…And we don’t mean visualizing that the rent is due! (Although we know for a fact that works.)
How to Give Yourself a Quick Motivational Boost – by Ali Luke
Take a Break
Sometimes, your motivation wanes because you’ve been working too hard for too long. Take a break.
We know this works. Glen Larson created 30+ successful shows using a variation of this very same method:
The 25 Magic Words Of American Television – by Linda Holmes (NPR Blogs)
We loved the original’s hilarious chaos, so, yeah, we’re feelin’ pretty groovy right now:
Red Dwarf1 X: Trojan spoiler-free review
by Pete Dillon-Trenchard
When Dave announced that it would be making a new six-part Red Dwarf series after 2009’s Back to Earth, it’s fair to say that many fans were cautious in their optimism; the three-part special had taken the characters down a much more dramatic route, and seemed to mark a shift in direction for the Boys from the Dwarf, one which took them away from their sitcom roots. WouldRed Dwarf X continue this trend?
Put simply: no. Trojan, the first episode of Red Dwarf’s tenth series, immediately feels more like the classic show than anything that’s been broadcast in nearly twenty years, with a pair of opening scenes which each contain some strong jokes and build to neat crescendos for the characters. And yet, nothing here is without a purpose; both of these scenes contain gags that have superb pay-offs later in the episode – there’s one Cat moment in particular about halfway through the episode which is up there with some of the show’s greatest scenes.
Inasmuch as our favoritest people are writers, and more than half the writers we know are womens – and our favoritest womens too – this particular factoid seems very important to us:
Women Created 26 Percent of the Television Shows in the 2011-2012 Season – by Melissa Silverstein (IndieWire.Com)
Hey, he’s one of our favorite contemporary filmmakers, and very, very easy to overthink. Still, this article actually manages to make sense of what he’s up to. Who could ask for more?
Various writing partners have helped Wes Anderson flesh out the scripts for each of his 6 live-action films, but the finished products are Anderson’s alone. Complex, noble beasts, Anderson’s films burst with a singular creativity and style that rewards re-watching in ways great and small. His chosen themes are deeply personal, and their delivery, stylized but always in the service of the larger point, is perhaps his signature strength as a filmmaker. He is a stylist of the highest order, but his style is never without purpose.