From inside these communities, there is a clear, rich stream of storylines that are less concerned with the physical details and more with the interior life of LGBT characters. “Look, we know what straight, white men think, what their hopes, desires and fears are, because we’ve been told nothing but them on TV. Which is precisely why a younger generation no longer owns TV sets. Programme-makers have to catch up or they’ll make themselves extinct.”
“This is an astonishing feat for a decade and a half old franchise that launched as a marginalized car culture movie with no stars and no imaginings of a long-term franchise future.”
Few shows have earned more ink of fascination and fury during their runs. “In addition to a magnificent deployment of Tracy Chapman’s ‘Fast Car,’ the episode (which is discussed further in this critical dialogue) offers up a glimpse of what growing up might look like for these characters.” [If you’re the kind of person who cares about Girls but didn’t have time to watch it, fair warning: The article contains many spoilers.]
But films – especially documentaries after the recent rule change at the Academy – on Netflix are shut out of Oscars consideration next year. Still, “for filmmakers like Mr. Leon, the flexibility of the Netflix option is an artistic lifesaver.”
The company appears to have fixed its problems with the festival: “Up until now, Cannes had snubbed Netflix, saying the company’s online-first approach to film releases bypasses cinemas and should be discouraged. It is notable that both Okja and The Meyerowitz Stories will have theatrical releases.”
Shooting car chases, for instance, “is way more dangerous than you’re used to,” says the director of the newest installment of the Fast and the Furious franchise. “There are so many fans of the franchise in Cuba. We had to hire 100 locals to lock down a 20-block straightaway, because there were over 10,000 people watching us shoot. That’s phenomenal energy that you can feed off of to create, but there’s also safety considerations.”
Lakeith Stanfield, who had a very creepy role to play in Jordan Peele’s “Get Out” and is a star on the series “Atlanta,” says it’s time for Black culture to be recognized in Hollywood. “Hollywood’s been racist since its inception. But now it’s opening up. Now it’s becoming much more real, inclusive.”
Using CGI to “reanimate” or recreate an actor for a movie is wrong…
“U.S. pay-TV providers lost around 1.9 million subscribers last year, according to the latest research from Kagan, a unit of S&P Global Market Intelligence. Meanwhile, “virtual” pay-TV services delivered over the internet like Dish’s Sling TV and AT&T’s DirecTV Now didn’t help stop the overall sector from shrinking in 2016.”
“The report, compiled by Frédéric Julien of CAPACOA and research consultant Inga Petri, argues that non-profit groups will need to consider their own versions of vertical integration, with presenters making strategic alliances with producers or co-operating with private industry to build networks large enough to draw the audiences they will need. As a model it points to Radioplayer Canada, a single app implemented by 400 public, private, community and campus radio stations. For the performing arts, the details are still hazy, but the message is clear: Go digital or go home.”
Pacific Standard‘s Katie Kilkenny talks with S-Town producer and narrator Brian Reed “about structuring his story, gaining subjects’ trust, and choosing what to include.”
Most of us take the show’s educational purpose (learning letters, numbers, and the like) for granted now, but in Sesame Street‘s early years on the air in the 1970s, experts differed enormously over how effective the program was, and the results of studies were all over the place. Some even argued that the Muppet monsters promoted antisocial behavior and aggression.
A combined Apple-Disney would create an instant competitor to Netflix that would take advantage of the Mouse House’s content and Apple’s user base, the anlaysts speculated. Other benefits: integrating Apple consumer tech as experiences in Disney’s theme parks; and landing global streaming sports rights for ESPN via the combo of Disney-backed BAMTech and Apple distribution and a strong balance sheet.
“What would be the impact if the Emmys, or the Academy Awards, totally did away with gender distinctions for its acting prizes (which, in both cases, have existed since their inception)? The Grammys long ago dropped this distinction (in 2011), but are helped by the fact that they hand out trophies to performers in 84 different categories. The Oscars only have four acting awards (lead and supporting, male and female), with five nominees for each category. In an industry still rife with institutional sexism, where male stars still dominate the amount of lead roles available, it’s easy to imagine wild gender imbalances from year to year, even if the lead and supporting categories were expanded to 10 nominees.”
