#Stu Zicherman

[bkenber]

Adam Scott on Acting in 'A.C.O.D.'

WRITER’S NOTE: The following interview took place on September 26, 2013. “A.C.O.D.” is an abbreviation for Adult Children of Divorce and the movie stars Adam Scott as Carter, a man who suffered through his parents’ bitter divorce as a child. Now as an adult, he owns a restaurant and appears to be a well-adjusted person despite what he has been through. But then his younger brother Trey (Clark…

[kissablelips-desireslure-vol2]

AMERICAN SPORTS STORY: AARON HERNANDEZ (2024)

Created By: Stu Zicherman

JOSH ANDRÉS RIVERA (as Aaron)

&

KALAMA EPSTEIN (as Dennis)

[15billionyears]

What I’m watching (2018 Edition) / A.C.O.D. (2013)

[thehipsterzombiejointexperience]

Repost from @mercwiththemovies • Nice!!! I’m here for it. The prolific Emmy winning titan Ryan Murphy has announced two “American Story” spinoffs anthologies, “American Sports Storyl and “American Love Story “ at FX. . . “American Sports Story” will expand the franchise to re-examine a prominent event involving a sports figure through the prism of today’s world and will tell the story from multiple perspectives. The first season will be based on the Boston Globe and Wondery podcast “Gladiator: Aaron Hernandez” and Football Inc. It will chart the rise and fall of the former New England Patriots tight end who was convicted for murder and ultimately took his own life. Thematically, it will explore the disparate strands of his identity, his family, his career, his suicide and their legacy in sports and American culture. Stu Zicherman (“The Americans��) will write the script. . . “American Love Story”, meanwhile, will chart the whirlwind courtship and marriage of John F. Kennedy Jr. and Carolyn Bessette. What started out as a beautiful union for the young couple, widely regarded as American royalty, began to fray under the stress of the relentless microscope and navel gaze of tabloid media. The pressures of their careers and rumored family discord ended with their tragic deaths when his private plane crashed into the ocean on a hazy summer night off the coast of Massachusetts. No writer has been announced. . . #FX#JFK#Aaronhernandez#NewEnglandPatriots#NFL#Murder#love#ryanmurphy#ahs#americanhorrorstory#thepolitician#ratched#sports#theamericans#theaffair#elektra#casanova#lightsout#posefx#glee#niptuck#screamqueens#halston#patriots#tightend#theprom#theboysintheband#johnfkennedyjr#jfkjr#anthology https://www.instagram.com/p/CSiHMlYpvkr/?utm_medium=tumblr

[bigyack-com]

