about the characters, their work lives and their home lives. You can tell they've put a lot of thought into developing their characters and their relationships. Washington and Fitch have a great awkward relationship going as the green detective and the stern veteran. And you just have to feel for Fitch's crush on Sanchez. Especially now that she's got Mr. February John Stone riding with her.
But the thing that really brought me in was the last 30 seconds. These writers showed that they aren't afraid to take risks and raise the stakes and leave us in a cliff hanger. Way to go, procedurals!
THE GOOD WIFE:
I forgot to DVR this and it's not on Hulu yet [EDIT: Because it premieres NEXT week], so instead I'll offer you...
LONESTAR:
Lonestar was the scaping goat of Monday night. I myself opted not to DVR it though I was mildly interested [I don't know why. Was I afraid we were going to run out of room on our DVR?]. I wish I had because, though the ratings were bad and the trades were calling it DOA, the people who saw it had only excellent things to say about it. So I watched it on Hulu instead of my excellent television to see how I swung in the controversy around it.
Lonestar deserves a shot, people.
This was an hour of good television. You have a likeable character [in MY opinion, though people will disagree with me] caught in a terrible situation that is mostly the fault of the emotional manipulating of his father where he is really trying to do the best he can and follow his heart. This kid is morally CONFUSED yes, but you can still see him trying to do the right thing, which doesn't make him completely reprehensible.
At first I was annoyed that his dad let him out of the con that easily. And then confused and disappointed by the last minute where he takes his girlfriend to Vegas to marry her. Then I realized why I had a problem -- I wanted to story where a reforming con man must struggle with his oppressive, manipulative, and blackmailing father to establish himself as a legitimate businessman with a sacred marriage.
This is not the story the writers are telling.
Instead, they're telling a story about a morally confused man who's trying to do the right thing by one part of his life while following his heart at the other end, reimplicating himself in the con. So now the con isn't externally forced upon him by his dead. He's WILLINGLY returning to his double life and moral ambiguity, all the time thinking that he's going to be able to do right by everyone. And honestly, that's way more interesting than the story I thought I wanted them to tell.
The sad thing is, you hardly ever increase your ratings. If a show has poor ratings in the beginning, the predictable thing is that it will continue to decline. The bad press hasn't helped either -- can you imagine how nervous the people who greenlit the show are with all the devastating headlines? No matter how engaging Lonestar turns out to be, I think it's been bludgeoned beyond resuscitation.
Tuesday, September 21, 2010
Change of season.
Let's talk about TELEVISION!
I'm more excited about the new season this fall than I usually am. Maybe it's because I've been learning more about television writing and have been doing a better job of virtually stalking showrunners. That's what my secret Twitter account is for.
Most shows are premiering this week. Here are some that I'm excited for this season--
SUNDAYS:
8:00PM Boardwalk Empire - Unfortunately, I don't get HBO, so I have to be excited but frustrated about this one. Who has HBO that wants to invite me over to watch this? Do you also have Showtime?
MONDAYS:
8:00PM Chuck - Maybe. I DVRed it. I've heard good things about it, but we're already several seasons in. Do I have the stamina to go back and watch all those old episodes? To me I think it's only worth it if I can get a spec out of it.
9:00PM The Event - I want to want to want to want to like this. It feels a lot like Flashforward though, which didn't quite make it. I think it, like Flashforward, lacked some of the character development that made Lost stand out. I will continue to give it chances, but if it doesn't pick up more, I'm probably not going to stick through the season.
10:00PM Castle - I've never watched Castle before, but this is only its third season so I can jump in pretty easily. I enjoyed last night's premiere, and it has become obvious to me that if I want to get anywhere near the Bones' writers room [which, it's probably too late in the series for that] I need to write a Castle script. Staff writers can't read specs of their own show for legal reasons, so you have to find shows that are in similar veins to spec.
TUESDAYS:
8:00PM Glee - I just don't know about Glee. My flatmate is crazy about it, and I think it's funny enough, but I just saw on IMDB that Gwyneth Paltrow is negotiating for a guest role as a substitute teacher and - wait for it - a love interest for Mr. Shu. Seriously, this guy has more love interests than Hugh Hefner. It's a tired plot line, and it just doesn't make him look good -- move on!
