TheBaxter wrote:TheButcher wrote:M Night Shyamalan's Jason vs Tupac
i put my money on tupac. machetes can't harm a hologram.
Only if Danny Trejo is involved.
TheBaxter wrote:TheButcher wrote:M Night Shyamalan's Jason vs Tupac
i put my money on tupac. machetes can't harm a hologram.
Angus T. Jones wrote:If you watch 'Two and a Half Men,' please stop watching 'Two and a Half Men'... Please stop watching it, please stop filling your head with filth.
“Walden is going to have a major health scare and it is going to give him a bit of an existential crisis,” CBS Entertainment chairman Nina Tassler told reporters Thursday at the Television Critics Assoc. summer press tour. “He wants to find a way to add more meaning to his life, so he decides he wants to adopt a child. And in doing so, he starts the process and he realizes that it’s very difficult to adopt a child as a single, straight man.”
Cue the popping of a Q! “So once and for all, he decides, ‘I’m going to propose to Alan,’” Tassler shared. “‘We’re going to get married and adopt a child as a Dumbledore couple.’”
TheBaxter wrote:TheButcher wrote:Cinemax Has Become Uncomfortable in Its Skin
Cabler made its name with softcore fare, but changing times have shifted its focus to action
TheButcher wrote:'Dating Naked' Contestant Sues After VH1 Showed Her Naked
wixmmm wrote:(only the first paragraph is about smallville, so please don't put this in the Smallville post where it can die without anyone reading it) Well, the best superhero show after smallville would be metropolis, with the costume and flying, and would ultimately be an elseworlds Superman story... but I doubt that's going to happen (even though I'm sure the ratings for a real superman series would be off the charts, at LEAST it would be the highest rated show on the CW, and Smallville already has the budget)
But the real next superhero show should be Nightwing. I've just bought a ton of Nightwing graphic novels and I think it would be PERFECT for TV. Since its not Gotham City, we never have to see batman... he could just be alluded to. And they're never going to make a respectable Batman movie like Begins and Dark' Knight with 'robin' (i heard christian bale said robin would be a dealbreaker for him.) So, this wouldn't affect the Batman movie franshise even a little. Plus, everyone knows about robin, but few know about nightwing. If they actually toyed with what was the WORST possible superhero... actually, the WORST possible television idea in the history of television proposals (a pre-robin circus show... i cringe when i think about it) then, why not nightwing? Martian manhunter could be decent, but I don't think it could be sustained... the comic couldn't be sustained, so if the comic fans aren't interested, I doubt the average televison watcher would care. I was disappointed after I watched the pilot of Aquaman that it never got picked up, but I question how much that show could have been sustained.
Also, the reality is that the CW has more teenage girl demographic, and NIghtwing could be a character the girls can swoon over, which would bump the ratings up. And I know that sounds like a terrible thing to take into account, but look at SUPERNATURAL... I didn't give the show a chance at all because I saw that the stars were two guys who looked like they were straight out of an abercrombie and fitch catalogue, yet the show has balls and the characters kick ass and probably have a combined 2 hours of 'romantic' elements throughout all four seasons, and in reality, its not a girls show even a little... I would argue its actually more of a man's type of show.
TheButcher wrote:David Fincher to Direct Every Episode of HBO's Real Sex
Nellie Andreeva wrote:AMC has put in development Ballistic City, a futuristic drama directed and executive produced by Oblivion helmer Joseph Kosinski and written/executive produced by Travis Beacham, co-writer of another upcoming tentpole sci-fi movie, Guillermo del Toro’s Pacific Rim. Ballistic City is expected to be among the projects in development announced at AMC’s upfront event in New York today, along with Ashland, from writers Allison Anders and Terry Graham.
Ballistic City is described as “Blade Runner meets Battlestar Galactica” and tells the story of a former cop thrust into the criminal underworld of a city housed in a generational space ship destined for an unknown world. I hear the project is eyed as a potential companion to AMC’s genre blockbuster The Walking Dead. Kosinski, who previously directed Tron: Legacy, and Beacham, who also co-wrote Clash Of The Titans, executive produce with Anonymous Content’s Steve Golin, Bard Dorros and Michael Sugar. Following a strong international start with a $61 million haul last weekend, Tom Cruise-starrer Oblivion opens this Friday. Pacific Rim is being released in July. Kosinski is repped by Verve and Hirsch Wallerstein; Neacham is with WME, Anonymous Content and Hansen, Jacobson.
Tyrone_Shoelaces wrote:‘Gone Girl’ Author Gillian Flynn to Write Entire Season of HBO's ‘Utopia’ for David Fincher
TheBaxter wrote:Tyrone_Shoelaces wrote:‘Gone Girl’ Author Gillian Flynn to Write Entire Season of HBO's ‘Utopia’ for David Fincher
Phantom Zone member TheBaxter to watch entire season of HBO's 'Utopia' by David Fincher.
