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Transgender Representation on American Narrative Television from 2004-2014
TRANSJACKING TELEVISION: TRANSGENDER REPRESENTATION ON AMERICAN NARRATIVE TELEVISION FROM 2004-2014 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Kelly K. Ryan May 2021 Examining Committee Members: Jan Fernback, Advisory Chair, Media and Communication Nancy Morris, Media and Communication Fabienne Darling-Wolf, Media and Communication Ron Becker, External Member, Miami University ABSTRACT This study considers the case of representation of transgender people and issues on American fictional television from 2004 to 2014, a period which represents a steady surge in transgender television characters relative to what came before, and prefigures a more recent burgeoning of transgender characters since 2014. The study thus positions the period of analysis as an historical period in the changing representation of transgender characters. A discourse analysis is employed that not only assesses the way that transgender characters have been represented, but contextualizes American fictional television depictions of transgender people within the broader sociopolitical landscape in which those depictions have emerged and which they likely inform. Television representations and the social milieu in which they are situated are considered as parallel, mutually informing discourses, including the ways in which those representations have been engaged discursively through reviews, news coverage and, in some cases, blogs. ii To Desmond, Oonagh and Eamonn For everything. And to my mother, Elaine Keisling, Who would have read the whole thing. iii ACKNOWLEDGMENTS Throughout the research and writing of this dissertation, I have received a great deal of support and assistance, and therefore offer many thanks. To my Dissertation Chair, Jan Fernback, whose feedback on my writing and continued support and encouragement were invaluable to the completion of this project. -
As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007. -
WRITING for EPISODIC TV from Freelance to Showrunner
WRITING FOR EPISODIC TV From Freelance to Showrunner Written by: Al Jean Brad Kern Jeff Melvoin Pamela Pettler Dawn Prestwich Pam Veasey John Wirth Nicole Yorkin Additional Contributions by: Henry Bromell, Mitch Burgess, Carlton Cuse, Robin Green, Barbara Hall, Al Jean, Amy Lippman, Dan O’Shannon, Phil Rosenthal, Joel Surnow, John Wells, Lydia Woodward Edited by: John Wirth Jeff Melvoin i Introduction: Writing for Episodic Television – A User’s Guide In the not so distant past, episodic television writers worked their way up through the ranks, slowly in most cases, learning the ropes from their more-experienced colleagues. Those days are gone, and while their passing has ushered in a new age of unprecedented mobility and power for television writers, the transition has also spelled the end of both a traditional means of education and a certain culture in which that education was transmitted. The purpose of this booklet is twofold: first, to convey some of the culture of working on staff by providing informal job descrip- tions, a sense of general expectations, and practical working tips; second, to render relevant WGA rules into reader-friendly lan- guage for staff writers and executive producers. The material is organized into four chapters by job level: FREE- LANCER, STAFF WRITER/STORY EDITOR, WRITER-PRODUCER, EXECUTIVE PRODUCER. For our purposes, executive producer and showrunner are used interchangeably, although this is not always the case. Various appendices follow, including pertinent sections of the WGA Minimum Basic Agreement (MBA). As this is a booklet, not a book, it does not make many distinc- tions among the different genres found in episodic television (half- hour, animation, primetime, cable, first-run syndication, and so forth). -
