It is somewhat ironic that it’s the 85th anniversary of both Superman and Lois in ACTION COMICS 1 today and there is no new episode of #SupermanAndLois#SupermanAnniversary
This may be relevant for those eyeing when ACTION 1 enters the public domain in 10 years - things you won’t find in the issue are the words: Krypton, Jor-El, Lara, Jonathan and Martha, Daily Planet, Perry White, Jimmy Olsen and Lois’s last name
It was my honor to work with such great collaborators. Rina Mimoun is a personal idol. Tom Grummett is one of the greatest Superman artists ever, and it was pure joy writing with @Jaijamison & @andrewnwong#SupermanAnniversary
@NonStopPop@TerryMatalas favorite quote:
that also feels like a lazy criticism from a certain kind of bitter critic. If you go into somebody's house and they've lived there 56 years, it's pretty hard to point [what's inside] and yell, "Member Berry!" You're kind of just a jerk.
@NonStopPop@TerryMatalas There's absolutely an entire generation of viewers who lack media literacy and can only communicate in regurgitated South Park and TV Tropes callouts.
It's like real life ChatGPT. They see something that resembles a criticism they've heard and they repeat it without insight.
I realized with some sadness that this is about the time of year I usually offer what advice I can about applying to fellowships... and for the first time, there's no WB program.
Having said that, in the "spec eps vs. originals" I am still someone who says "write specs!"
I saw a panel of writers at WonderCon tackle this question last weekend and many of them agreed that writing spec episodes of a show you like is valuable.
the real answer is "Write both." Some young writers argue against writing spec eps because they don't think they'll...
...get anywhere from them. Reps won't read them, showrunners often don't either, so what's the point?
The point is to show you can write in someone else's voice. Even more important, it's so you get PRACTICE writing in someone else's voice.
today it's been 30 years since Brandon Lee was accidentally shot on the set of THE CROW. I wish I could find the excellent PREMIERE Magazine article from a year later where they broke down EXACTLY how a bullet ended up in the gun and all the ways it SHOULD have been caught.
It wasn't one error. It was several. And at multiple stages, just ONE person being a little more diligent would have stopped this before it happened.
They were shooting inserts of a gun being loaded but they didn't have dummy bullets. So they took real bullets...
...pulled off the pellet, poured out the gunpower, then put the pellet back on for the shot.
When the person holding the gun pulled the trigger, they heard a pop. If a firearms expert was there, they'd have realized there was just enough gunpowder left to propel the pellet...
One thing people inside the business implicity understand that doesn't often connect with those outside the business is how a movie or TV show is much more about execution than the idea... and that every idea has been thought of before, sometimes by many people
Early in my career reading as a development assistant, I came across a script that was basically, "What if Little Red Riding Hood hunted monsters and the Big Bad Wolf was a werewolf?"
I thought it was a clever idea, but the writing was "meh." nothing inspired about it
TWO MONTHS LATER, I read another script about RRH as some kind of avenging vampire slayer. For a moment I was like, "whoa, one of these guys ripped the other off!"
And in the next moment, I realized the idea wasn't THAT huge a leap if you're trying to find a fresh take
At the risk of ending up with a very long thread, here's an overview of what goes into writing an episode. When you see a writer credited with "Written By," that generally denotes the person who wrote the Story Area, the Outline and the First draft of the episode script.
That script is then rewritten, usually by the showrunner, but often one or more of the Co-EPs will be involved in this process. The higher up you are on the ladder, the less likely your script is going to be rewritten.
Before all that, we "break" the episode as a group.
In theory, every writer has some level of involvement with every episode. Often it will happen that when a room for 109 is going, the writers for 107 and 108 are out writing their eps. Some breaks will have less of the staff involved than others.