Who says a parody video can’t be as funky as the original?
Longtime TVWriter™ pro visitor Matt Schwartz (formerly a – gasp! – Cartoon Network Creative Exec) hits it outta the park:
Tag: Spec Scriptacular Contest
How Interweb Criticism Reinvented ‘The Leftovers’
The days of the couch potato audience are over. Even major TV series creator-showrunners like LOST’s Damon Lindelof understand that audience interaction is now the name of the game. And all we here at TVWriter™ can say is, “About time:
by Moze Halperin
Imagine if you could have blogged, “Let’s not determine Laura Palmer’s murderer right now” or “Patrick should give up on Spongebob, it’s never going to happen” or “He really needed to get eaten alive” — and had your opinion-dumps be taken for gospel, changing TV history in service of the greater good?
Generally, before a new season, we can assume that producers and networks band together to assess critical and audience reactions to the former season. Rarely have these assessments seemed so visible, and so loyal to specific critiques, as the second season of The Leftovers. Watching Season 2, it seems less like creators Damon Lindelof and Tom Perrotta reimagined their show than that every critical blog post conjoined in a communal, idealized fan fictional doppelgänger of the original.
Is There Really Such a Thing as “a Shonda Rhimes Show?”
Or to put it another way, can TV really be a home for auteurs? Should it be?
by Chloe Gilke
Last spring, I enrolled in a class called “Hitchcock and Modernity.” I’m a certified Hitchcock fanatic and freely spend my time writing unassigned essays about “Vertigo” and the male gaze, so the opportunity to learn about some of my favorite movies in a class setting was impossible to pass up. Still, as I clicked the “register” button, something about the course’s title made my skin crawl. Hitchcock and Modernity. Like countless other English classes at the University, this course would be focused on a single author and his body of texts, noting repeated themes and language and analyzing their significance — but authorship in film is not as simplistic as this method implies.
Writers Don’t Get No Respect Department
It’s a bad day in Mumbai, but not all that different from conditions right here at home in beautiful Beverly Hills. What’s a writer to do?
Film writers’ body on pen-down strike
by Maharashtra
The Film Writers Association (FWA) on Saturday declared a ‘pen-down’ strike and called for action to association members and writing community at large.
Every five years, the Federation of Western India Cine Employees (FWICE) signs a MoU with the producers’ bodies to ensure a wage-increase and improved conditions for workers. This year FWA and other talent-based unions including cinematographers, editors, art directors, sound recordists, etc, have decided to make the standards contract a part of this MoU.
