network producers

Today Beyoncé became the first black woman and second woman in the entertainment sphere to win a Peabody Award. The organization stated, “Lemonade draws from the prolific literary, musical, cinematic, and aesthetic sensibilities of black cultural producers to create a rich tapestry of poetic innovation. The audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.“

The first woman to win a Peabody was Barbra Streisand, whose work has won four times: three times for her landmark television specials (My Name is Barbra, Color Me Barbra, and Barbra Stresiand: The Concert). The fourth win was as executive producer for Serving in Silence, a documentary about a Army colonel discarded for not hiding her homosexuality.

For those unfamiliar, the Peabody Award has been given out since 1941. It recognizes distinguished and meritorious public service by American radio, television stations and networks, online media, producing organizations and individuals.

NOTE: This stat does not take into account the personal awards given to some few individuals (such as Oprah) that honor their body of work as a whole

Here is the analysis of THE VOLTRON SPOILER from my experience as someone that works in television and has seen those type of “text burn in” on video countless times before

1) (upper left) obviously happens at 13 min 55 sec into the episode.

2) (lower left) the episode is final, because the word LOCKED mean : it’s locked, it’s final, we’re not touching it.

3) But they touched it again, recently, because it’s written “updated april 18th”.

4) this looks like a voice booth, yes, but also the file look like a file we send either to a musician or to the sound mixing studio (h264 is a type of video file that is used by both, we produce this video file format every single day to send to musicians, sound studios, producers and networks for approbation, etc.)
My bet is on the sound studio.

5) Sadly, the episode number that should be written before the word LOCKED is hidden by the mike.

6) (upper right) the number 162_tk1 probably means : 162nd shot in the episode, take 1. Don’t take my word on this one because I only worked with animation shots once in my life, I usually work with normal tv shows.

Aaaaand that’s all I have.

Three bad recipes generated by neural network

I’m training a neural network to generate recipes based on a database of about 30,000 examples, and although the network has managed to produce identifiable recipes, and even sometimes sort sweet from savory, it hasn’t actually managed to produce any good ones. Only a very few of them are technically doable. Three typical examples:

Citran Barbecued Mube
game, ethnic      

1 pkg cornstarch
34 oz ginger
1  white sage
2 large red potatoes, peeled
1  magazine bread; chunks
1 cup shredded corn peas
4 cup liquid ice cream

Preheat oven to 350 degrees. Remove the casserole from the refrigerator and heat soup for 20 min. Serve with nuts, chopped caczooled and serve with the rice and oatmeal.
From: Fial Hosselr                        Date: 24 Jul 96

Grilled Snailsed Butter
crockpot, vegetables, crockpot, rubbing holiday, meats

2 lb shrimp; cut in ½ cubes
6  cloves, minced
2 teaspoon apple juice
¼ cup mushrooms
1 lb tomatoes, nuts.  
1  Strawberries
2 each pinto beans; sliced
1  plum tomatoes, (no carri-fater)
1 pkg unknown yogurt fillets, thawed

Pour noodles and cauliflower through a wider measure just on high speed until stiff. Flavor radicchio mixture with the wine and continue simmering until mixture is desired doneness. Reserve side of bowl mixture. Chill until circle is reamy inricating. Serve on ranged removable pieces.

Smushed.I’s Bried, Heritame Sprigs
cakes, pies, pastries, extract

2  eggs
4 tablespoon water
1 cup dried butters and firmly beaten
20  eggs
4 oz fresh chopped nuts (approximately 10 minutes)
2 tablespoon grated zucchini
20 oz almonds, rough
1 cup seasoned baking powder

Sift milk in crockpot. Turn dough.

Add egg powdered sugar and whipped toppings. Serve immediately.

Posted by Adwing A

Eyewitness needs to find a new home

USA Network cancelled. The producer is looking for a new network for the show - AND HAS ASKED US TO COMMENT ON THE DEADLINE ARTICLE.

PLEASE DO SO. THIS IS VERY IMPORTANT. USA and the other networks need to see how distraught we are.


anonymous asked:

Hi Sam, why does Nick Spencer still have a job? I may be naive, but I just don't get it...

