#lipeze

[vintagewarhol]

[halfthebrain]

Shaking in my boots, looking up who wrote High Noon, s2e10 of SUITS to write them a long, long love letter.

[notsoterriblymisanthropic]

If, on other songs, Karen O.’s use of lyrical repetition serves to achieve a primal, beyond-language rock-lexiconical potency, the singer takes care to do the opposite on “Maps.” Every line’s meaning is maintained, each imbued with a spurned lover’s (deluded) belief in the power of debate to change someone’s feelings about them. Each “wait” or “they don’t love you like I love you” isn’t a separate thought, exactly, but they are sung like they might conceivably build on each other in a coherent argument, with which the singer might—somehow, against all other logic or evidence—still get what they want.

Zachary Lipez, Yeah Yeah (Yeah), Cool Cool (Cool): Fever To Tell at 20

[jgthirlwell]

An interview with JG Thirlwell by the illustrious Zachary Lipez was just published in the National Sawdust blog, discussing the new JG Thirlwell string quartet album 'Dystonia'. 'Dystonia' is available now on Bandcamp.

[unproduciblesmackdown]

yet more tantalizing material

[correctrvbquotes]

Fades in to O'Malley and Lopez standing on a base in a cold desolate-looking place

O'Malley: (evil laughter) Well, my metallic friend, your modifications are complete. And my plan is coming to frution. Frusi- Fru-Frutition. Fr-

Lopez: Fruición[Fruition.]

O'Malley: Oh, shut up.

Lopez: Sí, Maestro. Su plan es infalible. [Yes Master. Your plan is foolproof.]

O'Malley: Now to bring together my enemies.

Cut to Vic's control panel, with the words 'OUT OF AREA' flashing in red

Vic: Oh dude, come on, you gotta be kidding me.

Vic's answering machine: Hey dude, it's Vic. No solo mia, not in the casa right now, so leave a message and I'll call you back. Just leave your what's up at the yo....yo.

O'Malley: Vic, pick up, it's me, (evil laughter).

Vic: Oh hey, Doctor Baron von Evil Satan, what's up dude?

O'Malley: Don't screen my calls, Vic.

Vic: Dude, you don't come up on caller ID I'm not just gonna answer anything-

O'Malley: Caller ID? I'm in hiding you baffoon! I'm trying to take over the universe! (evil laughter)

Doc: We're also on the Do Not Call List.

O'Malley: Oh, shut up.

Vic: So how's that plot going dude.

O'Malley: Magnificent! (evil laughter) I've called my bounty hunter in. He'll take care of your little 'red and blue' problem post-haste (evil laughter).

Vic: Oh cool! Thanks for turning that around so quick, dude.

O'Malley: (laugh continues) Ha.

Vic: I know you're swamped.

O'Malley: Then the universe will be mine and I'll crush every living soul in to dust, hahaha! Except or you of course Vic. I'll make you Assistant Crusher.

Vic: Okay, dude. Looking forward to that.

[howardshum]

Watch footage I shot of Joey King, Logan Lerman, Director/Executive Producer Thomas Kail, Showrunner/Writer/Executive Producer Erica Lipez and Author Georgia Hunter in a We Were the Lucky Ones Q&A moderated by Daveed Diggs

[head-post]

Trump picks Pam Bondi as US Attorney General, gets four appellate judge seat

US President-elect Donald Trump said he would nominate former Florida Attorney General Pam Bondi for US Attorney General after previous candidate Matt Gaetz declined consideration, according to Reuters.

Gaetz was the subject of a House Ethics Committee investigation of representatives over allegations of having sexual relations with an underage 17-year-old girl and using illegal drugs. He denies the offences.

Bondi’s resume contrasts with that of Gaetz, who lacks much of the traditional experience expected of an attorney general and was expected to face opposition from Senate Democrats and some Republicans. David Weinstein, a former federal prosecutor in Florida, said:

She is certainly qualified for the position on paper. She spent her life prosecuting cases. She has a resume, as compared to the last nominee.

Trump announced his choice of Bondi on social media, praising her for her prosecutorial experience and saying she was tough on crime as Florida’s first female attorney general. He also expressed hope that Bondi would end the politicisation of federal prosecutions.

For too long, the partisan Department of Justice has been weaponised against me and other Republicans – Not anymore.