8:00PM The Good Wife - Amanda the Aspiring Writer said this is a good show to spec this year. I'm going to check it out, see if I like it enough to spec, and then go from there. It's nice to have a show so focused on a woman trying to figure out her career and familial identity. I know little about it, but I'm hoping it's good.
10:00PM Detroit 1-8-7 - The only straight up cop procedural that I will be watching. There is an overabundance this year of police and medical procedurals, and I am beyond sick of it. I almost made a list of all of them, but then I decided not to waste my life. But I am excited about Detroit 187. I think it fills a niche the original Law & Order is leaving, while bringing something different to the table. And it's shot here in Detroit, so I am really rooting for it to succeed. Also I want to work on it, so it needs to keep going.
WEDNESDAYS:
8:0oPM Undercovers - I loved Alias. And I love JJ Abrams. I love pretending that I can still be a spy with a quick career change. So I will be pulling for this show with tooth and nail. Here's the thing - I compare all spy shows to Alias, and it had one kick-a pilot. So if Undercovers supplies anything less than superb fare, I'm afraid I'll be disappointed from the outset.
10:00PM Top Chef: Just Desserts - It's Top Chef. But just about desserts. Duh.
THURSDAYS:
[Oh Thursdays. Why oh why can't we all just agree to spread out Thursday's schedule a little? It would be oh so nice.]
8:00PM BONES - I love Bones. It's so great. And I'm actually excited about the regression in Brennan and Booth's relationship. I always liked it best when she was awkward and their love was communicated so subtly because they couldn't express themselves. I have good feelings for this season. My one concern is that it's gotten a little silly and gimmicky recently. For instance, I heard they're diving into the Jersey guido subculture this season. Hm. Still my favourite show, and my flatmate consented to watch all the seasons with me from the beginning because she's never seen it.
8:00PM Community - One of the best written half hours of comedy on television today. If you don't already watch Community, you need to have started yesterday. Also excited about the switch up from Spanish class to Anthropology class with Professor Betty White!
8:30PM 30 Rock - Last season Liz Lemon met a dreamboat pilot...
"What are you, a doorman?"
"Yes, I'm a doorman -- to the SKY."
Played by Matt Damon. I would like to see more of these two together. Especially since I'm pretty sure I am Liz Lemon.
9:00PM The Office - This is Steve Carell's last season. Guys, I love The Office, but they should have known to end it with Pam and Jim's wedding. Let's hope that they take the hint when Micheal Scott leaves Dunder Mifflin.
10:30PM The League - This show is funny. Also, I'm taking notes from Jenny about how to be a cool wife. Thanks, show, for depicting a cool wife instead of a nagging self absorbed train wreck of a woman.
I'm sure there are a couple more shows that I think I'm forgetting, but this is enough to start off with, right? To me, this is a daunting amount of television, ridiculous really, and I'm secretly hoping I don't like most of the new shows so I can cut them out. Thursdays are pretty wiped out, though.
But the more I've been thinking about my eventual move to LA, the more I've been imaging a life in television writing. And while I hear various advice on whether you should focus on pilots or specs, I basically want to have as many scripts as I can when I move out there. I want to have a freakin arsenal of brad-bound paperweights.
I want to win an Emmy.
And that's how I justify it.
I'm more excited about the new season this fall than I usually am. Maybe it's because I've been learning more about television writing and have been doing a better job of virtually stalking showrunners. That's what my secret Twitter account is for.
Most shows are premiering this week. Here are some that I'm excited for this season--
SUNDAYS:
8:00PM Boardwalk Empire - Unfortunately, I don't get HBO, so I have to be excited but frustrated about this one. Who has HBO that wants to invite me over to watch this? Do you also have Showtime?
MONDAYS:
8:00PM Chuck - Maybe. I DVRed it. I've heard good things about it, but we're already several seasons in. Do I have the stamina to go back and watch all those old episodes? To me I think it's only worth it if I can get a spec out of it.
