Wednesday, January 25, 2012

PALEYFEST... I GOT TICKETS, BITCHES.


Sons of Anarchy has been invited to the Paleyfest this season.  Normally, I avoid anything that contains the suffix, "fest", but this one is an exception.  Here's some info from their website -- 

Mission
The Paley Center for Media, with locations in New York and Los Angeles, leads the discussion about the cultural, creative, and social significance of television, radio, and emerging platforms for the professional community and media-interested public. Drawing upon its curatorial expertise, an international collection, and close relationships with the leaders of the media community, the Paley Center examines the intersections between media and society. The general public can access the collection and participate in programs that explore and celebrate the creativity, the innovations, the personalities, and the leaders who are shaping media. Through the global programs of its Media Council and International Council, the Paley Center also serves as a neutral setting where media professionals can engage in discussion and debate about the evolving media landscape. Previously known as The Museum of Television & Radio, the Paley Center was founded in 1975 by William S. Paley, a pioneering innovator in the industry.

  
 Events 

Throughout the year, The Paley Center for Media hosts discussions with influential newsmakers, journalists, and world leaders on today's important issues. The Paley Center also celebrates excellence in drama, comedy, and documentary film with a range of events that examine the creative process behind great entertainment.



The William S. Paley Television Festival: PaleyFest

Named for William S. Paley, founder of CBS and the Paley Center, this annual Festival began in 1984 to celebrate the collaborative creativity behind making great entertainment content.  In connecting media enthusiasts with individuals who bring to life outstanding programming, PaleyFest creates an extraordinary interactive pop culture event.

On Wednesday, March 7th, 7pm, at the Saban Theatre in Beverly Hills, myself and the cast will do a panel for the very reputable Paley Center.  Why us?  I haven't figured that out yet and I'm hoping they don't think on it too hard.  

You can purchase tickets here --  SOA TIX

If you can't afford tickets, have no fear, I purchased 10 tickets on my own dime and I will give them to the first ten fans who tweet "Give me my ticket, bitch" on 2/22/12 at 2:22pm.  Here's the qualification, you have to live in SoCal.  I ain't flying anyone in for this, kids.  So if you can drive here in under two hours, you qualify.  You tweet, I check, you get the tickets.  And yes, I know it's unfair for those of you who don't live in Southern California.  But you know what... not my fucking problem, 'cause I'm the one with the tickets. 

And yes, I love you. 
 

Wednesday, January 18, 2012

Stop Online Piracy Act


It's a bad idea.

I'm all for protecting the rights of artists and intellectual property, but I believe it is the responsibility of the individual websites and owners to protect its users.  And the burden is on the user/consumer to make intelligent, researched decisions.  I know I'm oversimplifying, but you get the point.  Leaving the policing up to Uncle Sam will just really fuck things up.

I do not trust laws that in any way, shape or form begin to infringe on free speech and artistic expression.  There are too many dangerous agendas out there.  Someone, something, some cunt always turns these laws upside down; they find loopholes and back doors to expedite agendas that ultimately do more damage than good.  

Take a hard look at the Patriot Act. 

No, I don't have the solution.  I just know SOPA isn't it.  So I support Wikipedia and the others who are blacking out today. 


Tuesday, January 10, 2012

SEASON 5

I've returned to my office in the asshole of North Hollywood.  Feels like only yesterday that season 4 ended (that's sarcasm).  Taking meetings, hiring a couple new writers.  Slowly slipping on the leathers.  And the ball-gag. 

I'm back with my writing team at the end of the month and we'll go back into production mid-May.  

Here's what I know about season 5.  No spoilers.  Just thematics.  I've always seen the show as the Prince's journey.  Jax is a man, but he's been unsure of the kind of man he will be.  He has yet to decide on his legacy.  Season 5 will force him to make those decisions.  This season will be a pivotal one in the arc of the series.  Not that all the seasons haven't been essential in shaping the mythology, but this season will begin to lay track for how the series ends.  In a feature film, season 5 would be the end of act two.  Where the hero has been faced with the primary conflict and obstacles and is forced to make a decision that either ends well or not-so-well.  

