Too Gay, or Just Enough?

The world is a pretty awful place.

Let's not try and sugar coat that. Especially right now.

Teenagers are taking their own lives, senselessly. Mostly because the powers that be in this country have allowed the persecution of minorities to go on too long. The ignorance that is inherent in our society about minority groups is horrific. And, as a result, anyone who doesn't fit in to the non-marginalized "societal norm" feels so unwanted, so disrespected and so out of place that they are turning to drugs, running away from home or even worse, resorting to suicide.

This is everyone's responsibility to fix. Because it's a problem that is intrinsic to our society.

We've all been lead a merry dance over the past ten years by corrupt businesses, corrupt government and and corrupt political leaders. This recent leak of diplomatic documents have revealed a whole rash of shit that undermines the very foundation of what America stands for, freedom, liberty and justice for all.

But there's a little show on television that not only makes light of the dilemmas we all went through as teenagers, it might, it just might, make the horrific world we're living in that little bit brighter, for just those individuals who need it.

Glee comes under much criticism - I myself have criticized the show. But what the show is telling us, is that there's a place for everyone, that nobody should be discount or excluded.

The show magnifies almost every major issue our teenager's face -- teen pregnancy, bullying, sizeism, racism, homophobia, parental separation, parental illness, coming out, same-sex parents, peer pressure....

Yes, it sends its message with a side serving of auto-tuned, middle of the road pop/broadway cheese, but you can't fault the series writers/producers for putting out the bold messages and making the statement "there's no such thing as an outsider."

If this show is even a tiny step towards a mainstream acceptance of all of these pressing issues, but especially the crippling and senseless ignorance towards gays and lesbians which is causing the children of this country to take their own lives then I support their efforts.

There are some groups online who are trying to trash 'Glee' and all it's achievements - these are the same groups who allow traditions and religion to govern their choices, these are the groups who feel it necessary to target, bully and attack gays and lesbians. My response to these groups (other than my favorite comeback, which is "The lady doth protest too much, methinks") is live and let live. That's all. Just live and let live.

Is Glee to gay? Hell no. Bring it on, and let the ignorant and the bigoted see that everyone in our society has a voice. ...Even if it is a little auto-tuned.

A Television Epidemic

Survivors is a relatively recent British television series, set against the backdrop of a fictional flu epidemic, which sweeps the globe, leaving behind only a few survivors.

There are echos of LOST, much like other television of late, in fact there is even a line in the pilot episode, in which the lead character (assuming control of the small group the series follows) utters "we either live together or ...die..." (implied: alone.)

What makes this piece unique is its perspective. Taking a global post-apocalyptic natural disaster and placing the central action in rural Britain.

This isn't a flu epidemic in New York or London, it's in the rolling hills of the British countryside. We follow real, working class people, so the series takes on a stark reality. There's no Hollywood, just raw Britain with raw British characters.

In the pilot you see the inner workings of the British government from the Prime Minister on down - you see how the British government react and handle the epidemic and then you see the government as they try to restructure after the event itself.

You empathize with the core characters of the piece, and each episode deals with a new isolated dilemma for the characters to dispel.

Not content with telling a simple story of survival, the writers have already laid the blueprints for some 'foul play' characters that take on a certain 'Dharma' quality - scientists in lab coats testing vaccines and wearing biohazard suits, suggesting there's some dark pharmaceutical underbelly of flu-carrying terrorists that might have caused the epidemic... but that's to be expected. Luckily this is taking a "back seat" so there's very little bio-tech science fiction going on.

All in all it's well worth checking out. And it's available on Netflix DVD or to stream.

Wrong Turn

I'm working on a new script about human choices, the decisions we make, and how our choices effect us and the rest of the world.

One small decision on the part of just one person can effect the entire course of history.

This is a fascinating theory, and something I'm going to try and examine in 'Wrong Turn' a new piece I started working on last night.

Here is my prologue for the piece, told by the central character, who becomes something of a Zelig - observing the world from the fringes of existence, without ever being truly involved...

Parallel Writing

I'm always fascinated by parallel story lines, be it in television or film.

Here are some of my favorite examples:

Crash (2004)

"It's the sense of touch. In any real city, you walk, you know? You brush past people, people bump into you. In L.A., nobody touches you. We're always behind this metal and glass. I think we miss that touch so much, that we crash into each other, just so we can feel something. "

This is the opening voice over of the film - a film in which we meet multiple characters, all of whom live in different worlds and do different types of work - but we see that the characters start to overlap. As the opening monologue suggests: the characters crash into each other.

We meet the various characters very early in the film, and as the plot advances, we start to notice each of them in each other's story.

The film is tied together like several strands of string that are being woven into canvas, and by the final frames of the film, the canvas is complete.

As you watch Crash you feel as though you have a balcony seat, overlooking the entire city of L.A. - and you watch as the characters move through the city. You start to predict at what cross-street they'll meet and what will happen when they do.

