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henrygandorf

Certifiably Surly
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Everything posted by henrygandorf

  1. i'm not gonna watch it but i have no problem with cnn holding this town hall. i want him everywhere all the time. we need to stay angry.
  2. once again, fewer gatekeepers, fewer gates. reorg and consolidation are the watchwords.
  3. can you write me a csi miami one-liner having to do with a robot? ChatGPT Sure, here's a one-liner for you: "I guess this robot thought it was smarter than us, but it didn't calculate one thing - the long arm of the law." - Horatio Caine, CSI: Miami.
  4. i had to stop in dfw on my way from atl->lax this morning and someone was on the la leg wearing a horns cap and an astros hoodie. i assume it was one of you clowns. we need good hb tonight. he's our undisputed sp3 for the rest of the season + playoffs unless we make some moves.
  5. the difference is that ai cannot write comedy. at least not intentional comedy. they could probably churn out csi/svu/er procedurals no problem. it won't matter, because by the time they need to resort to that, sag and dga will be involved, and it will be a fucking bloodbath. there's a lot of solidarity right now.
  6. sucks for the fans, but this is the type of shit that needs to happen to put pressure on the studios.
  7. except here's the problem - with king of queens, raymond, and sandler stuff, those guys are writers. raymond was based on romano's comedy, and he wouldn't be there to help guide the scripts and the show. same with kevin james, he was a big creative part of his show. sandler movies are likely only funny because he and other comedians (writers, cough), make changes and adlib when they're shooting. those scripts are basic and formulaic before they get on set. if you want robots to write that shit, you'll have to get robots to play the characters as well. when those guys produce their own shows, it's so they can be involved in the creative process. there are plenty of actors who are just actors, but those 3 examples (and many others) wouldn't fly. even the big bang's of the world deal with a mega-showrunner like chuck lorre and he's a writer too. i hope corporations try to produce a multi-cam sitcom using gpt. the fallout would be something.
  8. didn't remember that these two posts were both on this thread, 10 weeks apart.
  9. you wanna waste some time - ask it to write in the voice or style of a writer/director you like. it will come up with some shit-rate dialogue but the occasional fun insight.
  10. i was on a zoom on thursday with some folks who know way more than me and they set the over/under at halloween.
  11. there are a ton of comics/funny people in it. not sure how marsden made this short list.
  12. almost all women (and plenty of men) wear wigs in tv shows. it's much easier for continuity. consider this season has only covered a week or so, but took months to film. i have no idea if strong wears a wig, but it's certainly possible.
  13. my contention was that the deal would never go through, at any price, because i didn't think it would make for a good tv plotline with only a handful of episodes to go. i never thought the 192 wasn't an actionable offer, but never gave it much thought after that, because of my first sentence.
  14. it was always a tough needle to thread having ted be super likable and positive and considerate, but also the type of person who was going through a divorce (with a kid).
  15. yeah, that's not dialogue. this is dialogue:
  16. child actors are tough and he's terrible. you could see it in the first scene of the season.
  17. what a crazy twist that nobody saw coming because nobody gives a shit. ok, where to begin. 1. juno temple (keeley) was never hot. she's little and wears tight clothes. she's 33 and looks like she's 40+ and she wasn't hot 15 years ago when she was in year one with jack black. no idea how she dated two football stars. we've all seen photos of the chicks those guys pull. 2. i liked the way they handled isaac finding out colin was gay. it's realistic to show that people need to process new information. 3. the idea of creating a 12 episode season seems to have been too much for this writing team, especially considering it's the last season, assuming that's correct. most of the episodes are good, and lots of scenes are good, but most of the continuing storylines are weak and in many cases, disappear. it's like they have 12 different writers writing the episodes. they should've done what they did last season and done a 10-episode story arc with 2 standalone episodes. having 12 meant they needed to not only dig deeper into certain characters (crimm, colin) but add new ones (barbara, jack, jade, ted's son). yes, i know a couple of those were in it previously, but barely spoke. the home stretch needs to be about ted and the team. i feel like ted lasso needs more ted lasso.
