Angelo J. Bell: Pitching is exhausting…

pitchingisexhausting

by Angelo J. Bell

… And I truly don’t want to do it anymore.

Pitching  for television is exhausting. I truly no longer want to do it, however, I realize it is a necessary evil if you want to break into that wonderful land of television production. I am lucky and blessed to have worked with numerous writers in the past 2 years, and have been able to pitch series, dramas, sitcoms, MOWs, and various unscripted programs for an average of 1 pitch meeting a month for twenty-four months. With every meeting I feel like we get one step closer.

The truth of the matter is my production company, KISS HUG FIVE ENTERTAINMENT is doing what many writers aspire to do, but few have been able to do. read article

Are TV Showrunners Paying Too Much Attention to Fans – or Too Little?

Well, well, lookee here, kids. The interwebs, which we’ve always seen as empowering fans, may in fact be taking away their power instead. Seems that all this fan attention has turned showrunners into diva-like creative gods. Personally, we don’t see anything wrong with writer-auteurs…but we may be a little biased:

house of cards

TV Writers and Showrunners Increasingly ‘Mute’ the Fans
by Drew Grant

Back in the day, television writers would get feedback about their shows in one of two ways: from the occasional review in a publication, or from the ratings. Then around the late ’90s, shows like The X-Files and Buffy the Vampire Slayer ushered in an era of fandom; viewers were empowered by the Internet and its burgeoning fandom communities. Note that the people who were early adopters to message boards and listservs had a certain bias in what they favored: geeky, cerebral shows that rewarded vigilant, and recurring, viewings. Think Twin Peaks. Think, later, and for another generation,Lost. Think what we’ve come to understand as the (new) Golden Age of Television, co-created equally by its writers and its most passionate fans. read article

JOHN OSTRANDER: BELIEF SUSPENDED

by John Ostrander

There’s the concept in fantastic literature known as the “willing suspension of disbelief” by which the reader/audience accepts fantastic elements in a story that are not found in reality, suspension-of-disbeliefsemi-believing them for the moment for the sake of the story. If the creator is invoking it, he or she must be careful not to jar that suspension of disbelief.

It’s an important concept for those of us who labor in the fields of SF, fantasy, horror, and comics. Two things I find crucial to make the concept work – an internal consistency within the story and a consistency within the continuity. By an internal consistency I mean that something that was given as true on page five remains true on page thirty. If the character knows something they can’t suddenly un-know it just for the convenience of the plot. Likewise, if something has been established as part of the continuity, you can’t just disregard it willy-nilly. It doesn’t mean that continuity can never change but there needs to be reasons that it changes unless you’re going to do what DC does and just throw the baby out with the bathwater and start continuity over.

Something else that confounds my suspension of disbelief is when something in the story just ignores reality. I went to Independence Day and I wasn’t expecting much, just a good mindless action film. Unfortunately, there was incident after incident of things that were just patently impossible that it threw me right out of the story. To wit: Air Force One is taking off despite explosions going on all around. In fact, one explosion almost engulfs it. It comes up the tail of the plane before the aircraft manages to speed away. Never mind that the shock waves would have torn the plane apart – it was a Cool Visual. read article

Is Television Sacrificing Its Golden Age

Actually, the full title of this article is, “Is Television Sacrificing Its Golden Age to the Closed Loop of Pop Culture?” And know what? It’s a question that needs to be asked. So, appropos of our oh-so-recent previous post:

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by Jason Bailey

Let us begin with three seemingly unrelated entertainment news items. read article

John Ostrander: Redeeming Vader

Darth Toyboy
Darth Toyboy

by John Ostrander

By its nature, a trilogy connects. In movies, it becomes a single story united by narrative and/or theme. Each component film should stand on its own but they should come together as a single narrative.

Star Wars, especially the Original Trilogy (now known as Episodes IV, V, and VI), is a good example of this. In it, Luke Skywalker follows the Hero’s Journey (as defined by Joseph Campbell ), working with and through classic archetypes as he becomes not only a Jedi but a true hero. It is Luke’s story.

A funny thing happened when Lucas brought out the Prequel Trilogy (also known as Episodes I, II, and III). The story shifted from its focus on Luke Skywalker to his father, Anakin Skywalker, who was the villain of the Original Trilogy – Darth Vader. The overall story is now the fall of Anakin and the final redemption of Darth Vader. It completely changes the focus of all six movies. We are asked to accept this. At the end of Episode VI, Anakin’s Force Ghost takes its place with the Force Ghosts of Obi-Wan Kenobi and Yoda, the two Jedi who represent the wise mentors and forces for good. read article