Because most of the guys he works with are Just Like Him, I suspect. I mean, I don’t work at Marvel so I can’t say, but comics and especially the two big houses are very much an Old Boys Network. 

Nick Spencer isn’t producing his reeking shit in a vacuum – he hands it to other people who approve it, package it, and come up with ways to market it to you as if it’s not a rancid pile of garbage. So while he’s the face of Comic Book Assholes right now, you have to remember that there are a bunch of guys standing behind him, telling each other they definitely aren’t white supremacists, that their entire readership is just super sensitive, and diversity is certainly what’s killing their sales, not the fact that they’re appalling sacks of shit masquerading as human beings. 

I mean, TLDR institutionalized white supremacy, I’m afraid. :/

ppl on this website: i want a show about the everyday citizens that are surrounded by superheros. 

nbc: ok yeah sure 

ppl on this website: more diverse casts 

nbc: *makes vanessa hudgens the star* *hires danny pudi as the second lead* *hires the delightful ron funches*

nbc: ok ur gonna watch right?


ppl on this website: who are these ppl? bruce wayne would never do this. i cant believe u took artistic liberties to make a work place comedy?? even tho ur the network who produced the office, 30 rock, parks and rec—who are these ‘superheros’ where is superman?? where is batman?? i havent watched a single episode but i know this sucks. this is the worst. who will cater to my superhero television needs??? if only there was a network who specialized in that. anyway this show blows. i never watched it but it blows. 



Tina Fey addresses why The Big Bang Theory “works”

Please don’t hate on Katie/Lena because you’re pissed about the show in general. The producers are obviously responding to the fans’ enthusiasm over Lena by making her a regular which is great.

Maggie already is a regular but I agree she definitely needs more screentime and to be treated better. Same with James, though I don’t know if he’s a regular this season?

Anyway, there is no need to hate on this decision because it is not related to the others, really. Tweet the producers and network and tell them what you want, but don’t hate on the actress or a character that is actually decent.

(Also I’m not sure if Mon is confirmed for season 3 or if he was just previously confirmed as a regular for the rest of THIS season. But definitely let the writers and network know how pissed you are about what they’re doing with him and Kara because it’s BULLSHIT!)

Richonne is the first

To stay true to their love and not fall to the wayside because of a dumb arc. I’ve never seen a love play out so beautifully and with the right amount of angst. I’m an avid TV watcher and I’ve pretty much seen them all. I’ve never had an OTP get together and stay together through every season, (Ross/Rachel, Olivia/Fitz, Jon/ygrette Mulder and fucking Scully!!! ….plus countless other.)

At some point non-otp fans, the producers, the network, and the writers will tear a great otp apart for some stupid subplot development.

But not Richonne. They have laughed together. Cried together. Watch loved ones die together. They are raising a family together, and fighting for their loved ones. All while the world is falling apart around them.

And I love the actors, Andy and Danai, because they play out my fantasies so realistically, and I feel like they are kissing me. They make this ride worth it. I’m so happy that no one is getting into anyone’s head negatively regarding this ship and the show(Thanks Gimple and AMC). Their love is pure and it moves me to my core.

Does your heart beat out of your chest whenever you see these two? Mine sure does. I never thought a show about zombies would deliver probably some of the greatest love stories of all time. Richonne is definitely the greatest love story I’ve seen in any movie, show, or play.

I mean is there a better pairing.

Originally posted by rottencandy

Originally posted by rickyricardo-grimes

Originally posted by myfriendamy

Originally posted by rick-rhymes

Originally posted by journeyslegend

Originally posted by rottencandy

Originally posted by girl-ninja

  • bonesonfox Thank-you, Boneheads … When we started “Bones” not even in our wildest dreams did we think we’d end being up Fox’s longest-running scripted drama, watched across the world. We used to joke that we should do one episode for each bone in the human body – which, as every true Bonehead knows, would have been a paltry 206 episodes.

