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The Fan/Creator Alliance: Social Media, Audience Mandates, and the Rebalancing of Power in Studio–Showrunner Disputes
Media Industries 5.2 (2018) The Fan/Creator Alliance: Social Media, Audience Mandates, and the Rebalancing of Power in Studio–Showrunner Disputes Annemarie Navar-Gill1 UNIVERSITY OF MICHIGAN amngill [AT] umich.edu Abstract Because companies, not writer-producers, are the legally protected “authors” of television shows, when production disputes between series creators and studio/ network suits arise, executives have every right to separate creators from their intellectual property creations. However, legally disempowered series creators can leverage an audience mandate to gain the upper hand in production disputes. Examining two case studies where an audience mandate was involved in overturning a corporate production decision—Rob Thomas’s seven-year quest to make a Veronica Mars movie and Dan Harmon’s firing from and subsequent rehiring to his position as the showrunner of Community—this article explores how the social media ecosystem around television rebalances power in disputes between creators and the corporate entities that produce and distribute their work. Keywords: Audiences, Authorship, Management, Production, Social Media, Television Scripted television shows have always had writers. For the most part, however, until the post-network era, those writers were not “authors.” As Catherine Fisk and Miranda Banks have shown in their respective historical accounts of the WGA (Writers Guild of America), television writers have a long history of negotiating the terms of what “authorship” meant in the context of their work, but for most of the medium’s history, the cultural validation afforded to an “author” eluded them.2 This began to change, however, in the 1990s, when the term “showrunner” began to appear in television trade press.3 “Showrunner” is an unofficial title referring to the executive producer and head writer of a television series, who acts in effect as the show’s CEO, overseeing the program’s story development and having final authority in essentially all production decisions. -
Gossip Girl-Season1 Episode3 (The Letter)
www.SSEcoach.com Gossip Girl-Season1 Episode3 – Blair reads her letter to Serena Title: Gossip Girl – The letter Time – 2:31 Part 1 - Script 1. Blair: Whenever something’s bothering you, I can always find you here. 2. Serena: You here for another catfight? 3. Serena: What’s that? 4. Blair: A letter; I wrote it to you when you were away at boarding school. 5. Blair: I never sent it. 6. Blair: Dear Serena, my world is falling apart and you’re the only one who would understand. My father left my mother for a 31 year old model; a male model. I feel like screaming because I don’t have anyone to talk to. 7. Blair: You’re gone. My dad’s gone. Nate’s acting weird. Where are you? Why don’t you call? Why did you leave without saying goodbye? 8. Blair: You’re supposed to be my best friend. I miss you so much. Love Blair. 9. Serena: Why didn’t you send it? I would’ve- 10. Blair: You would’ve what! 11. Blair: You knew Serena and you didn’t even call. 12. Serena: I didn’t know what to say to you. I didn’t know how to be your friend after what I did. I’m so sorry. 13. Blair: Erik told me what happened; I guess your family’s been going through a hard time too. 14. Gossip Girl: Spotted in Central Park: Two white flags waving. Could an Upper East Side peace accord be far off? 15. Gossip Girl: So what will it be? Truce or consequences? We all know one nation can’t have two queens. -
The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019
Masthead Logo Scholar Works Honors Theses Honors 2019 Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker University of Maine at Farmington Follow this and additional works at: https://scholarworks.umf.maine.edu/honors_theses Part of the Comparative Literature Commons Recommended Citation Decker, Nichole, "Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl" (2019). Honors Theses. 5. https://scholarworks.umf.maine.edu/honors_theses/5 This Research Project is brought to you for free and open access by the Honors at Scholar Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholar Works. For more information, please contact [email protected]. 2 Bricolage on the Upper East Side: The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019 “Okay, so you’re probably going, is this like a Noxzema commercial or what?” - Cher In this paper I will analyze the classic novel Emma, and the 1995 film Clueless, as an adaptive pair, but I will also be analyzing the TV series, Gossip Girl, as a derivative text. I bring this series into the discussion because of the ways in which it echos, parallels, and alludes to both Emma and Clueless individually, and the two as a source pair. I do not argue that the series is an actual adaptation, but rather, a sort of collage, recombining motifs from both source texts to create something new, exciting, and completely absurd. -
