Nate Federman

Does Sony use Google TV as their built-in interface? That’s what my Hisense has.

The “something went wrong” error screen on nugs’ google tv app.

And of course, it’s not working.

Nugs finally making their app compatible with Amazon Fire TV, Google TV, and Android TV devices is the best jamband news I’ve heard in some time. And the worst jamband news my family has heard in some time.

Even if you set aside the absurd implication that the stock market being up absolves folks from facing consequences for raping children and covering it up, it’s important to remember that the wealthiest 10% own 93% of US stocks. So the DOW hitting 50K isn’t doing a whole lot for 90% of Americans.

I saw it in a crowded theater and it was probably the most I’ve seen an audience (myself included) laugh at a movie, since like Borat. A perfectly dumb comedy with a simply massive joke bag. Glad you enjoyed it!

💯. My mentor taught me the art of egoless arguing. It’s such a great skill to learn in a collaborative environment. The work is the work. It’s not a reflection of who you are. And every idea is equal. Equally bad or equally good. Or “meh.” But everyone has to agree to do it or it doesn’t work

I’ve never met an egoless writer, nor one who’s completely selfless. But the more folks are able to set aside their egos and self-interests, and focus on what’s best for the show collectively, the better everyone’s lives are. In other words, the room is a microcosm for a functional society.

PS - Got questions about what it’s like in a writers room? I’ll do my best to answer them. It’s a weird, complicated job and no room is the same. But I’ve been in enough that I’ve seen it all.

If you enjoy this sort of thing, feel free to give it a boost. Sometimes #Scritsky feels like 10 people.

Writers rooms (like many jobs) have complicated political dynamics. Sometimes you work with shitty people and it sucks. But I strive to be selfless, confident (but not cocky or thirsty), and generous. If I can’t endear myself to my coworkers that way, it’s probably not a room I want to be in.
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Sometimes a higher up leaves you to the wolves. Do you speak up? Again, it’s situational. One time? Probably not. A pattern with intent? Might need to. But almost as bad as joke thieves is the writer who uses someone else’s pitch and then throws the pitcher under the bus if it’s poorly received.
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What about when something in your script gets flack from the showrunner but you were forced to put it in by a higher up? Ideally, that higher up says something. When I’ve run rooms and made writers change things they didn’t want to, it was always with the promise I’d throw myself on the sword.
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But if you’re a low-level writer, it’s not for you to deal with. At least not directly. There’s a hierarchy in a room and you don’t want to upset it. A cornered joke thief may turn to a more serious crime (sabotaging you) if they’re cornered. Because both crimes stem from insecurity.
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Intentionally stealing jokes is a shitty thing to do. But it happens. Sometimes unintentionally. A Simpsons joke from 30 years ago is wedged in the recesses of your brain and it comes out without you knowing where it’s from. If it’s a pattern of behavior, that’s a problem.
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But what if a writer stealing credit for other people’s pitches is a recurring problem? Or what if they’re intentionally stealing jokes from another show? This is tricky stuff. There’s no hard and fast rule, but talk to an upper level writer you trust (not the showrunner) and see what they say.
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What about when someone actively claims credit for your pitch? This is tricky stuff. If it’s a one-time thing, just keep your mouth shut. Sometimes a writer will take your pitch and change a word or two, and genuinely believe it’s their joke. Arguing over credit is a real bad look.
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Sometimes this is a chronic problem in writers rooms. And if you’re on slippery footing and it’s important the showrunner is aware of your contributions, ally yourself with a few other writers and credit each other. Just don’t become a faction. People don’t like factions either.
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What about when the showrunner compliments a joke you pitched in someone else’s script and that writer doesn’t credit you? It’s tempting to want to claim credit, especially if you’re a new writer trying to prove yourself. But don’t. It feels thirsty and no one likes a credit hog.
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If you get praised for something in your script that was something someone else pitched, credit them! It will endear you to your coworkers and helps foster an environment where the room supports one another. It also demonstrates confidence. A secure writer doesn’t need the unearned kudos.
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The showrunner is reviewing your script. She points out a joke that she absolutely loves, but you didn’t come up with it; another writer pitched it. What do you? Here’s a quick #Scriptsky #Screenwriting thread on when to credit others, when to take credit, and when to keep your mouth shut.
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At the David Bryne show in LA, he showed video of ice chasing a protester-the crowd booed-until the protester got away-then the crowd erupted in raucous cheers.

YouTube video by PBS NewsHour WATCH: Minneapolis resident and U.S. citizen Aliya Rahman describes being detained by ICE

Everyone should take 7 min to watch this. Don’t have 7 min? Watch it on 1.5x speed. Just watch it.

ps - Remember not to call the masked, federalized right wing police force that’s targeting minority and marginalized communities “Nazis” bc they haven’t killed enough people yet.

youtu.be/zrcW8SZtYpI

YouTube video by Los Angeles Times 25 facts about 'Wet Hot American Summer' to celebrate its 25th anniversary

Wet Hot American Summer is 25 years old. The first time I saw it was in 2001 with like 30 other counselors from the Jewish summer camp we all worked at. It instantly became one of my favorite movies and remains one to this day.

youtu.be/2hA_vfKyUBU?...

I didn’t exactly love the pilot. Are you saying I need to keep watching?

Bellwether.

I was studying TV and Film, but also taking a ton of philosophy and political science classes. Realized that instead of having to pick one or the other for my minor, I could do a made-up dual major called Political Philosophy. Worked out great for me!

My approach to college was just to take classes I thought were interesting. Had a great experience. Here are 5 that really impacted me:
1. Ethics and Moral Value Theory
2. Civic Duty
3. American Slavery and the Holocaust
4. Screenwriting
5. Anatomy of a Script (The Godfather)

a man holding a piece of paper that says ws Alt: YouTuber Ryan George as both Screenwriter Guy and Producer Guy Screenwriter Guy: Whoops! Producer Guy: Whoopsie!

If I may add, once you come up with a character name, I suggest googling that name. I wrote a rom-com with an evil lawyer named Rick Riordan. One of my readers pointed out that Rick Riordan was the name of a decently famous author. Had to go back and change it through the whole script.

a person holding a sign that says rural juror and tom houghton Alt: a person holding a sign that says rural juror and tom houghton

Also, please for the love of God, say your character's name aloud 😂

Some names can be a clumsy mouthful, which can kill the tone if its not a comedy. I remember having a character I loved in a novel, then realized to my horror that their named sounded like his name was 'cirrhosis' when read aloud.

Okay, here are my top 2 tips for naming your characters:
1. Don’t overthink it! If you’re spending days on character names, you’re wasting your time.
2. Shorter names help keep page counts down! Seriously. This should be a consideration. I love 3 and 4 letter names for this reason. Saves space!
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If your tone is more realistic, use names that are realistic but memorable. Hannibal Lecter and Clarice Starling pop! Much better than the on the nose symbolism or dumb word play of Ken E Bull and Mary Newcop. In a comedy, Brick Tamlan or The Dude feel right at home. Tone matters!
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