    You keep thanking us for making “Bones” but, with all due respect, Boneheads, you’ve got it backwards. We thank you for watching so intently, so loyally, so faithfully for so long. Thank you for your love and fury and forgiveness. Thank you for defending us, and attacking us, for knocking us down and propping us up. Thank you for your laughter and your tears and your empathy.

    Thank you for your eyeballs and your earholes and, most especially, thank you for your hearts.
    There were a couple of hundred of us making the show but there were millions of you making it all possible. All of us at “Bones” – cast, crew, network, studio, writers, producers – thank you for twelve seasons that brought us all together because, as the handsome FBI Agent said to the beautiful Forensic Anthropologist, “There’s more than one kind of family.” - @hartdhanson

  • dbdbo69 Amen
Indigenous Women and the Fur Trade

Indigenous women in the fur trade have often played a very silent role in terms of the historic narrative. They often go nameless, with their main contributions being said to essentially be:
-Marrying fur traders and granting them access to kinship networks.
-Being the mothers and grandmothers to the Metis peoples. 
But this is not a good view of their important role in the fur trade, because it completely neglects a very distinct and important part of it: Agency. 
Indigenous women in the fur trade displayed in multiple ways their agency, which can be seen through the primary and secondary documents about this fur trade history.

Keep reading

So here’s a random realisation. 

I consume a lot of content, like A LOT, (tv, movies, books, music, etc you name it) and more often than not, particularly with the visual form of content, I find myself consuming content passively. What I mean is that I just sit there and watch things without really processing them (most of the time after a really tiring day, it’s the kind of content I prefer, because I don’t really have to think too much about it). But here’s the great thing about this little Norwegian tv show, it doesn’t allow us to do that. Skam feels like what the future of media content should be. Active audience engagement. The fact that you have to seek out the website, wait for updates, integrate that with other social media updates. It makes you less likely to consume the show without thought. Here’s Julie saying, this show isn’t going to play by the rules, we’re not gonna spoon feed you, figure it out yourself. 

And because your participation in it is self-initiated, you’re more likely to start actively assessing what you watch, and start thinking about implications and making predictions. And substantiating/backing up those assertions you make and this is where metas and analyses comes in. what I love so much about this show is the sheer amount of discussion that goes on in the fandom as the seasons progress and everyone’s active (im using this word a lot am i?) involvement in these discussions. Not only does it cultivate a mindset of critical analysis, but also you learn to be more engaged with the characters and their development which in turn teaches us empathy. 

Ok, but like, don’t a lot of shows have fandoms that discuss things and have fans who relate to characters? Well, yes, I’m not saying they don’t. But another thing that sets skam apart from most shows is the audience engagement is much more of a two way street than most tv shows (which incidentally makes the audience interest more sustained in the show). a lot of the times, most tv/movies get produced first and then the audience gets the finished product and the feedback from the audience is delayed by 4 to 5 episodes. If its something the audience isn’t receptive of, shows probably only start pivoting in the next season.  And some show creators don’t really care about the audience feedback beyond the numbers and ratings. and on some shows, all they care about are the review critics. and tv networks and movie producers generally don’t care about fans so long as the content makes money. There have been fandoms where the creators have actively worked against what the general fandom wants, which creates a negative dichotomy where the fandom still engages in the media that doesn’t want to cater to them. 

But so far, skam is, fortunately, different in that fan discussions are welcomed and even addressed (re: all those fourth wall breaking). And the response from the creators is often almost instantaneous, fluid and flexible. It creates a lively environment that fosters creativity for both fan and content creator (albeit challenging for the show runners). And because the content creators listen, viewers are more likely to become much more discerning, critical thinking people who form opinions on their own and want to actively (there’s that word again) throw these ideas out there to the creators and have some sort of autonomy over the content that they’re consuming rather than just sitting staring at the screen being fed ideas passively. Basically, what im saying is, watching skam helps me become smarter lmao.

DA Fandom Critical

I have been seeing a lot of posts run by my dash lately that are various shades of “don’t let the Fandom ruin what you LOVE”. And I have to say I cringe every time I see such posts, especially when the post then goes on to suggest that you isolate yourself from parts of the Fandom.