I see season 5 as being a more deliberate season.  I'm not sure how to expand upon that other to say that the decisions our hero makes will be less impulsive and more permanent.  The stakes will be ratcheted up while the pace will be slowed down.  Not that we won't have all the pulpy goodness we have every season (we will still blow shit up), it'll just have a different rhythm.  

I'm also working with the network, studio and home entertainment group to get something to the fans much earlier this season.  Some kind of behind-the-scenes project that will plug folks back in as early as June.  I know how long of a wait it is to September and I'm thinking of a weekly segment with the actors that teases the new season without spoiling.  Basically bringing you into our world as we produce the show.  We'll make it available on the app, the website and I'm hoping to actually get it on air (although that's me talking out of my ass right now).  I'll keep you posted about that and anything else that falls out of my ass.

And I'll try to blog more.  Twitter is really spoiling my blogging.  Every time I think of something to blog, I'll say, "fuck it", and tweet the 140-character version.  My father was right, I'm a fat, lazy fuck.

Happy new year, bitc...

Oh, yeah, one of my new year's resolutions is not to call my kids, "bitches".  I'm lumping you into that as well. 

Happy new year, kids. 

Wednesday, December 07, 2011

CRITICS LAMENT...WHAT IS SONS OF ANARCHY?


It seems that SOA continues to delight and frustrate critics/reviewers/bloggers/guys-that-haven't-been-laid-since-911.  As you can imagine, that fact also delights and frustrates me.  Time after time, reviewers will complain that Sons always flirts with greatness, yet never achieves it.  It lays the track to perfection, but always derails.  Perhaps.  In some ways, I guess it parallels it's creator.  I'm a half-smart guy with a flare for the absurd, but I'm more than a few runways short of brilliant.  But, self-deprecation aside, I think the bigger issue is a lack of understanding of what the show really is.  And that isn't to say that critics are stupid.  Some are.  Most aren't.  But a lot of critics don't seem to understand what I'm trying to do season after season.  It's like going to see a Summer blockbuster movie and being disappointed because it's not as complex as the Godfather.  

Some critics get it.  Ken Tucker, Matt Zoller Seitz revel in the giddy truth.  Sepinwall and others continue to bang their heads against a wall, applying a level of analysis that is best reserved for a David Simon show.  The Wire, we ain't, nor do we aspire to be.  For the record, SOA is an adrenalized soap opera, it's bloody pulp fiction with highly complex characters.  Often, I think the depth of the characters, the emotionality of the writing and the amazing performances is what confuses critics.  Those qualities put the show on par with other great dramas.  But then I'll go and cut the balls off a clown or turn a plot point absurdly upside down and I will most certainly blow something the fuck up.  It's those things that drive critics crazy.  Why can't I just stay the course.  Be what they want me to be -- measured and predictable.

So why don't I do that?  Why lean so heavily on the pulp?  Maybe this backstory will shed some light: When John Landgraf wanted to move ahead with SOA, he went to his then boss, Peter Chernin, and told him he was going to greenlight the show.  Chernin told him it was a mistake.  No one would watch a show about a bunch of dirtbag bikers.  He thought it was a nasty, unpleasant world.  But Landgraf knew the operatic Hamlet approach of my pitch might be able to avoid the ugly, meth-reality and deliver the thematic attractiveness of the subculture.  Yes, the MC world can be a dark, brutal place.  It doesn't have the glamor of the Mafia or the urban sway of street gangs.  Chernin was right, a straight up drama, no matter how well done, wouldn't have lasted more than a season.  I knew instinctively, as did John Landgraf, that dark humor and pulp operatic storytelling would be the best way to open up this world to viewers.  That to balance the danger and brutality of the world, the show needed to be entertaining and, dare I say, fun.  The truth is, I have a very healthy ego.  I have no desire to run a show that only a few hundred thousand people watch.  I'll go do theatre if I want an audience that size.  My challenge as a showrunner, season after season, is to balance art and commerce.  How do I keep the show rich, complex and authentic and yet entertain the fuck out of people?  It sounds easy, but it's not.  Trust me, it would be much easier to write a straight ahead drama to please the critics.  You guys are easy.  But I'm not writing the show to convince people how brilliant I am.  I'm writing it to excite, thrill and engage an audience.  And I can only hope that my talent as an artist and producer shine through.

