Well, well, what do you know? According to the New York Post, “older shows are seeing renewed popularity among a new generation of viewers, who learn about the shows via social media, because they feature well-known actors or directors, or are discovered simply by scrolling through Hulu or Netflix.”
According to the Post:
Um. The violin music is a nice touch. It may, in fact, be the most appealing element of Elementary, a title which seems to refer mostly to the level of skill displayed on the show.
One episode in, I have a predictive formula for future episodes of Elementary: take one small part Sherlock, add a healthy helping of Law and Order (mixing different iterations liberally), and add just a pinch of Criminal Minds. Elementary, my dear…(never mind. Just. Never mind).
Hey! It’s that time of the year again!
You know what time I’m talking about! The week to two weeks that every major organization tracking gender diversity in theatre/television/film creation releases their terrible statistics on how few women and people of color are making their way to the top of their profession so we can write angry blog posts about it for a week and then go back to business as usual!
There is theatre, and then there are cliches and assumptions about theatre.
Certianly the single biggest achievement of Smash’s first season (and perhaps the thing we should applaud it for) has been cataloguing an astonishingly thorough collection of the latter.
As a New Yorker and a theatre artist, I thought it might be fun to debunk a few of the bigger myths Smash throws our way about theatre and it’s business:
Whether you’re working with a team to make your new web series happen, producing a short pilot for a website like Channel 101, or just writing a script with a fellow screenwriter, there is collaborative technology out in the world that is designed to make your multi-person workflow easier.
I dipped my toes in the sea of collaboration when working in theatre first, where the writer relationship to the process is much more hands on. However, the trend in the industry lately seems to feature writers that cross titles: writer-directors, writer-actors, writer-director-actor-producer: whatever dual or triple or quadruple roles are available, there is someone willing to wear those hats (and that’s a lot of hats).