9:00PM The Event - I want to want to want to want to like this. It feels a lot like Flashforward though, which didn't quite make it. I think it, like Flashforward, lacked some of the character development that made Lost stand out. I will continue to give it chances, but if it doesn't pick up more, I'm probably not going to stick through the season.
10:00PM Castle - I've never watched Castle before, but this is only its third season so I can jump in pretty easily. I enjoyed last night's premiere, and it has become obvious to me that if I want to get anywhere near the Bones' writers room [which, it's probably too late in the series for that] I need to write a Castle script. Staff writers can't read specs of their own show for legal reasons, so you have to find shows that are in similar veins to spec.
TUESDAYS:
8:00PM Glee - I just don't know about Glee. My flatmate is crazy about it, and I think it's funny enough, but I just saw on IMDB that Gwyneth Paltrow is negotiating for a guest role as a substitute teacher and - wait for it - a love interest for Mr. Shu. Seriously, this guy has more love interests than Hugh Hefner. It's a tired plot line, and it just doesn't make him look good -- move on!
8:00PM The Good Wife - Amanda the Aspiring Writer said this is a good show to spec this year. I'm going to check it out, see if I like it enough to spec, and then go from there. It's nice to have a show so focused on a woman trying to figure out her career and familial identity. I know little about it, but I'm hoping it's good.
10:00PM Detroit 1-8-7 - The only straight up cop procedural that I will be watching. There is an overabundance this year of police and medical procedurals, and I am beyond sick of it. I almost made a list of all of them, but then I decided not to waste my life. But I am excited about Detroit 187. I think it fills a niche the original Law & Order is leaving, while bringing something different to the table. And it's shot here in Detroit, so I am really rooting for it to succeed. Also I want to work on it, so it needs to keep going.
WEDNESDAYS:
8:0oPM Undercovers - I loved Alias. And I love JJ Abrams. I love pretending that I can still be a spy with a quick career change. So I will be pulling for this show with tooth and nail. Here's the thing - I compare all spy shows to Alias, and it had one kick-a pilot. So if Undercovers supplies anything less than superb fare, I'm afraid I'll be disappointed from the outset.
10:00PM Top Chef: Just Desserts - It's Top Chef. But just about desserts. Duh.
THURSDAYS:
[Oh Thursdays. Why oh why can't we all just agree to spread out Thursday's schedule a little? It would be oh so nice.]
8:00PM BONES - I love Bones. It's so great. And I'm actually excited about the regression in Brennan and Booth's relationship. I always liked it best when she was awkward and their love was communicated so subtly because they couldn't express themselves. I have good feelings for this season. My one concern is that it's gotten a little silly and gimmicky recently. For instance, I heard they're diving into the Jersey guido subculture this season. Hm. Still my favourite show, and my flatmate consented to watch all the seasons with me from the beginning because she's never seen it.
8:00PM Community - One of the best written half hours of comedy on television today. If you don't already watch Community, you need to have started yesterday. Also excited about the switch up from Spanish class to Anthropology class with Professor Betty White!
8:30PM 30 Rock - Last season Liz Lemon met a dreamboat pilot...
"What are you, a doorman?"
"Yes, I'm a doorman -- to the SKY."
Played by Matt Damon. I would like to see more of these two together. Especially since I'm pretty sure I am Liz Lemon.
9:00PM The Office - This is Steve Carell's last season. Guys, I love The Office, but they should have known to end it with Pam and Jim's wedding. Let's hope that they take the hint when Micheal Scott leaves Dunder Mifflin.
10:30PM The League - This show is funny. Also, I'm taking notes from Jenny about how to be a cool wife. Thanks, show, for depicting a cool wife instead of a nagging self absorbed train wreck of a woman.
I'm sure there are a couple more shows that I think I'm forgetting, but this is enough to start off with, right? To me, this is a daunting amount of television, ridiculous really, and I'm secretly hoping I don't like most of the new shows so I can cut them out. Thursdays are pretty wiped out, though.
