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p-and-p-admin · 4 years ago

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Interview given to The Severus Snape and Hermione Granger Shipping Fan Group.

https://www.facebook.com/groups/199718373383293/

Hello CorvusDraconis and welcome to Behind the Quill, thank-you so much for sitting down with us to chat.

You’re a well known and beloved figure in the SS/HG community for your many stories - including a personal favourite of mine, A chance for happiness.

Okay, let’s jump right in. What's the story behind your pen name?

I have always had a fascination for the shiny things and the Northwest Coast depictions of Raven the Trickster/Creator, and, I tend to hoard (and get super protective) of my art supplies. Corvids have always been a positive sign in my life. They tend to show up when I’m feeling down and engage in funny antics in the yard. As for dragons, I’ve always had a love for them and think the Western depiction of them as dangerous beasts with no mind but for hoarding treasure and killing people only to be slain by a knight quite despicable.

Which Harry Potter character do you identify with the most?

Severus, actually. I see a lot of my life in his. Hardships, challenges, bullying— trying to be something better and later wondering about unwise decisions. I have a very similar dislike for dunderheads, but I do not share his inclination to denude rosebushes of their petals. Do you have a favourite genre to read? (not in fic, just in general) I have always preferred fantasy and sci-fi.

Do you have a favourite "classic" novel?

I am not sure if you would call it a classic novel, but grew up on all things Tolkien (and even puzzled through the Silmarillion at the grand age of seven), and have a special place in my heart for Watership Down. While I’ve read pieces like War and Peace, Iliad, Ulysses, Pride and Prejudice, Grapes of Wrath, Moby Dick, Great Gatsby, Little Women, Catcher in the Rye, Tom Sawyer/Huckleberry Finn, Scarlet Letter, Don Quixote, To Kill a Mockingbird, Animal Farm, Jane Eyre, Lord of the Flies, Tale of Two Cities, Heart of Darkness, Robinson Crusoe, Alice in Wonderland, Great Expectations, Odyssey, Frankenstein, Dracula, Crime and Punishment, Heart of Darkness, Dr Jekyll and Mr Hyde, The Secret Garden, Treasure Island, Anne of Green Gables, Les Misérables, Peter Pan, Gulliver’s Travels, all things Jack London, 20000 Leagues, etc.— they never captured me as aptly as Anne McCaffery’s Dragonriders of Pern or Mercedes Lackley’s the Last Herald Mage. Though, if I were to pick classic stories I read more than once (litmus test for things I like) it would be things such as The Secret Garden, Call of the Wild, Wild Fang, The Hobbit, The Lion, the Witch, and the Wardrobe, and The Last Unicorn. At what age did you start writing? The moment I could pick up pencil and paper, I was writing. I had notepads full of stories I wrote as a kid. Alas, my dad found them one day when I was off to college, made fun of them, and I came home and burned every single one in mortification.

How did you get into writing fanfiction?

The moment TV shows did “stupid things” to their characters. I used to write things about Beauty and the Beast (the old CBS show) when they killed off the main character, Knight Rider, Robocop, Transformers— there are probably far more that I just don’t remember now. I was writing it long before there was a fanfiction dot net or a term to even call it. What's the best theme you've ever come across in a fic? Is it a theme represented in your own works? I am a shameless romantic for the beauty within and sometimes the quite literal love for a monster (not just some person who acts like a monster and changes into a better person.) The misunderstood monster is perhaps my most favourite theme, and it shows up in my stories often if not always. What fandoms are you involved in other than Harry Potter? I ship SessKag from Inuyasha, Lucard/Sophie from Dracula: The Series, and Loki/Hermione when I’m feeling crossover-y. If you could make one change to canon, what would it be? Do you have a favourite piece of fanon? Other than my favourite fanon that Severus lives/survives/finds a better life free of two masters and his guilt, I would say I would want Harry to wise the heck up and realise his father was a swine, his godfather was an almost successful murderer that used his own best mate to try and kill off another student, and his mother wasn’t all that hot either. I would want him to find value in himself without having to make stuff up about his “perfect” parents. Then again, I would want Vernon/Petunia to be arrested for child abuse and put in gaol, but— then the story would have been very different XD Do you listen to music when you write or do you prefer quiet? Sometimes quiet, sometimes music. But usually, I am best mates with Spotify.

What are your favourite fanfictions of all time?

In the HP universe: I honestly don’t read many of them because I’m always writing my own stuff XD, but when I really feel like I need a good Ron bashing SSHG HEA, I read just about anything by IShouldBeWritingSomethingElse. However, that being said, I often return to “The Sun is Often Out” by Hannah-1888 for just the right amount of angst and HEA to make me happy.

In the Inuyasha universe: A Trick of Fate by PristinelyUngifted

In the Marvel universe: Mutual Respect Sends His Regrets by moor

In the Star Trek universe: Gratified By Your Company by starfleetdream

Are you a plotter or a pantser? How does that affect your writing process?

I go by the seat of my feathered rump, to be honest. Inspiration is a fickle, unpredictable beast, and I usually don’t know what is going to happen until it does.

What is your writing genre of choice?

Fantasy

Which of your stories are you most proud of? Why?

Chance of Happiness because it was my very first publication. It may not have been my best, but it was my first, and it very well could have been my last yet somehow wasn’t.

Looks Can Be Deceiving and One Step Forward, Two Decades Back are two epic tales that seemed to demand being written. The fact I finished them was something I think deserves a little pride.

Did it unfold as you imagined it or did you find the unexpected cropped up as you wrote? What did you learn from writing it?

Looks started off with me attempted to write Dramione just once. It failed. Draco demanded to be her brother of the heart, Viktor came in and said “nope she’s mine,” and no one was more surprised at the outcome of that story than me. The characters did what THEY wanted.

I learned that trying to plan a story from start to finish is useless when the characters decide what they want. The story demanded more, and I was just a conduit that typed it down. For me, at least, attempting to outline and plan is utterly useless

How personal is the story to you, and do you think that made it harder or easier to write?

I think every story I write is personal in some way. The inspiration comes from somewhere inside, and I often have no idea what it is until I go back and read it later. I think the story wrote itself in a lot of ways, which made it easier in a way, but there are a lot of things I can’t say were from personal experience because as a high fantasy of talking gryphons and such I can only imagine it. There is no basis in real life on how any of that would go down. There is a freedom in that but also many challenges in making it real enough to identify with despite how alien and fantastic the idea is.

What books or authors have influenced you? How do you think that shows in your writing?

Dragonriders of Pern introduced sentient dragons and the idea that despite a vast difference in species there could be teamwork and love between the two as they teamed up against a greater threat.

The herald-mage books by Mercedes Lackley were also important staples in my childhood because it impressed the values of responsibility despite having powers others did not, and that people were fallible despite greatness and potential.

Gandalara Cycle by Randall Garrett and Vicki Ann Heydron: I cannot tell you how often I read this story. I had dog ears on these novels because there was so much I loved about them. It was a search for humanity when displaced in a seemingly alien world, societal clashes, and the great sha’um (the giant rideable cats) that were the main characters’ partners for life.

The Enchanted Forest Chronicles by Patricia C Wrede: A princess rebels against her arranged marriage by running away to be a dragon princess.

All of these books had creatures in it that chose to partner with a human and be with them for life, not as lovers that you find in the more modern supernatural romance blender out there, but the ultimate friend for life— the family you choose.

Do people in your everyday life know you write fanfiction?

Oh heck no. Hah. They have their secrets, and I have mine. Personally, I think mine are more healthy than theirs.

How true for you is the notion of "writing for yourself"?

Very.

I write for myself. Sometimes I’ll write a story for one of my betas or a sshg friend, but for the most part, I write for my own entertainment because nothing like what I write is out there. There is a lot of SSHG out there, but mine is almost always a creature feature story. I blame X-Files growing up. It tickles me that others enjoy my stories, but in the end I write to get things down and out of my head. They just so happen to entertain others as they do me.

How important is it for you to interact with your audience? How do you engage with them? Just at the point of publishing? Through social media?

I will often engage in A/N talk at the end of chapters, but I really don’t engage in the fandom. I loathe social media. That being said, I read every review, and while I don’t reply to everything because FF dot net is a horrible platform for messaging anymore (or ever was really)-- I appreciate every single one. Sometimes it helps to know people are enjoying the story for the story’s sake.

What is the best advice you've received about writing?

Get a beta, even if you are pretty good at writing. Get one because a second pair of eyes will catch things you don’t. Read your own stuff out loud. If you trip over it, your audience will too. If you stumble, so will they.

Get a beta who isn’t afraid to tell you that your shite stinks in places and you make no sense. You may want a cheerleader, but what you need is a beta. If you are super lucky, you can have both at once.

What do you do when you hit writer's block?

I play computer games and sew things. I’ve sewn a lot of things lately. Scrub caps and masks for work—

There has been a lot of writer’s block lately due to the times, and I will not write when I’m uninspired. I will not force inspiration. That’s not fair to me or those unfortunate enough to share in the reading. I want to be able to go back on a story I wrote and enjoy it and not curse at myself. XD

Has anything in real life trickled down into your writing?

Sometimes certain catch phrases and things from real life friends have trickled in as a sort of Easter egg (unbeknownst to them since I don’t tell them I write fanfic). Sometimes random news stories or whatnot find their way in. Lessons of the day. Random events. Things that are too odd not to stick in my brain somehow. I can’t say I always do it on purpose, though.

Do you have any stories in the works? Can you give us a teaser?

No, I have a goal this year to finish off the unfinished stories. This is made harder because Dragon and the Rose keeps adding more and more bunnies into the idea bin, and my brain wants to run with them, but I’m like NO DANGIT, I HAVE STUFF TO FINISH STILL! It’s a hard thing trying to finish what you start when so much interesting stuff pops up and waves at you like “heeeeeyyyyy I’m cool too!”

Any words of encouragement to other writers?

Keep writing but remember you can always be better. You can always improve. Writing isn’t a popularity contest. It isn’t about how many reviews you get or how many fans you may or may not have. Write because you want to write. Write what you like not what other people like. Write for you because in the end, you are the one who goes back to read it and say “I wrote this story, and I still love it” instead of forcing yourself to write something just because the topic is “popular” and gets a lot of visitors. Write something you’ll be proud to go back and read and enjoy. You’ll find when you write something genuinely, readers will come. And if only one person leaves you a paragraph review on how much your story meant to them out of someone else’s hundreds of “great!” (with nothing else)-- think of what you value more.