Clearly, sometimes it doesn't.  As I look at the WGA Award nominees this morning, I realize the thing that frustrates critics is probably the same thing that keeps us an arms-length away from awards.  I'd confidently put the quality of our writing, acting and directing up against any other show.  But the pulp, entertaining nature of Sons will always keep us a few rungs down the ladder from the obvious choices.  Or maybe we just suck and I'm delusional.  That's very possible.  

Anyway, I'll keep writing the show the way I always have and hopefully the audience will continue to show up.  And the critics will lament how imperfect and frustrating the show is to watch and yet they'll continue to watch it and write about it, week after week, after week, after week... it's almost as if they're being entertained.

I was going to tag this entry by calling them all cunts, but maybe that's a little harsh. 

Half-cunts.

Monday, November 28, 2011

A LITTLE BIT OF MY SEMANTIC THEORY OF SLURS AND HOW THAT RELATES TO MY AFFECTION FOR THE USE OF "SEE YOU AND TEA"


WARNING: THIS BLOG POST CONTAINS POLITICALLY INCORRECT LANGUAGE.  IT INCLUDES WORDS CONDEMNED FOR RACIAL, SEXIST AND HOMOPHOBIC OVERTONES.  THEY ARE USED TO CONVEY A THEORETICAL POINT AND ARE NOT MEANT TO ENCOURAGE OR CONDONE HATE.  PLEASE DO NOT BE A CUNT AND TAKE THEM OUT OF CONTEXT TO CREATE A TITILLATING HEADLINE ON YOUR BULLSHIT ENTERTAINMENT BLOG. THANK YOU.

My use of the C-word seems to be a very polarizing semantic choice.  People either rally to the call of brashness or condemn me for rude literary ineptitude.  Quite honestly it seems to baffle most folks who know me.  Well.  My wife included.  She knows I don't move through the world with a boorish sexist swagger, so my liberal "cunting" rubs her confused. 

Before I defend my "cunt point" I need to speak to a larger thematic issue -- my theory about how the media and social guilt increase the power of slurs.  Not so much a theory, just a half-bright opinion.   

And forgive me for doing a brief cursory explanation of this idea.  It's a much larger, complex discussion, but this is a blog and I know if I post more than a page or two no one will read it.  If anyone wants to discuss the issue in greater detail, I'd be happy to do so. Well, maybe not happy, but obligated.

There are some words in the English language that we continue to empower as evil.  Not that their origins aren't sinister or meaningful, but society's obsession for public condemnation and censorship has given these words power beyond their negative roots.  The word "nigger" began as a harsh, ignorant term used by white slave owners that over time became a racial slur with brutal weight.  This is the quick historical from Wikipedia:

In the Colonial America of 1619, John Rolfe used "negars" in describing the African slaves shipped to the Virginia colony.[5] Later American English spellings, neger and neggar, prevailed in a northern colony, New York under the Dutch, and in metropolitan Philadelphia’s Moravian and Pennsylvania Dutch communities; the African Burial Ground in New York City originally was known by the Dutch name "Begraafplaats van de Neger" (Cemetery of the Negro); an early US occurrence of neger in Rhode Island, dates from 1625.[6] An alternative word for African Americans was the English word, "Black", used by Thomas Jefferson in his Notes on the State of Virginia. Among Anglophones, the word nigger was not always considered derogatory, because it then denoted “black-skinned”, a common Anglophone usage.[7] Nineteenth-century English (language) literature features usages of nigger without racist connotation, e.g. the Joseph Conrad novella The Nigger of the 'Narcissus' (1897). Moreover, Charles Dickens and Mark Twain created characters who used the word as contemporary usage. Twain, in the autobiographic book Life on the Mississippi (1883), used the term within quotes, indicating reported usage, but used the term "negro" when speaking in his own narrative persona.[8]

In the United Kingdom and the Anglophone world, nigger denoted the dark-skinned (non-white) African and Asian (i.e., from
India or nearby) peoples colonized into the British Empire, and "dark-skinned foreigners" — in general. 