Veronica Mars, Spinster...Old Maid
EXT. CAMELOT MOTEL - NIGHT Music cue: Air’s “La Femme D’Argent.” ANGLE on a rain-streaked, neon-reflecting motel window. Through gauzy curtains we see the SILHOUETTES OF LOVERS heaving toward climax with all the romantic finesse normally associated with Soviet farm equipment. VERONICA (V.O.) I’m never getting married. A middle-aged FAT MAN wearing a cheap, too-short, faux- Japanese robe and nothing else crosses through the frame carrying an ICE BUCKET. VERONICA (V.O.) (CONT'D) You want an absolute? A sure thing? Well, there it is. Veronica Mars, spinster...old maid. Carve it in stone. CRANE SHOT follows man down a flight of exterior motel steps. VERONICA (V.O.) (CONT’D) I mean, come on. What’s the point? Sure, there’s that initial primal drive...hormonal surge...whatever you want to call it. Ride it out. Better yet, ignore it... As the man reaches the ground floor level and heads toward the ICE MACHINE next to the motel office, shot widens and includes the wet blacktop of the parking lot and the flickering neon of the CAMELOT MOTEL sign. VERONICA (CONT'D) ...Sooner or later, the people you love betray you. As the man crosses back toward his room, CAMERA STOPS on the door to the first floor ROOM 8. As the CAMERA PUSHES IN on the keyhole... VERONICA (V.O.) (CONT’D) And here’s where it ends up -- fat men, cocktail waitresses, cheap motels on the wrong side of town. REVERSE ANGLE on a nondescript sedan parked on the street facing the motel. -
Tess Paras NEW Resume
Tess Paras SAG-AFTRA / AEA www.tessparas.com FILM & TELEVISION Crazy Ex-Girlfriend Recurring CW, Dir. Joanna Kerns Take My Wife Guest Star Comedy Bang! Bang!, Dir. Sam Zvibleman Girl Meets World Recurring DISNEY, Dir. Rider & Shiloh Strong Switched at Birth Co-Star ABC Family, Dir. John Lagomarsino Mulaney Co-Star FOX, Dir. Andy Ackerman Grimm Guest Star NBC, Dir. Norberto Barba Rake Co-Star FOX, Dir. Rosemary Rodriguez Wilfred Co-Star FX, Dir. Randall Einhorn Weeds Co-Star SHO, Dir. Uta Briesewitz White Collar Guest Star USA, Dir. John Kretchmer Law and Order Co-Star NBC, Dir. Darnell Martin The Good Wife Co-Star CBS, Dir. Chris Misiano Lights Out Co-Star FX, Dir. Jean de Segonzac Gossip Girl Co-Star WB, Dir. Wendey Stanzler Law and Order Co-Star NBC, Dir. Mario Van Peebles Law and Order: Criminal Intent Co-Star USA, Dir. Michael Smith Damages Co-Star FX, Dir. Tate Donovan Kings Co-Star NBC, Dir. Adam Davidson All My Children Recurring U/5 ABC THEATER 2014 CBS Diversity Sketch Comedy Showcase Actor/Writer El Portal Theatre, Dir. Rick Najera Broadway Backwards 4 with Whoopi Goldberg Ensemble American Airlines Theater (NYC) Miss Saigon Yvonne Prather Theaters Tour (AZ, FL, PA) …Genderf*ck Cabaret Lead/Gwen Under St. Marks Theater (NYC) Hair/East Village Fragments Ensemble Peculiar Works, Dir. Bob Bartley (NYC) Connecticut (One Woman Show) Woman Dir. Michelle Bossy (NYC) Halo Halo Cabaret Vocalist/Producer Triad Theater (NYC) National Anthem Soloist Izod Center, NJ Meadowlands COMMERCIALS *Commercial List Available Upon Request TRAINING B.S. Media, Culture & Communications, New York University (Magna Cum Laude, Journalism Minor) Acting: NYU, Karen Kohlhaas/Atlantic Theater Co., Primary Stages (NY), Lesly Kahn & Co. -
GOSSIP GIRL by Cecily Von Ziegesar
Executive Producer Josh Schwartz Executive Producer Stephanie Savage Executive Producer Bob Levy Executive Producer Les Morgenstein Executive Producer John Stephens Co-Executive Producer Joshua Safran Producer Amy Kaufman Producer Joe Lazarov Episode 206 “New Haven Can Wait” Written by Alexandra McNally & Joshua Safran Directed by Norman Buckley Based on GOSSIP GIRL by Cecily von Ziegesar Double White Revisions 8/20/08, pg. 41 Goldenrod Revisions 8/14/08, pgs. 2, 3, 3A Green Revisions 8/12/08, pg. 16 Yellow Revisions 8/12/08, pgs. 5, 20, 20A-21, 22, 23, 31, 31A, 31B-32, 32A, 33, 36, 37, 38, 38A-39, 49A, 50, 51 Full Pink Revisions 8/11/08 Full Blue Revisions 8/8/08 Production #: 3T7606 Production Draft 8/5/08 © 2008 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment, Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc. “New Haven Can Wait” Character List CAST Serena van der Woodsen Blair Waldorf Dan Humphrey Jenny Humphrey Nate Archibald Chuck Bass Rufus Humphrey Lily Bass Eleanor Waldorf Dorota Vanessa Abrams Headmaster Prescott Headmistress Queller Assistant GUEST CAST * Dean Berube (pronounced Barraby) Jordan Steele Skull and Bones Leader Skull Bones Shirley History Professor Girl (Miss Steinberg) Yale Guy EXTRAS Constance and St. Jude’s Seniors Yale Students Serena’s Driver Yale Guys and Two Super-Hot Yale Girls Skull and Bones Members Three Masked -