Sliding Doors (1998)

Sliding Doors is, essentially, a romantic comedy. But it's a romantic comedy with a clever twist. It's really two romantic comedies, two separate stories, separated by two 'sliding doors' -- the sliding doors of a London tube train, which determine the fate of the film's lead character played by Gwenyth Paltrow.

The story splits, and we see what happens if she catches the train, and what happens if she doesn't.

This film is based on fantasy -- we're seeing parallel universes, not parallel stories. It sounds confusing, but it's all made very clear because of the way the film is constructed. The setup is very straightforward and the two story lines are easy to delineate.

The script itself is commendable for it's timely romantic comedy style - it is a 'Four Weddings and Funeral' era British film, so it follows the format of similar films that were popular in the mid 1990's. It's a rather 'blank verse' approach to storytelling: Girl meets guy, girls likes guy, guy does something that displeases guy, guy and girl separate, girl and guy reunite the rain.

The true artistry in the writing and directing of the film is the seamless way the filmmakers move between the two parallel scenarios, and tell the two stories in such a convincing way, that as an audience, you don't know which is fact and which is fiction.

Collision (1999)

Collision is a five-part mini series produced by ITV(UK) about a road accident, involving six cars, in which three people are killed and several are injured.

The detective assigned to investigate the accident is deliberate but flawed, having just returned from a leave of absence following his wife's death. The investigation turns up a deep trail of evidence and you start to piece together how the drivers and passengers of the vehicles are somehow linked, and how some of the stories overlap.

Since this is a five part mini series, the information is revealed very intricately, and the far reaching story sets up a number of small mysteries that are all neatly tied together by the final episode.

Short Cuts (1993)

This film is a cult favorite, directed by Robert Altman, in which a series of short stories and characters are tied together.

In this film, the script is broken apart, and the plot is pieced together more methodically. The characters exist in a slightly heightened reality, and the soulless Los Angeles setting is a perfect backdrop for the story.

The credibility of this piece lies in the acting and directing. There are very clear choices made to tell the story from various angles and see the plot develop through the various multiple locations and characters. The clever weaving of the various stories is credited to the screenwriter Frank Barydt.

The Hours (2001)

If Altman's Short Cuts moves from one story to another like sharp slices through celluloid, then Stephen Daldry's The Hours moves like a carefully rehearsed ballet.

There is music and melody to the transitions in The Hours, which is a story told across three generations, three women all linked by the Virginia Woolf novel 'Mrs Dalloway'

The artistry in this film can be found in the acting, the directing, the screenplay and the editing. The editing especially should be commended because of the expert way in which you move between the three stories -- the moments at which you transition from one place to another, and the almost romantic connection between these three women is stunning to watch. It's almost as if the story has no edge to it, and the plot continues on after you cut and transition to a new scene. There's a believability to the characters that suggests their lives go much further than the context of the film.

The script uses a series of touchstones to tie the three women together, each of them are handling food at one point, and as we cut, we see each of them preparing a meal. We see them looking at their own reflection, in a stream, in a mirror and we cut between them as if the moment were simultaneous.

Narration and voice over overlaps, and in some cases one character is narrating another's action. There are sometimes non-definitive cuts between the three stories that cut back and forth much like conventional cinema, suggesting characters are in the same room -- the same time and space -- when in fact they aren't...

Showtime, LOST and American Television Writing

For years HBO was the dominating 'go to' place for originality. Entourage, True Blood, The Sopranos, The Wire, Curb Your Enthusiasm.

HBO has also been responsible for importing great television writing from the UK, mostly in the form of hit BBC Comedy such as Little Britain, The Ali G Show and of course, both Ricky Gervais BBC Projects The Office and Extras.

But it seems to me that now Showtime is giving HBO a run for their money, with some incredible shows that are expertly written.

The curious 'thirty minute' format is a newfound thing in American television dramas. Where network television shows such as LOST or Fringe or The Event are an hour in length, the most successful Showtime originals hit an uninterrupted thirty minutes.

Weeds, The Big C and Nurse Jackie all follow a 30 minute format, leaving their audiences wanting more at the end of each episode, unlike some of the network dramas that write 20-30 minutes of story into a hour long episode.

Getting LOST in LOST

LOST set the bar very high combining stark realism with high concept, and though a lot of its audience grew 'Lost' and gave up after only a few seasons, its hardcore fans still marvel at the intricacy of the writing. The way that elements of the story were developed, and the way that information was revealed.

LOST perfected not only the flashback, but the flash forward and the flash sideways -- which was a very original way to convey the story. The way the show was produced, and so very well directed, meant that these divisive new approaches to storytelling were easily accepted by the audience.

24 found it's storytelling niche, by revealing the plot in real time, an hour of story per hour of television. This was another inventive, divisive way to reveal information, that worked perfectly for 24.

As a writer you're always told your story must have a beginning, middle and end. And while LOST had all three, they weren't necessarily told in that order, or from the same perspective, or in the same time zone, or with the same characters, or in the same locations.

This was incredibly successful for LOST, but what followed in American television in 2009/2010 was an attempt to recreate that inventive storytelling. An attempt by other writers to recreate the feeling of LOST, without having the same compelling characters, the situational hook of 'being lost' and without the creative minds and talents of those who created LOST to explain just how to actually produce without confusing the audience.

