DOCSLIB.ORG

{FREE} Showrunners : How to Run a Hit TV Show Ebook, Epub

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{FREE} Showrunners : How to Run a Hit TV Show Ebook, Epub SHOWRUNNERS : HOW TO RUN A HIT TV SHOW PDF, EPUB, EBOOK Tara Bennett | 240 pages | 02 Sep 2014 | Titan Books Ltd | 9781783293575 | English | London, United Kingdom Showrunners : How to Run a Hit TV Show PDF Book Good insight, but essentially just a transcript of the documentary of the same name. Open Preview See a Problem? The doorbell dings. TV ratings are a real measure of a showrunner's success. The film intends to show audiences the huge amount of work that goes into making sure their favorite TV series airs on time as well as the many challenges that showrunners have to overcome to make sure a new series makes it onto the schedules at all! In the past few years, the recognition of the showrunner has grown exponentially. Other Septembers, Many Americas. Find books coming soon in But taking the culmination of a half-dozen answers of a few lines each to a question, still gives Showrunners by Tara Bennett is a companion books to the documentary "Showrunners: The Art of Running a TV Show. If you are at all interested in becoming a writer for TV or for film, this book is for you. It's a great read and adaptation of of the documentary. Blood Brothers. Plus you can tell they both really CARE. Very interesting insight of showrunning and the tv show industry. I Told You So. Find lots more television-related content on the next page. I'm excited to watch the doc that goes along with it. These people are responsible for creating, writing and overseeing every element of production on one of the United State's biggest exports - television drama and comedy series. Barris cut his teeth on Are We There Yet? Add the first question. Thus, the three-act structure has expanded over the last 50 years to include an increase of commercial breaks up to six in some hour-long shows in both comedy and drama scripts, even though the allocated screen time has not changed either 60 minutes or 30 minutes. A group of talented showrunners gathered in to discuss the craft and the challenges of such a role. I don't regret this book, heck I gave it three stars which means I liked it! Sep 02, ISBN For now, the majority of the television industry still bases everything—even the creative flow of an episode—around advertising breaks. He has also lent his pen to the big screen, writing the breakout hit Girls Trip , the upcoming Shaft film and the long-awaited Coming to America sequel. Latest reviews. I love your approach and learned a few things myself. Plot It, or Pants It? Release Dates. Metacritic Reviews. Savings listings is a premium feature. Aug 16, Elo added it Shelves: in-english , non-fiction , not-owned , tv-film , written-by-women. I wouldn't have anyone avoid this book, unless the subject matter really isn't interesting. Creative control, like the kind Chase exercised in ending "The Sopranos," isn't the only responsibility a showrunner has, though it is undoubtedly one of the better perks of the position. It just goes to show, if you really have a drive to create and craft your own story, you will be willing to sacrifice your life to do it. Junction True. To read our full stories, please turn off your ad blocker. He also developed the story circle to help writers create better episodes of TV shows and feature films. The Parenting Book Guide. You can never do that, but you can be under sometimes because then they can sell more advertising. Self Robert King Thanks for telling us about the problem. Five hundred scripted series are expected to air in , leading to an arms race for content creators that has sparked an explosion in showrunner salaries. So, what does it take to make a successful series today? Showrunners : How to Run a Hit TV Show Writer However, that traditional structure soon had to make space for advertising breaks, which essentially paid for the programme airing. Tracy L. Barris cut his teeth on Are We There Yet? Very repetitive and very boring to get through. Photo Gallery. We're involved in every creative and financial decision for the show. Then it started changing, and we got to five acts, and then six acts, and now some shows are six acts and a teaser, or seven acts and a teaser. A showrunner protects the show's creative vision. Sarah Rainone. Slocum Slocum and the Crooked Sheriff. Alien Next Door. Wyman to the point of reading nearly a hundred pages in one night. Submit a Listing Have a casting, job, event, or other entertainment industry opportunity? Aan de andere kant staat de hele structuur wereldwijd op losse schroeven. Also by Tara