Awhile back, in a comment relating to his review of Pete Townsend’s autobiography, LB mentioned some research that showed that smart people drink more alcohol than, erm, not-so-smart people.
Since we all know that the television biz is comprised of smart people, surely it follows that the biz is also comprised of big alcohol drinkers. Which means that the best way to worm your own talented/genius self into the hearts of TV bigwigs is to throw big, wild, wonderful parties flowing with booze.
But I refuse to watch the next episode, “The Apprentice”. The premise turned me off–an unsub who mutilates puppies, then escalates to prostitutes. Um, I don’t think so.
Anyway, back to “The Good Earth”. (Synopsis here, if you’re interested.)
After really enjoying “God Complex” last week, “The Good Earth” was kind of a let down. It had a huge ick factor (wood chippers are never used for actual wood chipping on this show) and it was pretty much physically impossible for the unsub to do what she was doing without hulking out first. Actually that might have been fun to see, because the rest of the show wasn’t. It had a little bit of mystery, but mostly it was about the unsub and less about the team doing their profiling jobs. The bright spot is that at least the team speculated at what she was doing before she did it, not after, as a lot of the episodes have done and I have complained about ad nauseum.
“Of course I write for the love of it. If I wanted money I’d be a #$%! lawyer!” (Anonymous Award-Winning TV Writer Person)
Sam Elliot of TardisElliot Productions has set himself a very tough task: He’s making a film about the DOCTOR WHO Time War…and putting the whole thing together out of already existing footage from all 50 years of the series.
It’s an awesome undertaking (also utterly insane, but we won’t go there), but here’s a sample that shows that if anyone is up to the job Sam’s the one:
…But we’d feel a lot better about this project if rather than “consulting” with the original writers of the Emmy-winning episode, Rod Baker and Glen Olson, the producers had hired them to write it as well.
Instead, current Executive Story Editor Joe Halpin did the job, for which he got paid his weekly salary plus the script fee, which is about five times what it was 40 years ago when “Hookman” was first produced. (That would be 1973.)