Eddie Izzard Minnie Driver
EDDIE IZZARD MINNIE DRIVER It’s a wonderful lie. MONDAYS AT 10PM ET/PT ©2007 FX Networks LLC. All rights reserved. PREMIERES MARCH 12 ©2007 FX Networks LLC. All rights reserved. MONDAYS AT 10PM ET/PT PREMIERES MARCH 12 2 THE RICHES 20JEANNE VAN COTTKd_jFheZkYj_edCWdW][h 4 EDDIE IZZARDWi»MWod[CWbbeo¼%;n[Ykj_l[FheZkY[h 20AARON BLITZSTEINIjW\\Mh_j[h";f_ieZ[. 6 MINNIE DRIVERWi»:W^b_WCWbbeo¼ 21GWYNETH HORDER-PAYTON:_h[Yjeh";f_ieZ[* 8 SHANNON WOODWARDWi»:[^b_W^CWbbeo¼ 21 BRIAN KIRK:_h[Yjeh";f_ieZ[i+"- 9 NOEL FISHERWi»9W[bCWbbeo¼ 22 GUY FERLAND:_h[Yjeh";f_ieZ[, 10AIDAN MITCHELLWi»IWcCWbbeo¼ 22 DAN LERNER:_h[Yjeh";f_ieZ[. 11TODD STASHWICKWi»:Wb[CWbbeo¼ 23 MATT SHAKMAN:_h[Yjeh";f_ieZ[/ 12MARGO MARTINDALEWi»D_dW8khdi¼ 23 JEREMY PODESWA:_h[Yjeh";f_ieZ['& 13GREGG HENRYWi»>k]^FWd[jjW¼ 24 JAMIE BABBIT:_h[Yjeh";f_ieZ['' 14BRUCE FRENCHWi»@_c8khdi¼ 24 LESLIE LIBMAN:_h[Yjeh";f_ieZ['( 16 DMITRY LIPKIN 25MICHAEL NEGRIN:_h[Yjehe\F^eje]hWf^o 9h[Wjeh%;n[Ykj_l[FheZkY[h%Mh_j[h";f_ieZ[i'")"/"') 25DEVORAH HERBERTFheZkYj_ed:[i_]d[h 16 DAWN PRESTWICH ;n[Ykj_l[FheZkY[h%Mh_j[h";f_ieZ[i("*"'( 26WENDY WEIDMAN9Wij_d]:_h[Yjeh 16 NICOLE YORKIN ;n[Ykj_l[FheZkY[h%Mh_j[h";f_ieZ[i("*"'( 26REBECCA MANGIERI9Wij_d]:_h[Yjeh 17 MICHAEL ROSENBERG ;n[Ykj_l[FheZkY[h 26BARBARA FIORENTINO9Wij_d]:_h[Yjeh 17 PETER O’FALLON 27HARRY GREGSON-WILLIAMS9ecfei[h 9e#;n[Ykj_l[FheZkY[h%:_h[Yjeh";f_ieZ[i'"(")"') 28JOHN LANDGRAF 18 LYDIA WOODWARD 9edikbj_d]FheZkY[h%Mh_j[h";f_ieZ[i+"'' Fh[i_Z[djWdZ=[d[hWbCWdW][h"<ND[jmehai 18ELLIE HERMAN9edikbj_d]FheZkY[h%Mh_j[h";f_ieZ[i,"'& 29THE RICHES PRODUCTION CREDITS 19 IAIN PATERSONFheZkY[h 29RATING ADVISORY 19 KAT GOODSON7iieY_Wj[FheZkY[h 30FX FACT SHEET In The Riches, Eddie Izzard and Minnie Driver play ‘Wayne and Dahlia Malloy,’ Gypsy Travellers from rural Louisiana. -
Navigating Change in Battlestar Galactica
A SEARCH FOR HOME: NAVIGATING CHANGE IN BATTLESTAR GALACTICA KIMBERLY S. YOST A DISSERTATION Submitted to the Ph.D. in Leadership and Change Program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy August, 2012 Signature Page This is to certify that the Dissertation entitled: A SEARCH FOR HOME: NAVIGATING CHANGE IN BATTLESTAR GALACTICA prepared by Kimberly S. Yost Is approved in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Leadership and Change. Approved by: Carolyn Kenny, Ph.D. date Chair Lize Booysen, D.B.L. date Committee Member Holly Baumgartner, Ph.D. date Committee Member Kristin Bezio, Ph.D. date External Reader Copyright 2012 Kimberly S. Yost All rights reserved Acknowledgements Many doctoral students comment that it takes a village to write a dissertation. I would like to thank my village. My committee chair, Carolyn Kenny, and the members of my committee, Lize Booysen, Holly Baumgartner, and Kristin Bezio, for their support, encouragement, insightfulness, and enthusiasm. They took extraordinary care in their comments and even took the time to watch the series. I hope you all had fun. I would also like to acknowledge my peers in Cohort 9 of the Antioch University Leadership and Change program, particularly my “study buddy” Tammy Stachowicz, as well as the entire faculty for their encouragement as I plowed ahead with a project that may have seemed a bit odd to some. I would also like to thank my family for their forbearance as I concentrated on my academic work these past few years. -
June 14, 2018 the Honorable Bob Goodlatte, Chairman The
