Bryan Fuller Gives Us the Lowdown on his Exit from ‘Star Trek: Discovery’

Not so mad (actually kind of gentle) Genius Bryan Fuller has actually talked to Entertainment Weekly, of all places, about leaving his gig as showrunner of CBS’s new version of Star Trek. We found it on the interwebs…and we also found it “fascinating.”

Hehe. This show’s initials are STD. Hehehe.

Bryan Fuller on his Star Trek: Discovery exit: ‘I got to dream big’
by James Hibberd

Bryan Fuller candidly discusses his exit as showrunner from Star Trek: Discoveryin this week’s Entertainment Weekly — including his original ambitious pitch to CBS All Access.

The Hannibal and Pushing Daisies showrunner initially wasn’t envisioning a single Trek series, but multiple serialized anthology shows that would begin with Star Trek: Discovery (a prequel to Star Trek: The Original Series), journey through the eras of Captain James T. Kirk and Captain Jean Luc Picard, and then go beyond to a time in Trek that’s never been seen before.

“The original pitch was to do for science-fiction what American Horror Story had done for horror,” Fuller says. “It would platform a universe of Star Trek shows.”

CBS countered with the plan of creating a single serialized series and then seeing how it performed. Still, the project was a dream come true for Fuller, who worked on Star Trek: Deep Space Nine and Voyager and long publicly lobbied for a return of the franchise to television — specifically with a woman of color at the helm.

“I couldn’t stop thinking about how many black people were inspired by seeing Nichelle Nichols on the bridge of a ship [as Lt. Uhura in The Original Series],” Fuller says. “I couldn’t stop thinking about how many Asian people were inspired by seeing George Takei [as Sulu] and feeling that gave them hope for their place in the future. I wanted to be part of that representation for a new era.”

Yet after starting work on the show, Fuller’s relationship with CBS became strained. He objected to the network’s choice of David Semel, a veteran of procedurals like Madam Secretary and Code Black, to direct the Discovery pilot (Baby Driver director Edgar Wright tells us he was among those Fuller approached instead).

There were also squabbles over the Discovery budget, with the production eventually going over CBS’ original plan to spend $6 million per episode (a number that’s either on high side for an original drama series, or a bit lean for an ambitious genre show, depending on who you ask). But perhaps the toughest issue was trying to launch Discovery by February 2017, a date which some felt was unrealistic given the unique world-building demands of a premium sci-fi show….

Read it all at EW.Com

Keely MacDonald Named Fox Writers Lab Fellow

by TVWriter™ Press Service

Fox Inclusive has named a fellow for its Fox Writers Lab.

Writer Keely MacDonald has been selected from the sixth annual group of finalists and has received a script development deal with Fox Broadcasting Company. A 2012 grad of Duke University, MacDonald became an intern on Fox’s Sleepy Hollow in 2013, eventually graduating to full-fledged writer on show with the season four episode, “Insatiable.”

Launched in 2011, Fox Writers Lab (formerly known as the Fox Writers Intensive) is an initiative designed to nurture writers who have diverse voices, backgrounds and life experiences in an effort to create a strong pipeline of talent for potential staffing on Fox television shows and films.

During this year’s program, the Lab writers each developed and wrote an original pilot script, working with producer Sheila Hanahan-Taylor of Practical Pictures and Kelly Kulchak, head of current programming at Dreamworks Animation. The writing culminated in a “Pitchfest” in which writers pitched their original ideas to network and studio executives.

Other writers who participated in the lab were Arielle Diaz, Brad Marques, Elizabeth Oyebode, Erick Castrillon and Esteban Arango, Jennifer Graham Imada, Lauren Tyler, Mellori Velasquez, Nicky Young, Pilar Valdes, Tania Lotia and Yasemin Yilmaz.

All the writers are being promoted throughout the Fox creative community and submitted for potential staffing on current and future Fox Entertainment productions. This year’s 12 writers were selected from a pool of nominations submitted by showrunners, talent representation and arts organizations across the country, so if you aren’t already a kind of junior showbiz insider, be aware that this may not be the program for you.

TOLDJA! – Web Series ‘Stupid Idiots’ Now has a Genuine TV Deal

Stupid Idiots (not the people, dammit, the show!)

Just a couple of weeks ago TVWriter™ gave the web series Stupid Idiots a review that included the following:

So how damning is it if I say that the two leads in this very funny web series aren’t merely perfect recreations of people I know but in true fact are perfect recreations of, well, of me, dammit? Me!

