Not just well into production -- the post production on WW84 was complete (or nearly complete) before Covid hit.

“Plucky reporter takes you along for the ride as (s)he covers a subject (s)he knows nothing about” is probably my least favorite genre of podcast in general. 

You’ll never find me on the side of “the CIA definitely didn’t do it” in any scenario, but that podcast had some serious problems.

It’s definitely less than the sum of its parts, which taken individually are already not good. But it does have the most acting.

You usually get a portion of the contract payment upfront and the rest is tied to deliverables. So he would’ve walked away with his upfront payment plus however much they paid him for the partial S3. 

Unless they did a buyout they have to pay music royalties, and any other residuals that are owed (which are significantly less than from broadcast but are non-zero). 

TWOP was originally called “Dawson’s Wrap” and they did longform recaps making fun of the show. They eventually expanded to other shows, and a whole bunch of the current crop of TV critics either came from there or frequented it.

You’ve just thrown a huge wrench into the “how many movies is Kill Bill” argument...

One could argue that contemporary TV criticism was born out of dunking on Dawson’s Creek (with Television Without Pity and internet recaps and the like).

It’s largely meaningless especially for projects that don’t follow a standard format, and if we’re just going by the original conceit however divorced from the final product, Mulholland Drive is a TV show.

I don’t think they can actually use underage actors for this (and shouldn’t!) but the show that comes pretty close is Dawson’s Creek. They completely mismanage the story and play it like a very straightforward forbidden romance, but the age difference between the actors is much closer to what’s in the script and it…

I couldn’t handle the accent work on this show. I have an accent and it’s consistent; I’m not drifting in and out of it every other sentence. 

Typically the only way you’d have full rights to a show is if you finance it yourself and then license it out to networks/streamers; the network spends millions on making a show and they would not recoup their expenses if they were unable to make money off the backend. So whoever paid to make the show typically owns…

Netflix treats their big names very nicely and nickel-and-dimes everyone else. I don’t think it will have any positive impact for anyone who doesn’t have an 8-figure contract.

Having a Comedy Central show, especially in the pre-social media, pre-streamer days, was in itself a value. With social media, everyone has access to distribution channels but if you wanted to have a solid career as a comedian prior to the mid-to-late 2000s, a CC show was often a stepping stone.

Having just dealt with something similar if not exactly analogous at work, it’s very difficult even for mature adults when someone starts bringing negative emotions they have in their personal life into the workplace and snapping at people, particularly when they are not communicative about it. Someone younger is…

It was obviously a great success, but how reliable is a survey of 1200 people, especially outside of the top 5 or so releases? I wish streamers would just release their numbers.

We can see they’re all doing very well financially despite their claims of having “lost everything” and not being otherwise employed for years so it’s abundantly clear that they were making good money off Nxivm, and the fact that this wasn’t addressed is why I was fed up with them/The Vow by episode 2 or 3.

Even if that were doable (a celeb giving them a burner and then having their team send prewritten, preapproved texts would be their least fake option), they wouldn’t buy this without having celebs already attached.

Mine is “I’m still processing”. Maybe wait until you’ve finished processing.