See these posts often don’t delineate between content that should be avoided because it’s homophobic, transphobic, misogynistic, racist, ableist or any of the other ism that crops up within a work fiction and the fandom surrounding it. All these posts do is assert that you shouldn’t let other parts of the Fandom ruin your darlings.

The thing is, we absolutely should. 

Games, novels, movies, television shows, hell media in general (and yes this includes memes) do not exist in a vacuum. And we sure as hell should be critical of how they portray all those isms I just listed above and their corresponding intersectionality. 

We have to expose ourselves to different viewpoints on our darlings, even if it make us uncomfortable. We have to let what we love about a game or character be viewed critically and sometimes shattered so we know our biases, our blind spots, and our own internalized racism. We need to acknowledge those parts of ourselves and work on them. We have to acknowledge the flaws, the bad writing, the cultural appropriation and the isms in the work. We have to acknowledge the intersectionality of many of these issues and how both the work and Fandom responds to it. 

Do we ever need to expose ourselves to triggering content or fanworks/art that are blatant examples of all the institutionalized isms our history has indoctrinated us with?

Absolutely not.

We do however have to stand up for all that is homophobic, transphobic, misogynistic, racist, ableist, culturally appropriative, etc. with a work and demand better from the writers, networks, and producers. Sometimes we have to demand better from our fellow fans.  

If we don’t not a god damn thing is going to change. And I for one have no intention of accepting that reality.

Benedict Cumberbatch and Showtime Team for 'Melrose' Miniseries

Benedict Cumberbatch cannot stay away from TV for long. Fresh off of a three-part return to BBC favorite Sherlock and news of a PBS telepic, the Oscar-nominated actor is teaming with Showtime for a five-part limited series.

Cumberbatch will star in and executive produce Melrose, a mini based on the fictional works of author and journalist Edward St. Aubyn. He’ll play the titular character, Patrick Melrose, whose been the focus of five novels - including the the 2006 Man Booker Prize winning Mother’s Milk.

It’s another international match-up for Showtime. The stateside pay cable network is producing the series with Sky Atlantic, a second collaboration after the upcoming John Ridley and Idris Elba effort Guerrilla. One Day author and screenwriter David Nicholls is set to adapt all five installments, with each episode focusing on a different one of St. Aubyn’s Melrose books. The character is described as an aristocratic and outrageously funny playboy struggling with considerable parent issues.

Showtime Networks CEO and president David Nevins announced the news on Tuesday, further cementing his clearly vested interest in the limited series space. In addition to Guerrilla, network also has its sprawling one-off Twin Peaks revival and is developing another mini about Muhammad Ali’s landmark 1967 summit of black athletes to protest the Vietnam War draft.

“We are delighted to be part of this incredible series,” said Cumberbatch and Adam Ackland, who’ll produce under their SunnyMarch shingle. “We have been huge fans of these books for many years and David Nicholls adaptations are extraordinary.”

Word has it that Cumberbatch and company are looking for an auteur-type director to helm each of the five installments, as has been in fashion since Cary Fukunaga’s celebrated work on HBO’s original outing of True Detective. Showtime is already doing that with David Lynch on Twin Peaks and, to a certain extent, Guerrilla (Ridley split directing duty on that project with Luther helmer Sam Miller).

Cumberbatch, whose take on Alan Turing in The Imitation Game earned him an Academy Award nomination in 2015, has four Emmy nominations and one win under his belt for his sporadic portrayal of Sherlock Holmes in the BBC’s update on Sir Arthur Conan Doyle’s classic literary character. He’ll next be seen in Thor: Ragnarok, as he’s now a fixture in the Marvel cinematic universe thanks to his well-received debut as Dr. Strange in the 2016 film of the same name.

He is repped by UTA and Conway Van Gelder Grant and Sloane Offer.
EXCLUSIVE: Cheryl Burke to Replace Abby Lee Miller on 'Dance Moms'
Abby Lee Miller's replacement on 'Dance Moms' has quite a bit of experience on the dance floor.

So Cheryl Burke will be taking over as the leader of the team since Abby “quit”.