If that isn’t a rave, what is it? In other words, we knew this show was going to take off, but even the smartest, bravest, and boldest of TVWriter™ minions never imagined that before the end of the month Stupid Idiots would have a genuine, supercool, real big-time development deal with the likes of Paramount TV and Anonymous Content?

According to Deadline:

In a competitive situation, Paramount Television and Anonymous Content have acquired rights to Stupid Idiots, a comedy web series written, directed by and starring Stephanie Koenig, to develop as a TV series. Koenig (PopTV’s Swedish Dicks) is set to write the adaptation and star in the potential TV series, described as a (trying-to-get-out-of-the-) workplace comedy about two underachievers who consistently fail upwards. Koenig and Brian Jordan Alvarez star in the web version, which launched earlier this year.

We love it when something we love gets even bigger love. We keep saying this and we’ll say it again: Web series are the perfect proving ground for new talent. There isn’t a better place in the Biz to hone your craft and prove your project’s appeal. Go forth, young dreamers, and conquer!

Oh, and while you’re at it, take a look at Stupid Idiots HERE

Oh, and in case you missed it in the headline: “TOLDJA!”

This Year’s Emmy Writing Nominees

We would brag about having some good friends of TVWriter™  in this list, but the truth is that these fine writers have been good friends to everybody, just for giving us their wonderful work:

Best Writing for a Comedy Series

Donald Glover, “Atlanta”

Stephen Glover, “Atlanta”

Aziz Ansari & Lena Waithe, “Master of None”

Alec Berg, “Silicon Valley”

Billy Kimball, “Veep”

David Mandel, “Veep”

Best Writing for a Drama Series

Joe Weisberg & Joel Fields, “The Americans”

Gordon Smith, “Better Call Saul”

Peter Morgan, “The Crown”

Bruce Miller, “The Handmaid’s Tale”

The Duffer Brothers, “Stranger Things”

Lisa Joy & Jonathan Nolan, “Westworld”

Best Writing for a Limited Series, Movie or Dramatic Special

David E. Kelley, “Big Little Lies”

Charlie Brooker, “Black Mirror: San Junipero”

Noah Hawley, “Fargo”

Ryan Murphy, “Feud: Bette and Joan”

Jaffe Cohen, Michael, Michael Zam & Ryan Murphy, “Feud: Bette and Joan”

Richard Price & Steven Zaillian, “The Night Of”

Best Writing for a Variety Series

”Full Frontal With Samantha Bee”

“Last Week Tonight With John Oliver”

“Late Night With Seth Meyers”

“The Late Show With Stephen Colbert”

“Saturday Night Live”

Best Writing for a Variety Special

”Full Frontal With Samantha Bee Presents Not the White House Correspondents’ Dinner”

“Louis C.K. 2017”

“Sarah Silverman: A Speck of Dust”

“Stephen Colbert’s Live Election Night Democracy’s Series Finale: Who’s Going to Clean Up This S—?”

“70th Annual Tony Awards”

Best Writing for a Nonfiction Program

“Amanda Knox”

“Anthony Bourdain Part s Unknown”

“The Beatles : Eight Days A Week – The Touring Years”

“Bill Nye Saves The World”

“13th”

A good place to find all the 2017 nominees is RIGHT HERE

TVWriter™ congrats everyone who created anything anywhere in the past year. Or even further back because we know you worked really !@#$ing hard!

Indie Video: ‘Ace and Anxious’


NOTE FROM LB: Boy, life sure is funny. Just yesterday, we were lamenting that one of our favorite contributors, Ms. Bri Castellini, was no longer writing a regular column here at TVWriter™, and lo and behold, along came the following info.

It’s a press release, but that doesn’t mean it isn’t also well-written and interesting and true. Especially since it plugs one of the most talented young creatives we know. Who, in that self-same article yesterday was heard to question her ability to self-promote. Way to overcome, Bri!

Take it away, Undead Burrito Productions:


 ACE AND ANXIOUS
the new award-winning short film about asexuality and anxiety
is now available for online viewing
by Undead Burrito Productions & TVWriter™ Press Service 

Undead Burrito Productions is proud to present the brand new award-winning short film, Ace and Anxious, written and directed by Bri Castellini, which is now available for online viewing thanks to St. Lawrence International Film Festival Online. The film will be available throughout June 2017 here while the judges make their decisions, and if it wins an award, it will be available on their “Filmmakers to Watch” page and shared with their industry database.