First came Fringe, which is the brainchild of LOST creator J.J.Abrams.

I lost my interest in Fringe after the first season, I could see it was going down the 'time travel' or 'parallel universe' path that LOST had done so well before - and I was worried it wouldn't pan out quite as well.

Then came Flash Forward which intrigued me because of the almost entirely British cast - and, in fairness, the concept seemed to be well thought out. It held my interest through it's first season but it didn't "hit" with everyone, since it wasn't picked up for it's second season. The story bounced from location to location, and time frame to time frame not unlike LOST - though it was more convoluted, and the fundamental elements that LOST had, were missing.

Compelling characters, it would seem, keep audiences. Proving that the old rules of storytelling still stand true. Good characters in an interesting situation, with a puzzling dilemma is all you need.

After Flash Forward came The Event - which is another 'rewind' concept show told through ambiguous flashbacks. The characters are being developed so slowly over multiple episodes which means there is no character based foundation on which to hang your interest. The Event is panning out to be a combination of LOST, Fringe, 24 and Flash Forward. There's also a hinting that the series might become a carbon copy of the recent remake of the 1980s Sci Fi drama 'V'.

The Originality

What is refreshing about the Showtime original series is their ability to tell a story. A sequential story without the gimmicks of flashbacks, flash forwards, time travel or aliens.

Comedy-drama, also known as dramedy^[1], is a genre of television, theatre, and film in which there is an equal or nearly equal balance of humor and serious content.

The Big C is a wonderful example of 'dramedy' at it's finest - a central character you invest in, in part because of Laura Linney's charm and appeal, and a story that is filled with conflict, miscommunication, situational comedy and true familial drama.

Nurse Jackie is much the same, a lead character facing multiple conflicts, professional and personal. A series of supporting characters who each bring a vital element to the storytelling.

The same can be said for Weeds, a show thats success is based largely on its central character and dysfunctional surrounding characters, caught in constant conflict.

No scenes are wasted in the 30 minute format, and every line of dialogue contributes to the story line somehow. There is no excessive use of devices, or gimmicks in the storytelling, just a script, dialogue, a compelling setting and characters.

The Future of Episodic Television?

I believe, the bubble will eventually burst, and network television writers will get over the successes of shows like LOST and 24 -- two shows that have set a new standard in television, with audiences now demanding a more cinematic TV drama. Shows such as Trauma and Chase are further examples of that.

Already there are shows that remain at the fore such as Grey's Anatomy, House and Lie To Me that are more reliant on character, script and story. So the future looks good.

Ironically, the situation comedy for network television has taken a new leap, with shows such as ABC's Modern Family and The Middle, Fox Television's Family Guy and NBC's amazing comedy line up of The Office, Parenthood and 30 Rock.

The television sitcom has found a new audience with each of these shows, a more irreverent and flippant style, comedy with more observational irony and self-effacing tone. The Office and 30 Rock are the best examples of this, playing on the awkwardness of real life, and situational comedy in it's truest form - in which we see characters we live and work with faced with extraordinary circumstances.

As for me - my future holds something very exciting. I'm going to start watching Dexter from the very beginning, which many have raved about, and everyone seems to love. I'm sure I'll be posting plenty of critique here!

Work, Work, Work

Freelance work is never easy - in a failing economy it's even worse.

I've been lucky over the past two weeks to make some great connections for future jobs.

Writing is a newfound passion of mine, relatively newfound, having been an actor for so many years, I'd always appreciated good writing, but never really taken the plunge into writing something myself.

A knowledge of acting informs your writing, and the general understanding of character and storytelling is the same as a writer, director, actor or, indeed, any artist. But there's something very exhilarating about initiating a creative idea, writing it down and seeing it through to it's final stages.

Watch this space for updates on future projects!

The Art of Writing

The Art of Writing

By John Baker

Correct usage will help you're reader follow you're words. Misusing words will confuse the reader, and they're will be a problem.

Sellping is impotent. Mispelt words will disingage your reader, and interupt the flow of your work.

An importance in your words flow is Grammar.

Prepositions should not be used at the end of sentences, if this happens, your reader will lose the context of your sentence, and they will not know where they're at.

Substituting 'good' for 'well' will do you no well, and not serve you no good.

Punctuation will help give your work structure making it easier for the reader to understand the context of your sentences the order of events in storytelling and how your sentences break down.

Misusing or interchanging possessive "it's" and "its" can be confusing to your reader. Its a very common mistake.

The word 'it' is also tricky, if at no point in a sentence you attribute a noun to your 'it'.

Multiple uses of the word "it" is too non-specific and it will become unclear as to what it means, making it almost impossible to understand what it is and how to interpret it. Eventually, it will become so confusing that your reader will lose interest in it and stop reading it.

Misuse of apostrophe's is a common problem. This is something I learned at Sleuth's.

Double negatives are a stumbling block. I can't hardly believe that people make the mistake so frequently. using double negatives will prove that you don't know nothing about writing.