If my story helped someone through a dark time.

Just one person—

Then it was a good effort.

Maybe that person didn’t have the bravery to leave a message. Maybe they are ashamed. Maybe they send you a PM instead of a review.

That is, to me, the ultimate reason why I realised that despite writing stories for myself that there are people out there that needed to hear my story at just the right time in their life. If my story can bring a little joy to someone else, then it doesn’t matter how many reviews I have. It doesn’t matter that I don’t have thousands of reviews like “that other author.” What matters is that I told my story; someone out there read it and it spoke to them.

I love hearing from people and what they liked about my stories, but I also am glad that there are some people out there who secretly like my stories but do not feel safe enough to review.

So, I would say to the aspiring author: write for yourself but share it. You never know whose day you will make with your story. They may never tell you. They may tell you years later (happened to me!). There is a good chance that someone out there needs your story as much as you need to write it. That being said, find yourself a beta to share your journey with you. You may find a few friend in the process.

Thanks so much for giving us your time.

You are quite welcome.

#fanfiction #fanfic #ss/hg #snamione #writing

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weclassybouquetfun · 5 years ago

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Domhnall Gleeson and Phoebe Waller-Bridge were separated by timelines in a galaxy far, far away

But are now united in the upcoming HBO / Sky series RUN.

Waller-Bridge is co-creator/ co-writer and co-executive producers (she will also appear in an episode) in the series which is categorized as a romantic comedy-thriller starring Gleeson and Merritt Wever (Marriage Story).

Gleeson and Wever are Billy and Ruby college sweethearts, now exes who promised one another that if either of them texted the other "Run", and the other replied in kind, then the pair would leave their lives behind to travel the country with each other. Now 17 years later the text has come through.

The series bows not too soon after Gleeson's other project, the sequel to Peter Rabbit.

Don't think I'm not here for "Peter Rabbit 2: The Runaway" for the continuation of Domhnall being pummeled by a CGI rabbit cos I am.

Domhnall, brother Brian and da Brendan stay busy.

Brian was on the most recent series of "Peaky Blinders" as Scottish gangster Jimmy McGovern who was giving the blues to the long-suffering Tommy Shelby (Cillian Murphy). I thought he was fine, but other viewers had other feelings about the Irish Brian taking on a Glaswegian accent.

Brendan's TV future is a bit wobbly. He is currently in Canada filming the miniseries A HIGHER LOYALTY based on James Comey's memoir with Jeff Daniels playing Comey and Gleeson playing the Idiot-In-Chief Donald Trump. But Brendan's regular gig is in turmoil. Season 3 of AT&T's Audience Network original series "Mr. Mercedes" ended not too long ago and it was recently reported that AT&T is pulling Audience Network leaving its series like "Mr. Mercedes", the Ron Livingston' comedy "Loudermilk" and the Max Irons' spy-thriller "Condor" (S2 is in the can but airdate is pending) in the wind. Potentially the shows could go to HBO Max but that has yet to be determined.

Don't leave me, "Mr. Mercedes" cast.

Just as "Mr. Mercedes" Justine Jupe has been pulling double duty by playing Holly Gibney on the series and Willa on HBO's "Succession" -

The character of Holly Gibney is pulling double-duty as she is currently in HBO's "The Outsider"; this time played by Cynthia Erivo.

#fleabag #Phoebe Waller-Bridge #domhnall gleeson #merritt wever #peaky blinders #brian gleeson #tv #television #run #uk actors

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viewax · 4 years ago

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The Best 3 Horror Authors of All Time

Many people love reading books that induce feelings of terror and horror, which is fulfilling, thought-provoking, and enriching. Since we all love and read horror books, here is a list of some of the popular horror authors.

#1 Stephen King

King's books have millions of copies worldwide. Most of these books have been adapted into comic books, mini-series, TV series, and movies. He has also published over 60 novels. Additionally, he has written around 200 short stories. His best work, which is his latest novel, could be regarded as his major accomplishment. Some of his favorites from the last ten years include Mr. Mercedes, The Outsider, Finders Keepers, and The Bazaar of Bad Dreams. King is also the beneficiary of the National Book Foundation Medal for Distinguished Contribution to American Letters.

#2 Clive Barker

Barker is an English horror/fantasy writer who is recognized as the world's selling author. His best works include Imajica, Secret Show, and Galilee. He is also a visual artist, film director, and playwright.

#3 Anne Rice

The author's original hits - such as include Prince LeStat, Interview With A Vampire, and The Vampire Chronicles - will always make her a perpetual member of our best horror author list. Rice has written over 30 books; the most recent ones include the Toby O'Dare novels Of Love and Evil and two novels that tell the story of Jesus.

Looking for horror books by the best authors of all time? Register an account with Viewax.com.

#viewax review #viewax reviews #ebooks #books #horror #terror #fantasy

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adre-film-online-hd-blog · 4 years ago

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Mega-Cuevana Ver Ahora! Padre no hay más que uno 2 [2020] Online en Latino ™HD-4k

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▶ Ver Ahora 👉👉 https://t.co/JkrEEWdjAu?amp=1 ⤋ Reloj In HD 👉👉 https://is.gd/97Osyd

Género: Comedia, Familia Estrellas: Santiago Segura, Toni Acosta, Martina D’Antiochia, Calma Segura, Luna Fulgencio, Carlos G. Morollón Personal: Santiago Segura (Director), Santiago Segura (Producer), Santiago Segura (Writer), Roque Baños (Original Music Composer), Mercedes Gamero (Producer), Fran Amaro (Editor) País: Spain Idioma: Español Estudio: Atresmedia, Sony Pictures, Bowfinger International Pictures Duración: 96 minutos Calidad: HD Lanzamiento: Jul 29, 2020

SINOPSIS El éxito del asistente virtual Conchy, desarrollado por Javier, le ha valido un lugar favorable en la sala de chat de los padres, hasta que algo inesperado lo arruina todo.

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Definition and definition of Film / film

While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful.

❍❍❍ TV FILM ❍❍❍

The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season.

❍❍❍ formats and genres ❍❍❍

See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In 2020, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2020, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV.

❍❍❍ Thanks for everything and have fun watching❍❍❍

Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film. Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings! Thank you for watching The Video Today. I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited. Scatter a happy smile so that the world returns in a variety of colors. ”

#padre no hay más que uno 2 #2020 #pelicula completa #espanol latino

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haltandcatchfiretothemax · 5 years ago

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I think I’ve posted quotes from this piece, but I don’t think I ever read it in its entirety? Either way:

FIRST, a relevant excerpt!

Donna and Cameron may not be the only heart of Halt and Catch Fire — it's a show that, despite only a small ensemble, has made remarkable use of the histories connecting each and every character — but they're certainly one of its hearts, the relationship that triggered the show's growth through its second and third seasons and the separation that has beautifully tinged this season with discomfort and regret. I assume I'm not the only Halt and Catch Fire viewer who has watched every episode this season just waiting for somebody to lock Donna and Cameron in a room and make them hash out their problems.

SECOND: do you ever sit around thinking about Halt and Catch Fire’s legacy? Because as a social scientist and critic, I know I sure do!

I admittedly don’t have a better name for it, but I don’t love the moniker ‘Sad TV’. I don’t think of any of the shows named in this article as ‘sad’ so much as I just understand them to be programming meant, for, you know, adults, who have enough life experience to appreciate the stakes involved? In particular I don’t think of Halt as ‘sad,’ by season 4 it feels like a hopeful (if not exactly optimistic), brave, future-facing show. Hope and despair go to together. (We learned that from The Dark Knight Rises, didn’t we? That movie deserves its critiques but it also deserves the love that bereaved folks have for it.) You only really know what hope is when you’ve been devastated, and you finally get to that point where you think that you will and might even want to survive.

Halt is about a bunch of characters who want to survive, even if only out of spite, and who want to believe that they can effect real, positive change, even if only in the tech industry, who want to work together, because they’ve figured out that their partnerships are the actual most important thing. Especially at this juncture, I really can’t think of anything more uplifting than human beings realizing that it’s good and okay to care about each other and about wanting to make the world slightly better, and still trying, even after they’ve lost the people or relationships that mattered most to them, even after they’ve struggled for so long in isolation. Do you have to go through something like that in order to want your life and do good things with it? I mean, technically no, but realistically, that’s often how it works. Bad things happen to us, because they happen to everyone, and we deal with them as graciously as our mental health and other circumstances will allow. If we’re lucky, we learn from it, and we build solid relationships from it.

Since Halt’s finale, I find myself looking for shows that remind me of it. Shows that are hopeful, but that don’t lie about how most hope is hard-earned. Shows that are about found family, about characters who have been through some real shit and are looking for and finding a place where they can build a personal and professional niche where they can thrive together and individually, and that focus on the effort that goes into that, and how interpersonal failures and setbacks can be really sad, but can also sometimes be really funny.

This article suggests that Halt is part of a real trend, and I can’t tell you what the source of that trend is, exactly, but my hypothesis is that it’s another major ripple of what I think of as The Parks and Rec Effect (h/t @wuschwusch <3). Sometimes I think we might take for granted how Parks and Recreation represented a real departure in network sitcoms, which for a long time were literally just about how rich yt city people are unbearably annoying. For all of its flaws, Parks didn’t resort to ugly or oppressive humor, it found ways to draw attention to and make fun of that kind of ‘humor’ and it got most of its laughs from Leslie Knope’s knack for taking on just slightly too much, and then having to solve the problems that would create for her and her coworkers. We see this in writer and producer Michael Schur’s other big shows (Brooklyn Nine Nine and The Good Place) too: these are all shows about the wacky hijinks that ensue when you try to do good things in this hell world, and, uh, that’s pretty much what Halt is, too? Halt just has a slightly different tone, and it’s about how characters who don’t bounce back quite so well after a setback.

Watching characters like the cast of Halt flail miserably, and other darker, less hopeful iterations of this (like The Americans, or the more recent Mr. Mercedes) isn’t going to appeal to everyone, as the article says. That they exist also indicates a real change in tv and the stories that we tell, especially now that we’re seeing uplifting downer shows on US network tv? It is now possible to see characters who are bereaved, mentally ill, recovering addicts, abuse survivors, alienated from themselves, and buckling under the weight of life and/or the state’s demands, even on network television, and not just on standard legal, medical, and crime dramas, but in their own stories and camp and melodrama-free series about coping with loss, illness, recovery, and adult loneliness! Quite honestly, what a time to be alive!