About the Film

After a resurgence of her panic attacks, Emma (played by Dana Shiree), an asexual graphic designer, panics, because her mental health care costs are already so high. When a condom company hires her to make an infographic on the benefits of sex, however, she discovers that one of those benefits is decreased anxiety and stress. She shares this discovery with her therapist, Jenny (played by Rachel Casparian), and announces her intention to try out this unconventional treatment option. With her roommate Kevin (played by Colin Hinckley) as a bouncer, she sets up a series of interviews via a Craigslist ad to test her hypothesis that sex will cure her panic attacks.

The screenplay won “Best Short Screenplay” at the New York Short Film and Screenplay Competition in 2016 and the London Indie Fest in 2017, and was an official selection in the screenplay category at the Silver Screen Film Fest, 2017, the Freedom Film Fest, 2016, and Paris Art and Movie Awards, 2016.

The film won “Best Comedy” at the Women’s Only Entertainment Film Festival and is an official selection at both the St. Lawrence International Film Festival and the Howling Wolf International Short Film Festival.

About the Director

Bri Castellini has an MFA in Writing and Producing for Television and a BA in Creative Writing, studying in New York and Oregon, respectively. She currently resides in Brooklyn with her partner and works as the Community Liaison for Stareable.com. Outside of Ace and Anxious, she is the creator, writer, producer, and star (among other things) of the award-winning comedic zombie web series Brains, the executive producer (among other things) for the web series Relativity,  the producer and assistant director for the web series Stray and the web series The Mother Lode, and the associate producer for the web series History.

PEOPLE’S PILOT 2017 Opens Today!

tv_writer_peoples_pilot_smby Larry Brody

TVWriter™ and I are proud to announce that PEOPLE’S PILOT 2017, one of the oldest and most highly regarded writing competitions on the interweb is now open!

The PEOPLE’S PILOT first appeared way back in the summer of 2000, as a semi-annual competition intended to help both new writers and the TV Industry itself. Over the years it has evolved into an annual contest and its categories have changed to match its extended purpose. Yes, we’re all about helping new writers get the acknowledgement they deserve, but we’ve expanded beyond broadcast television. Since last year, the PEOPLE’S PILOT has been doing all it can to improve all electronic entertainment media.

The future of entertainment and those who create it is open and varied. Whether the series you are creating is intended for broadcast TV, cable and satellite TV, home entertainment/video game consoles, Big Media interweb outlets like Netflix, Amazon, and Hulu, or indie web channels and venues like YouTube, Vimeo, Funny or Die, or the show’s own website, it is eligible for the PEOPLE’S PILOT.

CATEGORIES

PEOPLE’S PILOT 2017 is divided into 2 prize-giving categories plus a Special Bonus Category with its own unique award – a paying development deal starting with an option. To be more specific, the categories are:

  • Scripted Comedy Series – intended for any electronic platform (including broadcast and premium cable series, internet series, cell phone series et al) of any length of any length required for telling your story
  • Scripted Drama & Action Series – intended for any electronic platform (including broadcast and premium cable series, internet series, cell phone series et al) of any length required for telling your story
  • Special Bonus Category – Thanks to Manner Movie Limited, a longtime PEOPLE’S PILOT co-sponsor, and Global Saga Media Entertainment, both of Hong Kong, all entries in this year’s competition automatically will be considered for the Special International Production Award, which will be given to the entry or entries that the judges deem especially suitable for the global television market.

Episode length, script length, number of episodes constituting the series – all that is entirely up to the creator. Genre too is entirely up to the entrant. In other words, you can write whatever you want, any way you want, featuring human actors, animated actors, animal actors, puppets, you name it, for any audience you want as long as your script is in the English language and standard teleplay/screenplay format (so our judges can read it).

PRIZES

Prizes and bonuses for each of the two regular categories, worth over $20,000, are:

FIRST PRIZE:

SECOND PRIZE:

THIRD PRIZE:

BONUS PRIZE:

  • All entries will be considered for the Special International Production Award, a script development deal with Global Saga Media Entertainment beginning with a $500 option for a qualifying script or scripts. And when we say all entries we mean that even an entry that doesn’t finish in the Top 3 – or isn’t a Finalist or even a Semi-Finalist – will be eligible.