I found this particular bit interesting: 

“ ‘It’s a go with or without Abby,’ the source told ET on Monday. 'It’s been up in the air because the network said it’s either all of the cast or they weren’t doing any [more episodes].’ ”

But the article goes on to say that Abby “bolted” on the crew/filming for 3 or 4 episodes and the producers had to bring in a professional choreographer to teach the girls and the choreographer was all set to start a fourth week working with the girls when Abby showed back up with a long list of demands including that no one mention the word “jail” and that the guest choreographer be permanently banned from the set.

I am thinking after being gone for almost a month Abby came back with a list of demands and the producers/network realized, that based on the rating for the mid-season finale(Lukasiaks return), they really don’t need Abby and they can get more viewers by focusing on the girls and moms and dealing with Abby isn’t worth the trouble that she causes for them during filming and on the internet with all her accusations.

Kinda seems like Abby lost herself a job by bolting out on her obligations for weeks and coming back and demanding special treatment after they had got in a groove without her and realized she is an unnecessary inconvenience to the process. I think the producers/network people told Abby they were dropping her and she made her Instagram post as a pre-emptive strike to say “They didn’t fire me. I quit!” before people realized that she wasn’t filming anymore and the girls were with other choreographers"

anonymous asked:

Ack sorry about sending another pitch question (I know you said something about people sending those) but you mentioned you pitched a show twice, and since I'm a creeper, I read the tags and you said the pitch wasn't how we'd think they'd be; how were they, then, out of curiosity? If I ever pitch a show, in your position, what should I expect? What exactly happened? Sorry for asking all these questions; you've been my inspiration for a while and I hope I can pitch my own show someday!! Thank you

Oh no, that’s fine!  I don’t mind telling my experience with it, and I’ve even given pitching tips before, but this post is about the extent of my knowledge.  (You can also just search my blog for “pitch”, ‘cause I’ve reblogged stuff from other people that actually KNOW what they’re talking about, haha)  I just don’t want people under the impression that I’m super experienced with it, or that I’ve ever pitched to a big deal network or producer.  I absolutely haven’t.  

I have exactly 2 pitching experiences.  The first one was a few years ago at an event in Nashville called “Film-Com”, which is an annual trade show/expo event for financing and distributing filmmaking projects.  Basically you get a booth, and you set up in this convention center with all these other aspiring creators (filmmakers, documentary people, a few video game/new media folks, all sorts), and they’ve invited a WHOLE SWATH of producers and industry professionals to come mull around the show floor with you so you can make connections and get your product out there EAT FREE MEALS and then idk, maybe fuckin’ walk around a bit and look at your dumb shitty projects if they fuckin’ feel like it but they probably wont, so what ends up happening is all the creators just walk around and look at each others’ shit, which for me—being the only animator there—means that a bunch of other jack-knobs who have some vague idea for a shitty cartoon end up giving me THEIR card so that maybe in the future I can work on THEIR dumbfuck ideas.

ANYWAY, to get to the point, they selected certain projects and scheduled them to actually go up and pitch in front of a whole room full of producers.  This happened over the course of the whole day, so I suspect the reason none of the producers were walking around interacting with people is ‘cause they were stuck in a room all day hearing 30 different suck-ass pitches and when it was all said and done they were probably exhausted.  I was scheduled as the last pitch of the day.  I enter the room and wait patiently; the person before me is running about 10 minutes over their allotted time.  I scan the room… everyone is MISERABLE.  They’re anxious, they’re uninterested, they’re sighing… the main guy who’s sort of monitoring the whole thing is pinching his brow and trying his best to keep up the pretense of politeness in telling the current pitcher to wrap it up.  NONE of these people want to be here anymore.  It seems like everyone’s spent the whole day “warming ‘em up” for me, but now they’re all sweaty and miserable, so I can either go up there and give another mediocre pitch, OR I can go up there and try my goddamn hardest to make them laugh. 

