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After the son of Death finishes his first day in the family business, he must persuade his father that he wants to follow his dream by becoming a chef.
>> must persuade his father that he wants to follow his dream by becoming a chef. Which he does, and he makes dishes to die for -- which everyone does. IOW: he can't escape his defining characteristic which is also an inherited characteristic. DNA is desinty. He can't escape the family business unleRead more
>> must persuade his father that he wants to follow his dream by becoming a chef.
Which he does, and he makes dishes to die for — which everyone does.
IOW: he can’t escape his defining characteristic which is also an inherited characteristic. DNA is desinty. He can’t escape the family business unless or until…?
See lessAfter the son of Death finishes his first day in the family business, he must persuade his father that he wants to follow his dream by becoming a chef.
>> must persuade his father that he wants to follow his dream by becoming a chef. Which he does, and he makes dishes to die for -- which everyone does. IOW: he can't escape his defining characteristic which is also an inherited characteristic. DNA is desinty. He can't escape the family business unleRead more
>> must persuade his father that he wants to follow his dream by becoming a chef.
Which he does, and he makes dishes to die for — which everyone does.
IOW: he can’t escape his defining characteristic which is also an inherited characteristic. DNA is desinty. He can’t escape the family business unless or until…?
See lessWhen a highly-strung accountant inherits a failing community TV station, he finds unlikely performance geniuses at a small town talent competition to save the station.
>>>a series logline needs to be as water tight as a film one with the only difference being that a series logline needs to pitch the pilot episode not the plot for an entire season... I'm binge-watching pilot seasons of a number of successful series in the US market (The Wire, The Sopranos, BreakingRead more
>>>a series logline needs to be as water tight as a film one with the only difference being that a series logline needs to pitch the pilot episode not the plot for an entire season…
I’m binge-watching pilot seasons of a number of successful series in the US market (The Wire, The Sopranos, Breaking Bad, House of Cards, Deadwood, The West Wing, Dexter, True Blood, Monk, Nip/Tuck, Mad Men, etc.) and that seems to be a sin qua non. The pilot episode has to be a grabber, have a really strong hook in terms of both plot and character.
>>a flaw or gimmick to help perpetuate the interest in the character.
Okay, but Wired, Deadwood and West Wing, for example, seem to be more ensemble, situation series. There is a large cast of interesting (and flawed) characters with 2-3 concurrent story threads in each episode.
Research continues. It’s a tough job. 😉
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