Trump criticised the current leadership of the Justice Department and promised retribution after special prosecutor Jack Smith secured two indictments against him. The charges are related to Trump’s attempts to disrupt the 2020 election and his retention of classified documents after leaving the White House.

Appellate judges under agreement with Senate

Democrats and Republicans in the US Senate struck a deal on Wednesday, paving the way for a vote on a group of President Joe Biden’s nominees to serve on federal trial courts in exchange for rejecting four nominees to serve on appeals courts. The deal, described by Democratic Majority Leader Chuck Schumer’s spokesman on Thursday, was reached after Senate Republicans launched a campaign to try to stall and prevent Democrats from fulfilling their plan to confirm as many lifetime judges as possible before Trump takes office in January.

Senate Republicans previously said they had the votes to block at least two of the four appeals court nominees. The deal will no doubt disappoint advocates of progressives who have been pushing Democrats to fill as many judicial vacancies as possible since the 5 November election, which handed the White House to Trump and control of the Senate to Republicans.

Following the election, the Senate confirmed eight judges chosen by Biden, bringing the total number of confirmed judicial nominees to 221. On Thursday, the Democratic-led Senate confirmed another, Sharad Desai, to serve as a trial court judge in Arizona.

Under the agreement, the Senate will vote to confirm seven nominees for district court judgeships that Schumer has already appointed in exchange for no longer seeking confirmation of four higher-level appeals court nominees. The Senate will also consider five other district court nominees whose nominations were made on Thursday by the Senate Judiciary Committee.

The other appellate nominees were Ryan Park, seeking a seat on the 4th US Circuit Court of Appeals, based in Richmond, Virginia; Julia Lipez, who was nominated to the 1st US Circuit Court of Appeals, based in Boston; and Karla Campbell, who was nominated to the 6th US Circuit Court of Appeals, based in Cincinnati.

Read more HERE

[rsnews555]

‘Somos os Que Tiveram Sorte’, filme de guerra com Joey King e 93% de aprovação, estreia no Streaming

‘Somos os Que Tiveram Sorte’ (We Were the Lucky Ones), série dramática de guerra estrelada por Joey King (‘A Barraca do Beijo’) e Logan Lerman (‘As Vantagens de Ser Invisível’), estreou hoje, 7 de agosto, no Disney Plus. Com roteiro assinado por Erica Lipez (‘Bates Motel’), a série conta a história real de uma família de judeus que luta para sobreviver e se reencontrar após se separarem no início…

[tomorrowedblog]

We Were The Lucky Ones premieres today

We Were The Lucky Ones, the new TV series from Erica Lipez, is out today.

Based on Georgia Hunter’s New York Times bestselling novel, the television adaptation of “We Were the Lucky Ones” is a limited series inspired by the incredible true story of one Jewish family separated at the start of WWII. The series follows them across continents as they do everything in their power to survive, and to reunite. “We Were the Lucky Ones” demonstrates how in the face of the twentieth century’s darkest moment, the human spirit can endure and even thrive. The series is a tribute to the triumph of hope and love against all odds.

[notsoterriblymisanthropic]

Fever To Tell does not fit neatly into any of the Rock and Roll subgenres. Like the band that made it, the album is too strange for garage, too abrasive for new wave, too eager to please for no wave, too trashy for post-punk, and has a relationship to punk that can best be compared to ex-lovers who don’t talk, don’t follow each other on social media, but who don’t wish each other any harm either.

Zachary Lipez, Yeah Yeah (Yeah), Cool Cool (Cool): Fever To Tell at 20

[osooroforever]

Leonor Lipez and Juan Felix, parents and grandparents that are sorely missed... (at Ypsilanti, Michigan) https://www.instagram.com/p/Cnz8pt4O5L4/?igshid=NGJjMDIxMWI=

[unproduciblesmackdown]

shoutout to sydney lipez's presumed customized shirt like heard that

[yingtai-is-reading]

In America, unprecedented success begets unprecedented wealth. When Michael Jordan wins six championships or Mark Zuckerberg invents social media, they earn billions.

And not only them but also their teammates — the people whose contributions weren’t just meaningful but necessary. In success, they get paid, too.