I go up on stage, just IMMEDIATELY force myself to get over any fears I have, and I pitch W2H.  I screen a short mock trailer I made (no way I’d force them to sit through that whole fucking thing), and it’s sort of like a fever dream, because I can see all of the life returning to their faces, they’re WAY into it, I’m doing fucking GREAT somehow, despite literally zero experience… and when it was all said and done, it became abundantly clear that even though they all LOVED it, not a single one of them could help me.  None of them were animation producers.  None of them KNEW animation producers.  One guy suggested I go into comics, because “comics get turned into film and tv shows all the time”.  I just had the PERFECT fucking pitch, and I pitched to people who couldn’t fucking help me.  As I was leaving, many of them came up to me and actually thanked me for sending them off for the day on a good note.  There was a big dinner at like, the fucking Governers’ mansion or something that night, and again, some of them were coming up to me and thanking me, wishing me the best and all that.  I guess if nothing else, I learned what I’m capable of.

The second pitch was an ACTUAL disaster.  When I’d first graduated I thought I could pitch W2H to Frederator, ‘cause it seemed like a good fit.  They told me (understandably) that they couldn’t reverse-engineer a show from something I’d already produced, and also that it was inappropriate (despite having a show at the time called “SuperFuckers”, but whatever; language and subject matter are different things).  Later on I got an email from them, saying that someone in their office was familiar with my work, and they invited me to come pitch them something that wasn’t W2H.  They also said that I was free to swing by their office any time, even “just to hang out”, and that if I had any questions “whether it be pitching or where to get the best burgers in Burbank”, to hit them up.  How friendly!  How perfect!  I was JUST about to move out to L.A., so I started working on this idea tentatively called “Gayliens”.  I swung by their office once, you know, just to pop in, like they said; thought I’d make myself known or whatever.  They looked at me like I was nuts.  They still invited me in and we chatted for a bit about the history of early Disney studios, but when they asked why I was there, and I reminded them about the email they’d sent, they seemed to have no idea what I was talking about.  I told them I was working on a pitch for them and that I’d be in touch so we could schedule something.  

When I finally finished putting my pitch together, I went in for a meeting with them.  It was just 2 folks, we were in like a board meeting-type room (which I imagine is probably standard).  They made some small talk with me first, which I’m sure was an attempt to loosen us all up a bit and set the mood, but all of their questions really caught me off guard.  (I guess they asked where I was working, and when I told them I didn’t have a studio job, they asked how I was making money, and I’m sure it wasn’t meant to put me in an awkward position, but people asking me how I make money literally ALWAYS puts me in an awkward position, because my income sources are scattered and weird.  Try explaining how youtube ad revenue works to your social services worker, it’s a blast.) 

SO okay, I let myself get tripped up a bit.  I go on with the pitch; they don’t really want me to pitch the concept, they just have me show them my storyboards and read through the whole thing.  They’re DEAD silent the whole time.  I can’t get a read on them at all.  When it’s over, they ask me some more questions that trip me up.  Some of them are 100% my fault; they asked for a title, and I wasn’t ready to say “Oh, it’s tentatively called GAYLIENS,” out loud to people who I couldn’t get a read from.  

It’s all kind of a blur, but the few topics of discussion I remember them bringing up were that “the storyboards look almost TOO good”, like it was TOO polished or well-developed (which is sort of a backhanded compliment I guess???), because see, “when they made Adventure Time… blah blah blah it just started off as this loose idea, and once they were a season or so into it, they started expanding on the universe and developing the characters a little bit more…” — AS IF ANYONE doesn’t understand why AT got so popular???  You don’t have to TELL ME, I WAS WATCHING IT, I FUCKING KNOW.  No one gave a shit about AT until they got Rebecca Sugar and all these talented writers working on it a couple seasons in, and doing all this character-heavy shit.  I tried to present them with something that had all that character shit baked into it already, ‘cause I knew they were gonna’ use AT as an example.  But it seemed like they’re not looking for something that’s already developed with it’s own voice or sensibility, they’re looking for a vague idea that they can mold into something as they go.  