Streaming TV’s Boom Is a Mixed Blessing for Some Hollywood Writers

LOS ANGELES — It seemed like a good deal. At first.Last April, Netflix offered Kay Reindl and her longtime writing partner a substantial sum — in the mid-six figures, Ms. Reindl said — to oversee 10 episodes of a new sci-fi series, “Sentient.” It sounded like a lot of money for what they figured would be less than a year of work.Ms. Reindl and her writing partner, who have worked steadily as TV writers since the 1990s, would be executive producers, instead of staff writers on someone else’s show. That would mean a lot more responsibility and much longer hours, but it seemed worth it. They found office space and hired a few writers.Then came a surprise: they learned that “Sentient” would actually take 18 months from start to finish. When Ms. Reindl did the math, she realized that, under the new timetable, she would be making roughly the same weekly pay as the writers she was overseeing.“It was a very bad day,” Ms. Reindl said.Netflix declined to comment.The rise of streaming has been a blessing and a curse for working writers like Ms. Reindl, who said she and her partner had ultimately left “Sentient” because of creative differences unrelated to the length of the series. On-demand digital video has ushered in the era of Peak TV, meaning there are more shows and more writing jobs than ever. But many of the jobs are not what they used to be in the days before streaming.“All this opportunity is great, but how to navigate it and keep yourself consistently working and making your living has been the challenging part,” said Stu Zicherman, a writer and showrunner whose credits include “The Americans” on FX and HBO’s “Divorce.”When Ms. Reindl got her start, network series had 24 episodes or more a season. The typical TV writer’s schedule looked something like this: Get hired by May or June, write furiously for most of the year, and then take a six-week hiatus before the process started again.The seasonal rhythms that had been in place for TV writers since the days of “I Love Lucy” started to change more than two decades ago, when cable outlets put out 13-episode seasons of shows like HBO’s “The Sopranos” and, later, AMC’s “Mad Men.”Streaming platforms have revised that model further: eight-episode seasons of Netflix’s “Stranger Things” and Disney Plus’s “The Mandalorian”; six-episode seasons of Amazon Prime Video’s “Fleabag”; three- and six-episode batches of Netflix’s “Black Mirror.” Cable has replied in kind, offering fewer than 12-episode runs of shows like “Atlanta” on FX and “Silicon Valley” on HBO.“I think they’re experimenting with the shortest product they can still call a TV series,” said Steve Conrad, the president of Elephant Pictures, a production company in Chicago. “I couldn’t keep this company together if it was fewer than eight, and it’s coming.”In addition to shortening season lengths, the streaming platforms have ignored the school-year-style calendar of television’s network days, with its premieres in the weeks after Labor Day and finales late in the spring. Netflix has served up new seasons of its most-watched program, “Stranger Things,” in July. Apple TV Plus unveiled one of its most-hyped shows, “Little America,” in the middle of January.The rise of streaming has fattened the wallets of superstar writer-producers like Shonda Rhimes and Ryan Murphy, while also giving chances to unproven writers. But the medium’s shorter seasons and unpredictable cadences have made it harder for writers in Hollywood’s middle class to plot out a year’s work in a way that doesn’t leave them nervous when mortgage payments are due.Complicating the issue is that streaming platforms have been known to take more time to make an episode than their network and cable counterparts. For many writers, that meant less money for more hours, and they complained to their union representatives.“Five years ago, it grew from an isolated problem to a dominant problem,” said Chuck Slocum, the assistant executive director of the Writers Guild of America, West. “We had half of our members wake up and realize one day that they’re making half the money that they were making.”The union worked out some protections for its members. Since 2018, studios are sometimes required to pay writers extra when filming runs longer than expected.That change kicked in too late to help Lila Byock, a writer whose credits include HBO’s “The Leftovers” and Hulu’s “Castle Rock.” She said she was hired on a scripted series that she figured would last 10 months. Instead, it took nearly 18 months, which caused her to pass on other writing jobs.“It gets tricky,” Ms. Byock said. “That wasn’t what I had budgeted for two years of my life.”On the flip side, streaming seasons that require a short time commitment — say, eight months — can also wreak havoc on a writer’s schedule. “You’re not being paid by the studio for five months of the year, but that’s not enough time to take on another show,” said Mr. Conrad, of Elephant Pictures.The old TV calendar is not quite dead. Major producers of network shows, like Dick Wolf and Chuck Lorre, still must come up with at least 22 episodes per season of shows like NBC’s “Chicago P.D.” and CBS’s “Young Sheldon.” But with new streaming platforms like NBCUniversal’s Peacock and HBO Max set to start in the spring, the lives of many TV writers are likely to get more chaotic.“I have friends working in network television and it’s like they’re on a different planet,” said Harley Peyton, a writer and co-executive producer of “Project Blue Book,” a History Channel series with 10 episodes a season.He described staff positions on network shows as “the last full-time jobs in this business,” adding that “those jobs are extraordinarily difficult to get.”The 10 established Hollywood writers who discussed the changes in the industry with The New York Times were careful to point out that they were still able to make good money, even amid the digital disruption of their industry. And yet, they said, it is common for veteran writers these days to be paid as if they were rookies.Jonathan Shikora, a Los Angeles lawyer who represents actors and writers, suggested that longtime TV writers were now underpaid. “Should I be getting the same as some new writer whose script I’m rewriting because their work is so green and new and I’m teaching that person?” he asked.The new economy has some writers thinking twice about moving up the ranks to the position of executive producer. “What I’m starting to see is a lot of friends being like, ‘Why would I ever want to be a showrunner?’” Ms. Byock said, referring to the hands-on executive producer in charge of the writers’ room. “If you’re making the same amount you could be making doing a much less stressful job, why wouldn’t you just do that?”Rob Long, once a writer and an executive producer of the long-running NBC sitcom “Cheers,” said he had tried to make allowances for the changes when he was in charge of “Sullivan & Son,” a TBS sitcom.That show had 10 episodes in its first two seasons and 13 in its third, a significant change from the 28-episode final season of “Cheers.” That was fine with the financially secure Mr. Long, who said, “I got to be honest, I thought it was fantastic.” The difficulty came when he was hiring staff writers.“I was making deals with younger writers just starting out,” he said, “and I was doing the math.”It took eight weeks to write the scripts and prepare for shooting. An additional 15 weeks brought the staff to the end of the production. The schedule meant that “Sullivan & Son” would eat up nearly six months of staff writers’ time.Under the terms of their contracts, they had to give priority to “Sullivan & Son,” meaning that, if the show got renewed, they were obligated to go back to it even if they were working on another project.“It was a de facto way of locking you up,” Mr. Long said.So he came up with an informal solution that he has used on other shows since then.“We make a private, handshake deal with our writers,” he said. “We tell them that if you get on another project, or you sell a pilot or something else happens, I will let you out of your contract,” he said.In other words, Mr. Long added, “I promise to fire the writer.” Read the full article