Mac Maclamore wrote:Coming off a record number for specs out (421) and specs set up (148) in 2013, the 2014 spec market has found itself stuck at the starting line. With the first 6 months of the year just about in the books , we’ve had just over 150 specs out, and just under 50 set up. While that is 1/3rd of all specs out being set up, that still means that the market will have to work overtime in the second half of the year to even match last years lofty numbers. But, from what we hear across the board, it’s not because the buyers have disappeared, instead, it’s because there has been a lack of market ready projects. In fact, in 2014 we’ve had more agents and managers reaching out asking about hot projects and writers then in every one of our five years of existence before now combined. Perhaps the monster rise in the TV spec world has stolen some of the thunder the spec market once had. Hell, as we’ve seen here personally, of our 60+ Launch Pad writers, more than half of them are actively developing TV projects now. It has, and will continue to alter the spec market in a big way. But, that’s not the case for everyone.. at least not at the moment…
Enter Andrew Godoski. A name, admittedly, we’d never heard of before two weeks ago. Andrew is a 20-something guy living the Hollywood dream… aka, working as an assistant to a director by day (Michael Mann) and pounding out pages in every free hour he has at night. We’ve never met Andrew, and in fact, we’ve never even engaged in a conversation with him (though we hope to change that soon). Instead, everything we’ve heard about him in the past two weeks has come from some of the biggest names in this town. From studio heads to A-list reps, to producers and damned near every development exec in town, nearly everyone from our rolodex hit us up in the past week or so to ask what we were hearing about Andrew, and his hot new spec EDEN. And what had we heard in the very beginning, when a pair of agents hit us up about him first… nada. In fact, we even asked around, and the name was still a mystery. Cut to one week later, and it quickly became a name every assistant and CE would have rolling off their tongue. So how did someone no one knew two weeks ago suddenly become one of the most in demand spec writer in this town?
I should begin by reiterating that we’ve never spoken to Andrew, so everything we’re hearing about this journey is in fact from about a dozen assistants, development execs, producers, managers, and agents across town.
Two weeks ago Andrew’s script EDEN lands in the hands of Jeff Portnoy over at Resolution as a favor to a friend. The initial reads from there are already stirring early buzz, as it begins to slip across town introducing a new spec and a new voice. From there, the interest and heat begins. Days after it’s introduction to the town we start getting emails from development execs and CEs asking if we’ve heard about this new spec going out, asking if we’ve heard who’s into it, where it’s going, how to get ahold of it. Days later we’re getting the same emails from some of the biggest agents, managers and producers in town… days after that, VPs of studios we’ve worked with start asking what we know about this new spec people are talking about and who the hell reps this kid. As it turns out, at the time… no one. Andrew had in fact slipped his work around town, and somehow while creating some of the biggest spec buzz 2014 has had, hadn’t actually landed with anyone yet. But that didn’t last for long…
Having been slipped the script early in, manager Brooklyn Weaver at Energy Entertainment jumped at the opportunity to represent Andrew and to help steer the ship. Immediately following his signing, EDEN found it’s way into CAA and WME, both of whom are prepping some A-list directors and stars to begin fast-tracking a spec package. Names behind some of the biggest projects this town has ever made topping some of those lists. And all of this from a guy who two weeks ago you’d never heard of.
So what’s it about? Well, we managed to read it ourselves following the 50th comment on it, and have to say we love it. Think of a mix between “Gravity” and “Children of Men” with sci-fi and biblical stories interweaving throughout. It’s gritty, it’s raw, it’s bleak, and it’s one hell of a fucking read. A redemption tale following a futuristic (or is it) shepherd trying to save humanity. It’s fresh. That’s the biggest thing we’ve heard here at TB… it’s a new voice, and it feels original and fresh. And considering the amount of buzz backing this one before it even technically hits the market (as of checking in this evening it’s still yet to be “submitted” to anyone and is eyeing a package).
So consider this piece a first for TB… the first time we’re actually writing a HEAT METER before we’ve even covered the spec.
Look for more spec details, and perhaps a follow up to this one tomorrow morning.
And to Andrew Godoski, a name I have a feeling we’ll be hearing a hell of a lot more this year… welcome to the show!
We’re hearing from multiple sources that there are several offers coming in on this newly repackaged TV spec, which has new writer Andrew Godoski, CAA, Energy Entertainment’s Brooklyn Weaver, and producer Jonathan Krauss at the center of what sounds like an inevitable bidding war.
As TB members will recall, we broke an announcement back in July on Godoski, when he signed with Energy off his gritty feature spec EDEN. Now it looks like after setting up half a dozen A-list director packaging plays, Weaver must have pulled an audible on the feature-play, and pivoted the script into a TV spec. The spec most likely contains the detailed character points, mythology arcs, and plot-turns already present in the project, which could easily set Eden up as an elevated cable series with the inherent biblical elements not dissimilar to Children of Men. The move from feature to TV will likely propel the project along the same TV blueprint lines employed by Mickey Fisher’s freshman series success, Extant.
