For broadcast, I would believe it can still happen. My wife worked on the first season of the Berlanti “Supergirl” series and they delayed an episode due to similarities to real-world violence (though to your point, it’s been 11 years since it aired.)
This was one of my favorite episodes to work on. Alan McElroy and I got really excited about seeing a weapon from the Temporal War, so we dumped a hundred time travel ideas on Sean Cochran. He took all these crazy pitches, honed a few of them, and crafted one of our most fun episodes.
The Glendale DMV is one of the most efficient bureaucratic offices in the county. Every time I go, I make appointments with them and it's in-and-out; I don't know how they manage to do it, but I'm always impressed!
My wife makes some pretty cool stuff. Excited to see what she's been working on for the last two years!
It is my understanding that to be featured in Witherspoon’s popular book club, authors must give her production company an option for film/TV development. It’s understandable they’re pissed about tying themselves to a company now promoting a technology that’s stolen from most — if not all — of them.
Elmo looks at a television with the subtitle “TV. Damn.”
Damn do I love “The Pitt”. I grew up around medicine — multiple doctors and medical professionals in the family, close friends that are physicians — and it truly captures all the personalities and pressures of that world.
It’s great TV, and we need more shows like it (15+ episodes and shot in LA)
The one prop I wished I had kept from "Star Trek Discovery" was the book -- "Labyrinths of the Mind" -- that we made for episode 508 ("Labyrinths".)
If anyone sees that pop up at auction or knows who has it, DM me! The last time I saw it was on @wilwheaton.net's after show, "The Ready Room".
There's some fun stuff in here -- season 5 Breen costumes! Burnham's 32nd Century uniform! Book's billowy archivist outfit from "Labyrinths"!
You could take home a whole bunch of (neutered) Tribbles!
An error message that begins with the truly unhelpful "Could not find blob"
That video took nearly an hour to post on this busted website. At one point, it started throwing some wild errors, like this one:
“Society” is one of those films that could easily be updated for the modern day. The Epstein Class and tech bros are far more insidious than anything from 1980s Beverly Hills. Someone get Brian Yuzna on the phone!
Bluesky's offices today:
He'll pivot to a more evangelical branch of Protestantism, 100%. Probably some flavor of Baptist in desperation to build a devoted fanbase in the South. It will not work.
I don't know who first said it, but film incentives are the heroin that Hollywood can't shake. The money is just too good. And that drug the CEOs can't deny themselves often destroys the lives of many of those around them.
Much love to the crews of Atlanta.
Apparently “it’s like how I treated canon, I just make stuff up that sounds good enough” was NOT the right answer
Oh, that footnote wasn’t for you. It’s protecting myself after the last time I posted about an approximate count of how many episodes of Trek there are and I got multiple responses / messages asking how I came to that number.
I suppose that’s one way to argue that the show launched in first-run syndication and was basically guaranteed three seasons, each with twenty-six episodes*
*S2 was shortened due to the 1988 WGA strike to 22 episodes.
A bunch of idiots complaining about a Star Trek: The Next Generation, now a classic, before it aired.
Hey, TNG also had passionate haters!
Andrew Tate once said he thought people who read had "slow brains" that paled in comparison to his, which he described as "far too advanced."
If you read his words, you're a fuckin' rube waiting to get fleeced.
It is especially frustrating that the trades / press just repeat these CEO's words as gospel without doing the bare minimum historical comparison. Hell, there are multiple recent examples from WB alone!
It's also important to note that blowing up the cost of WB -- and why it's been sold and bought so many times -- is because it's saddled with debt from the ATT and AOL eras.
Paramount's debt at the end of this merger will be near $80B. That's almost 75% of the deal's entire cost and 7x PSD's worth!
Paramount currently has a market cap of approximately $11B. At Skydance acquisition it was ~$8B.
The WB purchase is $110B.
Y'all really think this company can overcome the debt that's going to be attached to a deal worth ten times the company?
This only ends one way for the industry: poorly.
Paramount promises 30+ movies a year, but that makes zero sense; they'll be competing with themselves regularly. Their slate doesn't reflect that commitment either, and they're losing their biggest TV producer. To close this deal, they'll have to take on debt that is nigh impossible to conquer.
In the last decade WB has gone through three mergers, all with layoffs. Zaslav, who made no real effort to service WB's debt, stands to make $800M off the deal.
Paramount has been laying folks off since the Skydance deal closed; I do not believe this will spawn "more avenues" for work.
Same with Rose in "Titanic"!
This is a scourge in modern television! I regularly see flashbacks I suspect weren't scripted but were instead added in editorial over fears that the audience may have forgotten very obvious or essential details.
It's especially bad when shows needlessly flashback to earlier in the same episode.
I will say in my last two post jobs (which is 7-ish years back, now) we sent final scripts / transcripts to captioning and localization teams at the studio for dissemination to their vendors. Sorry if they didn't make it to the caption houses -- we tried to make it easy!
Yeah, it would hypothetically need to be archived by Sesame Workshop since their distribution has changed so many times. To your point, I would wager the networks / streamers are doing their own captioning at each, which is inefficient, but it puts the costs on them and not the production company.
It's especially crazy because Sesame Street was on HBO / Max and Netflix. In my (now dated) post-production experience, Warner Bros and Netflix are among the most judicious about supportive materials like subtitles or alternate language tracks.