The article comments on how one such network drama, This Is Us, does have the numbers and the high viewership, which…I believe that there’s an entire article to be written on why that is, but for me to be able to write it I’d have to watch it first, which I haven’t, because the only thing I keep hearing about it is that it’s a cheesier, inferior version of Halt. (The author of this article even says as much, even though he makes a point of saying so as kindly and charitably as possible.) Because I have a lot of experience with watching many other US network family dramas and night-time soap operas, I’m familiar with the kind of melodrama such shows deal in, and so my hunch is that This Is Us (as well as ABC’s seeming copycat, A Million Little Things, the pilot for which I did watch, it was…something) isn’t actually as comparable to series like Halt, The Americans, and The Leftovers as this article makes it out to be.

This not entirely informed initial judgment aside: I don’t know exactly where this new approach to television storytelling came from, or quite how it jumped genres and channels, but it came from somewhere. My guess, based on my own tastes, is that at least part of it was fatigue with anti-hero series. (And just in time to provide an escape from the real-life political consequences of encouraging viewers to sympathize with and root[/vote?] for truly terrible, reckless, destructive people!) Maybe part of it is also a certain amount of fatigue with franchise and genre shows, which can sometimes feel a little too epic, and which can sometimes feel a little tedious even when they’re good and interesting? (…you know what I mean, if you’ve seen epic shows, it’s almost like getting kind of boring is built into them as a feature.)

What I do know is that, I quite literally love to see it! Even for all of the complaints and critiques and griping I’ve voiced here, overall, Halt has always been the kind of tv that we deserve. Well-written, well-acted uplifiting downer comedies, dramas, and dramedies are what we all deserve, and having more of them be more accessible and not be limited to cable and streaming services feels like it can only be a good thing.

#...really did not mean for this to get quite so long #so ty to everyone who reads it in advance!#and ty to everyone who enables my amateur tv critic habit #meta monday #is it meta?#...or is it just continued fangirling? i guess we just don't know!#article

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harrisonstories · 6 years ago

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Above and below: George Harrison and Sir Jackie Stewart at the Gunnar Nilsson Memorial Trophy meeting in Donington Park, England, Middle: George driving the Lotus 18 at the same event (3 June 1979)

NOTE: This is a rather long but refreshing read about a side of George’s life which doesn’t get talked about much. Here is an interview George and Jackie did at the Gunnar Nilsson Memorial Trophy.

A Beatle’s new mania

George Harrison, former lead guitarist with the legendary Beatles pop music group, talks to Chris Hockley about his passion for Formula 1, fast cars and a private life

IT’S PUZZLING in a way why George Harrison has such a fervent passion for fast cars and motor racing. For since the mind-boggling days of the Swinging ‘Sixties, when as one of The Beatles he was swept towards super-stardom and super-richness on a tidal wave of hysteria, the pace of his life has slowed to a virtual crawl.

Gone are the days when he had to make a run for it through thousands of screaming pop fans. Today, you are more likely to find him in his wellies, gently pushing a wheelbarrow towards carefully-tended flower beds in the vast grounds of his palatial country mansion.

Gone are the days when he lived out of a suitcase and wasn’t sure if he was in London, New York, Tokyo or Cloud Cuckoo Land. Today, he meditates silently for hours in his own temple.

Gone are the days when girls scratched each other’s eyes out as they fought to touch a fragment of his clothing. Today, he is happier to stay at home with his wife Olivia and their 10 month-old son, Dhani.

Yet there is still one public side to the private Mr. Harrison. For as well as being one of the world’s most famous pop stars, he has gradually become the world’s most famous motor racing fan.

“I’m getting too well known at motor races now,” he grins – as he is beseiged by a swarm of autograph hunters who have just rushed past Mario Andretti. “It was my hobby, now it’s getting like work again.”

George’s lean and craggy features are a frequent sight at Grand Prix meetings around the globe. His name is enough to ensure him VIP treatment, but he reckons he repays all the behind-the-scenes privileges he enjoys by attracting publicity for the sport.

Though he is often to be seen in the midst of a cluster of photographers, he does not go out of his way to court glamour. Harrison goes motor racing to see and not be seen.

He has been a genuine enthusiast since the days when he was just another poor kid from the streets of Liverpool, digging deep into his pocket to get into the city’s Aintree circuit during its heydey in the ‘Fifties.

He loves talking about racing. To him it represents a refuge from never-ending questions like: “Are the Beatles ever going to get together again, George?” Or, “Is it true that Paul McCartney once had a bunion on his right foot?”

In his slow, deliberate – and knowledgeable – Scouse drawl, George will tell you about oversteer, understeer, gear ratios and why he hopes Jody Scheckter will be world champion this year.

And he will rave about Fangio with the same 12-year-old’s wide eyes that watched the great Argentinian dominate the 1955 British Grand Prix at Aintree with Mercedes team-mate Stirling Moss.

“I can’t remember why I started going to Aintree – I think I just saw a poster advertising a race,” he says. “Anyway, I used to go there whether it was a big or small meeting, take my butties and sit on the Railway Straight embankment to watch the race. I went to a lot of bike meetings as well – I was a big fan of Geoff Duke!

“I had a box camera and went round taking pictures of all the cars. If I could find an address I wrote away to the car factories, and somewhere at home I’ve got pictures of all the old Vanwalls, Connaughts and BRMS. All that stuff got lost when I went on the road with The Beatles, but I’m sure it’s still in my dad’s attic.”

Such was his enthusiasm that it was a question of whether cars or guitars would dominate his life. He couldn’t afford both…he couldn’t afford either, really. because he had to borrow the £2 10 shillings he needed to buy his first guitar. Luckily for him, he opted for pop.

“By the time I got any money at all I was 17 or 18, getting a couple of quid a week from a few concerts in Liverpool. But I got so involved with rock ‘n’ roll and The Beatles – we were on our way to making records and all that – that to tell you the truth I completely lost touch with motor racing apart from watching the odd bit on TV or reading magazines.”

As the Fab Four became the world’s top pop stars, so they were able to call the tune and ease up on their stamina-sapping schedule. George found himself free to head back to the tracks once more…and in true showbiz style aimed straight for Monaco.

It was there that he met the man who helped him to step backstage of big-time motor racing – Jackie Stewart. George found an instant affinity with Stewart, not least because Jackie wore his hair long and was an outspoken critic of the established order, two keystones of the “rock revolution” of the late ‘Sixties and early ‘Seventies of which Harrison was so much a part.

George said: “Jackie did such a lot for the sport and was criticised for it. People moaned and groaned when he wore fireproof suits and talked about safety – things which are so obvious and practical now but at that time were being put down.

“Another thing was that he always projected the sport beyond just the racing enthusiasts which I think is very important.”

It is Stewart, always a big Beatles fan, who has given George an appreciation of the finer points of the racing art, often driving him around circuits – he scared the pants off Harrison at Interlagos this year – or showing him the best places to watch from “inside” of the track.

“I always enjoy the last session of the qualifying best,” says George. “Jackie taught me how to get the most from it by wandering around the circuit to watch from different places. That way you really get into how cars are handling gear ratios, the whole thing.”

The rapport between the two was vividly illustrated at the recent Gunnar Nilsson Campaign meeting at Donington, where both took part in a demonstration of classic Grand Prix cars. Afterwards, Harrison changed into jeans and sweater, while Stewart stayed in his racing overalls plus the mandatory black corduroy cap. As they walked into the royal enclosure to watch the afternoon’s racing, Stewart turned to Harrison and said: “I don’t know why I am dressed like this.” “Because you’re a twit,” came the reply.

Friends say that of the four ex-Beatles, Harrison is the one who has kept his feet closest to the ground. He seems to have retained the “love and peace” message of the flower power era and has refused to be swayed by the cynicism of the ‘Seventies.

His easy-going manner has made him a popular figure among the Formula One drivers, and he has become friendly with many of them.

“It’s obviously an advantage for me to be sort of independent,” he says. “I’m not like a spy from Ferrari or Lotus or anything like that. It’s a very nice position to be in – I am no threat to anyone so they are friendly towards me.”

His close contact with the drivers has also changed his attitude to them. Like most race fans, he has had his idols – Fangio because he was top dog in his childhood. Graham Hill because he was “a very English gentleman,” Jackie because he was Jackie and so on.

Now, there are no more heroes. “It’s difficult to single anyone out because I’m much closer to them. I mean, there’s people like Jochen Mass who might never be world champion but is such a nice person.

“But I want Jody Scheckter to be world champion this year. It would be good if Grand Prix racing was like the music business, where you can have a No. 1 hit and then get knocked off by your mate for his turn at No. 1. But unfortunately it isn’t like that. There is a point where you are just ‘ready’ to be a world champion, and if it doesn’t happen, it could be all downhill from there.

“Jody is ready – he’s got the car and the team, and mentally he’s right there. To get in the right team at the right time is almost impossible. It happens, like Mario last year – he was very fortunate in having that car.

Take Villeneuve. He’s very good but he’s still a bit young and more prone to making mistakes than Jody. He’s got a lot of years ahead of him, though. That’s why I’d like to see Jody get it now.

“Alan Jones is another one who’s ready. He’s great, he’s mature and he’s ready to win. And now he has got a really good competitive car. Maybe next year Alan Jones will be right at the head of the championship.”

Harrison is no sluggard himself. He drives a Porsche Turbo and what he calls an “old” Ferrari Dino Spyder. There are whispers about 140 mph tyre-squealing burn-ups on a 10-mile “circuit” around his incredible home – Friar Park, near Henley-on-Thames.

Certainly it is not difficult to imagine a glorious road circuit winding through the 33-acre wooded grounds. Nothing would come as a surprise after the mansion itself – a £2 million fairy palace that would do credit to Disneyland – and other amazing features of the grounds like three lakes built on different levels, a series of caves filled with distorting mirrors, model skeletons, glass grapes and hundreds of the proverbial garden gnomes…and an Alpine rock garden including a 100ft high replica of the Matterhorn!

But George though he admits he sometimes has “a spin through the woods,” insists that the burn-up stories are exaggerated: “It’s all very slow speed around the garden – you know tractors and wheelbarrows and things like that…”

He has, however, had a go at the real thing. He took his turn at the wheel of a Porsche 924 in a 24-hour run for the Nilsson campaign at Silverstone, organised by his local sports car specialists, Maltin’s of Henley.