June 14, 2018 The Honorable Bob Goodlatte, Chairman The Honorable Jerry Nadler, Ranking Member House Committee on the Judiciary 2138 Rayburn House Office Building Washington, D.C. 20515 The Honorable Greg Walden, Chairman The Honorable Joe Barton, Vice Chairman The Honorable Frank Pallone, Ranking Member House Energy and Commerce Committee 2125 Rayburn House Office Building Washington, D.C. 20515 Dear Chairmen, Vice Chairman, and Ranking Members: We, the undersigned, are creatives who make our living in the entertainment industries. Whether we work in film, television, publishing, music, or photography, we and our colleagues have all been affected by the rampant, illicit activity that occurs on the major internet platforms, including Google and Facebook. There has been growing concern in Washington, in the press, and among Americans about the lack of responsibility exercised by the major internet platforms toward harmful and illegal activity taking place on their services. For decades, online gatekeepers like Facebook and Google have turned a blind eye to the proliferation of widespread societal harms on their platforms. From sex trafficking to foreign influence over our elections, from privacy to piracy, it has become increasingly clear that more needs to be done to ensure platform responsibility. In recent hearings in both the House and the Senate, Facebook’s CEO, Mark Zuckerberg, characterized Silicon Valley’s failure to take an appropriately broad view of its responsibility as a “big mistake.” But whether the lack of responsibility was a “mistake” or something else, the failure of Facebook, Google, and others to take responsibility is rooted in decades-old government policies, including legal immunities and safe harbors, that treat these companies differently than other industries and actually absolve internet platforms of responsibility. -
From Marcus Welby, M.D. to the Resident: the Changing Portrayal of Physicians in Tv Medical Dramas
RMC Original JMM ISSN electrónico: 1885-5210 DOI: http://dx.doi.org/10.14201/rmc202016287102 FROM MARCUS WELBY, M.D. TO THE RESIDENT: THE CHANGING PORTRAYAL OF PHYSICIANS IN TV MEDICAL DRAMAS Desde Marcus Welby, M.D. hasta The resident: los cambios en las representaciones de los médicos en las series de televisión Irene CAMBRA-BADII1; Elena GUARDIOLA2; Josep-E. BAÑOS2 1Cátedra de Bioética. Universitat de Vic – Universitat Central de Catalunya.2 Facultad de Medicina. Universitat de Vic – Universitat Central de Catalunya (Spain). e-mail: [email protected] Fecha de recepción: 9 July 2019 Fecha de aceptación: 5 September 2019 Fecha del Avance On-Line: Fecha de publicación: 1 June 2020 Summary Over the years, the way medical dramas represent health professionals has changed. When the first medical dramas were broadcasted, the main characters were good, peaceful, intelligent, competent, empathic, and successful physicians. One of the most famous, even outside the US, was Marcus Welby M.D. (1969-1976) of David Victor –which this year marks 50 years since its first emission. This depiction began to change in the mid-1990s. While maintaining the over positive image of medical doctors, TV series started to put more emphasis on their negative characteristics and difficulties in their interpersonal relationships, such asER (TV) by Michael Crichton (United States) and House MD (TV) by David Shore (United States). In these series, physicians were portrayed as arrogant, greedy, and adulterous, and their diagnostic and therapeutic errors were exposed. The last two series are The Good Doctor (TV) by David Shore (United States), with a resident of surgery with autism and Savant syndrome, and The Resident (TV) by Amy Holden Jones, Hayley Schore and Roshan Sethi (United States), where serious institutional problems appear. -