Bennett. Ellen Channing rated it liked it Apr 09, Use the HTML below. But advertising revenue helps support our journalism. Start creating original pilots in addition to writing spec scripts. Although I am a huge fans of movies and have a rather solid understanding of their production and creation, I must confess I never really thought about television. Lists with This Book. A visual medium requires visual methods. External Sites. Dan Harmon One of the most infamous examples of a showrunner bumping heads with a network is Dan Harmon. Latest blog posts. Download Hi Res. Basic TV Act Structure As watching television has become more and more dominant as a cultural pastime, mainstream audiences have not only paid more attention to those who write it, but also the structure in which episodes are written. He is currently developing Sunnyside , which follows a former New York City councilman Kal Penn who finds his calling when faced with immigrants in need of his help and in search of the American Dream. Barry Gifford. Charles M Schulz. Ariel Dorfman. Books by Tara Bennett. Showrunners are in charge of making the most of a budget. Showrunners : How to Run a Hit TV Show Reviews Mar 01, Maddie rated it it was amazing Shelves: werk-tv-film-digital-books. In those cases, a more experienced person is brought in to run the show. En dat we de structuur ervoor ontberen in Nederland, op dit moment. Here are a few of those noteworthy showrunners and what defines their work. Thank you for respecting this requirement, so I can continue to bring you all the relevant industry information and discounts. Jan 10, Todd Van Allen rated it really liked it. David Simon has done just that. Sources Collins, Andrew. Start Writing First, you need to develop good writing habits and hone your craft. What does all of this mean? Anyway, that was a good read to get a picture how this business works, all the different ways really, as each showrunner Very interesting insight of showrunning and the tv show industry. No trivia or quizzes yet. A showrunner has to make sure everyone feels valuable. Very interesting insight of showrunning and the tv show industry. In typical credits order , you'll most likely find the showrunner credited as an Executive Producer. The story content [for a drama] right now on broadcast and basic cable is 42 minutes including a 30 second recap. The TV Producers job description is quite a bit more involved than one might think. It has to have a specific point of view. David Hofstede. Welcome back. While you're rising through the ranks of the writer's room, you can also get a head start on your career as a showrunner. You must be a registered user to use the IMDb rating plugin. I think now when I watch what I enjoy, I will have a bit more appreciation for what goes into the production of these series. And many prior entrants went on to great things. Want to Read saving…. More and more people are flocking to the small screen to find daily entertainment. Previous Post. No one becomes a showrunner overnight. Crucially, Rhimes developed a track record of wearing several hats while shepherding multiple series to hit status concurrently. Plot Keywords. They select the writing staff and are responsible for turning in episode and season outlines to the heads of the network. Join us today! Incredibly he agreed to take part. Can they assemble an amazing cast? Beau Barber rated it really liked it Oct 19, I thought I might like showrunning, but I think it takes a very special breed to do it. Patrice Maltais rated it it was amazing Oct 24, The screen goes black. Ashley rated it liked it Sep 16, However, that traditional structure soon had to make space for advertising breaks, which essentially paid for the programme airing. For 10 seconds we hear nothing but silence. We see Meadow park her car and race across the street. I wouldn't have anyone avoid this book, unless the subject matter really isn't interesting. Showrunners : How to Run a Hit TV Show Read Online Check out what we'll be watching in A showrunner may fight to get the show more money so that they can do certain storylines. HowStuffWorks breaks down the new service. Start creating original pilots in addition to writing spec scripts. Available from:. He slips a coin into the tabletop jukebox and cues up Journey's hit song, "Don't Stop Believin'. Outlaws of the Atlantic. I Told You So. Trivia About Showrunners: The The Editors September 01, Use the HTML below. There are certain showrunners we know by name because they bring such a specific vision to their shows. Free subscriber-exclusive audiobook! I thought I might like showrunning, but I think it takes a very special breed to do it.