By the 1900s, nigger had become a pejorative word. In its stead, the term
colored became the mainstream alternative to negro and its derived terms. Abolitionists in Boston, Massachusetts, posted warnings to the Colored People of Boston and vicinity. Writing in 1904, journalist Clifton Johnson documented the "opprobrious" character of the word nigger, emphasizing that it was chosen in the South precisely because it was more offensive than "colored."[9] Established as mainstream American English usage, the word colored features in the organizational title of the National Association for the Advancement of Colored People, reflecting the members’ racial identity preference at the 1909 foundation. In the Southern United States, the local American English dialect changes the pronunciation of negro to nigra. Linguistically, in developing American English, in the early editions of A Compendious Dictionary of the English Language (1806), lexicographer Noah Webster suggested the neger new spelling in place of negro.[10]
By the 1980's the wave of political correctness began to taint every form of art and media.  It wasn't just the black groups that were condemning the hateful n-word; it was white corporate America as well.  That's what took it from a racial slur to a political and social pariah.  I believe it was the "white guilt" of the men controlling the media machine that continued to give that word more power and hate.  Follow me here -- it was like the white guys got together and said, "Let's really make it a point to condemn whitey for using racial slurs.  If we do that, then maybe we can somehow wash away years of racial injustice to the black community."  But I believe that heightened, righteous correctness just handed the racists more ammunition.  Because the higher the crime for usage became, the more the ignorant used it.  Our semantic judgment just loaded the hate canons.  

Does that make sense?  I don't know, maybe not.  Always felt that way to me.  

I think the answer to that increased hate and awareness came in the form of Hip Hop's bastardization -- "nigga".  Suddenly there was a word that black people could liberally call other black people without pushing racial buttons.  Yes, it also allowed annoying white dudes the same option (although not without impunity).  I know there are black people who are as offended by the "ga" as the "ger", but I think consciously or unconsciously it was the African American community diffusing the hate.  Basically saying, "we're taking this word back, making it our own so you motherfuckers can't hurt us with it."  Maybe I'm wrong, maybe I'm a delusional white guy, but I feel like Hip Hop has diminished the racial weight of "nigger".  I'm not saying it's not still a racist, painful slur, I'm just saying it's lost some of it's power.  Which is a good thing.

The other word that's jumped into the "never use it in public" category is "fag".  I'm not proud of this, but the truth is, where I grew up in Jersey, "fag" was a fucking noun, verb, adjective and adverb.  We used it constantly and it had nothing to do with sexuality.  A fag was a punk or a pussy.  A fag was the guy who left the game in the fourth inning to go do homework.  A fag was a guy who wouldn't steal his parent's smokes for his buddies.  I was using the word fag long before I even knew what a homosexual was.  I'm not saying that makes it okay, just saying the evolution of this semantic curve is more personal.  I never used the word "nigger", now or as a kid, but "fag", man, it was everywhere.  Wiki gives this quick historical glimpse.   

The word meaning "bundle of sticks" is ultimately derived, via Old French, Italian and Vulgar Latin, from Latin fascis (also the origin of the word fascism).[4] The origins of the word as an offensive epithet for homosexuals are, however, rather obscure, although the word has been used in English since the late 16th century as an abusive term for women, particularly old women,[5] and reference to homosexuality may derive from this,[4][6] female terms being often used with reference to homosexual or effeminate men (cf. nancy, sissy, queen). The application of the term to old women is possibly a shortening of the term "faggot-gatherer", applied in the 19th century to people, especially older widows, who made a meagre living by gathering and selling firewood.[6] It may also derive from the sense of "something awkward to be carried" (compare the use of the word "baggage" as a pejorative term for old people in general).[4] Use of the word as a general insult, not necessarily implying homosexuality, is either a continuation or extension of this older usage[5] or of the homosexual usage.
 
