Is this the future of TV writing?

Of course television writers’ relationship with Zoom is love-hate. So’s our relationship with television! And writing! And…

But we digress. Here’s the video:

And a well done related article too: read article

Best Showbiz Cartoon of the Month So Far

NOTE FROM LB: This strip  from Thursday, May 7, 2020’s Funky Winkerbeat, may appear to be just another showbiz cliche, but in fact you’re looking at ans absolutely real, non-apocryphal situation.

I know because I’ve lived through at least half a dozen similar meetings, all with the same punchline.

read article

Film Making Doesn’t End with the Writer & Director

There are those – including our Beloved Leader, Larry Brody – who believe that cinematographers are every bit as responsible for the creative success of a film (or TV show) as writers and directors. Hmm, come to think of it, this TVWriter™ minion cant’ come up with the name of anybody in the biz who disagrees.

Here’s all you need to know about what Oscar winning cinematographers do and how they do it.

From Collider’s YouTube channel

For ‘Fleabag’ Aficionados

Why should you read this article about the hottest comedy in the world right now? Here’s how the author, John Lahr, puts it:

In other words, Phoebe Waller-Bridge may well be the person so many of us are hoping to become, so let’s try and find out what, exactly she’s all about:

Illustration by Paul Davis

Louche Cannon
by John Lahr

Roseanne used to end her stand-up act this way: “People say to me, ‘You’re not very feminine.’ Well, they can suck my dick.” Phallic fun used to be the province of men—a mission broadcast by the totemic Fool in cap and bells, whose scepter is actually a penis, that emblem of transgression, the source of panic and elation. In earlier, primmer days, the great American comediennes—Fanny Brice, Judy Holiday, Lucille Ball—got away with mischief by ditzy indirection; nowadays, in our unabashed, newly liberated times that echo with the impudence of independence, when facing down the male gaze, comediennes increasingly prefer the headbutt to the velvet glove. read article

The Death of the All-Male Writers Room & What It Means

LB’S NOTE: For the past few years, it has seemed to me that most of the changes in our culture have been negative ones. (Gee, where could I have gotten that idea?) But here’s a positive change that I’m sure will make the culture of storytelling the world over better than it’s been since, oh, let’s say the Renaissance.

by Radhika Seth

On 18 June, ITV made headlines when it announced it would no longer commission shows by all-male writers. Saskia Schuster, ITV’s head of comedy and founder of the gender equality initiative Comedy 50:50, hoped the move would create more opportunities for women in an industry and genre that has long been dominated by men. What she didn’t expect was a backlash: op-eds condemning box-ticking quotas, viewers applauding shows that wouldn’t exist without all-male writing teams (Peep Show, Dad’s Army, Blackadder) and critics on Twitter labelling her a militantly feminist member of the #GalQaeda.

“The focus was never on banning male teams,” Schuster tells Vogue. “The goal is inclusivity. The current number of female writers in comedy is woefully low and before I started Comedy 50:50, I was being pitched very few scripts by women.” Determined to change the culture, she rewrote her contracts, asking comedy shows to aim for equal representation and scripted commissions to demonstrate their best endeavours to include female voices. She also created a database of more than 500 women writers to help producers find new collaborators. read article