ENTRY BONUSES

FREE FEEDBACK 

After the Winners are announced, all entrants will receive an e-mail containing the actual score given by the judges, an explanation of what its point value means, and the judges’ general reaction to the entry. ($125 value)

FREE STORYTELLING PATTERNS E-BOOK

All entrants will receive a PDF file of Larry Brody’s Storytelling Patterns in Genre Films booklet, a guide to outlining screenplays and teleplays by using established story patterns and essential scenes that is available literally nowhere else on or off the web. (priceless)

ENTRY FEES

PEOPLE’S PILOT EARLY BIRD ENTRY $35

  • June 1 – August 1

PEOPLE’S PILOT SINGLE ENTRY $50

  • August 2 – November 1

PEOPLE’S PILOT DUO DISCOUNT ENTRY $85

  • August 2 – November 1

CLOSING DATE

PEOPLE’S PILOT 2017 closes at midnight November 1, 2017. You can enter and upload your entries any time until closing. As in past years, we urge you to take advantage of the Early Bird Discount even if your entry or entries won’t be ready until after the discount period ends. Once you have paid, you can upload your submissions at any time until the contest closes.

More PEOPLE’S PILOT 2017 info is HERE

The Enter Page is HERE

Email me personally with any questions HERE

LYMI LB

LYMI
LB

 

 

You Won’t Believe How Rich These Self-Publishing Authors Are!

by TVWriter™ Press Service

Illo found at AlanRinzler.Com. Check out the site!

EDITOR’S NOTE: What’s a little clickbait between friends? Especially when it’s for a worthy cause. No, the reason we gave this article this heading isn’t so that it would make us rich. It’s because we believe so strongly in what it means to writers to be able to at least be the prime beneficiaries of working the wordsmithing craft.


‘Show me the money!’: the self-published authors being snapped up by Hollywood
by Danuta Kean

After watching Quentin Tarantino’s Kill Bill, self-published author Mark Dawson was inspired to create his own answer to the film’s heroine Beatrix “Black Mamba” Kiddo. And now Dawson – and his character government-employed assassin Beatrix Rose – are set to take on Hollywood, with his series on the verge of a major television deal, complete with a “triple A” producer.

Admitting he had a “‘holy shit’ moment” when he was told who the producer was, the Salisbury-based former lawyer said he had initially signed a “shopping agreement” after an approach through his website. “They have attached a writer and an extremely well-known Hollywood figure and director to it,” Dawson says. “The people linked are all serious players – household names – and they have pitched it to half a dozen studios and from that they have got an agreement [to develop it] for television.”

Dawson wasn’t always Hollywood fodder. Sales of his first self-published novel, 2012’s Black Mile, only trickled in – until he took Amazon’s advice and offered it to readers for free. In one weekend, his novel was downloaded 50,000 times. Dawson built his audience from there, spending hundreds of pounds a day on Facebook advertising and writing on his commute. After writing 23 books in four years, he says his annual income is now in the “high six figures”.

Details of Dawson’s TV deal are under wraps, and he says it is expected to be finalised in the next few days. But his is just the latest in a line of deals between studios and self-published authors, including AG Riddle and Hugh Howey, who have been targeted by studios after the successes of Andy Weir’s The Martian and EL James’s Fifty Shades franchise. AG Riddle’s Departure series was scooped up by Fox-based producer Steve Tzirlin in a six-figure deal, while Howey’s dystopian sci-fi novel Wool was signed up by Ridley Scott and 20th Century Fox.

Bestselling self-published authors attract producers because they have a proven track record if they stay on Amazon sales charts over time, Howey said. “Hollywood is always looking for a built-in audience. They want to know they’ll recoup their investment,” he says. “Modern films easily cost $100m to make, usually more. There isn’t much room for risk here.”

Another attraction in the litigious world of film, according to producer Doreen Spicer, is that these self-published books provide insurance. “There’s a level of security that the story is original and not based on a pitch or idea from a writer in the room,” said Spicer, whose credits include US sitcom The Wannabes and animated series The Proud Family. “A producer can safeguard themselves from lawsuits by purchasing or licensing copyrights.”

One of the most high-profile successes is Andy Weir’s The Martian: a sci-fi thriller set on the red planet that the author self-published as a Kindle ebook for 99 cents. The 2015 film adaptation, directed by Ridley Scott and starring Matt Damon as Weir’s leading astronaut Mark Watney, made $630m worldwide….

Read it all at The Guardian