He drove Stirling Moss’s famous Rob Walker Lotus 18 at the Nilsson’s day at Donington, where Jackie Stewart managed to frighten him yet again by blasting his Tyrrell around at full pelt at the same time.

And he has even managed to get his hands on a modern generation Formula One car. It was at Brands Hatch two years ago, the time when former world motorbike champ Barry Sheene, another good friend, was thinking of moving into car racing. Sheene took George with him when he tried out a Surtees TS19 with a view to having a crack at the British Aurora Formula One series.

It was an occasion which George remembers with more than a slight grin…

“Barry persuaded John Surtees to let me have a go. But John said: ‘He’s got no gear.’ So Barry rips off his fireproof vest and says to me ‘Here y’are, you can wear this.’ I just slipped on this sweaty old thing and borrowed John Surtee’s crash helmet. I got in the car and said: ‘I’m not going to go fast because I haven’t even walked around Brands Hatch, let alone driven round.’ So he said: ‘Oh shit, you had better get in my road car.’

“Well, we went bombing off round the track in his Mercedes and he was saying things like: ‘Keep it over to the left here, make sure the tail doesn’t flick out too much here, and so on. I was just hanging on for dear life.

“I got in the F1 car and thought ‘Now, what did he say?’ Then, while I was pulling away in the pit lane, trying not to stall it, I was thinking ‘God, it’s windy in this car.’ I hadn’t even remembered to close my visor!

“Still, it was a great feeling. Although some people have told me it wasn’t a very good Grand Prix car, believe me if you hadn’t driven one before it was fantastic. It was like, wow…those wheels just dig in round the corners.

“I didn’t go very fast. I just signed the chitty saying that if I killed myself it wasn’t John’s fault!”

George, now 36 years old, is unlikely to do a Paul Newman and turn his hand to serious racing. He is honest enough to admit he is apprehensive of the dangers.

Neither is he likely to become involved in large-scale sponsorship, despite a reputation for generosity (it is said that he once gave the landlady of his local pub three rubies for her birthday).

He has dabbled in a small way with bike racing – last year he backed Steve Parrish, who he knew through Barry Sheene, when Steve lost his works Suzuki ride. But this year he has turned down an approach for £185,000 to run a BMW M1 in the Procar series – and has no intention of following in the footsteps of Walter Wolf or Lord Hesketh by setting up his own Grand Prix team.

“What with living in England and the tax I pay, it takes a long time to get some cash anyway, and the last thing you need is just to give it away. You need too much money to do the job properly in Formula One. If I had £3 million to give away, which I haven’t, there’s probably better things to give it to than motor racing. Like the starving, for example.”

The last comment reflects Harrison’s continued commitment to the impoverished parts of countries like Bangladesh and India. All the royalties from one of his albums go into a foundation, and from there the cash is handed out to various charities.

There is a chance that in the years to come, George’s enthusiasm may rub off on his son, and we may yet see a Harrison out there on the track. After the usual parental head-scratching, George concedes that he would not stand in the way if Harrison Junior opted for cars instead of guitars – “though by that time they’ll probably be driving missiles or something.”

But for the time being at least, George will stay on the outside looking in. A weekend at the races will go on being the noisy, urgent, smelly and exciting contrast to the gardening and the meditation.

And a brief glimpse of the one public side to the private Mr. Harrison.

- MOTOR magazine (28 July 1979)

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tabloidtoc · 5 years ago

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TV Guide, November 11-24

Cover: Dolly Parton on her drama Heartstrings

Page 2: Contents

Page 4: Ask Matt -- Treadstone, Mom, Feedback, Coming Next Issue -- Blue Bloods

Page 6: How Hallmark took over TV

Page 8: Good Medicine -- Lung Cancer Awareness Month

Page 14: Family -- Blue’s Clues & You, Xavier Riddle and the Secret Museum, Marvel’s Hero Project

Page 16: The Roush Review -- High School Musical: The Musical: The Series and Encore!

Page 17: The Morning Show, His Dark Materials, Dublin Murders

Page 18: Cover Story -- Dolly Parton bringing her songs to life

Page 20: Season 3 of The Crown

Page 22: Paul Reiser and Helen Hunt on Mad About You return

Page 24: What’s Worth Watching Week 1 -- The 53rd Annual CMA Awards

Page 25: Monday, November 11 -- Days of Our Lives, The Pacific, The Voice, Alive, The Good Doctor

Page 26: Tuesday, November 12 -- Rob “Caveman” Alleva and Adam Thorn on Kings of Pain, Ambitions, Mr. Mercedes, New Amsterdam, Dolly Parton: Here She Comes Again

Page 27: Wednesday, November 13 -- S.W.A.T., The Masked Singer, The Big Interview -- Bob Costas, The Preppy Murder: Death in Central Park, NBA Basketball

Page 28: Thursday, November 14 -- Jason Ritter on A Million Little Things, Will & Grace, Carol’s Second Act

Page 29: Friday, November 15 -- A Godwink Christmas: Meant for Love, Jeopardy! Tournament of Champions, American Housewife, In Search Of -- Nazi gold, Saturday, November 16 -- Sesame Street, A Classic Christmas (My Music), Saturday Night Live -- Harry Styles, college football

Page 30: Sunday, November 17 -- Alan Alda on Ray Donovan, God Friended Me, America in Color, NASCAR, NFL Football

Page 48: Streaming Section -- Netflix -- Holiday in the Wild, The Knight Before Christmas, Let it Snow, Klaus, Hache, Dirty John

Page 49: Disney+ -- The World According to Jeff Goldblum, the Star Wars collection, Hulu -- Kat Dennings says she didn’t talk to best friend for a long time because of who she was dating. Could that have been Tom Hiddleston?

Page 50: Prime Video -- The Man in the High Castle

Page 51: The Feed, binge on James Bond films

Page 52: New Movie Releases

Page 53: Series, Specials and Documentaries

Page 54: What’s Worth Watching Week 2 -- The Chaperone

Page 55: Monday, November 18 -- Wilson Bethel and Simone Missick on All Rise, Live With Kelly and Ryan, Love It or List It, NFL Football

Page 56: Tuesday, November 19 -- Katey Sagal on The Conners, FBI, Frontline: For Sama

Page 57: Wednesday, November 20 -- Nature, SEAL Team, Holmes and Holmes, Stumptown, Back in the Game, It’s Always Sunny in Philadelphia

Page 58: Thursday, November 21 -- Walton Goggins on The Unicorn, Murder, She Wrote, Chasing the Sun, NFL Football

Page 59: Friday, November 22 -- Hawaii Five-0, Fresh Off the Boat, Long Lost Family, Gold Rush: White Water, Comedy Central Stand-Up Presents...Sara Schaefer, Saturday, November 23 -- Us, College Football

Page 60: Barrett Foa on NCIS: Los Angeles, 2019 American Music Awards, The Walking Dead, GilMORE the Merrier, NFL Football

Page 88: Cheers & Jeers -- Cheers to This Is Us, Seth Meyers, Watchmen, Timothy Simons, Jeers to Castle Rock, a Clueless idea for a reboot, Dancing With the Stars

#tabloid #tv #television #television shows #dolly parton #kat dennings #tom hiddleston #hiddleston #hiddles #dollface

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thehanniecorner · 5 years ago

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Yes, I realize that this post is coming out nowhere near January, but I have been finding it difficult to keep up with blogging lately, so it is what it is, right? Hopefully, things have calmed down enough in my life that I can get back to writing semi-regularly, but no promises yet! Regardless, I read a lot in January and am eager to share my thoughts with you. Let’s get started!

I hope this reaches her in time – r.h. Sin

Rating – 1 Star

Unfortunately, I started off my year with what may turn out to be my least favorite title of 2020. I hope this reaches her in time is a poetry collection, and while I like to pick up poetry once in a while, I didn’t connect with this collection at all. First of all, it felt like there should have been a little more editing, as I found a number of sentences and word choices that I think might have just been typos. Beyond that, the poetry itself reminded me of the “Tumblr style” where poets just break a normal sentence into multiple lines to make the words feel deeper than they really are, which is not a style I enjoy at all. The good news is, however, that my reading can only get better from here, right?

Emergency Skin – N.K. Jemisin

Rating – 5 Stars

After reading an incredibly underwhelming title, I decided to give N.K. Jemisin’s Emergency Skin from Amazon’s Forward collection a try, figuring that an author this popular couldn’t possibly let me down. Thankfully, my instincts were right and I loved this short story so much. Given how short this experience is, I don’t want to give too much away, but I will say that this is a phenomenal science fiction story with the best usage of second person narration that I have ever seen in literature. This was my first title by Jemisin and I can’t wait to read more of her work in the future.

Randomize – Andy Weir

Rating – 3 Stars

Since I loved Emergency Skin so much, I wanted to give another short story from the same collection a try, which led me to Andy Weir’s Randomize. This wasn’t bad at all, but I didn’t love it to nearly the same degree as Jemisin’s work. The hardest part for me is that the central premise, involving the security of gambling machines and whether they can be hacked or not, felt both flimsy and info-dumping in its setup. The ending was pretty satisfying and I had fun reading this, but I came away from the story feeling like not enough had really been done with the universe. I’m hoping to get to more of the Forward short story collection a try in the coming months, so I hope I enjoy the others more than I enjoyed this one.

Interview with the Robot – Lee Bacon

Rating – 4 Stars

I decided to pick up an Audible subscription recently in order to read more audiobooks, and Interview with the Robot was one of the Audible Original productions available one month, so I decided to pick it up. This short audiobook with a full cast follows a robot who looks like a young child. She gets apprehended by the police and has to tell her strange life story to a social worker in charge of her case.

While listening to this story, I had a smile on my face from beginning to end because it was just so charming and adorable. That said, however, there were a few pretty good twists and turns that I didn’t see coming and definitely made me feel a lot of empathy towards the protagonist. Overall, my main complaint is that it was just too short, at around three hours of listening. I want more from this world in the future, so I hope some sort of sequel comes out eventually.

The Last Wish – Andrzej Sapkowski

Rating – 3 Stars

2020 is the year that I work my way into adult fantasy, and other than reading Game of Thrones last year, reading The Last Wish is one of the first titles that I have ever picked up in the genre. This series follows Geralt, a witcher, which is a type of mutated human that fights monsters, as well as the many people that surround him. This specific book is a short story collection that follows, for the most part, Geralt as he goes from contract to contract, killing monsters.