Load more

Recommended publications
  • Race, Markets, and Hollywood's Perpetual Antitrust Dilemma
    Michigan Journal of Race and Law Volume 18 2012 Race, Markets, and Hollywood's Perpetual Antitrust Dilemma Hosea H. Harvey Temple University, James E. Beasley School of Law Follow this and additional works at: https://repository.law.umich.edu/mjrl Part of the Antitrust and Trade Regulation Commons, Civil Rights and Discrimination Commons, Entertainment, Arts, and Sports Law Commons, and the Law and Race Commons Recommended Citation Hosea H. Harvey, Race, Markets, and Hollywood's Perpetual Antitrust Dilemma, 18 MICH. J. RACE & L. 1 (2012). Available at: https://repository.law.umich.edu/mjrl/vol18/iss1/1 This Article is brought to you for free and open access by the Journals at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Journal of Race and Law by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. RACE, MARKETS, AND HOLLYWOOD'S PERPETUAL ANTITRUST DILEMMA Hosea H. Harvey* This Article focuses on the oft-neglected intersection of racially skewed outcomes and anti-competitive markets. Through historical, contextual, and empirical analysis, the Article describes the state of Hollywood motion-picture distributionfrom its anti- competitive beginnings through the industry's role in creating an anti-competitive, racially divided market at the end of the last century. The Article's evidence suggests that race-based inefficiencies have plagued the film distribution process and such inefficiencies might likely be caused by the anti-competitive structure of the market itself, and not merely by overt or intentional racial-discrimination.After explaining why traditional anti-discrimination laws are ineffective remedies for such inefficiencies, the Article asks whether antitrust remedies and market mechanisms mght provide more robust solutions.
    [Show full text]
  • Sombrero's Franchise Brochure R5
    Site Guidelines • Space: 1,000 to 2,500 SF High Visibility End Cap, or Free Standing locations with Drive-Thru preferred, footprint flexible. Fas Facts: • Location: In-line and non-traditional locations such as food FOUNDED: Originally founded in courts and co-tenancy locations will be considered. the 1960s then expansion growth Designated patio area preferred. Location with prominence in in 1984 given trade area. INVESTMENT RANGE: • Visibility: 25 foot minimum frontage. Site and signage highly $173,800 to $1,197,300 visible from trac, 500’ from two directions. FRANCHISE FEE: $30,000 • Access: Easy access, Signaled entry, 2-3 curb cuts to parking R from street in both directions, left turn unobstructed. TERRITORY: Exclusive areas • Signage: Prominent building signage at main entry, additional available for Multi Unit freestanding signage. Development • Trac Generators: High density oce buildings, hospitals, FOOTPRINT: 1,000-2,500sq/ft; Universities, high frequency specialty retail, theaters, inline, end cap, DT “Lifestyle” centers, Tourist destinations. CURRENT LOCATIONS: PREFERRED DEMOGRAPHICS 3 MILE RADIUS 18 locations throughout San Diego, • Residential population: Minimum 80,000 Southern California and one in • Day time population: 20,000 Arizona • H/H Income Average: $50,000+ • Trac: Minimum 25,000 cars per day immediate drive Franchise Information Utility Guidelines • Liquid Net Worth: $100,000 • HVAC – One ton per 300 square feet of floor space and 35 BTU of heating per square foot • Net Worth Per Restaurant: $250,000 of floor space. • Experience: Business or restaurant experience preferred • Electrical - 200 amp (minimum) 120/208V • Multi unit ADA: yes to qualified operators 4 phase 3 wire power panel.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • Canadian Canada $7 Spring 2020 Vol.22, No.2 Screenwriter Film | Television | Radio | Digital Media
    CANADIAN CANADA $7 SPRING 2020 VOL.22, NO.2 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA The Law & Order Issue The Detectives: True Crime Canadian-Style Peter Mitchell on Murdoch’s 200th ep Floyd Kane Delves into class, race & gender in legal PM40011669 drama Diggstown Help Producers Find and Hire You Update your Member Directory profile. It’s easy. Login at www.wgc.ca to get started. Questions? Contact Terry Mark ([email protected]) Member Directory Ad.indd 1 3/6/19 11:25 AM CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 22 No. 2 Spring 2020 Contents ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Cover Publisher Maureen Parker Diggstown Raises Kane To New Heights 6 Editor Tom Villemaire [email protected] Creator and showrunner Floyd Kane tackles the intersection of class, race, gender and the Canadian legal system as the Director of Communications groundbreaking CBC drama heads into its second season Lana Castleman By Li Robbins Editorial Advisory Board Michael Amo Michael MacLennan Features Susin Nielsen The Detectives: True Crime Canadian-Style 12 Simon Racioppa Rachel Langer With a solid background investigating and writing about true President Dennis Heaton (Pacific) crime, showrunner Petro Duszara and his team tell us why this Councillors series is resonating with viewers and lawmakers alike. Michael Amo (Atlantic) By Matthew Hays Marsha Greene (Central) Alex Levine (Central) Anne-Marie Perrotta (Quebec) Murdoch Mysteries’ Major Milestone 16 Lienne Sawatsky (Central) Andrew Wreggitt (Western) Showrunner Peter Mitchell reflects on the successful marriage Design Studio Ours of writing and crew that has made Murdoch Mysteries an international hit, fuelling 200+ eps.