Unsubstantiated Associations

It is sometimes claimed that the modern slang meaning developed from the standard meaning of "faggot" as "bundle of sticks for burning," presumably with reference to
burning at the stake.[4] This is, however, unlikely to be the case,[4] and there is no tradition of burning at the stake being used as a punishment for homosexuality in Britain,[6] However, the Theodosian Code, which was influential in the development of medieval law, does prescribe burning: "All persons who have the shameful custom of condemning a man's body, acting the part of a woman's to the sufferance of alien sex (for they appear not to be different from women), shall expiate a crime of this kind in avenging flames in the sight of the people."[7] Although supposed witches and heretics were burnt to death in other parts of Europe, and were often accused of deviant sexual behaviour.[8]

The
Yiddish word faygele, lit. "little bird", is also claimed by some as an explanation for the modern use of "faggot." The similarity between the two words makes it a reasonable possibility that it might at least have had a reinforcing effect.[6]

An obsolete reference to faggot from 17th century Britain refers to a "man hired into military service simply to fill out the ranks at
muster", but there is no known connection with the word's modern pejorative usage.[4]

Louie CK did a great episode on the evolution of the word "fag".  Basically discussing my point above and the truth about why the word is so painful to the gay community.  It was really smart and effective.  As an adult, I embrace that concept and understand the hate behind the word.  The fact that right wing Christian groups defend the use of it is reason enough not to ever use it again.  But my theory of the media and social guilt increasing the hate holds true for the f-word as well.  Every time someone gets caught using that word, we headline it, hold it up for persecution and give it more weight.  Again, we load the hate canons.  Instead of giving these assholes media coverage, we should be diffusing the power, mocking the ignorant, finding a way to take the sting out of the word.  "Fag" needs a "nigga".  

Basically, it's this -- when my four-year-old uses a bad word, I don't give it any weight.  The experts say, you just calmly reply, "we don't use that word because it's rude", and move on.  When she sees that the word gets no buzz, she moves off of it.  If I yell at her, call attention to the behavior and make a fuss over the word, it reinforces her knowledge that the word has power.  She will definitely use it again.  Now I know that's an incredibly simplistic point of view that can hardly be applied to words that have social and historical weight, but there is truth in that basic concept -- that the media and our own social guilt continue to reinforce the negative by giving it so much fucking attention.

Which brings me back around to my "cunt".  One of the few nasty words left in the English language that does not have a "league" condemning its use.  Yes, women find it offensive and I'm sure at some point a feminist organization will adopt it as a cause.  But until then, it's a word that makes people incredibly uncomfortable without sounding a social or media alarm.  It's percussive, aggressive and just feels wrong.  So why do I use it so freely?  To make a point.  It's my personal quest to diffuse the power of "cunt".  If I use it frequently and in such absurd context, just maybe it will begin to lose its weight (I think it already has in this blog and on my Twitter feed).  Fuck, fly, shit, eager, cunt, banana, sky, yo-yo.  Just a bunch of words.  

So that's why.  We are the ones who turn letters into sounds, sounds into hate, hate into headlines.  We create the cycle of animosity and violence.   

Cunt.  It's slang for vagina.  It begins with a hard-c.  It rhymes with punt, stunt and front.  Use it lovingly, "that flower is opening up like a beautiful crimson cunt."  Use it with edge, "that little fucking cunt just cut me off."  Use it absurdly, "there's a certain oaky cuntiness to this Merlot."  Use it frequently.  And when someone balks or is morally offended, tell them it's just a fucking word, lifted from a whore street in Old London and first used in print by James Joyce.  Then gaze at them with judgmental disdain and tell them perhaps they're the ones who need a morality check.  Cunts.



 


 
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