Alan Moore’s New Feature Film And Spin Off TV Series, Jimmy’s End

Alan Moore and Mitch Jenkins

Who knows if this will ever make it out of production hell:

As readers of Dodgem Logic #2 will know, photographer Mitch Jenkins took a striking series of portraits of performers at a Northampton burlesque review. He decided to film a 10-minute short featuring the dancers for his showreel and, wanting to help out a friend, Moore offered to write a shooting script. It was called “Jimmy’s End”.

As soon as word got out that Moore was writing something for film, people quickly got interested. Jenkins and Moore were approached by Warp Films (producers of Shane Meadows’ This is England and Chris Morris’ Four Lions), who offered to fund a feature version of the film.

These discussions grew to accommodate the idea of spinning off a Channel 4 series from the film, in the manner of This is England ’86. Moore said that initially he’d been dubious about how the story could be extended in this way but had now figured out a longer ongoing narrative.

Bleeding Cool: Jimmy’s End – Alan Moore’s New Feature Film And Spin Off TV Series

(via John Reppion)

William S. Burroughs and Don Draper

William S. Burroughs

Don Draper

Nancy Mattoon writes on the similarities and differences between William S. Burroughs and the fictional character Don Draper from AMC’s Mad Men:

Insiders wanting out, outsiders wanting in. Flamboyantly embracing the outlaw life, desperately seeking status. Life on the junk, life selling junk. Creating a nightmarish truth, concocting a glamorous lie. Writing to save your soul, selling your soul to write. Spectacularly surrendering to the siren song of smack, self-medicating with scotch and soda to maintain the social surface. The psychotic outlaw-addict and the man in the gray flannel suit. Both hell bent on that great American pastime: reinvention. But the artistry of the addict betrays the poetry in his soul. And the Marlboro Man has a cancer at his core. Neither Burroughs/Lee nor Don Draper can escape the one thing they’re trying to outrun: themselves. As William Faulkner put it,”the past isn’t dead, it’s not even past.” Or to quote Dr. Buckaroo Banzai, “No matter where you go, there you are.”

Seattle PI: Don Draper Eats A Naked Lunch

CNN Marries Content and Commercials to Retain Viewers

John King USA

Soon you’ll be able to watch a tiny screen with these people silently dicking around while being bombarded with a commercial for crap you don’t want. Or you can just keep skipping the commercials with your DVR.

Act of desperation or brilliant new strategy? Me, I can’t imagine this helping.

TV viewers by now are accustomed to seeing product placement in their favorite shows. But how will they react upon seeing “program placement” in their commercials?

On John King’s new early-evening news show on CNN, every commercial runs with a small window at the bottom of the screen offering a live view of the show’s set. That’s right — the show, “John King, USA,” in a sense continues into the commercials, with viewers able to see activity between producers and talent as well as a broader graphic offering news and tidbits from around the nation.

Adage: CNN Marries Content and Commercials to Retain Viewers

(via Nieman Journalism Lab)

Grant Morrison Writing BBC Miniseries Starring Stephen Fry (Updated)

Grant Morrison

Paul McGuigan, director of Gangster No 1, Lucky Number Slevin and the upcoming Sherlock Holmes TV series by Steven Moffat and Mark Gatiss, has confirmed for LiveForFilms that he will be indeed working on a new TV series for BBC Scotland, written by Grant Morrison and starring polymath Stephen Fry. Bleeding Cool reported on this possibility previously, and McGuigan says that currently Morrison has written a treatment.

Read More – Bleeding Cool: Paul McGuigan, Grant Morrison, Stephen Fry In New BBC Thriller

(via Cat Vincent)

Update: This was to be called Bonnyroad, but this project has been “knocked back.”

Was Alan Moore on LOST?

Was Alan Moore on Oceanic Flight 815?

Alan Moore

Was Alan Moore on Oceanic flight 815? It was either him, or someone deliberately meant to look like him (note the rings!). I noticed this guy and commented on him while watching the season premiere (“LA X”), but didn’t think much of it. That is, until I was the above screencap from Bleeding Cool.

What are the chances it was actually him? Well, Moore appeared on The Simpsons and recently name dropped the Sopranos in an interview, so we know he’s not totally adverse averse to American television.

See also: Alan Moore’s influence on LOST.

When did TV become art?

In response to this NY Post piece by Emily Nussbuam, Robert Moore makes a persuasive case that Buffy the Vampire Slayer made TV art:

This was the decade in which television became art. So argues Emily Nussbuam in a recent New York Magazine essay, “When TV Became Art”. She certainly makes a strong case that 2000-2009 was a pivotal age for TV and I strongly recommend her essay to anyone interested in the development of television over the past decade. I agree that this was, all in all, the finest decade for great television. Others have argued that TV had arisen as an art form in earlier decades, some (though in dwindling numbers) arguing for the fifties, based on the series that presented staged plays for a television audience, including such original masterpieces as “Twelve Angry Men”, written by Reginald Rose for Studio One, and “Requiem for a Heavyweight”, written by Rod Serling for Playhouse 90. Later, Robert J. Thompson, in his widely cited Television’s Second Golden Age: From Hill Street Blues to ER, argued for the eighties as the crucial period. But Nussbaum has numbers on her side; it is difficult to argue against the sheer quantity of very fine shows that emerged in the past ten years. The number of truly great series from the past ten years is so substantial that it might surpass the number of great shows from all previous decades combined.

Nonetheless, I want to take issue with Nussbaum. I think that chopping the overall picture up into decade-sized blocks obscures the reality. I believe that one can point at a precise point where TV became art, and that point was the debut of Buffy the Vampire Slayer. […]

I understand Nussbaum’s desire to fit the birth of TV as art into a decade framework, but the truth is that art, like life, is messier than that. TV had become art before 2000 and it was largely thanks to Buffy.

Pop Matters: When TV Became Art: What We Owe to Buffy

(Thanks Zenarchery)

I love the The Wire but it certainly wasn’t the most ground breaking series on television (remember, both The Sopranos and Six Feet Under preceded it). I haven’t watched Buffy, but Moore makes a strong case. Either way, the 00s certainly marked a turning point in the history of television. It was, perhaps, the decade in which television eclipsed film.

Alan Moore on the Simpsons – Screen Caps and Summary

alan moore on the simpsons

Screen caps and summary of Alan Moore’s appearance on the Simpsons

(via Robot Wisdom)

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