But not in Hollywood. Here, when you write for a show that becomes an unprecedented success, there is no such windfall. There is only a check for $259.71.It doesn’t matter whether the show you helped build generates 3.1 billion viewing minutes in one week across Netflix and NBCUniversal’s Peacock, setting a Nielsen record. It doesn’t matter whether said show constitutes 40% of Netflix’s Top 10.

$259.71: That’s how much the “Suits” episode I wrote, “Identity Crisis,” earned last quarter in streaming residuals. All together, NBCUniversal paid the six original “Suits” writers less than $3,000 last quarter to stream our 11 Season 1 episodes on two platforms.

Yes, it’s gratifying that the show has found a new and bigger audience this summer on Netflix. Every writer and actor hopes their work will endure. And yes, I’m grateful to have been in the engine room of “Suits” for eight of its nine seasons.

But $259.71 for writing a show with an audience so massive? This is why writers and actors are on strike. This is why SAG-AFTRA President Fran Drescher has used terms such as “un-American” to describe this system.

Entertainment executives argue that they are offering writers historic raises. The thing is, even a 100% increase on a $259.71 check doesn’t come close to paying most people’s rent.

Even in a best-case scenario — which “Suits” most definitely is — streaming simply offers no upside for writers and actors and no correlation between results and compensation.

Being underpaid is only part of the problem. The other part? Not being paid at all.

“Suits” became so popular globally that it was licensed and remade in South Korea, Japan and Egypt. When that happens, studios are supposed to pay the writers for the source material.

But a couple of quarters after the Egyptian version of “Suits” began airing last year, I asked the Writers Guild of America to look into why I hadn’t been paid. So far, the guild’s small but intrepid enforcement team has been stonewalled.

The streaming success of “Suits” may be rare, but my experience is common. My fellow writers and actors have taken to posting their own paltry residual checks on social media. Others are owed money for work completed years ago.

A lack of equitable compensation is a valid enough reason to strike and one that most Americans can relate to. Writers and actors are merely the latest arrivals in this late-stage capitalist purgatory.

But this fight is about much more than what writing an episode of “Suits” is worth. It’s about how entertainment is made and paid for more broadly.

Whether you’re an airport baggage handler or a schoolteacher or a television writer, you rely on a whole team to get the job done well. Aaron Korsh, the creator of “Suits,” worked for two years to craft a compelling pilot and made all the big decisions that guided everything we did. But a mock trial episode that truly elevated the series came from Erica Lipez, the sixth writer hired.

Without Lipez’s contributions, there would still be a show. Without any three of us, there would still be a show. But it wouldn’t be “Suits.”

You can’t subtract Sean Jablonski’s subversive edge, Jon Cowan’s storytelling know-how or Rick Muirragui’s laugh-out-loud dialogue and have a Season 1 that lays the foundation for another eight.

In recent years, streamers have exerted downward pressure on the number of writer-producers who work on shows and stripping early- and mid-career writers out of the casting, production and editing processes. On “Suits,” writers participated in every step of their episodes, which contributed to the show’s quality. That rarely happens now.

An overlooked aspect of this strike is that writers and actors are fighting to protect the quality of the shows that people watch.

The resurgence of “Suits” comes at an opportune moment for executives. The business is shut down; they have time to take stock of what has worked and what hasn’t. Among the questions they might ask:

What does it say that a show that debuted 12 years ago is outperforming dozens of newer original series that Netflix has spent hundreds of millions of dollars producing?

What is the real value of the limited series that streamers have been cranking out? Are viewers as likely to revisit short-lived, ripped-from-the-headlines one-offs about corporate scandals or small-town murders as they are a fully developed, long-running drama?

Are viewers craving more carnage and darkness or cable news sermonizing? Or are they hungry for shows that leave them feeling good?

Only the streamers can determine what kind of content they produce and distribute. Writers and actors are powerless to negotiate that.

But many artists are certain that what is broken about Hollywood isn’t just compensation. It’s what’s being made and why.

Unlike many shows today, “Suits” wasn’t made out of fear. Alex Sepiol, the executive most responsible for championing the series, bet that viewers would respond to a show with an unknown creator and mostly unknown cast because the material was simply that funny and human. More than a decade later, that bet is still paying off.

If only it were paying off for the actors and writers who helped make it a winner.