But the more I've been thinking about my eventual move to LA, the more I've been imaging a life in television writing. And while I hear various advice on whether you should focus on pilots or specs, I basically want to have as many scripts as I can when I move out there. I want to have a freakin arsenal of brad-bound paperweights.
I want to win an Emmy.
And that's how I justify it.
Sunday, May 23, 2010
Oh no
I'm flying during the LOST finale. Which means that my plane will probably crash on a remote time traveling electromagnetic island in the middle of Lake Eerie and I'll be caught in an epic supernatural battle between good and evil.
Wish me luck.
Wish me luck.
Friday, March 26, 2010
A Piece of (Cup)Cake
Recent exciting things --
1) I bought a kitchen flame thrower. Well, it's more like a mini torch, but it's amazing fun. I used it yesterday to toast the icing on my s'mores cupcakes.
You wish you knew me for realsies now, don't you?
2) I applied for a job. It's a PA position for Game of Thrones, which I'm cautious of getting too excited about, but I was excited anyway. I thought I wrote a pretty kick-a cover letter, though sometimes it was difficult to convene how no one else is going to be as passionate about this project as I am without sounding like a pandering fangirl. In typical Butler fashion, I wrote my cover letter last night and woke up at 5:15 to do my resume this morning. It's just exciting to start applying for film jobs. This is the first of many (unless I get it!).
3) It was warm here. We had a picnic last week. Even though it's cold again, it's still warmer than Michigan.
4) This week's Lost was an episode to make all of us who stayed proud.
1) I bought a kitchen flame thrower. Well, it's more like a mini torch, but it's amazing fun. I used it yesterday to toast the icing on my s'mores cupcakes.
You wish you knew me for realsies now, don't you?
2) I applied for a job. It's a PA position for Game of Thrones, which I'm cautious of getting too excited about, but I was excited anyway. I thought I wrote a pretty kick-a cover letter, though sometimes it was difficult to convene how no one else is going to be as passionate about this project as I am without sounding like a pandering fangirl. In typical Butler fashion, I wrote my cover letter last night and woke up at 5:15 to do my resume this morning. It's just exciting to start applying for film jobs. This is the first of many (unless I get it!).
3) It was warm here. We had a picnic last week. Even though it's cold again, it's still warmer than Michigan.
4) This week's Lost was an episode to make all of us who stayed proud.
Friday, March 05, 2010
A 2 Cupcake Kinda Day
It feels like there're fireworks going off in my brain. I feel like I might have at one point had a topic for this post, but my seizing histamines are clouding my thought processes. I hope it's allergies because (1) I refuse to let myself get sick from any of my students and (2) it means that warm weather is coming. I definitely have been feeling the affects of cabin fever these past few weeks.
I am 90% sure what I'm doing come the end of June. The other 10% is reserved for various miracles.
My classroom teacher is confusing our students by telling them that I'm a writer/author. They don't understand the word "aspiring" yet. They keep asking me what the title of my book is. I was going to bring in my stacks and stacks of stories to show them, but I think they might get even more confused if I show them the books I got for free from LuLu for finishing NaNoWriMo. The business side of publishing and self publishing might be a little over their heads.
I have rewritten the opening for my secret writing project three times now. I think I finally have something that works. Which, you know, I cannot share at this particular moment...
Oh man, I had the craziest dream earlier this week. I woke up and wrote it down immediately so I could make it into a story. I don't think that's ever happened to me before. I have pretty vivid dreams, but nothing that's jumped out to me before with inherent dramatic characteristics. Unfortunately, I think the best format for this story would be fiction, and I am so out of practice there. Maybe NaNoWriMo this year. Regardless, it's about fifth on my priority list.
ABC and Cablevision, can you please work out your issues so that I can actually watch the Oscars. Though if you don't, at least I'll have a valid excuse for not seeing them this year.
Also, George R.R. Martin's Game of Thrones was picked up by HBO. Am super psyched. Won't start airing until next year, but I will definitely be upgrading my cable plan to include HBO now.
Michigan's campus during February, snowy streets, primitive forms of transportation, students strewn everywhere. Or a still from the opening scene of Game of Thrones.
I am 90% sure what I'm doing come the end of June. The other 10% is reserved for various miracles.