    [Show full text]
  • Between Film and Television. an Interview with Lodge Kerrigan
    INTERVIEW · Cinema Comparat/ive Cinema · Vol. III · no. 7 · 2015 · 28-34 Between film and television. An interview with Lodge Kerrigan Gerard Casau and Manuel Garin After directing key films of contemporary independent cinema, episode). But usually it’s the director who changes; they bring like Clean, Shaven (1993), Claire Dolan (1998) and Keane in a guest director. There are a number of theories regarding (2004), Lodge Kerrigan has directed a number of television why that’s the case, but usually what happens in the traditional episodes for shows such as The Killing (Veena Sud, AMC- financing model is that the network will approve or order a Netflix, 2011-2014), Homeland (Howard Gordon and Alex pilot, and then a pilot is made, they bring in the director to do Gansa, Showtime, 2011-) or The Americans (Joe Weisberg, FX, the pilot. Later the network will approve it or not, and then they 2013-). A month before the release of his latest project, The have to go and write scripts, generate scripts, and in this time Girlfriend Experience (Lodge Kerrigan and Amy Seimetz, Starz, the directors has already left, moved on, they have no continuity 2016), an eleven-episode television series produced by Steven of vision from the director. And I think now what’s beginning Soderbergh, we talked with him about the differences between to change, and what Soderbergh did on The Knick(Jack Amiel working for film and working for television, both in terms of and Michael Begler, Cinemax, 2014-), and the first season of narrative and mise-en-scène.
    [Show full text]
  • Displays Are 'Points of Interest'
    Project1:Layout 1 6/10/2014 1:13 PM Page 1 Golf: Morikawa wins British Open for second major / B1 MONDAY TOD AY C I T R U S C O U N T Y & ne t morning HIGH 92 LOW P artly sunny wit scattered stor s. 72 PAGE A4 www.c ronicleonline.co JULY 19, 2021 Florida’s Best Community Newspaper Serving Florida’s Best Community $1 VOL. 126 ISSUE 285 NEWS BRIEFS Displays are ‘points of interest’ Hepatitis A, COVID shots F ait Lut eran County libraries would be ‘warehouse of books’ without them, says director C urc is ostin t e MIKE WRIGHT “There wouldn’t be anything in Pride Month. Now in his 26th year with the Healt e art ent at Staff writer there, basically a warehouse of Commissioners in general re- library system, Head is both a 9 a. ., h ursday, books,” Eric Head, director of Cit- sponded that library displays fierce defender of the library and J uly 2 , to ad inister Imagine walking into a grocery rus County Libraries, said in an should avoid taking political sides its biggest cheerleader. h e atitis and store with no displays — just rows interview. and be fair to all groups. And considering he deals with C V I D -1 b ot Mod- and rows of shelved food. Nothing Head finds himself grappling Head is a fifth-generation Cit- diverse printed material, he erna and o nson and to draw in the shoppers’ interest. with that issue in recent weeks as rus Countian who grew up in knows not everyone will be happy J o nson vaccina- Now imagine the same thing at some in the community ques- Homosassa and spent his days with what they see inside the tions.