I love the lore and world of the Witcher universe, but I’m not totally convinced that I appreciate the writing style. It’s hard to tell if this is because of the translation or this is the intention of the original author, but there was a lot of distance between the narrator and the events happening, which made me feel disconnected from the story. I still intend to continue on, especially after I completely fell in love with the TV series, so I hope that I will connect more with future books and get used to the writing style.

The Outsider – Stephen King

Rating – 4 Stars

Stephen King is an author that I should read way more than I do, because I only pick up one or two of his books in a year, but I almost always enjoy them. As it turns out, The Outsider is no exception. This horror novel follows a group of detectives as they investigate the death of a young boy in a small town. The obvious suspect is the town’s little league coach, as the evidence is quickly mounting up against him. As the case opens up, however, conflicting details emerge and the truth becomes more difficult to grasp.

Overall, I really enjoyed the mystery and couldn’t stop reading for the entirety of this 600-page tome. Stephen King has a way of making long books feel like they go by in an instant. Unsurprisingly, however, the ending was incredibly underwhelming. Additionally, The Outsider is connected to the Mr. Mercedes trilogy, which I didn’t know, and I got pretty spoiled for the events of that series, which is unfortunate. On top of all of this, I would like to take a moment and point out that the graphic depictions of the child’s death did not really need to be so detailed, much less have those horrific details brought up at least a dozen more times over the course of the book. It just felt gratuitous after a while. I enjoyed this book immensely, but the details I mentioned above kept it just barely out of five-star territory.

Every Heart a Doorway – Seanan McGuire

Rating – 4 Stars

Since The Outsider was quite a lengthy read, I wanted to pick up some shorter titles again, leading me to finally pick up the start to a fantasy series that has been on my radar for a long time: Every Heart a Doorway. This series follows a group of children that found doorways to their own personal versions of Narnia and Wonderland. At some point, however, their newfound homes kicked them back into the normal world and they have to learn how to cope with returning to their own life. A halfway home of sorts was founded for children struggling with this task, and as it turns out, bringing a bunch of children together who have all gone to vastly different worlds can cause some pretty crazy antics and disagreements.

I love the characters, but didn’t find the plot of this overly engaging. Given that my rating is still high, it’s clear that my disinterest in the plot wasn’t a deal-breaker by any means, but I just struggled to stay interested, especially given that I guessed the big plot twist almost immediately. Since these books are so short, I will definitely be reading the sequels. In fact, given how late this wrap-up is, I can say with great certainty that my February wrap-up will have a lot of news regarding my progress on this series.

Outer Order, Inner Calm – Gretchen Rubin

Rating – 3 Stars

I like to try reading books that push me out of my comfort zone, and it has been a long time since I read anything that might be considered a part of the self-improvement genre. Therefore, as a chronically messy person, I thought reading Outer Order, Inner Calm might be an interesting adventure, given that the whole book is dedicated to getting rid of unwanted junk to keep life peaceful.

This was an incredibly easy read. The writing style was simple and easy to digest. Reading it was actually a pretty pleasant and relaxing experience. That said, however, I’m not sure how useful I actually found the book, as the advice felt like it was playing it pretty safe. For the most part, the tips went like “Get rid of things you don’t use anymore” and “Clean your house” with about 75 different variations, each. I’m glad I read it, but I don’t think I got much out of it.

Everything My Mother Taught Me – Alice Hoffman

Rating – 4 Stars

My final read for the month of January was another short story from an Amazon collection like the Forward collection. This is Everything My Mother Taught Me, and it’s my first attempt at reading Alice Hoffman. This follows a young girl who is living at a lighthouse and trying to navigate coming of age with her dysfunctional mother around her. I can’t say much more than that given how short the story is, but I did really enjoy this. This is a common complaint for me with short stories, but the main reason it didn’t get five stars is because it just didn’t feel fully fleshed out. When I read Emergency Skin, I felt like Jemisin did a phenomenal job of packing a full story into a short amount of pages, and Everything My Mother Taught Me didn’t manage this as successfully. I’m still quite eager to pick up more books by Hoffman, however, as I enjoyed her writing style.

Well, now that it’s almost March, I have finally shared what I read in January. What did you read in the first month of the year? Let me know in the comments below!

January 2020 Reading Wrap-Up! Yes, I realize that this post is coming out nowhere near January, but I have been finding it difficult to keep up with blogging lately, so it is what it is, right?

#books #reading #tbr #wrap-up

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readwithem · 5 years ago

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Back to basics

I'm a sucker for thriller fiction and also, somehow, a sucker for the second parts in series. I don't know how or why, but when i pick a book (especially in a hurry), i always get the second one. It happened to me in an airport where i saw a Stephen King book. It was Finders Keepers. Of course, i didn't check the reading list, silly me. Luckily, it is a great book even if read on its own. I got so hooked on it that i wanted to know what happened before, which happens in the famous Mr. Mercedes (there's a show on it, now). It didn't disappoint, as expected of Stephen King.

Bill Hodges, a retired one-of-his-kind detective, is bored out of his mind missing the field work, especially that there's still a case he hasn't closed yet. The retirement takes a toll on him. He's overweight, almost constantly drinking while watching garbage tv on his recliner and his pretty depressed that he keeps handling his gun and putting it in his mouth, expecting to fire someday.

One lazy day, he gets an anonymous letter from the unclosed case murderer. He killed a few people with a stolen Mercedes, hence the name Mr. Mercedes. The letter is arrogantly and provocatively written in the purpose of making the detective commit suicide, and contains some hits of the perp's personnality. He's intelligent, tech-savy and an asshole. Yes, Mr. Mercedes has been watching Bill. Hodges, finding a new purpose, feels the rush of life again and is extatic of the idea of being watched and in way of danger.

He doesn't require the help of the feds since it's illegal, neither does he let go of the letter. His subtle ego, the fun of the challenge and the instinct of pursuit empower him to do things on his own. Still, being old-fashioned in a fast-paced world, he demands help from Jerome (Robin to his Batman), a tech-nerd brilliant teenager who wants to go to Harvard. ("God bless Jerome Robinson").

Along the way, Hodges gets involved with the dead Mercedes owner's sister Janey. An important character in Hodges life and extremely loveable. It breaks Bill's heart (as well as mine) when she gets killed in his targeted explosive rigged car. A mini-rant coming: YOU'RE A FUCKING DETECTIVE !! WHY THE FUCK WOULD YOU LET HER DRIVE YOUR FUCKING CAR KNOWING BRADY (Mr.Mercedes real name) CAN FUCKING OPEN CARS REMOTELY AND PUT THINGS IN THEM, MAYBE HIDE BEHIND THE FUCKING SEATS TO SNEAK UP ON YOU (HE THREATENED YOU AND IS FOLLOWING YOU AROUND, AND YOU KNOW IT FOR FUCK SAKE). YOU SHOULDNT DRIVE THAT FUCKING CAR, LET ALONE GIVE IT TO THE LOVE OF YOUR FUCKING LIFE !!! (oouuuff, better out than in. I'm good now, thank you). What did SK wanted to protray here? that carelessness and error are human, even for the most calculating and careful people? Is it that emotions (love, to be precise) mellow a person's insight? ("love makes you blind" and what not).

Another remarkable personnage is Holly,Janey's niece. A 40 year-old with a mind of 20 on anti-depressants since forever, a tech-nerd as well who will play a big role in the enquete with Jerome and Bill (she literally saves the world). She has a discriminating insulting greedy mother who doesn't know shit about mental health which hasn't been helping Holly in her mental state her entire life.

SK always emphasises about the various roles of mental health in a person's actions and the role of unhealthy upbringing in the development and the progression of a mental dysfunction. Here, Holly is physically expressing her illness with OCD, anxiety, stimming and absence, but it doesn't make her a killer and doesn't stop her from functionning well in society (after getting acquainted with the people, of course). Brady, however, is a perverted psycho killer with Oedipus complexe who doesn't show any sign of distress but rather blends in well with fake smiles and courtesies.

The story in Mr. Mercedes and Finders Keepers leads to Brady in a neuro-trauma facility after the somewhat recovery from the brain trauma Holly exerted on him to keep him from suicide-bombing a theatre full of thousands of people. Apparently, the trauma caused a rearrangement of his brain cells that made him capable of moving objects and making people do things with his mind, such as suicide. I'm worried things are gonna get supernatural which turns me off a little but my hopes are up. More on that in the next review of the last part "End Of Watch".

The writing is simple and fun, the rythm is fast paced. Characters are interesting. Suspens is guaranteed. I almost had an ulcer and my nails had some damage. 9/10.

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yobaba30 · 6 years ago

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trump’s reality TV gig

Expedition: Robinson,” a Swedish reality-television program, premièred in the summer of 1997, with a tantalizing premise: sixteen strangers are deposited on a small island off the coast of Malaysia and forced to fend for themselves. To survive, they must coöperate, but they are also competing: each week, a member of the ensemble is voted off the island, and the final contestant wins a grand prize. The show’s title alluded to both “Robinson Crusoe” and “The Swiss Family Robinson,” but a more apt literary reference might have been “Lord of the Flies.” The first contestant who was kicked off was a young man named Sinisa Savija. Upon returning to Sweden, he was morose, complaining to his wife that the show’s editors would “cut away the good things I did and make me look like a fool.” Nine weeks before the show aired, he stepped in front of a speeding train.

The producers dealt with this tragedy by suggesting that Savija’s turmoil was unrelated to the series—and by editing him virtually out of the show. Even so, there was a backlash, with one critic asserting that a program based on such merciless competition was “fascist television.” But everyone watched the show anyway, and Savija was soon forgotten. “We had never seen anything like it,” Svante Stockselius, the chief of the network that produced the program, told the Los Angeles Times, in 2000. “Expedition: Robinson” offered a potent cocktail of repulsion and attraction. You felt embarrassed watching it, Stockselius said, but “you couldn’t stop.”

In 1998, a thirty-eight-year-old former British paratrooper named Mark Burnett was living in Los Angeles, producing television. “Lord of the Flies” was one of his favorite books, and after he heard about “Expedition: Robinson” he secured the rights to make an American version. Burnett had previously worked in sales and had a knack for branding. He renamed the show “Survivor.”

