
by Peggy Bechko
Distractions. We writers all have them, right?
Well, of course other people have them as well, but we’re on TVWriter™ after all so we’re going to stick with writers.

Distractions. We writers all have them, right?
Well, of course other people have them as well, but we’re on TVWriter™ after all so we’re going to stick with writers.
Want to be a writer? Are you writing? What’s that? Speak up!
No, wait, don’t talk at all. Dammit, write!!!
by Meredith AllardEarlier this year I wrote about making changes. First, I wrote a post called Wherever You Go, Go With All Your Heart about how I had decided to become a PhD student after dreaming about it for many years. Then I wrote Hello, Goodbye: Changes Are Good for the Soul. And I still wasn’t finished making changes.
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In case you’ve missed what’s happening at TVWriter™, the most popular blog posts during the week ending yesterday were:

The WGAw gave out its annual awards last night. You can see who’s like unto a TV god as of this moment by going HERE.
Hint: MR. ROBOT and BETTER CALL SAUL rocked!

Prompted by a recent discussion with Andy Dehnart at realityblurred.com, here’s the key to understanding credits in reality television: Stop trying to make sense of them and start relying on context in relationship to the credits as a whole if you want to understand who’s who.
When you see nine Executive Producers listed on a show, a few could be network execs overseeing the show, a few could be owners or execs at the production company, and still others could be showrunners or even talent and their managers.
The difference between a Co-Executive Producer and a Supervising Producer? Sometimes none. A show may have one or the other or both (in which case the Supervising Producer is likely supporting the Co-EP), and each title can stand without the other. I’m aware of a few companies that don’t issue Co-EP credits for some reason, so the Supervising Producer is overseeing some part of production and/or post and reporting to an EP.