Just finished watching the first 3 1/2 hours of HELIX. Well, that’s not entirely accurate. Let’s say that the first 3 1/2 hours played through on my gigantor screen but I only saw the first 48 minutes because…
I say because…
Wait for it.
Chapter 41 – The Year of Yes?Hope everybody had a great New Years! I did, went to two great parties. Great food, great mix of people, just what I needed to start the year off right.
And in the middle of it all, guess what? We got a celeb to work on the show! Wow.
After about a month of trying, it worked so easily. Contacted his manager, he had seenChilltown, loved it and wanted to be involved. No, he’s not a huge household name, but he has enough of one to add some more credibility to the project (the BIG TOP SECRET PROJECT I’ve been mentioning here).
Why is it that nobody ever wants to pay writers? Even when they have contracts and a union like the Writers Guild of America? What is it about writers that makes production companies and networks always want to stiff us?
Put your hands together for one Allison Hall, who’s not taking this shit, not anymore:
by Dominic PattenOnce again, soap opera lawsuits are vexing ABC. Having been hit with a now $125 million breach of contract suit by Prospect Park over licensed soaps All My Children and One Life To Live, the network also faces a legal action from one of the soaps’ former writers. Requesting a trial and claiming he is owed more than $50,000 in royalties from OneLifeToLive_20110707183022-300x225OLTL being played on iTunes, Hulu and OWN, Allison “Sam” Hall this week slapped ABC with a complaint in New York Supreme Court (read it here). Hall served as co-lead writer on OLTL from November 1984 to mid-1985. Because he “created and developed the story line and numerous characters in the series,” Hall says his deal with the network ensured that he would be paid weekly royalties of $1,000 a week “as long as the ONE LIFE TO LIVE series is broadcast.”
by Team TVWRITER™ Press ServiceVeteran writer-producer-director Garry Marshall, who is, you know, kind of a big deal for being responsible for some of the most popular series in television, including Happy Days, Laverne & Shirley, and Mork & Mindy, is set to receive the Writers Guild of America, West’s 2014 Paddy Chayefsky Laurel Award for Television Writing Achievement, honoring lifetime achievement in outstanding television writing. Marshall’s contributions to entertainment will be recognized at the upcoming 2014 Writers Guild Awards’ West Coast ceremony to be held on Saturday, February 1, 2014, at the JW Marriott Los Angeles L.A. LIVE.
“Garry Marshall’s filmography – from The Joey Bishop Show to Happy Days – is a virtual history of American television comedy. Both of-their-time and timeless, his shows are a gentle, generous, comic mirror held up to late mid-century America. And no one is a finer or funnier chronicler of friendship – male or female (or alien) – than Garry Marshall. Beloved both for his iconic work and the warmth of his spirit, today we rightly place him on the short list of the best of our best,” said WGAW President Christopher Keyser.
Over the course of his prolific career, Marshall has created or co-created and executive produced numerous hit television series that have helped define pop culture for a generation of viewers, including ’50s-era sitcom Happy Days, which ran from 1974-84, Happy Days spin-offs Laverne & Shirley (Created by Marshall, Lowell Ganz, Mark Rothman), which ran from 1976-83, and Joanie Loves Chachi (Created by Marshall, Lowell Ganz, Developed by Thomas L. Miller, Robert L. Boyett), sci-fi sitcom Mork & Mindy (Created by Marshall and Dale McRaven and Joe Glauberg), which ran from 1978-82 and made actor-comic Robin Williams a household name, Angie (Created by Marshall, Dale McRaven, Developed by Alan Eisenstock & Larry Mintz, 1979), the disco-era comedy Makin’ It (Created by Mark Rothman & Lowell Ganz and Garry K. Marshall), The Brian Keith Show (1972-74), and Hey, Landlord! (Created by Jerry Belson and Marshall).