Tag: Hollywood

As the entertainment business slowly becomes a form of television and everyone slowly realizing that the television business depends on the management skills and personal discipline of…writers, some show runners are finding themselves replaced at alarming rates. Rob — who has run a few shows in his time— has some words of encouragement and yes, advice for those people who find themselves in precarious employment situations. And in the process, talks himself out of a job. Oops.

In Hollywood, everyone is an artist. And as artists, they often feel they are entitled to a certain amount of eccentricity and perfectionism, including but not limited to having their cake and eating it too (metaphorically speaking).

Rob explains why managing “the talent” —which includes anyone who interacts with studio management— sometimes calls for techniques that are more commonly associated with calming infants. Or 19th century schizophrenics. Rob also reveals the strategy to winning any exchange involving talent, notes, deals, or even controversies that play out in the media. He guarantees it. Are you listening, Mr Chapek?

Nurses: The TV Show

 

I often think that a TV show about actual nurses would play well.

Not the TV show about nurses that Jada Pinkett Smith did, but a show about what actual nurses do and live and feel.  I can’t help but think that the drama of actual life, being yelled at by physicians over things not in our control, being yelled at by family members, finding patients hiding drugs in their bed and overdosing while admitted, finding patient family members unlocking syringe boxes to steal used syringes for whatever, and families being elated at the last moments of recovery and lucidity right before death…

On this episode of The Federalist Radio Hour, Chris Fenton, author of “Feeding The Dragon: Inside the Trillion-Dollar Dilemma Facing Hollywood, the NBA, & American Business,” joins Federalist Culture Editor Emily Jashinsky to discuss the dangers of communist China’s grip on Hollywood and now the global stage by hosting the 2022 Winter Olympics.

 

On this episode of “The Federalist Radio Hour,” Federalist Publisher Ben Domenech joins Culture Editor Emily Jashinsky to discuss their favorite and least favorite films of 2021 and evaluate whether movies finally made a comeback from a pandemic-induced cinema drought.

In Los Angeles, everyone’s in show business. Everyone.

There’s only one phrase a scriptwriter dreads more than “we love it, but we have some notes”: “we love it and have no notes.”

Rob discovers a WWII era psyops spy manual and realizes it is the perfect guide for disrupting the business practices of modern content companies. But —as a New Year’s resolution— he vows not to use the manual’s power for evil. For now.

Rob gives a master class in the unnecessarily complicated etiquette of wishing friends and family “Merry Chr…”, er, “Seasons Gree…”; uh, “Happy Holi…”. Well, you know what we’re trying to say.

Framing Immigrants of Color for a Violent Hate Crime Is Peak Democrat

 

Imagine it: actor and outspoken conservative James Woods files a police report claiming he was assaulted on a sub-freezing night in Pocatello, ID, by two men wearing pussy hats and shouting “Enjoy the blue state model, cuz!” Woods believes that he was targeted for his political beliefs and is the victim of a hate crime. Additionally, he’s underpaid. Police conduct an investigation during the course of which evidence accrues that Woods was never attacked but instead has perpetuated a hoax. The considerable amount of incriminating evidence includes a check written to — and text messages exchanged with — his alleged assailants.

Woods, though seemingly in legal jeopardy, is suddenly gold again when Pocatello police and the local D.A. drop the matter like the kind of hot potato for which Idaho is famous, but not after conducting an investigation that cost taxpayers over $130,000. But all is not well for the actor: a subsequent special prosecutor investigation determines that Woods seemed to be getting special treatment from the local authorities, who are known to share Woods’ political sympathies. Woods, in other words, seemed to get a pass from authorities because his hoax was on the right side of history.

Worse still for the actor, the special prosecutor finds sufficient evidence to file new charges against him. Now on trial on six counts of disorderly conduct, Woods’ has a story to tell and, actor that he is, he’s sticking to it. White progressives, meanwhile, are confused as history has taught them to be accustomed to Democrats attempting to frame working-class immigrants of color for crimes that were, in fact, orchestrated by one of their own. Indeed, that’s one of the reasons they’re white progressives.

Rob explains an immutable law of show biz physics: bad news travels slow because there’s no money in it, while good news travels fast –really fast– turbo-charged by the notion that money is about to be spent.

Preston Beckman was a network programmer at NBC and Fox for over 30 years. He brought the country “Must See TV” at NBC and was witness to the the start of the reality revolution when he was at Fox. Now, he’s retired and spends his days opining on Twitter about television, politics, and everything in between as his nom de plume, “The Masked Scheduler.”

In this Martini Shot Conversation, Beckman discusses the sweeping changes occurring to the business as it converts from broadcast to streaming and what it means to be a programmer in the 21st century. He also tells some hilarious stories from the olden days when broadcast networks ruled the airwaves, the culture, and the water cooler, and a 20 share could get you canceled.

Your podcast player has been Martini Shot-less for a while now, and Rob has a good reason for it. No, not a Hollywood writer’s excuse why the draft is two months late — he really does have a legitimate excuse for why you haven’t heard from him in a (pardon the expression) long time. Listen and find out. And yes, we’ll be back with another “Shot” next week. We promise.

O.G. Young American Alec Dent returns to the show for a discussion of No Time To Die: Its Millennial character, whether it succumbed to wokeness, whether modern pop culture will allow the continued existence of James Bond, and more.

Filming the Recent Past: Images

 

Many years ago, I was watching a taxicab scene in It’s Always Fair Weather, a great 1955 film, when I noticed something strange, almost Twilight Zone-ish going on: the traffic seen out of the back window of the cab, which rolls on for minutes, is something I’ve seen before. Where? I realized that it was an extended driving scene of a not exactly obscure 1972 film, The Godfather. How did they do that?

That scene in Godfather takes place in 1945-’46 when mafia lieutenant Peter Clemenza and his “boys” take a ride into Manhattan to buy deloused mattresses for an extended stay in a hideout during a gang war. They get into a shiny dark Lincoln on a suburban street in south Queens and drive into the busy streets of the city, all beautifully filmed in nostalgic color, before having to abandon that great car because a traitor’s blood (“Paulie sold out the Old Man!”) gets all over the windshield. The car is so authentic to the period that we briefly notice it still has a war rationing sticker.

Rob considers a mid-life career change, inspired by a couple of pilots that didn’t go forward and fridge full of exotic meats gone bad.

This week, Rob explains a simple axiom of show business: if you want your agents to remain generous with free expensive bottled water and delicious mini chocolate cakes, you have to earn it. Or more accurately, you have to earn for them.

Rob explains how he once got roped into picking up a very large check and offers advice on how you can avoid making the same mistake.

In most areas of show business, most people want more: more lines of dialogue, more scenes, and of course, more money. But Rob explains that if you want to heard more, follow his advice and say less.