The first season was set in Borneo, and from the moment it aired, on CBS, in 2000, “Survivor” was a ratings juggernaut: according to the network, a hundred and twenty-five million Americans—more than a third of the population—tuned in for some portion of the season finale. The catchphrase delivered by the host, Jeff Probst, at the end of each elimination ceremony, “The tribe has spoken,” entered the lexicon. Burnett had been a marginal figure in Hollywood, but after this triumph he, too, was rebranded, as an oracle of spectacle. Les Moonves, then the chairman of CBS, arranged for the delivery of a token of thanks—a champagne-colored Mercedes. To Burnett, the meaning of this gesture was unmistakable: “I had arrived.” The only question was what he might do next.

A few years later, Burnett was in Brazil, filming “Survivor: The Amazon.” His second marriage was falling apart, and he was staying in a corporate apartment with a girlfriend. One day, they were watching TV and happened across a BBC documentary series called “Trouble at the Top,” about the corporate rat race. The girlfriend found the show boring and suggested changing the station, but Burnett was transfixed. He called his business partner in L.A. and said, “I’ve got a new idea.” Burnett would not discuss the concept over the phone—one of his rules for success was to always pitch in person—but he was certain that the premise had the contours of a hit: “Survivor” in the city. Contestants competing for a corporate job. The urban jungle!

He needed someone to play the role of heavyweight tycoon. Burnett, who tends to narrate stories from his own life in the bravura language of a Hollywood pitch, once said of the show, “It’s got to have a hook to it, right? They’ve got to be working for someone big and special and important. Cut to: I’ve rented this skating rink.”

In 2002, Burnett rented Wollman Rink, in Central Park, for a live broadcast of the Season 4 finale of “Survivor.” The property was controlled by Donald Trump, who had obtained the lease to operate the rink in 1986, and had plastered his name on it. Before the segment started, Burnett addressed fifteen hundred spectators who had been corralled for the occasion, and noticed Trump sitting with Melania Knauss, then his girlfriend, in the front row. Burnett prides himself on his ability to “read the room”: to size up the personalities in his audience, suss out what they want, and then give it to them.

“I need to show respect to Mr. Trump,” Burnett recounted, in a 2013 speech in Vancouver. “I said, ‘Welcome, everybody, to Trump Wollman skating rink. The Trump Wollman skating rink is a fine facility, built by Mr. Donald Trump. Thank you, Mr. Trump. Because the Trump Wollman skating rink is the place we are tonight and we love being at the Trump Wollman skating rink, Mr. Trump, Trump, Trump, Trump, Trump.” As Burnett told the story, he had scarcely got offstage before Trump was shaking his hand, proclaiming, “You’re a genius!”

Cut to: June, 2015. After starring in fourteen seasons of “The Apprentice,” all executive-produced by Burnett, Trump appeared in the gilded atrium of Trump Tower, on Fifth Avenue, to announce that he was running for President. Only someone “really rich,” Trump declared, could “take the brand of the United States and make it great again.” He also made racist remarks about Mexicans, prompting NBC, which had broadcast “The Apprentice,” to fire him. Burnett, however, did not sever his relationship with his star. He and Trump had been equal partners in “The Apprentice,” and the show had made each of them hundreds of millions of dollars. They were also close friends: Burnett liked to tell people that when Trump married Knauss, in 2005, Burnett’s son Cameron was the ring bearer.

Trump had been a celebrity since the eighties, his persona shaped by the best-selling book “The Art of the Deal.” But his business had foundered, and by 2003 he had become a garish figure of local interest—a punch line on Page Six. “The Apprentice” mythologized him anew, and on a much bigger scale, turning him into an icon of American success. Jay Bienstock, a longtime collaborator of Burnett’s, and the showrunner on “The Apprentice,” told me, “Mark always likes to compare his shows to great films or novels. All of Mark’s shows feel bigger than life, and this is by design.” Burnett has made many programs since “The Apprentice,” among them “Shark Tank,” a startup competition based on a Japanese show, and “The Voice,” a singing contest adapted from a Dutch program. In June, he became the chairman of M-G-M Television. But his chief legacy is to have cast a serially bankrupt carnival barker in the role of a man who might plausibly become the leader of the free world. “I don’t think any of us could have known what this would become,” Katherine Walker, a producer on the first five seasons of “The Apprentice,” told me. “But Donald would not be President had it not been for that show.”

Tony Schwartz, who wrote “The Art of the Deal,” which falsely presented Trump as its primary author, told me that he feels some responsibility for facilitating Trump’s imposture. But, he said, “Mark Burnett’s influence was vastly greater,” adding, “ ‘The Apprentice’ was the single biggest factor in putting Trump in the national spotlight.” Schwartz has publicly condemned Trump, describing him as “the monster I helped to create.” Burnett, by contrast, has refused to speak publicly about his relationship with the President or about his curious, but decisive, role in American history.

Burnett is lean and lanky, with the ageless, perpetually smiling face of Peter Pan and eyes that, in the words of one ex-wife, have “a Photoshop twinkle.” He has a high forehead and the fixed, gravity-defying hair of a nineteen-fifties film star. People often mistake Burnett for an Australian, because he has a deep tan and an outdoorsy disposition, and because his accent has been mongrelized by years of international travel. But he grew up in Dagenham, on the eastern outskirts of London, a milieu that he has recalled as “gray and grimy.” His father, Archie, was a tattooed Glaswegian who worked the night shift at a Ford automobile plant. His mother, Jean, worked there as well, pouring acid into batteries, but in Mark’s recollection she always dressed immaculately, “never letting her station in life interfere with how she presented herself.” Mark, an only child, grew up watching American television shows such as “Starsky & Hutch” and “The Rockford Files.”

At seventeen, he volunteered for the British Army’s Parachute Regiment; according to a friend who enlisted with him, he joined for “the glitz.” The Paras were an élite unit, and a soldier from his platoon, Paul Read, told me that Burnett was a particularly formidable special operator, both physically commanding and a natural leader: “He was always super keen. He always wanted to be the best, even among the best.” (Another soldier recalled that Burnett was nicknamed the Male Model, because he was reluctant to “get any dirt under his fingernails.”) Burnett served in Northern Ireland, and then in the Falklands, where he took part in the 1982 advance on Port Stanley. The experience, he later said, was “horrific, but on the other hand—in a sick way—exciting.”

When Burnett left the Army, after five years, his plan was to find work in Central America as a “weapons and tactics adviser”—not as a mercenary, he later insisted, though it is difficult to parse the distinction. Before he left, his mother told him that she’d had a premonition and implored him not to take another job that involved carrying a gun. Like Trump, Burnett trusts his impulses. “Your gut instinct is rarely wrong,” he likes to say. During a layover in Los Angeles, he decided to heed his mother’s admonition, and walked out of the airport. He later described himself as the quintessential immigrant: “I had no money, no green card, no nothing.” But the California sun was shining, and he was eager to try his luck.

Burnett is an avid raconteur, and his anecdotes about his life tend to have a three-act structure. In Act I, he is a fish out of water, guileless and naïve, with nothing but the shirt on his back and an outsized dream. Act II is the rude awakening: the world bets against him. It’s impossible! You’ll lose everything! No such thing has ever been tried! In Act III, Burnett always prevails. Not long after arriving in California, he landed his first job—as a nanny. Eyebrows were raised: a commando turned nanny? Yet Burnett thrived, working for a family in Beverly Hills, then one in Malibu. As he later observed, the experience taught him “how nice the life styles of wealthy people are.” Young, handsome, and solicitous, he discovered that successful people are often happy to talk about their path to success.

Burnett married a California woman, Kym Gold, who came from an affluent family. “Mark has always been very, very hungry,” Gold told me recently. “He’s always had a lot of drive.” For a time, he worked for Gold’s stepfather, who owned a casting agency, and for Gold, who owned an apparel business. She would buy slightly imperfect T-shirts wholesale, at two dollars apiece, and Burnett would resell them, on the Venice boardwalk, for eighteen. That was where he learned “the art of selling,” he has said. The marriage lasted only a year, by which point Burnett had obtained a green card. (Gold, who had also learned a thing or two about selling, went on to co-found the denim company True Religion, which was eventually sold for eight hundred million dollars.)

One day in the early nineties, Burnett read an article about a new kind of athletic event: a long-distance endurance race, known as the Raid Gauloises, in which teams of athletes competed in a multiday trek over harsh terrain. In 1992, Burnett organized a team and participated in a race in Oman. Noticing that he and his teammates were “walking, climbing advertisements” for gear, he signed up sponsors. He also realized that if you filmed such a race it would make for exotic and gripping viewing. Burnett launched his own race, the Eco-Challenge, which was set in such scenic locations as Utah and British Columbia, and was televised on various outlets, including the Discovery Channel. Bienstock, who first met Burnett when he worked on the “Eco-Challenge” show, in 1996, told me that Burnett was less interested in the ravishing backdrops or in the competition than he was in the intense emotional experiences of the racers: “Mark saw the drama in real people being the driving force in an unscripted show.”

By this time, Burnett had met an aspiring actress from Long Island named Dianne Minerva and married her. They became consumed with making the show a success. “When we went to bed at night, we talked about it, when we woke up in the morning, we talked about it,” Dianne Burnett told me recently. In the small world of adventure racing, Mark developed a reputation as a slick and ambitious operator. “He’s like a rattlesnake,” one of his business competitors told the New York Times in 2000. “If you’re close enough long enough, you’re going to get bit.” Mark and Dianne were doing far better than Mark’s parents ever had, but he was restless. One day, they attended a seminar by the motivational speaker Tony Robbins called “Unleash the Power Within.” A good technique for realizing your goals, Robbins counselled, was to write down what you wanted most on index cards, then deposit them around your house, as constant reminders. In a 2012 memoir, “The Road to Reality,” Dianne Burnett recalls that she wrote the word “FAMILY” on her index cards. Mark wrote “MORE MONEY.”

As a young man, Burnett occasionally found himself on a flight for business, looking at the other passengers and daydreaming: If this plane were to crash on a desert island, where would I fit into our new society? Who would lead and who would follow? “Nature strips away the veneer we show one another every day, at which point people become who they really are,” Burnett once wrote. He has long espoused a Hobbesian world view, and when he launched “Survivor” a zero-sum ethos was integral to the show. “It’s quite a mean game, just like life is kind of a mean game,” Burnett told CNN, in 2001. “Everyone’s out for themselves.”

