Here's the edited version of the live, interactive FAST TRACK: NO LIMITS webshow I did a couple of weeks ago with actors Erin Cahill and Andrew Walker, automotive technical consultant Sam Barer, and callers/chatters from all over the world. I hope you enjoy it!
Film and Television
Why Daily Variety is No Longer Relevant
Today, Daily Variety reported that the new version of V not only won wide critical acclaim, but also did great in the ratings. In a brief, separate article, they report that the show shut down for a month, and that a new showrunner has been brought in. Those two articles create an interesting contrast…one Variety doesn't bother to explore because that might actually require the reporter do some work beyond retyping a press release. What's missing here is the context and detail that would make this a meaningful, interesting, and newsworthy story. What went wrong with V? Why did ABC bring in a new showrunner? If ABC had trouble with the creative direction of the show, does the wide critical acclaim and high ratings suggest that the network may have made a mistake by benching the series and retooling it? What were the creative, financial, and strategic reasons behind the network's actions? That's the story that a credible and relevant Daily Variety would be reporting. Instead, we get the straight-forward ratings in one article and a short, rewritten press release in another.
More Craptastic Sammy
Sammy Davis Jr. sings the theme to "Chico and the Man."
This is Scary Stuff
What could be scarier for Halloween than Sammy Davis Jr. singing the theme from the MARY TYLER MOORE SHOW? Love is all around, baby.
If that hasn't curdled your blood, listen to Sammy sing the theme from HAWAII FIVE-O.
Craptastic!
A craptastic classic! Sammy Davis Jr. sings the theme from KOJAK. Who loves ya, baby?
And as if that wasn't craptastic enough, here's Sammy singing the theme from the soap opera spoof MARY HARTMAN, MARY HARTMAN!
The Writer is God
The Guardian reports that the only way to raise the quality of UK television series is to adopt the showrunner/writing room system prevalent in the U.S. They write, in part:
The only way to produce sophisticated, rich, long-running drama like The Wire or even ER is to use a team of writers who collaborate under a showrunner, a system the US studios has cracked. It's too much for even one great dramatist to write the whole thing, but you can't hire hack writers to work on episodes in isolation. Result: US viewers sit down to an evening of Damages; we get Casualty
The short Guardian piece was in response to a terrific essay by Peter Jukes in Prospect Magazine, where he wrote, in part:
in US television drama “the writer is God.” This is not because of literary cachet—it’s arisen out of aesthetic, technical and commercial need. Drama is incredibly expensive to make and economies of scale kick in when stories are told over 13 or 24 episodes. They cannot be written by one person alone, nor can they be effectively controlled by studio executives, actors or directors, whose talents by definition lie elsewhere. It requires a team of writers willing to develop character and narrative over a long haul, keeping it focused and fresh. It’s not the writer, singular, who is God in US television drama, but the role of the writer, generic, in the process.
[…]Although we are blessed with a tradition of great television dramatists, there’s no way that Alan Bleasdale, Dennis Potter or Jimmy McGovern could have written a dozen episodes of a show alone. We have recently imported the idea of showrunners for the resurrection of Dr Who and Survivors, but their power is limited, and the principle of collaboration doesn’t penetrate the lower echelons. Script editors and producers take a dim view of you talking to another writer without tight supervision. There is no financial incentive either. Why make someone else’s episode great when it might make yours look less good? Given that the running order can be changed at the last moment by management fiat, those collectively crafted character developments and story arcs will be binned anyway. Just write your own episode and cash that cheque.
I recommend Jukes' article, it's fascinating reading.
Serving the Story, Not You
Here's an excerpt from an excellent blog post from UK TV writer James Moran about abusive fans…a post that preceded Josh Olson's much-discussed, incendiary piece on a similar topic.
I'm a professional writer. That's my job. I write what I write, for whatever the project might be. I have the utmost respect for you, and honestly want you to like my work, but I can't let that affect my story decisions. Everybody wants different things from a story, but this is not a democracy, you do not get to vote. You are free to say what you think of my work, even if you hate it, I honestly don't mind. But the ONLY person I need to please is myself, and the ONLY thing I need to serve is the story. Not you. I will do my work to the very best of my ability, in an attempt to give you the best show, the best movie, the best story, the best entertainment I possibly can. Even if that means that sometimes, I'll do things you won't like. I won't debate it. Either you go along with it, or you don't. None of it is done to hurt you, or to force some agenda down your throat, or anything else. It's all in service of the story.
I urge you to read the whole thing. I can't tell you how many times I've been through the same experience that he suffered through…