Life is just one damn thing after another. Take diversity and the problems that it – and its solutions – can cause:
Dailyn Rodriguez, a veteran writer and producer, said she wasn’t necessarily looking to work on a new show for the coming season. But she suddenly found herself in high demand, her agents constantly fielding calls about her availability.
Three individuals and one writing team have been selected as winners of the 2018 Academy Nicholl Fellowships in Screenwriting competition. The fellows will each receive a $35,000 prize, the first installment of which will be distributed at the Academy Nicholl Fellowships in Screenwriting Awards Presentation & Live Read on Thursday, November 8, at the Samuel Goldwyn Theater in Beverly Hills. For the sixth consecutive year, an ensemble of actors will read selected scenes from the winning scripts.
The 2018 winners are (listed alphabetically by author):
You can go just about anywhere and see the latest Emmy results, but here, from your friends and neighbors at TVWriter™ come the ones that we value most:
WRITING FOR A COMEDY SERIES
Donald Glover, “Atlanta” (“Alligator Man”)
Stefani Robinson, “Atlanta” (“Barbershop”)
Alec Berg and Bill Hader, “Barry” (“Chapter One: Make Your Mark”)
Liz Sarnoff, “Barry” (“Chapter Seven: Loud, Fast And Keep Going”)
Alec Berg, “Silicon Valley” (“Fifty-One Percent”)
WINNER: Amy Sherman-Palladino, “The Marvelous Mrs. Maisel” (“Pilot”)
NOTE FROM LB: Yesterday, longtime friend and co-worker Harry Thomason, producer, director, former member of the Clinton Administration – and one of the influences behind my creation of Cloud Creek Institute for the Arts in beautiful, rugged home state of Arkansas – suggested that his Facebook friends take a look at an article his wife, the incomparable writer Linda Bloodworth Thomason had written for The Hollywood Reporter.
A suggestion from Harry is always something to take seriously, so off I clicked to see what Linda was writing about. The good news is that the article is about show business, not politics so you can all relax. More good news is that it’s extremely timely, well-written, and honest as hell.
The bad news is that it’s painfully honest. But that’s the thing about showbiz. Being part of it can bring great rewards…but the price all too often is, indeed, great pain.
Possibly the most influential American artist of the second half of the 20th Century died two weeks ago, and just about nobody – zip, zilch, nada – knew his name.
We’re talking about Russ Heath, a true master of comic book – and strip – art, who lent his brilliant touch of exaggerated realism to pages published by every major comics house in the U.S. including EC, DC, Marvel, Warren, National Lampoon, and many more including Playboy.
The thing about Heath is that although he wasn’t a big star under his own name, his work affected hundreds of thousands of comics fans and millions of members of the general public…because one of the fans of Heath’s comics was Roy Lichtenstein, who based much of his groundbreaking pop artwork on Heath’s panels…never acknowledging their source publicly or financially.