Fun and Games Revoking Friendship Page 71 Fear and Loathing Page 77 Chases Page 78 Evil Science and You Page 84 Magic Page 91
Credits The following have proved severely disruptive in class and will be attending detention in the sports hall after school this Friday for these infringements of school rules: Andrew Peregrine, for the upsetting Writing and Game Design. Rebecca Weaver (http://miss-ninja.deviantart.com/) for the seditious Cover Art. Katrine Rassmussen, for all of the rebellious Interior Art. Andrew O’Hara, for being led astray into the Layout Design when he really should know better. David Durant, James Holman, Simon Hornby, Jo Oliver, Annie Percik, Debbie Pursey, Claire Mehegan, Simon Mott, and Mark & Kat Welham, for Playtesting without due care and attention (and for your refusal to disclose the names of the ringleaders). All those who were involved in the demo games carried out at various conventions. You all know who you are and you should all be ashamed of yourselves! Annie Percik is to be excused the last hour of detention as she set an example to the others by doing the Proofreading. However James Holman is to stay an extra hour for drawing all those nasty Graphics on the blackboards Several additional tales of bad behaviour have been included in this text to serve as a warning, although we know many of you will take them as inspiration. The perpetrators of these activities have either been punished or managed to escape justice with threat and blackmail so we will allow them to remain anonymous. Dedication: “For the fairest” Best Friend/Rival system developed by Jake Richmond and Matt Schlotte for the Panty Explosion RPG by Atarashi Games. Stock photos from: Stockxpert (http://www.stockxpert.com) & Istockphoto (http://www.istockphoto.com) Hellcats and Hockeysticks © 2009. -
Do You Fit the Alloy Mold?
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Do You Fit the Alloy Mold? The Homogenization of Structure and Audience in the Television Adaptations of 'Gossip Girl,' 'Pretty Little Liars,' and 'The Vampire Diaries' Caitlin Murray Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3064 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Caitlin Murray 2013 All Rights Reserved Do You Fit the Alloy Mold? The Homogenization of Structure and Audience in the Television Adaptations of Gossip Girl, Pretty Little Liars, and The Vampire Diaries A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English at Virginia Commonwealth University. by Caitlin Murray Bachelor of Arts, Virginia Tech, Blacksburg, VA, 2010 Director: Dr. Richard Fine, Professor of English Virginia Commonwealth University Richmond, Virginia April 25, 2013 Acknowledgment The author wishes to thank several people. I would like to thank my parents and my sister for their unending love and support. I would also like to thank Zachary for his support and patience in the year it took me to write this thesis. I would like to thank my committee members, Dr. Christenbury and Dr. Brinegar for all of the help they have given me throughout this process. -
Matthew Mcduffie
2 a monterey media presentation Written & Directed by MATTHEW MCDUFFIE Starring KALEY CUOCO SASHA PIETERSE CODY HORN LANDON LIBOIRON and VIRGINIA MADSEN PRODUCED BY: MARSHALL BEAR DIRECTOR OF PHOTOGRAPHY: DAVID J. MYRICK EDITOR: BENJAMIN CALLAHAN PRODUCTION DESIGNER: CHRISTOPHER HALL MUSIC BY: IAN HULTQUIST CASTING BY: MARY VERNIEU and LINDSAY GRAHAM Drama Run time: 93 minutes ©2015 Best Possible Worlds, LLC. MPAA: R 3 Synopsis Lifelong friends stumble back home after high school when word goes out on Facebook that the most popular among them has died. Old girlfriends, boyfriends, new lovers, parents… The reunion stirs up feelings of love, longing and regret, intertwined with the novelty of forgiveness, mortality and gratitude. A “Big Chill” for a new generation. Quotes: “Deep, tangled history of sexual indiscretions, breakups, make-ups and missed opportunities. The cinematography, by David J. Myrick, is lovely and luminous.” – Los Angeles Times "A trendy, Millennial Generation variation on 'The Big Chill' giving that beloved reunion classic a run for its money." – Kam Williams, Baret News Syndicate “Sharply written dialogue and a solid cast. Kaley Cuoco and Cody Horn lend oomph to the low-key proceedings with their nuanced performances. Virginia Madsen and Andy Buckley, both touchingly vulnerable. In Cuoco’s sensitive turn, this troubled single mom is a full-blooded character.” – The Hollywood Reporter “A heartwarming and existential tale of lasting friendships, budding relationships and the inevitable mortality we all face.” – Indiewire "Honest and emotionally resonant. Kaley Cuoco delivers a career best performance." – Matt Conway, The Young Folks “I strongly recommend seeing this film! Cuoco plays this role so beautifully and honestly, she broke my heart in her portrayal.” – Hollywood News Source “The film’s brightest light is Horn, who mixes boldness and insecurity to dynamic effect. -