My classroom teacher is confusing our students by telling them that I'm a writer/author. They don't understand the word "aspiring" yet. They keep asking me what the title of my book is. I was going to bring in my stacks and stacks of stories to show them, but I think they might get even more confused if I show them the books I got for free from LuLu for finishing NaNoWriMo. The business side of publishing and self publishing might be a little over their heads.
I have rewritten the opening for my secret writing project three times now. I think I finally have something that works. Which, you know, I cannot share at this particular moment...
Oh man, I had the craziest dream earlier this week. I woke up and wrote it down immediately so I could make it into a story. I don't think that's ever happened to me before. I have pretty vivid dreams, but nothing that's jumped out to me before with inherent dramatic characteristics. Unfortunately, I think the best format for this story would be fiction, and I am so out of practice there. Maybe NaNoWriMo this year. Regardless, it's about fifth on my priority list.
ABC and Cablevision, can you please work out your issues so that I can actually watch the Oscars. Though if you don't, at least I'll have a valid excuse for not seeing them this year.
Also, George R.R. Martin's Game of Thrones was picked up by HBO. Am super psyched. Won't start airing until next year, but I will definitely be upgrading my cable plan to include HBO now.
Michigan's campus during February, snowy streets, primitive forms of transportation, students strewn everywhere. Or a still from the opening scene of Game of Thrones.Tuesday, March 02, 2010
What you should be writing and why
I tried to laugh it off when I wiped out in the melting slush in the middle of the street this morning, but I should have known it was going to be one of those days. I came home from work and immediately stuffed myself with cookies and 30 Rock. I will blame it all on being exhausted from staying up too late to watch all 3 unsatisfying hours of the Bachelor last night. Sorry, Bachelor. It never would have worked between us anyway, Jake. I'm too much like Ali, and you're too much like my ex-boyfriend.
It's Day 11 of my 90 days of productivity. I have done something, in any small way, to make progress on my scripts every single day. Though if I keep up the rate I'm going at, 90 days of productivity isn't going to make that much of a dent in my career. I've been focusing primarily on two scripts, Keys to the Garden and my TV pilot. As I was notecarding one day, I thought about this. 90 days falls conveniently close to the summer contest deadlines. Am I focusing on the right projects? What kind of script does each contest ask for? I decided to do some research on the contests I was interested in as well as a few extra.
Austin Film Festival - Features, Current Specs
AAA Creative Screenwriting Contest - Features, Specs
Creative Screenwriting Expo - Features, Specs
Disney/ABC TV Fellowship - Current Specs
Film Independent Screenwriters Lab - Features
Script Magazine's Big Break - Features
Scriptapalooza - Current Specs, TV Pilots, Features
Script PIMP - Feature, TV Pilot, Spec
Silver Screenwriting Competition - Features
Slamdance - Features, TV Pilots
Nicholl Fellowship - Features
Warner Bros. TV Workshop - Current Specs
Zoetrope - Features
So maybe I should put away the pilot for a while and pull out the Bones spec again. It could use 3 months of work. If anyone has any other information to share about contests, please add it on!
It's Day 11 of my 90 days of productivity. I have done something, in any small way, to make progress on my scripts every single day. Though if I keep up the rate I'm going at, 90 days of productivity isn't going to make that much of a dent in my career. I've been focusing primarily on two scripts, Keys to the Garden and my TV pilot. As I was notecarding one day, I thought about this. 90 days falls conveniently close to the summer contest deadlines. Am I focusing on the right projects? What kind of script does each contest ask for? I decided to do some research on the contests I was interested in as well as a few extra.
Austin Film Festival - Features, Current Specs
AAA Creative Screenwriting Contest - Features, Specs
Creative Screenwriting Expo - Features, Specs
Disney/ABC TV Fellowship - Current Specs
Film Independent Screenwriters Lab - Features
Script Magazine's Big Break - Features
Scriptapalooza - Current Specs, TV Pilots, Features
Script PIMP - Feature, TV Pilot, Spec
Silver Screenwriting Competition - Features
Slamdance - Features, TV Pilots
Nicholl Fellowship - Features
Warner Bros. TV Workshop - Current Specs
Zoetrope - Features
So maybe I should put away the pilot for a while and pull out the Bones spec again. It could use 3 months of work. If anyone has any other information to share about contests, please add it on!
