Person of Interest: Analysis of a Silent Scene

I’ve been rewatching Person of Interest this year. While after its original run I was prepared to call it one of the best network shows of the decade . . . now I’m quite confident it’s full-stop one of the best TV shows of the Aughts. Does it have a rough start? Does it often … Continue reading

Gilmore Girls and Writing in Others’s Book Margins

A few months ago on Twitter: Then I saw this thread about MMM, which brings up whether the show is ‘good’ but particularly if it and its titular protagonist are self-aware and . . . well, here we are. A slew of thoughts about writing, responsibility, depiction of reality versus fantasy, etc. A mini-treatise on … Continue reading

Ocean’s 12 – Expectations and Editing, Cliches and Conventions

The way Ocean’s 12 reverses your typical Gather The Team montage, and specifically Ocean’s 11‘s version, by having Andy Garcia track down all our original scallywags to threaten and extort them into the movie’s heists. None of this is ‘new’ or ‘fresh,’ it’s a setup we’ve seen a hundred times. We’re watching to see how … Continue reading

Introducing: for the love of k-drama

I’ve recently taken the k-drama plunge, and I’m writing a series of short (well. so far) posts delving into their storytelling, visual techniques, genre and trope uses, unique production management, and more. You can catch all this and more over on the new venture from friend-of-blog and k-drama aficionado Chelsie: ramyeon and chill! My first … Continue reading

In Defence of Nate Heywood

In a rogue’s gallery of runaways and billionaires, clones and scientists, ex-assassins and not-ex-thieves, nerds and stoners, demons and reformed government bureaucrats, Nate Heywood is the worst. Among examples of ever so slowly growing and learning and improving, he is also the best. Legends is the wildest, zaniest, most diverse show on television. It’s as … Continue reading

How Moving Shots Reveal Story, Create Tension (and so much more)

From The Bold Type to I May Destroy You to Supergirl, a recent trend in television is to keep the camera moving. Network procedurals, prestige cable dramas, limited run series, even talk shows (hello, Patriot Act) often ply this technique, sometimes as a cheap way to up production value. . Advantages and Drawbacks When used … Continue reading

GLOW’s pilot mechanics

I’m writing STAY AT HOME HITMAN, a sometimes-raunchy half-hour comedy-drama involving suburban politics and scholastic espionage, mental health and struggles of new parenthood, relationships and drugs of all sorts, with a smattering of class struggles, internalised and external homophobia, infertility, familial expectations, meddling lollipop ladies, and body disposal. I revisited GLOW because despite its much … Continue reading

a PITCH PERFECT movie for all times

When my godson was born, I got a 20 second phone call. “We’re on our way to the hospital. The agency said there’s a baby. We had to clear out your room just in case. Will let you know more soon. Bye!” A month before, I’d rented my best mates’s spare room for the winter … Continue reading

Experiencing Film

“The last X I experienced was X” posts circle social media like buzzards as we all adjust to our Quarantine of Indefinite Time [QoIT]. Zines and shortreads examine what certain events were like as the world’s corners started shutting down. Just as anyone with an internet connect can’t avoid seeing these musings, I can’t avoid … Continue reading

Character Introduction: Johnny Guitar

Introducing characters is an art form. I’ve been working on a TV pilot and while we’ve had the plot arcs nailed for months, making sure we get the characters across economically while being interesting and not too expository and using action while fitting them seamlessly into the plot and explaining how they relate to other … Continue reading