"I have found a new way to watch TV, and it changes everything" — Jeff Guo of Wonkblog discusses how his new habit of fast-forwarding TV relates to the history of reading, and considers the role of the content creator in an age of hackable content. (non-WaPo link)
"I had Dave’s voice all analyzed and figured out, because not only did I live with him, but I was preoccupied with creating a show that would please him. Nowadays we call that sort of thing “co-dependence.” But in those days I simply called it “being head writer.”.Mike Sacks' [previously] extended interview with Late Night‘s original head writer, Merrill Markoe.
Javier Grillo-Marxuach [prev: 1 2 3], a writer on the first two seasons of Lost [prev: 1 2 3 4], attempts to answer the question “Did we know what we were doing, or were we just making it up as we went along?” Much like the TV series itself, the answer turns out to be much more complicated than it seems. [A 17,000-word memoir].
William Hughes writes movingly about the death of his partner and how it has changed how he reacts to the portrayal of death and resurrection in media.
Finding the Next Lost: What Is an “Operational Theme” and Why Don’t I Have One? by Javier Grillo–Marxuach (Previously)
Ronald D. Moore and Brannon Braga discuss writing the Star Trek: The Next Generation series finale. [more inside]
Ken Levine's network notes for Under The Dome, perhaps not the best example of Stephen King's TV work.
The American Association for the Advancement of Science has named the 2012 winners of their science journalism award. The winning text, radio and TV segments -- which cover subjects ranging from bat ecology to nuclear power post-Fukushima -- are all free access. [more inside]
Taking the seen-it route: Sara Morrison talks about the rise and influence of television show recapping; recapping's advantages for writers; and the origins and evolution of Television Without Pity (<--- time suck warning: TVTropes link!) Includes lots of links and a handy chart of recappers. [more inside]
Mad Men season five in review (audio) - As the latest season is released on DVD the Nerdist Writers Panel talks to creator Matthew Weiner, showrunners Andre and Maria Jacquemetton, and writer Erin Levy about the show.
"[T]he only real way to do it is to tell an honest human story, but to do it in a way that people feel like they haven’t seen before."
A fascinating interview with Vince Gilligan, showrunner of Breaking Bad. The questions are as excellent as the answers.
This points to that quality of improvisation with the work you’re doing. In a traditional crime show, like “CSI,” if it were a big band, it’s a big band working off charts. The arrangements are very tightly controlled. And what I sense with “Breaking Bad” is a sense of, I don’t know, “John Coltrane on acid.” You have this sense of improvisation where you go with things you know, where you tell the story the length it needs to be told. You’re inspired collectively by a moment and you decide to go deeper into that moment. You’re in essence leading a parallel life with your characters and letting those characters take you where they want to go — not necessarily where the dictates of commercial convention say they have to go.Meanwhile, Alan Sepinwall asks actors Bryan Cranston (2) and Aaron Paul about some of their most iconic moments on the show. [more inside]
A famously reclusive writer, John Swartzwelder is responsible for many of The Simpson's iconic episodes. He stopped writing for the show in '04 and began to self-publish a series of increasingly absurd Sci-Fi Detective novels.
Earth, 2147. The legacy of the Metal Wars, where man fought machines—and machines won. Bio-Dreads — monstrous creations that hunt down human survivors... and digitize them!In 1987, before he created Babylon 5, J. Michael Straczynski was a writer for Captain Power and the Soldiers of the Future, a live-action sci-fi show for kids. 24 episodes were produced. Straczynski wrote or co-wrote 14 of them, including multi-episode plot arcs. A line of interactive toys brought the battle into kids’ living rooms, and Captain Power was also one of the very first shows on television to feature computer animation in every episode. But in an attempt to appeal to both children and the adults who watched with them, the campy show included some concepts and scenes critics deemed too violent for children and lasted only a single season in syndication. The full run of the show has now been uploaded to Youtube. [more inside]
Watched every episode of the "Big Bang Theory" and still want more? There's always Belarus's unauthorized copy of the show, titled "The Theorists".
"My exact words were: I’d like to overthrow the government. I was a young firebrand and I wanted to answer honestly. I was very angry about the social injustice in Britain under Thatcher and I’m delighted that came into the show." - former Doctor Who script editor Andrew Cartmel on the shows 80s political stance. Terrance Dicks and Andrew Cartmel on Newsnight. Meanwhile former Doctor David Tennant gives his veiws on the Master-like characteristics of Tory leader David Cameron.
The adventures of Batman will incorporate many different elements of the Batman mythology. Our half-hour series will have a darker look and tone to it, keeping in line with the movie version and recent comic book interptretations. With a nod to the crime films and novels of the 1940s, we will combine both old and new in this "Dark Deco" visual design and create a fresh take on The Batman. - Batman: The Animated Series, the writers guidelines (pdf)
The Russell T. Davis papers – As he prepares to leave the role of Doctor Who show runner (previously) he’s releasing a book of email exchanges with Doctor Who Magazine writer Benjamin Cook about his time on the longstanding British SF series, revealing the younger face of Who he’s like to see, and plans for a Doctor Who/Harry Potter crossover which never materialized.
An essay by Bill Lawrence, creator of "Scrubs," on why he writes. It's part of a series: "Why We Write." [more inside]
FBI 101 -- "Essentials for Writers," an "exciting and informative" interactive workshop for writers being offered to members of my union -- the Writers Guild of America, East - by the FBI Office of Public Affairs and FBI New York. ... -- Very interesting account of a workshop the FBI puts on for writers in NY. What's in it for the FBI? ...The only question we have for you is 'Will it show us in a good light?'" ...