Behind the scenes with the creator of Black-ish.
She was an overnight YouTube success. Then she tried to make a TV show.
On the life and death of The Voice contestant Anthony Riley.
On the host of MTV’s Catfish and his new book.
A tale of identity in LA's television scene.
"Because he’s written television for as long as Shelly has known him, Jack drags her along on these nights, to watch staged readings of other writers’ scripts in the attic above the bar—a cramped, airless room they call the “Actor’s Den.” The television Jack makes rarely finds its way into peoples’ homes, but he makes it, one way or the other—even if he only guides it along its path to destruction like a doomsday chauffeur. The bar is wood paneled and velvety like the inside of a jewelry box. The owner drinks ancient scotch out of a miniature crystal glass and pulls constantly at his handlebar mustache, a collector of old timey things. When they arrive, he tells Jack about the two screenplays he’s writing: one comedy, one horror."
A budding scifi writer attempts to overcome his parents' reservations and his own mental issues.
"I stuffed nearly a dozen scripts in my bag before I left my dorm this morning, just in case somebody important happened to be here. It’s been a while since I sent them out. I figured I wouldn’t hear much back from anyone I sent it to. Sending scripts to random slushpiles doesn’t yield great results. I read that on the internet."
A filmmaker goes to court to fight the television commercial break.
Executives discuss a reality TV pilot gone awry.
"'I don’t know what happened in there. Like I said, maybe if we hadn’t told him she was in on it, whatever it was would’ve gone down differently. But a few minutes later the girl comes running out of the house with blood on her, screaming like hell. Cortez caught her and took her inside, waited with her while Benny called 911—'"
An essay on Jimmy Savile, British television and child sexual abuse.