[365daysfilm]

Day 24

A.C.O.D. (2013) Directed by Stu Zicherman Written by Ben Karlin & Stu Zicherman Cinematography by John Bailey Starring Adam Scott & Richard Jenkins

So I watched this late at night and don’t have much energy to write anything. I enjoyed the movie, it was a fun watch.  Carter (Adam Scott) discovers he was unknowingly part of a study on divorced children and is enlisted in a follow-up years later.

Watched on Netflix

[moviesteem]

Starz to Make Sweetbitter Series Based on Best-Selling Novel

Starz to Make Sweetbitter Series Based on Best-Selling Novel

Starz to make Sweetbitter series based on best-selling novel

Starz announced today it is developing the half-hour drama series Sweetbitter, based on the national best-selling book of the same name written by Stephanie Danler, who has also written the script for the first episode. Plan B Entertainment tapped Stu Zicherman (The Americans, The Affair, Six Degrees) to develop the script with Danler,…

[magofernando]

The Affair T3

Título original The Affair (TV Series) Año 2014 Duración 50 min. País Estados Unidos Estados Unidos Director Hagai Levi (Creator), Jeffrey Reiner, Carl Franklin, Mark Mylod, Ryan Fleck, Anna Boden, Laura Innes, Michael Slovis Guion Hagai Levi, Sarah Treem, Dan LeFranc, Melanie Marnich, Eric Overmyer, Alena Smith, Kate Robin, Anya Epstein, Stu Zicherman Música Marcelo Zarvos Fotografía Steven Fierberg,…

[bkenber]

Clark Duke on His Role in 'A.C.O.D.'

WRITER’S NOTE: This interview took place in 2013. Actor Clark Duke made his big breakthrough with his own web series “Clark and Michael” in which he played a fictional version of himself opposite Michael Cera. Since then, he has gone on to give a number of hilarious performances in movies like “Sex Drive,” “Kick Ass” and “Hot Tub Time Machine.” This past summer, he stole some scenes in the…

[moviescanchangeyourlife]

‘Mating’ Comedy from Stu Zicherman and Jason Katims Gets Showtime Pilot Order

[watchingmoviesandshit]

A.C.O.D. (2013)

[reellm]

A.C.O.D.

   2/5★

    A great cast combined with a relevant issue should make for a good movie. Unfortunately, A.C.O.D. is too broad and misfiring that its just a missed opportunity. The emphasis is on few moments of insight rather than a continuous exploration of the impact of being 'the least parented, least nurtured generation ever,' or an adult child of divorce.

   I like Adam Scott. He projects a dry suffering, a passive "why is this happening to me, I'm surrounded by crazy people" and casting Amy "Knope" Poehler as his stepmother made for some meta funny scenes, but for the most part, the movie was frustrating and didn't have a clear idea of what it was trying to convey.