On “Survivor,” the competitors were split into teams, or “tribes.” In this raw arena, Burnett suggested, viewers could glimpse the cruel essence of human nature. It was undeniably compelling to watch contestants of different ages, body types, and dispositions negotiate the primordial challenges of making fire, securing shelter, and foraging for food. At the same time, the scenario was extravagantly contrived: the castaways were shadowed by camera crews, and helicopters thundered around the island, gathering aerial shots.

Moreover, the contestants had been selected for their charisma and their combustibility. “It’s all about casting,” Burnett once observed. “As a producer, my job is to make the choices in who to work with and put on camera.” He was always searching for someone with the sort of personality that could “break through the clutter.” In casting sessions, Burnett sometimes goaded people, to see how they responded to conflict. Katherine Walker, the “Apprentice” producer, told me about an audition in which Burnett taunted a prospective cast member by insinuating that he was secretly gay. (The man, riled, threw the accusation back at Burnett, and was not cast that season.)

Richard Levak, a clinical psychologist who consulted for Burnett on “Survivor” and “The Apprentice” and worked on other reality-TV shows, told me that producers have often liked people he was uncomfortable with for psychological reasons. Emotional volatility makes for compelling television. But recruiting individuals for their instability and then subjecting them to the stress of a televised competition can be perilous. When Burnett was once asked about Sinisa Savija’s suicide, he contended that Savija had “previous psychological problems.” No “Survivor” or “Apprentice” contestants are known to have killed themselves, but in the past two decades several dozen reality-TV participants have. Levak eventually stopped consulting on such programs, in part because he feared that a contestant might harm himself. “I would think, Geez, if this should unravel, they’re going to look at the personality profile and there may have been a red flag,” he recalled.

Burnett excelled at the casting equation to the point where, on Season 2 of “Survivor,” which was shot in the Australian outback, his castaways spent so much time gossiping about the characters from the previous season that Burnett warned them, “The more time you spend talking about the first ‘Survivor,’ the less time you will have on television.” But Burnett’s real genius was in marketing. When he made the rounds in L.A. to pitch “Survivor,” he vowed that it would become a cultural phenomenon, and he presented executives with a mock issue of Newsweek featuring the show on the cover. (Later, “Survivor” did make the cover of the magazine.) Burnett devised a dizzying array of lucrative product-integration deals. In the first season, one of the teams won a care package that was attached to a parachute bearing the red-and-white logo of Target.

“I looked on ‘Survivor’ as much as a marketing vehicle as a television show,” Burnett once explained. He was creating an immersive, cinematic entertainment—and he was known for lush production values, and for paying handsomely to retain top producers and editors—but he was anything but precious about his art. Long before he met Trump, Burnett had developed a Panglossian confidence in the power of branding. “I believe we’re going to see something like the Microsoft Grand Canyon National Park,” he told the New York Times in 2001. “The government won’t take care of all that—companies will.”

Seven weeks before the 2016 election, Burnett, in a smart tux with a shawl collar, arrived with his third wife, the actress and producer Roma Downey, at the Microsoft Theatre, in Los Angeles, for the Emmy Awards. Both “Shark Tank” and “The Voice” won awards that night. But his triumphant evening was marred when the master of ceremonies, Jimmy Kimmel, took an unexpected turn during his opening monologue. “Television brings people together, but television can also tear us apart,” Kimmel mused. “I mean, if it wasn’t for television, would Donald Trump be running for President?” In the crowd, there was laughter. “Many have asked, ‘Who is to blame for Donald Trump?’ ” Kimmel continued. “I’ll tell you who, because he’s sitting right there. That guy.” Kimmel pointed into the audience, and the live feed cut to a closeup of Burnett, whose expression resolved itself into a rigid grin. “Thanks to Mark Burnett, we don’t have to watch reality shows anymore, because we’re living in one,” Kimmel said. Burnett was still smiling, but Kimmel wasn’t. He went on, “I’m going on the record right now. He’s responsible. If Donald Trump gets elected and he builds that wall, the first person we’re throwing over it is Mark Burnett. The tribe has spoken.”

Around this time, Burnett stopped giving interviews about Trump or “The Apprentice.” He continues to speak to the press to promote his shows, but he declined an interview with me. Before Trump’s Presidential run, however, Burnett told and retold the story of how the show originated. When he met Trump at Wollman Rink, Burnett told him an anecdote about how, as a young man selling T-shirts on the boardwalk on Venice Beach, he had been handed a copy of “The Art of the Deal,” by a passing rollerblader. Burnett said that he had read it, and that it had changed his life; he thought, What a legend this guy Trump is!

Anyone else hearing this tale might have found it a bit calculated, if not implausible. Kym Gold, Burnett’s first wife, told me that she has no recollection of him reading Trump’s book in this period. “He liked mystery books,” she said. But when Trump heard the story he was flattered.

Burnett has never liked the phrase “reality television.” For a time, he valiantly campaigned to rebrand his genre “dramality”—“a mixture of drama and reality.” The term never caught on, but it reflected Burnett’s forthright acknowledgment that what he creates is a highly structured, selective, and manipulated rendition of reality. Burnett has often boasted that, for each televised hour of “The Apprentice,” his crews shot as many as three hundred hours of footage. The real alchemy of reality television is the editing—sifting through a compost heap of clips and piecing together an absorbing story. Jonathon Braun, an editor who started working with Burnett on “Survivor” and then worked on the first six seasons of “The Apprentice,” told me, “You don’t make anything up. But you accentuate things that you see as themes.” He readily conceded how distorting this process can be. Much of reality TV consists of reaction shots: one participant says something outrageous, and the camera cuts away to another participant rolling her eyes. Often, Braun said, editors lift an eye roll from an entirely different part of the conversation.

“The Apprentice” was built around a weekly series of business challenges. At the end of each episode, Trump determined which competitor should be “fired.” But, as Braun explained, Trump was frequently unprepared for these sessions, with little grasp of who had performed well. Sometimes a candidate distinguished herself during the contest only to get fired, on a whim, by Trump. When this happened, Braun said, the editors were often obliged to “reverse engineer” the episode, scouring hundreds of hours of footage to emphasize the few moments when the exemplary candidate might have slipped up, in an attempt to assemble an artificial version of history in which Trump’s shoot-from-the-hip decision made sense. During the making of “The Apprentice,” Burnett conceded that the stories were constructed in this way, saying, “We know each week who has been fired, and, therefore, you’re editing in reverse.” Braun noted that President Trump’s staff seems to have been similarly forced to learn the art of retroactive narrative construction, adding, “I find it strangely validating to hear that they’re doing the same thing in the White House.”

Such sleight of hand is the industry standard in reality television. But the entire premise of “The Apprentice” was also something of a con. When Trump and Burnett told the story of their partnership, both suggested that Trump was initially wary of committing to a TV show, because he was so busy running his flourishing real-estate empire. During a 2004 panel at the Museum of Television and Radio, in Los Angeles, Trump claimed that “every network” had tried to get him to do a reality show, but he wasn’t interested: “I don’t want to have cameras all over my office, dealing with contractors, politicians, mobsters, and everyone else I have to deal with in my business. You know, mobsters don’t like, as they’re talking to me, having cameras all over the room. It would play well on television, but it doesn’t play well with them.”

“The Apprentice” portrayed Trump not as a skeezy hustler who huddles with local mobsters but as a plutocrat with impeccable business instincts and unparalleled wealth—a titan who always seemed to be climbing out of helicopters or into limousines. “Most of us knew he was a fake,” Braun told me. “He had just gone through I don’t know how many bankruptcies. But we made him out to be the most important person in the world. It was like making the court jester the king.” Bill Pruitt, another producer, recalled, “We walked through the offices and saw chipped furniture. We saw a crumbling empire at every turn. Our job was to make it seem otherwise.”

Trump maximized his profits from the start. When producers were searching for office space in which to stage the show, he vetoed every suggestion, then mentioned that he had an empty floor available in Trump Tower, which he could lease at a reasonable price. (After becoming President, he offered a similar arrangement to the Secret Service.) When the production staff tried to furnish the space, they found that local venders, stiffed by Trump in the past, refused to do business with them.

More than two hundred thousand people applied for one of the sixteen spots on Season 1, and throughout the show’s early years the candidates were conspicuously credentialled and impressive. Officially, the grand prize was what the show described as “the dream job of a lifetime”—the unfathomable privilege of being mentored by Donald Trump while working as a junior executive at the Trump Organization. All the candidates paid lip service to the notion that Trump was a peerless businessman, but not all of them believed it. A standout contestant in Season 1 was Kwame Jackson, a young African-American man with an M.B.A. from Harvard, who had worked at Goldman Sachs. Jackson told me that he did the show not out of any desire for Trump’s tutelage but because he regarded the prospect of a nationally televised business competition as “a great platform” for career advancement. “At Goldman, I was in private-wealth management, so Trump was not, by any stretch, the most financially successful person I’d ever met or managed,” Jackson told me. He was quietly amused when other contestants swooned over Trump’s deal-making prowess or his elevated tastes—when they exclaimed, on tours of tacky Trump properties, “Oh, my God, this is so rich—this is, like, really rich!” Fran Lebowitz once remarked that Trump is “a poor person’s idea of a rich person,” and Jackson was struck, when the show aired, by the extent to which Americans fell for the ruse. “Main Street America saw all those glittery things, the helicopter and the gold-plated sinks, and saw the most successful person in the universe,” he recalled. “The people I knew in the world of high finance understood that it was all a joke.”

This is an oddly common refrain among people who were involved in “The Apprentice”: that the show was camp, and that the image of Trump as an avatar of prosperity was delivered with a wink. Somehow, this interpretation eluded the audience. Jonathon Braun marvelled, “People started taking it seriously!”

When I watched several dozen episodes of the show recently, I saw no hint of deliberate irony. Admittedly, it is laughable to hear the candidates, at a fancy meal, talk about watching Trump for cues on which utensil they should use for each course, as if he were Emily Post. But the show’s reverence for its pugnacious host, however credulous it might seem now, comes across as sincere.

Did Burnett believe what he was selling? Or was Trump another two-dollar T-shirt that he pawned off for eighteen? It’s difficult to say. One person who has collaborated with Burnett likened him to Harold Hill, the travelling fraudster in “The Music Man,” saying, “There’s always an angle with Mark. He’s all about selling.” Burnett is fluent in the jargon of self-help, and he has published two memoirs, both written with Bill O’Reilly’s ghostwriter, which double as manuals on how to get rich. One of them, titled “Jump In!: Even if You Don’t Know How to Swim,” now reads like an inadvertent metaphor for the Trump Presidency. “Don’t waste time on overpreparation,” the book advises.