  18. i have a "day job" that's on the marketing side. technically i'm an ind contractor so i can do it when i want or on a project basis. typically i'm able to work it and still develop projects at the same time since i do both from home. it affects me because it (along with covid) has changed the industry. there's not as much money coming in, so the studios and networks have cut back their buying needs dramatically (most by 50-75%). it's a numbers game. the less they decide to buy, the less of a chance i have to sell something. now is a great time to develop projects though, which i'm currently doing while we wait out the pitch game with the other one. in the streaming world, there are infinite time-slots, so that should be good news for developing and selling shows. but with all the uncertainly since 2020 and glut of streamers leading to consolidation/reorg of networks (disco bros, max, viacom, etc), there are fewer gatekeepers, and thus fewer gates.
  19. not really, because it's not structured like that. if someone like fallon or kimmel was like fuck it, they could hire non-union writers i suppose, but all comics are writers too and they would never do that. they're all on team wga and their people are hand-picked and no way they would screw them like that. nbc/abc knows better than to even broach it with them. and the strike has been looming for so long that all overall deals and writing assignments (rewrites and such) were closed out before may 1st to avoid being left in the lurch. productions that can move forward without a working room will do so, and the rest will hold steady until it's resolved. several studios/networks have a backlog in case it stretches on, which it might, especially if it overlaps with another guild's deal expiring. the issue with the chaos ladder is that the same people still control the distribution, and everything goes through them, whether broadcast network, streaming, movie studio, whatever. all agents and producers lead to the same destination and all the lights are red. not only that, but networks are no longer on a strict schedule like they would be 20 or even 10 years ago. if an abc show premieres in late october instead of early september, nobody even notices. there are no rules like that anymore. there could be 8, 10, 12, 16, or 22 episodes. nobody knows shit. it should be an opening for nonscripted, which has blossomed during every strike. we're currently pitching our nonscripted show, but because of the strike and the general uncertainty in the business, we've been slow-walking it while so many studios are in reorg or outright buying freeze. our producing partner and agents won't reach out to hulu or prime or nbcu while they're on a freeze. execs won't hear pitches or they'll pass after an email. no thanks. the weird lesson here, which i guess is unavoidable, is why announce and publicize the strike? everyone knew the deal would lapse on may 1st, and as far back as november, people who knew said nothing would be resolved before now, so everyone saw this coming. but a strike is supposed to cause turmoil through its unpredictability, and leave the higher-ups with no other option than to cave in to the demands. there have been strikes before and everyone was ready for this one, so it's ho-hum, here we go again.
  20. there's no trailer yet, but for those who haven't heard, seinfeld wrote and directed a film about the creation of the pop-tart, centering around the rivalry between post and kellogg's that took place in michigan in the 1960's. https://screenrant.com/seinfeld-unfrosted-the-pop-tart-story-netflix/ it's a netflix film, but not sure if it will come out in theaters as well. there doesn't seem to be a release date announced yet. anyhow, i saw a screening of this last night. it has a monster cast and it's everything you want/expect it to be.
  21. to play add-on, there are writers in places you don't think writers should be. duck dynasty was famous for having a 12-man room, and that was "scripted reality". the other issue with using "scabs" is that these aren't one-off fill-ins, like parts of a sports season. the writers are connected to the directors and producers and agencies and management companies and it all ties together. unless you're literally talking about scooping up randos on their laptops at starbucks, there's a lot more that goes into it. also the dga and sag are about to go through similar shit, so now's not the time for anti-solidarity (disunity?). pretty much everyone is on the same page. as far as the economics behind it, you can say everyone is slashing for the shareholders, and for tech, that's definitely true. but what's killing pretty much the entire business goes no farther than one irrefutable fact - people aren't going to the movies like they used to. movies drive everything and the money trickles down. when paramount can't release 8-12 movies a year, then mtv can't produce tv shows. it's that simple, and there's only a handful of corporations that own all of it. the $ has to come from somewhere, and streaming is still relatively new. when you look at the last strike (2008?), think how much has changed since then in terms of how we consume content. as always, the writers are last to the trough, and everyone knew this was a long time coming.
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