Stay tuned to the Tracking Board for more info on this exciting project as we keeps our ears to the ground and we also research if a feature spec has ever been retro-fitted mid-play in what seems to be a seamlessly-executed business-play. This move – and its potential – speaks to the tough competition for great voices between the film and TV platforms, which are fueled by the content-overlap dynamic!
David Lieberman wrote:Norman Lear’s groundbreaking 1970s sitcom “All in the Family” may be returning next year with an all-new cast of characters.
Lear, 92, said Sony called him a few days ago about the prospect of developing “All in the Family 2015.” He was speaking Friday morning at the Paley Center for Media’s International Council Summit 2014 in New York.
“Forget the Bunkers, forget the characters you know,” the legendary TV writer and producer said. The 2015 version of “All in the Family” might focus on a Latino family, he added, whereas the original centered on the Caucasian working-class clan from Queens, N.Y. — headed memorably by Caroll O’Conner’s bigoted Archie Bunker.
Lear was called by Sony Pictures Television president Steve Mosko about a potential “All in the Family” revival. Mosko suggested the project could be either a series or a special.
At the Paley event, Lear was interviewed by Netflix chief content officer Ted Sarandos, who said he has been “in awe” over Lear’s accomplishments over the years.
Lear, asked what TV shows he’s currently watching, said that he is “utterly taken” with Amazon Studios’ “Transparent,” a dramedy from indie filmmaker Jill Soloway starring Jeffrey Tambor as the patriarch of an L.A. family who reveals to its adult children transgender identity.
“I think I’m watching one of the greatest performances of all time,” Lear said. “Jeffrey Tambor is walking the line between hilarity and heartbreak.”
David Lieberman wrote:Would there be an audience today for a new version of All In The Family? Sony recently asked legendary TV producer Norman Lear – who created the original series – to consider the possibility, he told an audience at the Paley Center this morning during a conversation with Netflix’s Ted Sarandos. “‘Forget the Bunkers, forget the characters you know,’” he says the company told him. “Just do an All In The Family kind of show. They can be a Caucasian family or Latino family. But a family in 2015.” Lear says he’s been thinking about the idea and concluded, “I’m not sure that there’s much that I would elect to do. After a while, with success comes the ability to say, We’re not doing this.“
In the wide-ranging conversation, Lear said that he doesn’t have enough time to watch all of the good shows currently on the air – but singled out one on Amazon, Netflix’s chief online rival. “I’m utterly taken by Transparent and watching one of the great performances of all times” as Jeffrey Tambor — who opens up to his family that he identifies as a woman — walks “the line between hilarity and heartbreak. It’s a great performance.”
For the most part, though, Lear says it’s become harder than it was in the 1970s for the major networks to offer shows about real-life issues. “They can’t deal with impotence, abortion, aspects of cancer. The networks won’t have it.” He recalled that when Bea Arthur’s character in Maude had an abortion, a story in two episodes, “the nation didn’t know the first episode was coming. Happily, it was on the air in the winter or late fall and there was absolutely no reaction of any serious consequence…. Abortion was something that families in America dealt with all the time.” But opposition mobilized in time for the reruns in the spring. “That’s when all the noise happened. But America had taken it in stride.”
Lear recalled another high-impact story from Maude where she confronts a rapist. “The rape story was written originally for Bonnie Franklin and then I saw a big story about a woman in her 70s who was raped, and we thought, ‘Oh, to get away from the notion that the woman has something to do with the reason she was raped. She was pretty, her skirt was too short, that nonsense.” He says that “the biggest reaction I can remember from an audience when she gets away from that rapist.”
The producer also says that writers of Good Times looked to the newspapers for story fodder. “One day somebody came in the news item that hypertension in Black males was at some kind of all-time high, significantly higher than white males. And that was interesting. It provoked a conversation that resulted in: ‘Wouldn’t that be a terrific story to follow?’ And the fallout from that is that when we did the show the network got so many calls from African-American families across the country wanting information about hypertension.” When it was time for reruns, the network filled some advertising time with public service announcements for people seeking help.
As he views the broad social landscape today, Lear says that “we need to be led. And we’re not led well. And I’m not talking about the president. I’m talking about the media I’m talking about chemical companies” and others in power.
TheBaxter wrote:btw, i thought it was a brilliant move on NBC's part to save the part where Peter tells all the children to clap to save Tinkerbell's life for after 10pm, when pretty much any kid young enough to actually try that would be tucked into bed.
Al Shut wrote:TheBaxter wrote:btw, i thought it was a brilliant move on NBC's part to save the part where Peter tells all the children to clap to save Tinkerbell's life for after 10pm, when pretty much any kid young enough to actually try that would be tucked into bed.
Does that mean you didin't clap ?
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