Mccorkle Casting LTD FILM
McCorkle Casting LTD Pat McCorkle, CSA FILM THE MURPHYS (In production. Independent Feature; Producer(s): The Murphy's LLC). Director: Kaitlan McGlaughlin. BERNARD & HUEY (In production. Independent Feature; Producer(s): Dan Mervish/Bernie Stein). Director: Dan Mervish. AFTER THE SUN FELL (Post Production. Independent feature; Producer(s): Joanna Bayless). Director: Tony Glazer. Starring: Lance Henriksen, Chasty Ballesteros, Danny Pudi. FAIR MARKET VALUE (Post Production. Feature ; Producer(s): Judy San Romain). Director: Kevin Arbouet. Starring: Jerry Adler, D.C. Anderson, Michael J. Arbouet. YEAR BY THE SEA (Festival circuit. Feature; Producer(s): Montabella Productions ). Director: Alexander Janko. Starring: Karen Allen, Yannick Bisson, Michael Cristofer. CHILD OF GRACE (Lifetime Network Feature; Producer(s): Empathy + Pictures/Sternamn Productions). Director: Ian McCrudden. Starring: Ted Lavine, Maggy Elizabeth Jones, Michael Hildreth. POLICE STATE (Independent Feature; Producer(s): Edwin Mejia\Vlad Yudin). Director: Kevin Arbouet. Starring: Sean Young, Seth Gilliam, Christina Brucato. MY MAN IS A LOSER (Lionsgate, Step One Entertainment; Producer(s): Step One of Many/Imprint). Director: Mike Young. Starring: John Stamos, Tika Sumpter, Michael Rapaport. PREMIUM RUSH (Columbia Pictures; Producer(s): Pariah). Director: David Koepp . Starring: Joseph Gordon-Levitt, Jamie Chung, Michael Shannon. JUNCTION (Movie Ranch; Producer(s): Choice Films). Director: Tony Glazer. Starring: David Zayas, Michael O'Keefe, Anthony Rapp. GHOST TOWN* (Paramount Pictures; Producer(s): Dreamworks SKG). Director: David Koepp. Starring: Ricky Gervais, Tea Leoni, Greg Kinnear. WAR EAGLE (Empire Film; Producer(s): Downstream Productions). Director: Robert Milazzo. Starring: Brian Dennehy, Mary Kay Place, Mare Winningham. FUNNY MONEY (THINKFilm; Producer(s): Tobebo Film Productions). Director: Leslie Grief. Starring: Chevy Chase, Penelope Ann Miller. -
2012 Writers Guild Awards Television, News, Radio, Promotional Writing, and Graphic Animation Nominees Announced
FOR IMMEDIATE RELEASE December 7, 2011 2012 WRITERS GUILD AWARDS TELEVISION, NEWS, RADIO, PROMOTIONAL WRITING, AND GRAPHIC ANIMATION NOMINEES ANNOUNCED Los Angeles and New York – The Writers Guild of America, West (WGAW) and the Writers Guild of America, East (WGAE) have announced nominations for outstanding achievement in television, news, radio, promotional writing, and graphic animation during the 2011 season. The winners will be honored at the 2012 Writers Guild Awards on Sunday, February 19, 2012, at simultaneous ceremonies in Los Angeles and New York. TELEVISION NOMINEES DRAMA SERIES Boardwalk Empire, Written by Bathsheba Doran, Dave Flebotte, Howard Korder, Steve Kornacki, Itamar Moses, Margaret Nagle, Terence Winter; HBO Breaking Bad, Written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett; AMC Game of Thrones, Written by David Benioff, Bryan Cogman, Jane Espenson, George R.R. Martin, D.B. Weiss; HBO The Good Wife, Written by Courtney Kemp Agboh, Meredith Averill, Corinne Brinkerhoff, Leonard Dick, Keith Eisner, Karen Hall, Ted Humphrey, Michelle King, Robert King, Steve Lichtman, Matthew Montoya, Julia Wolfe; CBS Homeland, Written by Henry Bromell, Alexander Cary, Alex Gansa, Howard Gordon, Chip Johannessen, Gideon Raff, Meredith Stiehm; Showtime -more- 2012 Writers Guild Awards – TV-Radio-News-Promo-Graphic Nominations – Page 2 of 8 COMEDY SERIES 30 Rock, Written by Jack Burditt, Hannibal Buress, Kay Cannon, Robert Carlock, Tom Ceraulo, Vali Chandrasekaran, -
July 17, 2018 the Honorable Chuck Grassley, Chairman the Honorable