At the 2004 panel, Burnett made it clear that, with “The Apprentice,” he was selling an archetype. “Donald is the real current-day version of a tycoon,” he said. “Donald will say whatever Donald wants to say. He takes no prisoners. If you’re Donald’s friend, he’ll defend you all day long. If you’re not, he’s going to kill you. And that’s very American. It’s like the guys who built the West.” Like Trump, Burnett seemed to have both a jaundiced impression of the gullible essence of the American people and a brazen enthusiasm for how to exploit it. “The Apprentice” was about “what makes America great,” Burnett said. “Everybody wants one of a few things in this country. They’re willing to pay to lose weight. They’re willing to pay to grow hair. They’re willing to pay to have sex. And they’re willing to pay to learn how to get rich.”

At the start of “The Apprentice,” Burnett’s intention may have been to tell a more honest story, one that acknowledged Trump’s many stumbles. Burnett surely recognized that Trump was at a low point, but, according to Walker, “Mark sensed Trump’s potential for a comeback.” Indeed, in a voice-over introduction in the show’s pilot, Trump conceded a degree of weakness that feels shockingly self-aware when you listen to it today: “I was seriously in trouble. I was billions of dollars in debt. But I fought back, and I won, big league.”

The show was an instant hit, and Trump’s public image, and the man himself, began to change. Not long after the première, Trump suggested in an Esquire article that people now liked him, “whereas before, they viewed me as a bit of an ogre.” Jim Dowd, Trump’s former publicist, told Michael Kranish and Marc Fisher, the authors of the 2016 book “Trump Revealed,” that after “The Apprentice” began airing “people on the street embraced him.” Dowd noted, “All of a sudden, there was none of the old mocking,” adding, “He was a hero.” Dowd, who died in 2016, pinpointed the public’s embrace of “The Apprentice” as “the bridge” to Trump’s Presidential run.

The show’s camera operators often shot Trump from low angles, as you would a basketball pro, or Mt. Rushmore. Trump loomed over the viewer, his face in a jowly glower, his hair darker than it is now, the metallic auburn of a new penny. (“Apprentice” employees were instructed not to fiddle with Trump’s hair, which he dyed and styled himself.) Trump’s entrances were choreographed for maximum impact, and often set to a moody accompaniment of synthesized drums and cymbals. The “boardroom”—a stage set where Trump determined which candidate should be fired—had the menacing gloom of a “Godfather” movie. In one scene, Trump ushered contestants through his rococo Trump Tower aerie, and said, “I show this apartment to very few people. Presidents. Kings.” In the tabloid ecosystem in which he had long languished, Trump was always Donald, or the Donald. On “The Apprentice,” he finally became Mr. Trump.

“We have to subscribe to our own myths,” the “Apprentice” producer Bill Pruitt told me. “Mark Burnett is a great mythmaker. He blew up that balloon and he believed in it.” Burnett, preferring to spend time pitching new ideas for shows, delegated most of the daily decisions about “The Apprentice” to his team, many of them veterans of “Survivor” and “Eco-Challenge.” But he furiously promoted the show, often with Trump at his side. According to many of Burnett’s collaborators, one of his greatest skills is his handling of talent—understanding their desires and anxieties, making them feel protected and secure. On interview tours with Trump, Burnett exhibited the studied instincts of a veteran producer: anytime the spotlight strayed in his direction, he subtly redirected it at Trump.

Burnett, who was forty-three when Season 1 aired, described the fifty-seven-year-old Trump as his “soul mate.” He expressed astonishment at Trump’s “laser-like focus and retention.” He delivered flattery in the ostentatiously obsequious register that Trump prefers. Burnett said he hoped that he might someday rise to Trump’s “level” of prestige and success, adding, “I don’t know if I’ll ever make it. But you know something? If you’re not shooting for the stars, you’re not shooting!” On one occasion, Trump invited Burnett to dinner at his Trump Tower apartment; Burnett had anticipated an elegant meal, and, according to an associate, concealed his surprise when Trump handed him a burger from McDonald’s.

Trump liked to suggest that he and Burnett had come up with the show “together”; Burnett never corrected him. When Carolyn Kepcher, a Trump Organization executive who appeared alongside Trump in early seasons of “The Apprentice,” seemed to be courting her own celebrity, Trump fired her and gave on-air roles to three of his children, Ivanka, Donald, Jr., and Eric. Burnett grasped that the best way to keep Trump satisfied was to insure that he never felt upstaged. “It’s Batman and Robin, and I’m clearly Robin,” he said.

Burnett sometimes went so far as to imply that Trump’s involvement in “The Apprentice” was a form of altruism. “This is Donald Trump giving back,” he told the Times in 2003, then offered a vague invocation of post-9/11 civic duty: “What makes the world a safe place right now? I think it’s American dollars, which come from taxes, which come because of Donald Trump.” Trump himself had been candid about his reasons for doing the show. “My jet’s going to be in every episode,” he told Jim Dowd, adding that the production would be “great for my brand.”

It was. Season 1 of “The Apprentice” flogged one Trump property after another. The contestants stayed at Trump Tower, did events at Trump National Golf Club, sold Trump Ice bottled water. “I’ve always felt that the Trump Taj Mahal should do even better,” Trump announced before sending the contestants off on a challenge to lure gamblers to his Atlantic City casino, which soon went bankrupt. The prize for the winning team was an opportunity to stay and gamble at the Taj, trailed by cameras.

“The Apprentice” was so successful that, by the time the second season launched, Trump’s lacklustre tie-in products were being edged out by blue-chip companies willing to pay handsomely to have their wares featured onscreen. In 2004, Kevin Harris, a producer who helped Burnett secure product-integration deals, sent an e-mail describing a teaser reel of Trump endorsements that would be used to attract clients: “Fast cutting of Donald—‘Crest is the biggest’ ‘I have worn Levis since I was 2’ ‘I love M&Ms’ ‘Unilever is the biggest company in the world’ all with the MONEY MONEY MONEY song over the top.”

Burnett and Trump negotiated with NBC to retain the rights to income derived from product integration, and split the fees. On set, Trump often gloated about this easy money. One producer remembered, “You’d say, ‘Hey, Donald, today we have Pepsi, and they’re paying three million to be in the show,’ and he’d say, ‘That’s great, I just made a million five!’ ”

Originally, Burnett had planned to cast a different mogul in the role of host each season. But Trump took to his part more nimbly than anyone might have predicted. He wouldn’t read a script—he stumbled over the words and got the enunciation all wrong. But off the cuff he delivered the kind of zesty banter that is the lifeblood of reality television. He barked at one contestant, “Sam, you’re sort of a disaster. Don’t take offense, but everyone hates you.” Katherine Walker told me that producers often struggled to make Trump seem coherent, editing out garbled syntax and malapropisms. “We cleaned it up so that he was his best self,” she said, adding, “I’m sure Donald thinks that he was never edited.” However, she acknowledged, he was a natural for the medium: whereas reality-TV producers generally must amp up personalities and events, to accentuate conflict and conjure intrigue, “we didn’t have to change him—he gave us stuff to work with.” Trump improvised the tagline for which “The Apprentice” became famous: “You’re fired.”

NBC executives were so enamored of their new star that they instructed Burnett and his producers to give Trump more screen time. This is when Trump’s obsession with television ratings took hold. “I didn’t know what demographics was four weeks ago,” he told Larry King. “All of a sudden, I heard we were No. 3 in demographics. Last night, we were No. 1 in demographics. And that’s the important rating.” The ratings kept rising, and the first season’s finale was the No. 1 show of the week. For Burnett, Trump’s rehabilitation was a satisfying confirmation of a populist aesthetic. “I like it when critics slam a movie and it does massive box office,” he once said. “I love it.” Whereas others had seen in Trump only a tattered celebrity of the eighties, Burnett had glimpsed a feral charisma.

On June 26, 2018, the day the Supreme Court upheld President Trump’s travel ban targeting people from several predominantly Muslim countries, Secretary of State Mike Pompeo sent out invitations to an event called a Ministerial to Advance Religious Freedom. If Pompeo registered any dissonance between such lofty rhetoric and Administration policies targeting certain religions, he didn’t mention it.

The event took place the next month, at the State Department, in Washington, D.C., and one of the featured speakers was Mark Burnett. In 2004, he had been getting his hair cut at a salon in Malibu when he noticed an attractive woman getting a pedicure. It was Roma Downey, the star of “Touched by an Angel,” a long-running inspirational drama on CBS. They fell in love, and married in 2007; together, they helped rear Burnett’s two sons from his second marriage and Downey’s daughter. Downey, who grew up in a Catholic family in Northern Ireland, is deeply religious, and eventually Burnett, too, reoriented his life around Christianity. “Faith is a major part of our marriage,” Downey said, in 2013, adding, “We pray together.”

For people who had long known Burnett, it was an unexpected turn. This was a man who had ended his second marriage during a live interview with Howard Stern. To promote “Survivor” in 2002, Burnett called in to Stern’s radio show, and Stern asked casually if he was married. When Burnett hesitated, Stern pounced. “You didn’t survive marriage?” he asked. “You don’t want your girlfriend to know you’re married?” As Burnett dissembled, Stern kept prying, and the exchange became excruciating. Finally, Stern asked if Burnett was “a single guy,” and Burnett replied, “You know? Yeah.” This was news to Dianne, Burnett’s wife of a decade. As she subsequently wrote in her memoir, “The 18-to-34 radio demographic knew where my marriage was headed before I did.”

In 2008, Burnett’s longtime business partner, a lawyer named Conrad Riggs, filed a lawsuit alleging that Burnett had stiffed him to the tune of tens of millions of dollars. According to the lawsuit, the two men had made an agreement before “Survivor” and “The Apprentice” that Riggs would own ten per cent of Burnett’s company. When Riggs got married, someone who attended the ceremony told me, Burnett was his best man, and gave a speech saying that his success would have been impossible without Riggs. Several years later, when Burnett’s company was worth half a billion dollars, he denied having made any agreement. The suit settled out of court. (Riggs declined to comment.)

Article from January 7, 2019 By Patrick Radden Keefe

Yobaba - New Yorker mag articles are LONG; I posted this mostly for my own reference so I will have a record of it; that said, I strongly urge everyone to read this. it explains a lot.

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