Verdict: Skip.

Plot: A grown man caught in the crossfire of his parents' 15-year divorce discovers he was unknowingly part of a study on divorced children and is enlisted in a follow-up years later, which wreaks new havoc on his family.--IMDB

Director: Stu Zicherman  

Cast: Adam Scott, Richard Jenkins, Catherine O'Hara, Amy Poehler, Clark Duke, Jessica Alba, Jane Lynch

Genre: Comedy

Rating: R

Runtime: 88 min

[tuseriesdetv]

Noticias de series de la semana: Temporada completa para 'The Good Doctor'

Más episodios del buen doctor

The Good Doctor es la segunda novedad que consigue temporada completa. Se han encargado cinco episodios adicionales, por lo que la temporada constará de un total de dieciocho.

Renovaciones de series

Freeform ha renovado The Bold Type por una segunda y tercera temporada

Habrá segunda temporada de Paquita Salas y se verá en Netflix

Netflix ha renovado Easy por una segunda temporada

Movistar+ ha renovado Velvet Colección por una segunda temporada

Netflix ha rescatado Top Boy, cancelada por Channel 4. Renovada por una tercera y cuarta temporada

Hulu ha rescatado There's Johnny, que no llegó a estrenarse en Seeso

Cancelaciones de series

La sexta temporada de Major Crimes, que se estrena en TNT el 31 de octubre, será la última

Bravo ha cancelado Odd Mom Out tras su tercera temporada

Incorporaciones y fichajes de series

Jon Hamm (Mad Men, Unbreakable Kimmy Schmidt) será el arcángel Gabriel en Good Omens.

Connie Britton (Nashville, Friday Night Lights) protagonizará 9-1-1 junto a Peter Krause y Angela Bassett.

Sally Field (Brothers & Sisters) será recurrente en Maniac. No se conocen detalles sobre el personaje.

Alyssa Milano (Charmed, Mistresses), que participó en el piloto de Insatiable antes de que Netflix encargase temporada completa, ha sido ahora ascendida a regular.

Keeley Hawes (Line of Duty) y Richard Madden (Game of Thrones, Medicis: Masters of Florence) serán la Secretaria de Estado del Ministerio de Interior y su guardaespaldas en Bodyguard. Completan el reparto Gina McKee (Line of Duty), Sophie Rundle (Peaky Blinders), Vincent Franklin (Happy Valley) y Rowena King (The Wrong Mans).

Amirah Vann (Underground) se une como recurrente a la cuarta temporada de How to Get Away with Murder. Se desconocen detalles.

Leland Orser (Taken, Ray Donovan) será Peter Sullivan, editor del Los Angeles Times, en One Day She'll Darken.

Hart Denton será recurrente en la segunda temporada de Riverdale como Chic, el hermano de Betty (Lili Reinhart).

Fortune Feimster (The Mindy Project) se une como regular a Champions. Será Ruby, amiga de la infancia de Vince (Anders Holm) y Matthew (Andy Favreau) y entrenadora de su gimnasio.

Aubrey Plaza (Parks and Recreation, Legion), Judy Greer (The Village, Jurassic World), Michaela Watkins (Casual), Kate Berlant, Joe Lo Truglio (Brooklyn Nine-Nine, Reno 911!) y Danielle Macdonald se unen a la segunda temporada de Easy, que contará con gran cantidad de los protagonistas de la primera.

Grey Damon (Aquarius, Friday Night Lights), Okieriete Onaodowan (Hamilton), Danielle Savre (Too Close To Home, Heroes), Barrett Doss (Iron Fist) y Jay Hayden (The Catch) se unen como regulares al spin-off de Grey's Anatomy. Los cinco interpretarán a bomberos.

