Time Now for the Most Chilling TV News of the Day

…And it’s not: Mads Mikkelsen To Play Hannibal Lecter In NBC Series ‘Hannibal’

Or: MTV Movie Awards Down From Last Year

Or even: ICM Partners Hires Warner Bros Exec To Run New Digital Strategy Division

It’s:

THE STAR WARS: UNDERWORLD SERIES MIGHT NOT BE APPROPRIATE FOR THE YOUNGLINGS

by Jamie Frevele | 2:47 pm, June 4th

While we all patiently wait for any news concerning Lucasfilm‘s Star Wars TV series, Star Wars: Underworld, here is something to tide us over: it might be a little racier than the movies. As in, producer Rick McCallum is comparing the planned stories to ones on the level of an FXseries. FX. They curse there. They kill there. They show butts, too, and sideboob. After the jump, find out more about what kind of sideboob we’re going to see on Boba Fett.

We all know the budget of this thing is huge — $5 to 6 million per episode — which is not pocket change, even for Lucasfilm, but still a challenge if they want to do more than one of these. But budget aside, McCallum has said that some are concerned about the proposed content of the show, and how it might not be appropriate for the kind of audience the original films sought out — the younger set. No, little Johnny and Jane might have to put on earmuffs for this one. Says McCallum:

“Our biggest problem is that these stories are adult. I mean…these are like Deadwood in space. It so unlike anything you’ve ever associated with George [Lucas] before in relation to Star Wars. These aren’t for kids. I mean, we hope they’ll watch, but it’s not being targeted at 8-to-9 year old boys.”

We’re all for tearing up the envelope, but “These aren’t for kids?!”

WTF?

Further proof, your honor, that George Lucas needs to go the way of Britney Spears.

It’s time for a conservatorship. Pronto.

Read it all

Logos, We’ve Got Logos

(And a tip of the TVWriter™ hat to the first person who knows why the “We’ve got…” phrase means something in the history of U.S. TV.)

Chuck Fox, websman extraordinaire, came up with not one, not two, but three really cool logos for this site. It was a bitch to decide between them. In fact, I’m still tempted to set everything so all three appear randomly on various pages and posts here.

Since I probably won’t do that (not that I think visitors can’t handle it but because I know it’ll confuse the bejesus out of me), I’m showing them here.

Oohs and ahs welcomed.

LOVIN’ THE MAKEOVER MOMENT AT TVWRITER™

by Larry Brody

Today is a big day for me. It’s the Official Opening Day for the new TVWriter.Com website.

Lots of changes, including:

A complete redesign!

A new name!

A new logo and favicom to go with the new name!

(What, the favicom thingie doesn’t do it for you? After how hard I struggled to get it right? Damn…!)

We went for the redesign for several reasons.

I’ve always thought the previous design was great, which is why we kept it for about a dozen years. But a dozen years? That’s three high school/college generations. On the interwebs, anything that old is ancient history.

And seeing something I’d seen for so long everyday left me feeling flat as a creator. The static page set-up created boundaries that made me feel constrained. The whole concept of a “company site” made me feel constrained. So we’ve switched to a more contemporary blog model, where I feel freer about presenting myself as, well, as me, talking to you – and listening too.

I’ll be posting thoughts, answers to your questions (which means you’ve got to ask ’em), articles, news items, snippets, and lots of video as frequently as I can while making sure it all feels like fun. And I’m inviting current and former visitors and students to blog about their experiences trying (and so often succeeding) to make it in the Big Badass Showbiz World. Just thinking about what we’re up to energizes me. Nothing LB likes better than taking life into the future. Nothing I appreciate more than ambition.

It’s your ambition that matters most. TVWriter is here to aid and abet your climb to the top of the writing food chain. When I started out, back in the prehistoric 1960s, I was lucky enough to learn on the job from a variety of talented, smart, and sometimes even wise mentors. Now it’s time to give back. Which I can do only if you USE this site. Keep on coming by and help us all.

Speaking of ambition, we’re changing the name from TVWriter.Com to TVWriter. One reason for that is overwhelming vanity/ambition because, hell, this is Big Badass Showbiz and I’m that kind of guy. Another reason is that it seemed silly to call this place TVWriter.Com when it’s sprawled out over a mess of URLs including tvwriter.com, tvwriter.com, screenandtvwriting.com, televisionwriting.com, and several more.

And, yes, there’s a practical and, I admit, promotional reason as well. Many of today’s social apps got totally deranged by the .Com thing in our former name and would automatically insert links in the middle totally screwing things up. TVWriter they get. (And TVWriter™ too.)

I’ve got to get back to work, which means playing with this new site. I hope you’ll come back and play too. Today is, indeed, a big day for me.

But the most important thing is for it to become a big day for you.

The DOCTOR Puppet Always Makes Me Go “Aw…”

…which wouldn’t happen no matter how cute this unauthorized (I assume) little guy is if the DOCTOR WHO series wasn’t right up there among the best ever on TV.

If What’s New is Old & What’s Old is Obsolete, Then What Does That Make the New?

by Larry Brody

If I get it right, Shane Smith is telling us that a big problem with New Media is that it is spending all its resources imitating Old Media. Web TV, he says as the keynote speaker at something called IWNY HQ 2012. Same kind of programming. Same kind of publicity. Same kind of business practices. Same kind of sales tactics.

I say, “If I get it right,” because Shane Smith, the founder of a New Media company called Vice, which recently made a deal to produce a show on Old Media’s HBO and tells us about it in a way that reveals a man incredibly proud of being ashamed of not being original and is described in the “New York Times” as “a robust storyteller, the type who wears a few extra pounds as if they’re a trophy from good living,” but I found his presentation, including the clips from his new show, so dull that I couldn’t watch more than the first five minutes.

To be fair, “The Times” also calls this crazy, zany, “Falstaffian” figure both “a voice of a generation of too-cool D.J.’s and artists who wear rolled selvedge jeans and chunky glasses…[and]also a conduit for corporate America to reach that elusive audience.” So they see that he’s not exactly totally devoted to art, youth, or, for that matter greed.

To be still fairer, I have to say that from what I saw, if Falstaff had had the dynamism, intelligence, guts, and good humor of Shane Smith, HENRY IV would not be a play routinely produced at important venues and forced upon English lit students to this day.

Why am I ranting?

Disappointment, pure and simple. Like Shane Smith (who does have a cool name and kinda looks like my hero, Louis C.K.), I too have been disappointed in and by that particular aspect of New Media called internet TV. I agree with him that it has become so derivative in so many ways that those involved should be embarrassed, so when a friend sent me the video above and I read the “Times” article I was looking forward to finding a media messiah I could prostrate myself for.

But Shane Smith has made Brodyworld’s one inexcusable error: He has forgotten that the reason we strive to be new, to find new ways of communicating, new ideas, and new financing to support the communication of the ideas is to capture our audience’s attention and, at the same time, release its soul. Creative people/Old and New Media moguls/content creators/content suppliers (sadly not the same, often, as the creators) should be lighting me on fire, inspiring me to take to the streets and give everything I have to remake Broadway/Rockefeller Plaza/the Grey Lady/the Marvel Universe/the porn universe, et al into a tomorrow I can’t even envision – which is the whole point of tomorrows; it’s what makes them exciting.

Instead, he ignored the remote in his Old Media audience’s hands and the mouse at the end of New Media fanatics, and he gave me the same old, same old in the same old, same old way and I got so bored I had to write this just to try and wake up.

And now, to bed.