Saturday, February 27, 2010
Snow day
It started snowing yesterday morning and kept on for 36 hours straight. Crazy amounts of snow. I'm starting to think about maybe considering not all that the weathermen say to be completely bogus.
If it's going to snow like this, it should be socially acceptable to play Christmas music.
Over the last couple days I've finished notecarding Keys to the Garden and the first half of my TV pilot and I've tinkered with my rom com idea, to no great gains. I really need to do some research for the rom com, but I'll admit, the thought of checking out half a dozen books from the library about men and dysfunctional relationships intimidates me.
I've also been majorly productive by watching 30 Rock. I've watched some of the recent episodes on Hulu, but thanks to the beauty of Netflix, I can start back at the beginning. I've watched the first four or five episodes, and they are hil-aaaar-i-ous. And honestly, I swear I'm not making this up just to justify my waste of my life by watching TV, I have been learning a lot about comedy from 30 Rock.
Ms. Fey, if you have a minute, I have an idea for a film that I think you would loooove. Mr. Baldwin, if you have a minute, I'd just like to bask in your presence.
For instance, in 1x02, The Aftermath, Liz Lemon (Tina Fey) starts off with one problem. In her attempt to fix her one small problem, she causes a big problem. In her attempt to fix her big problem, she causes an even bigger problem. One, that's an incredibly smart model to use for rising conflict in general, and two, it's wonderfully funny, especially when Lemon's gone through this whole song and dance and you think she's finally smoothed things over - only to find out she's just got herself into a worse mess than before.
And then in 1x04, Jack the Writer, there is a small but brilliant moment. Jack Donaghy (Alec Baldwin) comes into the writer's room to monitor their efficiency. And of course he says to act like he's not there, and of course we expect him to be anything but inconspicuous. However, I was expecting him to be difficult and demanding, when actually all his interruptions stemmed from him getting too excited and involved in the creative process. (Ok, clearly I was not paying enough attention to the title of the episode here.) A great example of expectation reversal. I was expecting the story to go one way, and instead it took the opposite route.
You may not have realized comedy is so contrived. It's actually "easy" to study, analyze, and deconstruct the structure of a joke and learn how to build your own. Thank goodness it is, for those of us who need to be book funny.
If it's going to snow like this, it should be socially acceptable to play Christmas music.I've also been majorly productive by watching 30 Rock. I've watched some of the recent episodes on Hulu, but thanks to the beauty of Netflix, I can start back at the beginning. I've watched the first four or five episodes, and they are hil-aaaar-i-ous. And honestly, I swear I'm not making this up just to justify my waste of my life by watching TV, I have been learning a lot about comedy from 30 Rock.
Ms. Fey, if you have a minute, I have an idea for a film that I think you would loooove. Mr. Baldwin, if you have a minute, I'd just like to bask in your presence.For instance, in 1x02, The Aftermath, Liz Lemon (Tina Fey) starts off with one problem. In her attempt to fix her one small problem, she causes a big problem. In her attempt to fix her big problem, she causes an even bigger problem. One, that's an incredibly smart model to use for rising conflict in general, and two, it's wonderfully funny, especially when Lemon's gone through this whole song and dance and you think she's finally smoothed things over - only to find out she's just got herself into a worse mess than before.
And then in 1x04, Jack the Writer, there is a small but brilliant moment. Jack Donaghy (Alec Baldwin) comes into the writer's room to monitor their efficiency. And of course he says to act like he's not there, and of course we expect him to be anything but inconspicuous. However, I was expecting him to be difficult and demanding, when actually all his interruptions stemmed from him getting too excited and involved in the creative process. (Ok, clearly I was not paying enough attention to the title of the episode here.) A great example of expectation reversal. I was expecting the story to go one way, and instead it took the opposite route.