They also told me–and I still can’t get over this–that they’re looking for “”””””characters that people will want to cosplay as””””””, which is funny to me for a plethora of reasons; namely that they have no way of knowing that PEOPLE DO COSPLAY AS MY CHARACTERS, but also that I spent half of my time in college working on ridiculous magical girl Adventure Time crossover group cosplays (don’t fuckin’ laugh) like trust me I’m ALARMINGLY familiar with cosplay, and ALSO, that looking for a new property with the guidelines that it should be “the next big thing that some fucking nerds will dress up as at comic con” just seems like such an out-of-touch-but-trying-to-be-hip, capitalize-on your-fandom-doing-all-the-legwork-for-you, fucking executive thing to say.  I know I sound like a whiny art school kid saying that but my animation instructor was so anti-establishment, and I carry a lot of that with me still, and something about that statement–insignificant as it may be–kind of epitomizes how I feel about the industry?  It’s a hard thing to explain. 

I walked out of that pitch with my mind feeling like TV static.  My friends were waiting for me next door at a bakery and they were super excited, asking me how it went, and I was just like “I mean… BAD, for sure, but I don’t know where to even start.”  Hahaha.  I don’t know.  It just seems like everyone wants to play gatekeeper I guess.  They want This Thing™, but it can’t be too This Thing™.  They want the thing to have A Fandom™, but they don’t really understand fandom ‘cause they don’t participate in fandom.  They want Your Idea™ but they want to make it Their Idea™.  I don’t know.  I’m just angry and bitter and that’s my experience with pitching.  Admittedly some of what went wrong in these pitches was my fault, or there were circumstances beyond my control, and regardless of how that pitch went, I don’t actually dislike Frederator (I’m on their youtube network), and Fred Seibert has actually done a ton of iconic shit.

I don’t think I’ve ever AIRED MY GRIEVANCES in such great detail before, but there you have it.  If you want some tips on pitching, you can check out the links I provided at the beginning of the post; there’s tons of people out there who actually know their shit too, and they’d probably give more proactive advice.  I don’t know if this helps at all, but hopefully you can glean something from it!  That’s just my limited experience with it.  Haha.  Good luck!  

On a lighter note, Adventure Time is still shit, Gravity Falls is still heavily overrated, and Gumball is the best damn show Cartoon Network has ever produced since the end of their first golden era of the late 90′s. 

Originally posted by pennyandgumball

Originally posted by our-honest-hearts

Originally posted by singasongsang

Courage the Cowardly Dog being their best of all time.

Originally posted by lachicadelmechonazul

Originally posted by gorunwithsissors

Originally posted by pi-la

vann-goghs-ear  asked:

Have you gotten anything made so far? If so, how?

Hello @vann-goghs-ear

I have been on sets for productions that have been completed (short films, commercials, mini-series’…) I also have a job making promotional and tutorial videos for my school and associated institutions.

As for screenplays of mine being made, I have written very small things that I produced myself but most of my writing has gone unproduced. I wrote an episode for a mini-series that is currently in production so I am very excited to see that completed! I am also currently working on a short that a friend of mine showed interest in directing.

The mini-series episode I wrote for was through a writers room that I found through my school. However, at this stage in my career/education, most of the things I have worked on are through networking with fellow students. Finding people who have a similar taste in films as you is also helpful (especially if they are directors) because they will want to be a part of the project because it is something that interests them. If you are in film school recommend looking into ways to post your work through their production office. There’s often a place where you can submit scripts/choose scripts to produce, submit your name and job title to a public list, or send out crew calls to recruit students and faculty for projects.

I hope this helps you in your own endeavors!


anonymous asked:


I assure you. Darren wasn’t the only one closeted on Glee. Yes the most overtly. But there were others.

And newsflash. Fox did not want Chris to come out. He was outed by Chelsea.

And you need to stop shouting at me. I would never come to your blog and shout at you.

Fact. Darren was “lightning in a bottle.” Their teenage dream marketed to young girls that need their straight Prince Charming. That’s how he made a shit ton of money for Fox and helped with viewership until the end.

Again. Why aggravate yourself? If what I say bothers you. Don’t read it. Seems simple.

And please educate yourself before stopping by again.