David Tennant (Doctor Who, Broadchurch), Charles Dance (Game of Thrones, And Then There Were None), Richard E. Grant (Logan, Jackie), Jessica Hynes (W1A), Katherine Parkinson (The IT Crowd, Humans), Karl Theobald (Plebs), Arsher Ali (The Missing, Line of Duty), Celia Imrie (Better Things), Paul Ritter (Friday Night Dinner, No Offence), Tolu Ogunmefun, Monica Dolan (W1A, The Casual Vacancy), Sarah Hadland (Miranda, The Job Lot), Lolly Adefope (Loaded, Damned), John Macmillan (Silk, Chewing Gum) y Harry Lloyd (Game of Thrones, Marcella) participarán en la primera temporada de Hang Ups, el remake británico de Web Therapy protagonizado por Stephen Mangan (Episodes).

Teyana Taylor será recurrente en la cuarta temporada de Hit the Floor. Se desconocen detalles.

Anabelle Acosta (Quantico, Ballers) será recurrente en la quinta temporada de Chicago PD como Camila, alquien que hace recordar a Halstead (Jesse Lee Soffer) su pasado militar.

Gideon Emery (Teen Wolf, Good Behavior) será el agente Reynolds en la tercera temporada de Scream.

Kether Donohue (You're the Worst, Pitch Perfect) será recurrente en LA to Vegas como Meghan, la exmujer de Colin (Ed Weeks).

La cantante Jill Scott será la villana Lady Eve en Black Lightning.

Christopher Meyer (Wayward Pines, The Fosters) será Anton Gatewood, un estudiante de Noah (Dominic West), en la cuarta temporada de The Affair.

Natalia Cordova-Buckley (Yo-Yo) ha sido ascendida a regular de cara a la quinta temporada de Agents of S.H.I.E.L.D.

Pauley Perrette (Abby Sciuto) abandonará NCIS al finalizar la decimoquinta temporada.

Emily Alyn Lind (Ariel) ha sido ascendida a regular de cara a la tercera temporada de Code Black.

Brandon Victor Dixon (Terry Silver) ha sido ascendido a regular de cara a la quinta temporada de Power.

Pósters de series

            Nuevas series

Netflix encarga diez episodios de Raising Dion, adaptación del cómic de Dennis Liu sobre una madre viuda que ha de criar a un hijo de siete años con superpoderes. Michael B. Jordan (Friday Night Lights, The Wire) producirá la serie e interpretará a Mark, el fallecido padre de Dion.

Sky 1 ha encargado The Long Run, dramedia creada y protagonizada por Idris Elba (Luther) e inspirada en su infancia, sobre un matrimonio que emigró desde Sierra Leona hace trece años y cría a su hijo en Londres en los ochenta.

Luz verde en Starz a Sweetbitter, adaptación de la novela de Stephanie Danler (2016) por ella misma junto a Stu Zicherman (The Americans, The Affair), sobre una joven de veintidós años (Ella Purnell; Maleficent, Miss Peregrine's Home for Peculiar Childen) que consigue trabajo en un restaurante de Nueva York entrando entonces en un mundo de alcohol, amor, lujuria, drogas, antros y cenas de lujo. Produce Brad Pitt.

BBC Two encarga ocho episodios de Trigonometry, romcom sobre un joven matrimonio de Londres sin dinero que decide alquilar una habitación a alguien de quien se acaban enamorando. Escrita por Duncan Macmillan y Effie Woods.

BBC One encarga siete episodios de World On Fire, escrita por Peter Bowker (The A Word, Marvellous), sobre gente normal que ve la Segunda Guerra Mundial desde ambos lados del conflicto. La primera temporada seguirá el primer año de guerra, desde la invasión de Polonia en septiembre de 1939 hasta la Batalla de Inglaterra (de julio a octubre de 1940).

BBC One prepara The Trial of Christine Keeler, sobre el affaire entre John Profumo, el Secretario de Estado de Guerra, y una joven de diecinueve años en 1963 conocido como el caso Profumo o Profumo Affair.

Fechas de series

No Activity llega a CBS All Access el 12 de noviembre

Dark se estrena en Netflix el 1 de diciembre

La tercera temporada de Ash vs Evil Dead se estrena en Starz el 25 de febrero

Otras imágenes

A Very English Scandal

Tráilers de series

Paquita Salas

Future Man

Dark

Marvel's Runaways

Happy!

Shut Eye - Temporada 2

The Librarians - Temporada 4