    [Show full text]
  • The Parallel Influences, Characteristics and Criticisms of the Blaxploitation Cinema and Gangsta Rap Movements Dustin Engels
    Engels: Baadassss Gangstas: The Parallel Influences, Characteristics and JOURNAL OF HIP HOP STUDIES . Baadassss Gangstas: The Parallel Influences, Characteristics and Criticisms of the Blaxploitation Cinema and Gangsta Rap Movements Dustin Engels Abstract Serving as two of the most visible African American cultural movements, blaxploitation cinema and gangsta rap played essential roles in giving African American artists an outlet to establish a new black identity for mainstream audiences. After exploring the similarities between the cultural and economic conditions that spawned both movements, this essay examines the parallel techniques by which the preeminent entries in both genres established themselves as culturally relevant for African American audiences. These techniques included a reliance on place and space to establish authenticity, as well as employing African American myths and folklore such as the Signifying Monkey and the badman. By establishing themselves as mainstream representations of black identity, the harshest critics and staunchest defenders of both movements came from within the African American community, a clear indication of the important role each would play in establishing a new era of black representation in popular culture. In October 2012, New Orleans rapper Curren$y released a mixtape online for his fans entitled Priest Andretti. Taking its name from the main character of the 1972 blaxploitation film Super Fly, this fourteen-track mixtape frequently pays homage to the blaxploitation movement that occurred in the early 1970s by incorporating clips from Super Fly throughout, as well as including songs entitled “Max Julien” (star of the 1973 film The Mack) and “Cleopatra Jones” (title character of the 1973 film Cleopatra Jones).
    [Show full text]
  • From the Workshop of JJ Abrams
    CHAPTER SIX From the Workshop of J. J. Abrams: Bad Robot, Networked Collaboration, and Promotional Authorship Leora Hadas University of Nottingham Whether ‘New golden age’ (Leopold, 2013) or ‘Peak TV’ (Paskin, 2015) – whatever glowing accolades cultural commentators now choose to use, all describe television in the United States as going from strength to strength. For a sustained number of years now, critics and popular opinion alike has celebrated a qualitative transformation in the output of an industry that has struggled for years to shed the image of a ‘vast wasteland’ (Minow, 1961). In critical and academic circles alike, credit for these exciting developments and the transformation of US television has tended to focus on a specific feature of the contemporary industry: the figure of the showrunner, television’s new auteur (Martin, 2013). The emergence of the showrunner-as-auteur has provided US television with a crucial source of cultural legitimacy, one traceable back to Bourdieu’s concept of the ‘“charisma” ideology’ (1980, p. 262) at work in judgements of artistic value. Shyon Baumann (2007) has analysed how film found legitimation as How to cite this book chapter: Hadas, L. 2017. From the Workshop of J. J. Abrams: Bad Robot, Networked Collaboration, and Promotional Authorship. In: Graham, J. and Gandini, A. (eds.). Collaborative Production in the Creative Industries. Pp. 87–103. London: University of Westminster Press. DOI: https://doi.org/10.16997/book4.f. License: CC-BY- NC-ND 4.0 88 Collaborative Production in the Creative Industries an art form in the 1960s through the celebration of autonomous film artists.
