This time he’s producing a courtroom drama based on a British show and to be written by a cult fave U.S. writer. In other words: There’s hope!)
Dick Wolf & David Hudgins To Adapt British Series ‘Injustice’ For NBC – by Nellie Andreeva
Law & Ordermastermind Dick Wolf is returning to the courtroom with Injustice, a U.S. version of a British format, which will be written by former Friday Night Lights executive producer David Hudgins.
Warning: Parts of this review are spoilerific, so if you haven’t seen the movie and you read this review and I spoil it for you…well, sorry about that.
Okay, fess up time: I saw this movie over a month ago and am just getting a chance to write the review. So I had to reach way back into the crevices of my brain to remember what this movie was about. Certain parts stuck with me–Bane’s awesome headgear, the uselessness of Catwoman, the fact that Batman always sounds like a ten-pack-a-day-smoker ready to choke on his own phlegm at any moment. My overall recollection of the film is that it was good. More than good. I’d say a very good film that I would easily rent on DVD.
Rent, not own.
We found this on a site called Cheezburger.Com so you know it’s Grade A:
Don’t want to include any spoilers here, but the ending shows that what we’ve been telling our younger nieces and nephews is RIGHT F-IN’ ON, BABY! WHO’S THE BIG DADDY NOW?!
Take Me To The Pilots ’12: NBC’s ‘Infamous’ – by Daniel Fienberg
The Pitch: It’s “Dirty Sexy Revenge”
Quick Response: No. Really. “Dirty Sexy Revenge.” What if “Dirty Sexy Money” had begun with the murder of Samaire Armstrong’s character? [No loss there.] And what if Peter Krause’s character were a cop instead of a lawyer and an African-American woman instead of a man? And what if that interloper returned to the family not to keep them out of trouble, but to get one of them in very deep trouble indeed? What you’d get would be “Infamous.” NBC’s attempt to get in on the Eat the Rich zeitgeist is derivative at every turn, but it’s also yet another midseason drama that introduces plot twists at an almost astounding pace, with characters reversing course and changing their colors two or three times in the opening 44 minutes. Hmm… I used a “but” there as if being twisty were a compensation for being derivative. This is the kind of show that you instantly find yourself distrusting every frame because you know that the truth is like a bet on a roulette wheel: You might get a dose of adrenaline each time your number comes around, but until the ball stops bouncing, *nothing* is going to be the truth, so there’s no point in investing.
Time now to reach out to everyone about what’s happening with the TVWriter™ Online Workshops. No time to waste, so:
I’m hoping to hold the Basic Online TV and Film Writing Workshop in October, which, yep, is next month.
The 8-week long (one meeting a week) TVWriter.Com Basic Online Workshop covers just that, the basics of TV (and film!) writing, from how to present your idea via loglines and leavebehinds, to character creation and story structure, to the writing of the 1st draft and revisions. We do this via my book (here comes the pitch) Television Writing from the Inside Out,weekly writing exercises, and of course weekly video (and text if you don’t want to do video) chat meetings.