July 17, 2018 The Honorable Chuck Grassley, Chairman The Honorable Dianne Feinstein, Ranking Member Senate Committee on the Judiciary 224 Dirksen Senate OfFice Building Washington, DC 20510 The Honorable John Thune, Chairman The Honorable Bill Nelson, Ranking Member Senate Committee on Commerce, Science, and Transportation 512 Dirksen Senate Building Washington DC, 20510 Dear Chairmen and Ranking Members: We, the undersigned, are creatives who make our living in the entertainment industries. Whether we work in Film, television, publishing, music, or photography, we and our colleagues have all been afFected by the rampant, illicit activity that occurs on the major internet platForms, including Google and Facebook. There has been growing concern in Washington, in the press, and among Americans about the lack oF responsibility exercised by the major internet platForms toward harmFul and illegal activity taking place on their services. For decades, online gatekeepers like Facebook and Google have turned a blind eye to the proliFeration oF widespread societal harms on their platForms. From sex trafFicking to Foreign inFluence over our elections, From privacy to piracy, it has become increasingly clear that more needs to be done to ensure platForm responsibility. In recent hearings in both the House and the Senate, Facebook’s CEO, Mark Zuckerberg, characterized Silicon Valley’s failure to take an appropriately broad view of its responsibility as a “big mistake.” But whether the lack of responsibility was a “mistake” or something else, the failure of Facebook, Google, and others to take responsibility is rooted in decades-old government policies, including legal immunities and safe harbors, that treat these companies diFFerently than other industries and actually absolve internet platForms oF responsibility. -
Look Back on the First 10 Years of SRTP
A DECADE OF INSPIRATION WGA Showrunner Training Program 10 YEARS OF EDUCATION AND INSPIRATION Message From Peter Roth For 10 years, the Writers Guild Showrunner Training Program — with the support of the Alliance of Motion Picture and Television Producers — has provided an extraordinary opportunity to WGA members, a course that should be required attendance for anyone with any intention of helming a television series. The innovative six-week program provides prospective showrunners with the most important fundamentals of how to lead and successfully shepherd a series. Writers are counseled on the importance of the subtler elements of the job, including network and studio relationships; the value of fiscal responsibility; and the strength of true leadership — how to inspire, galvanize and utilize the best talents of their teams. Utilizing experienced, thoughtful, veteran showrunners and guest speakers to share insights, anecdotes and workshops, this forum has proven to be critically important for writers to learn, participate, grow and succeed. And for proof of the program’s efficacy, you need look no further than the fact that more than 60 new series have been created or co-created by alumni of the Showrunner Training Program. From my perspective, having spent 41 years working as an executive in television, I am convinced that it’s the best, most comprehensive, most important program available to showrunners in the business. The benefits of this program — for writers as well as for those of us on the network and studio side — are immeasurable. It is therefore my great pleasure to congratulate the Writers Guild of America and everyone involved in the Showrunner Training Program on a highly successful first 10 years and to wish you continued great good luck as you embark on your second decade of training the future showrunners of our industry.