Slate‘s Marissa Martinelli talks with Julia Bascom, executive director of the Autistic Self Advocacy Network.
A roundtable with Shonda Rhimes (Scandal), Barbara Hall (Madam Secretary), David Mandel (em>Veep), and Frank Pugliese and Melissa Jane Gibson (House of Cards).
When season six of the satirical HBO series about a self-defeating female politician was written and shot, pretty much everyone involved assumed that Hillary Clinton would be president when the show aired this spring. This means that everyone involved figured that the new storyline – about the aftermath of former President Selina Meyer’s defeat in a very close election – would be a counterfactual. No such luck: as Willa Paskin observes here, “when Veep actively tries to avoid imitating life, life goes and imitates it.”
The BBC will “create opportunities for arts organisations of all sizes to show their work on the BBC via a £4m fund, ‘Artists First’, that will commission artists and organisations to make new works for broadcast and online. The new Culture UK partnership, with Arts Council England (ACE), the Arts Council of Northern Ireland, the Arts Council of Wales and Creative Scotland, will also see the development of three major broadcast and live event festivals each year.”
“What that means is that if President Donald Trump’s controversial call to zero out funding for the Corporation for Public Broadcasting were to take effect, Maryland would be giving MPT $3 million to replace it – the sum that MPT is scheduled to receive from the federal government through the CPB. The commitment appears to be open ended. It’s not just for one year.”
“People often reminisce about the ‘good ole days’ when there were four major networks: ABC, NBC, CBS, and Fox. We are transitioning to a world where there will still be four networks, just not the four networks you’re used to. FANG (Facebook, Amazon, Netflix and Google) is delivering actionable data to advertisers in ways that traditional broadcasters simply can’t.”
The director of “Whale Rider” and “The Zookeeper’s Wife” always turned down invitations to speak on panels about being a woman director … until she realized nothing had changed during her decades of being in the industry. Nikki Caro says, “It was less ‘Why can’t I?’ and more ‘What the fuck is going on here?'”
Basically, he got a production manager. “The deal was, he said, ‘Listen, let me make these decisions and don’t try to take them back from me,'” Mr. Colbert remembered. “And I said, ‘O.K., well, don’t debate with me what’s funny.'”
Turns out that’s a pretty tough question when reptiles are involved. “We asked paleontologists, who’ve been trying to figure out what dinosaurs sounded like for decades. It’s hard to get an answer because the vocal organs used to make sounds, like the vocal cords in our throat, are mostly made of flesh. And flesh doesn’t fossilize.”
Basically, because it’s not really a subject for TV. “The actual process of professor tenure is so exquisitely boring that there is no way an accurate depiction would be anything anyone, anywhere, would watch on purpose.”
You could call it “the O.J. rule” after this year’s winner, or you could think of it as “the Netflix rule” – in other words, if something is intended primarily for streaming consumption, that makes it ineligible for the Oscar documentary prize.
It wasn’t pretty, says one of the showrunners. Plots had to change quickly to keep up, or even partially keep up, with the changing times: “What began to happen in real life felt in some ways so much more dramatic and so much more terrifying than what we were dramatizing on television.”
“The video-hosting platform, which is owned by Google, announced the changes in a Thursday blog post, saying the new view count threshold gives YouTube enough information to ensure creators that reap money from their content are following the site’s guidelines and advertising policies.”
“There’s a lot of strain when working without a script because you can lose track of where you are,” he recently told an audience in D.C. “It’s very hard to coordinate with others who are working on the film. Production designers and location managers arrive in the morning and don’t know what we’re going to shoot or where we’re going to shoot. The reason we did it was to try and get moments that are spontaneous and free.”
“A glance at the balance sheet for the year to date would cement the view that the blockbuster is in rude health. … Dig a little deeper though and the foundations that blockbusters are built on start to look shaky.”
“The French government raised eyebrows recently when it decided to back the creation of a large-scale international drama fest in Northern France’s Lille, which it wants to become the TV counterpart of the iconic Cannes Film Festival. The announcement came as city officials in Cannes itself said they would create their own rival international drama festival to run alongside MipTV.”