You may not have realized comedy is so contrived. It's actually "easy" to study, analyze, and deconstruct the structure of a joke and learn how to build your own. Thank goodness it is, for those of us who need to be book funny.
Sunday, February 21, 2010
Mr. Hanson, I'd love a job.
One of my favourite Bones episodes is up on Hulu. Two Bodies in the Lab. Check it out.
Monday, February 08, 2010
Good things come in 3s
Billy Mernit has a wonderful post about the return of romance. Hollywood Friend A (like that?) was just expounding to me this afternoon about the excess of cynicism in romantic comedies, and I thought Billy's post was a nice complement.
Someday I will demonstrate my domestic charm by making some very lucky boy this. Right now, it's too much effort.
Also, I'm for Team Tenley.
Someday I will demonstrate my domestic charm by making some very lucky boy this. Right now, it's too much effort.
Also, I'm for Team Tenley.
Tuesday, January 26, 2010
Confessions (Part 2, apparently)
Readers, I have to tell you something. I've already come clean with friends and family. You are my next confessor.
I watch the Bachelor.
First of all, I'd like to apologize to you, scripted television. Besides from my fling with America's Next Top Model, I've stayed pretty faithful to you. I understand how threatened you are by reality. And also, I want to have a job some day. So I fully support you.
Second of all, give me a break --
Yeah, I see you all running for Hulu now.
I've been thinking about why I've allowed myself to get sucked into this show, especially since people take you a little bit less seriously when you pick the Bachelor over 24 on a Monday night. The show is way too long, you know the editing is "creative," and the dates are completely annoying (first of all, I didn't know people could giggle that much and not hyperventilate. Also, all they ever seem to talk about is how much fun they're having. Do they ever have real conversations and actually get to know each other?).
Here's my hook on the Bachelor. I love trying to catch them in the lie. My favourite scenes are when Jake runs off to ask Chris if he can send more girls home and the crew gets caught in the camera's lens like Bambi. And all the questions, trying to puzzle out reality. Is Vienna really a psycho prima dona or was it in the contract for all the girls to gang up on her? Will Jake ever stick to the contracted number of girls he's supposed to eliminate each week or will he slash them like Black Friday prices? Is Michelle diagnosable or was she just edited that way?
Could this really work? Do these people really expect to find love while they're being followed around by USC grads in torn jeans and jaunty knit caps? How can Jake have feelings for that many people at once? What will the relationship last post fairy tale finale? Malarky, is this what culture really accepts as love these days? Is it really love?
So many questions that we will never really know the answers to. Unless, maybe if we watch closely...
I watch the Bachelor.
First of all, I'd like to apologize to you, scripted television. Besides from my fling with America's Next Top Model, I've stayed pretty faithful to you. I understand how threatened you are by reality. And also, I want to have a job some day. So I fully support you.
Second of all, give me a break --
Yeah, I see you all running for Hulu now.
I've been thinking about why I've allowed myself to get sucked into this show, especially since people take you a little bit less seriously when you pick the Bachelor over 24 on a Monday night. The show is way too long, you know the editing is "creative," and the dates are completely annoying (first of all, I didn't know people could giggle that much and not hyperventilate. Also, all they ever seem to talk about is how much fun they're having. Do they ever have real conversations and actually get to know each other?).
Here's my hook on the Bachelor. I love trying to catch them in the lie. My favourite scenes are when Jake runs off to ask Chris if he can send more girls home and the crew gets caught in the camera's lens like Bambi. And all the questions, trying to puzzle out reality. Is Vienna really a psycho prima dona or was it in the contract for all the girls to gang up on her? Will Jake ever stick to the contracted number of girls he's supposed to eliminate each week or will he slash them like Black Friday prices? Is Michelle diagnosable or was she just edited that way?
Could this really work? Do these people really expect to find love while they're being followed around by USC grads in torn jeans and jaunty knit caps? How can Jake have feelings for that many people at once? What will the relationship last post fairy tale finale? Malarky, is this what culture really accepts as love these days? Is it really love?
So many questions that we will never really know the answers to. Unless, maybe if we watch closely...
Subscribe to:
Posts (Atom)