Losingsightliterature.Pdf (126.6Kb)
Manno 1 Lindsey Manno Capstone Final Professor Cohen Losing Sight of Literature: The Commodity of Book Packaging In every young writer’s heart there is a dream, a dream that one day all of their hard work will lead to a successful, published novel. And not just any novel, but the next Great American novel that will be taught in classes for decades to come. Unfortunately, much of the publishing industry has another goal in mind when weeding through submissions and story ideas: making money and duplicating the success of Harry Potter or Twilight . In this paper, I plan to examine the workings of companies like Alloy Entertainment and James Frey’s Full Fathom Five Factory, each of which provide outlines and hire writers to put together novels for the Young Adult (YA hereafter) genre. By using a “novel by committee” format, these companies are weakening the publishing industry and making it that much more difficult for an up and coming writer to get their original work seen, much less published. They are doing away with what is considered to be the author and replacing it with brand names and product placement, changing the ideals of what it is to be a writer. In this essay, I will question whether or not these precooked ideas can still be considered art with any literary value, or if they’re simply commodities to companies consumed with the desire for money rather than the desire to share good books. First, though, it is important to determine what it is that allows something to be considered literature or to have literary value. -
TNT Greenlights New Series DALLAS
TNT Greenlights New Series DALLAS TNT has given the greenlight to DALLAS, an all-new series based upon one of the most popular television dramas of all time, about the bitter rivalries and family power struggles within a Texas oil and cattle-ranching dynasty. Famous for its ratings-grabbing cliffhangers, the original series was known for its wealth, seduction, scandal and intrigues. Set in the big state of Texas, TNT’s new DALLAS — from Warner Horizon Television — also lives life large and in the fast lane and brings a new generation of stars together with cast members from the original drama series. The new DALLAS stars Josh Henderson (90210), Jesse Metcalfe (John Tucker Must Die), Jordana Brewster (Fast & Furious), Julie Gonzalo (Veronica Mars) and Brenda Strong (Desperate Housewives), and they will be joined by iconic stars Patrick Duffy, Linda Gray and Larry Hagman as J.R. Ewing. TNT has ordered 10 episodes of DALLAS, which is slated to premiere in summer 2012. TNT will give viewers their first look at DALLAS on Monday with a special sneak peek during the season premieres of the network’s blockbuster hits THE CLOSER, which starts at 9 p.m. (ET/PT), and RIZZOLI & ISLES, which airs at 10 p.m. (ET/PT). TNT is unveiling today a website dedicated to the new DALLAS series, where fans can view an online photo gallery that features a first look into the show’s new and returning cast. Fans can visit the new site, http://www.dallastnt.com, to watch sneak peeks and behind-the-scenes videos. -
DARK CITY HIGH the High School Noir of Brick and Veronica Mars Jason A
DARK CITY HIGH THE HIGH SCHOOL NOIR OF BRICK AND VERONICA MARS Jason A. Ney ackstabbing, adultery, blackmail, robbery, corruption, and murder—you’ll find them all here, in a place where no vice is in short supply. You want drugs? Done. Dames? They’re a dime a dozen. But stay on your toes because they’ll take you for all you’re worth. Everyone is work- ing an angle, looking out for number one. Your friend could become your enemy, and if the circumstances are right, your enemy could just as easily become your friend. Alliances are as unpredictable and shifty as a career criminal’s moral compass. Is all this the world of 1940’s and 50’s film noir? Absolutely. But, tures like the Glenn Ford vehicle The Blackboard Jungle (1955) and Bas two recent works—the television show Veronica Mars (2004- melodramas like James Dean’s first feature,Rebel Without a Cause 2007) and the filmBrick (2005)—convincingly argue, it is also the (1955). But a noir film from the years of the typically accepted noir world of the contemporary American high school. cycle (1940-1958) populated primarily by teenagers and set inside a That film noir didn’t extend its seductive, deadly reach into the high school simply does not exist. Perhaps noir didn’t make it all the high schools of the forties and fifties is somewhat surprising, given way into the halls of adolescent learning because adults still wanted how much filmmakers danced around the edges of what we now to believe that the teens of their time retained an element of their call noir when crafting darker stories about teens gone bad.