    [Show full text]
  • Writers Guild of America, East
    Contract Bulletin 2017 Writers: Not Keeping Up During this “peak TV” era, when more television is being produced than ever, and when everyone who works in television is finding a sellers’ market for their skills, why is the average TV writer seeing their income go down? There are five critical parts to the answer: 1. The number of episodes, and therefore, episode fees are half the traditional number on many series. 2. These fewer episode fees are being amortized across more than two weeks per episode. 3. Writers are held exclusive and under option even when not working on these short season series. 4. Residuals are too low in the emerging rerun markets. 5. Script fees remain unequal to the network rates for the growing areas of the industry. We will look at each of these, in turn. First, Peak TV is great creatively. The short season—10 to 13 episodes—that has come to predominate offers the luxury of tight story arcs. But, with the per-episode payment structure for TV writers, it pays for only half of a traditional full season, even though it usually takes the writer off the market for a full year. Count of Series By Number of Episodes Number of Episodes 2013-14 2015-16 Change 2 to 13 165 205 40 14+ 97 96 -1 Total 262 301 39 Percent of Total Number of Episodes 2013-14 2015-16 Change 2 to 13 63% 68% 5% 14+ 37% 32% -5% Total 100% 100% 0% To make this underpayment worse, these short season series take advantage of the looser calendar to do more writing before production starts, take more days to shoot each episode, and spend more time in post.
    [Show full text]
  • 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).
    [Show full text]
  • The WGC Showrunner Code Found Its Origin in the Largest Gathering Ever of Canada’S Top Showrunners
    SThheowWrGuC nner Code • From WGC members to WGC members • Insights into the craft and business of showrunning in Canada WGC SHOWRUNNER CODE The WGC Showrunner Code found its origin in the largest gathering ever of Canada’s top showrunners. In 2009, the WGC invited more than thirty member showrunners – those working on one-hour dramas, half-hour dramas and half-hour comedies, for kids and adults, in both extended run and limited run – to share their experiences of and insights into the craft and business behind the role of the showrunner. A common thread emerged: to create a good show, a production needs the formative hand of a practiced showrunner, and that writer needs to see the process through from story- breaking in the writers’ room to fine cut in the edit suite. The showrunner’s world is fraught with challenges – not the least of which is the resistance some producers bring to even acknowledging that “showrunner” is a position that exists, let alone one that should be occupied first and foremost by a writer. Writers and agents came to the WGC seeking some assistance in establishing a standard set of terms for showrunners to negotiate. The WGC Showrunner Code establishes guidelines for individual negotiations. (Note: The WGC Showrunner Code was updated in January 2013 to reflect the showrunners’ increasing involvement in the creation of convergent digital content – see page 11.) The WGC Showrunner Code sets out the conditions under which the showrunner is best positioned to ensure he or she can realize their vision and deliver the best show possible.
    [Show full text]
  • No Grand Pronouncements Here...: Reflections on Cancel Culture And
    TVNXXX10.1177/1527476420918828Television & New MediaNg 918828research-article2020 Article Television & New Media 2020, Vol. 21(6) 621 –627 No Grand Pronouncements © The Author(s) 2020 Article reuse guidelines: Here...: Reflections on Cancel sagepub.com/journals-permissions https://doi.org/10.1177/1527476420918828DOI: 10.1177/1527476420918828 Culture and Digital Media journals.sagepub.com/home/tvn Participation Eve Ng1 Abstract Although there are numerous prominent examples of social media misuse, these cases should not disproportionately characterize the scope or potential of digital media participation as a whole. Using cancel culture as an entry point, this essay discusses how digital practices often follow a trajectory of being initially embraced as empowering to being denounced as emblematic of digital ills. However, while platforms such as Twitter do have characteristics that militate against nuanced debate, scholars can productively direct attention to interactions in other digital spaces, particularly using methods that yield more qualitatively informative data. These spaces include message boards and comment threads, which foster more long- form engagement. It is also important to look beyond the major English-language platforms, both to account for platform-specific features and so that conditions of online discourse routine in many global contexts, such as negotiating censorship, are centrally theorized in digital media studies. Keywords cancel culture, digital engagement, digital media, social media, Twitter, user participation When I initially submitted an abstract for this essay, I titled it “Social Media and Activism: What’s Gone Wrong? What Now?,” which struck me as both topical and faithful to the call guidelines asking for “punchy commentary pieces.” After all, in just 1Ohio University, Athens, USA Corresponding Author: Eve Ng, School of Media Arts & Studies, and Women’s, Gender, & Sexuality Studies Program, Ohio University, Schoonover Center 303, Athens, OH, 45701, USA.
    [Show full text]