Podcast appearances and mentions of joel surnow

Actor Kiefer Sutherland and co-creator Joel Surnow

Actor Penny Johnson Jerald and co-creator Joel Surnow

This week on Miami Vice: Crockett and Tubbs are investigating a drug dealer who is thought to have disappeared and is helped by an eccentric ex-cop Hank Weldon (Bruce McGill) who isn't all there but, seems to know a lot about the guys they're going after. Bring some tissues as I cry my eyes out and talk about mental health treatment and how it lacked then and now, loyalty to one's partner, more about Joel Surnow (the last episode he appears to be credited on :( and the origins of 24 being planted here (Dennis Hopper almost played Hank Weldon, as much as I love Dennis I think Bruce had the subtlety and heart to take this episode further. Some spicy content about Little Richard in Viced Tea (45:08), be warned! Show Notes Gallery S2E4 (https://imgur.com/a/Qg2orMZ) For more Vice and Easy Tiktok: @viceandeasypodcast Instagram: @viceandeasypodcast (https://www.instagram.com/viceandeasypodcast/?hl=en) YouTube: Vice and Easy Podcast (https://www.youtube.com/channel/UCm2ci7Vb75Tgf1uGMOjfvNQ)

This week on Miami Vice: Crockett and Tubbs meet Noogie, a small-time hustler who can lead them to the Jamaican drug operation they've been after. Marina connects that Joel Surnow, the writer of this episode, went on to create 24, her favourite show in Grade 8! Also, is everybody high or this episode, or is it just me? Gallery S1E3 (https://imgur.com/gallery/2uOton4) For more Vice and Easy Tiktok: @viceandeasypodcast Instagram: @viceandeasypodcast (https://www.instagram.com/viceandeasypodcast/?hl=en) YouTube: Vice and Easy Podcast (https://www.youtube.com/channel/UCm2ci7Vb75Tgf1uGMOjfvNQ)

Aaron and Josh are here for their latest TV podcast. This time they're talking about 24, celebrating its 20th anniversary this month. 24 is an action thriller created by Joel Surnow and Robert Cochran. The series premiered on Fox November 6, 2001. The show follows Jack Bauer (Kiefer Sutherland, Designated Survivor), an agent for the Los Angeles Counter Terrorist Unit. The most unique aspect of the show is its use of real time, depicting a full 24-hour period each season, with an episode covering one hour. The series forgoes storytelling techniques such as flashbacks, time jumps, and slow motion. The original 24 series ended on May 24, 2010, after eight seasons and a TV movie. The 2014 miniseries 24: Live Another Day continues Jack Bauer's story, while 2017's 24: Legacy introduces a new protagonist, ex-Army Ranger Eric Carter (Corey Hawkins, Straight Outta Compton). Fox canceled Legacy after one season. Just a small list of supporting heroes include Jack's daughter Kim (Elisha Cuthbert, Happy Endings), President David Palmer (Dennis Haysbert, Heat), CTU agents Tony Almeida (Carlos Bernard, The Orville) and Michelle Dessler (Reiko Aylesworth, Lost), and intel analyst Chloe O'Brian (Mary Lynn Rajskub, Punch-Drunk Love). Jack faces many villains, including CTU traitor Nina Myers (Sarah Clarke, Bosch), terrorist mastermind Habib Marwan (Arnold Vosloo, The Mummy), and President Charles Logan (Gregory Itzin, Lincoln). 24 garnered acclaim from critics and viewers for much of its run, winning many awards. Kiefer Sutherland won the Primetime Emmy for Lead Actor in a Drama Series in 2006, the same year the show won Outstanding Drama Series. Despite the praise, 24 remains controversial for its dismissal of civil liberties, portrayal of Muslims, and depictions of violence and torture. Aaron and Josh look at the show's pilot, which won the Primetime Emmy for Writing for a Drama Series in 2002. The brothers also discuss the various aspects of the 24 franchise, including its characters, use of real time, and controversies. For a podcast on another series known for killing characters, you can listen to Josh and Aaron talk about Game of Thrones. 24, 24: Live Another Day, and 24: Legacy are streaming on Hulu. --- Send in a voice message: https://anchor.fm/popbreaktv/message

Y'all ready know what it is! This week The TV Boys sit down to discuss Zachary Quinto. He's 'lived long and prospered' as Spock and stolen many heroes superpowers as Syler, so listen in!

Dans ce nouveau format Double Feature, on discutera toujours de deux œuvres, du même medium ou non, liées toutes les deux d'une façon ou d'une autre. Que ce soit par leur sujet, leur créateur, leur univers et on en passe. Et pour ce premier numéro, le lien sera l'acteur Kiefer Sutherland, à travers deux séries qui seront la cultissime 24, ou 24 heures chrono, et la toute nouvelle itération de The Fugitive sur la plateforme Quibi.

Bettina Gilois is an award-winning screenwriter and author, whose awards and nominations include the Humanitas Prize, the Black Reelz Award, the Movieguide Award, an ESPY Award, and a nomination for an Emmy. After acquiring an art history degree from Columbia University and working at Andy Warhol’s Factory, she began her writing career with Joel Silver and Warner Brothers, and has since collaborated with such notable artists and producers as Jerry Bruckheimer, Joel Surnow, Norman Jewison, Michael Mann, Martin Campbell, William Friedkin, Richard and Lili Zanuck, Queen Latifah, James Coburn, Kevin Costner, Christian Bale, and many others. Her films include Jerry Bruckheimer’s GLORY ROAD for which she was nominated for the Humanitas Prize, MCFARLAND, USA starring Kevin Costner, as well as BESSIE for HBO, starring Queen Latifah, for which she was nominated for an Emmy for Best Screenwriting. She also wrote THE LOST WIFE OF ROBERT DURST for Lifetime Movies. Her other produced projects include uncredited work on THE HURRICANE for which Denzel Washington won the Golden Globe, and THE MISTS OF AVALON with Anjelica Huston. In addition to writing screenplays, Gilois has authored several books, MI VIDA LOCA: THE CRAZY LIFE OF JOHNNY TAPIA and BILLION DOLLAR PAINTER: THE TRIUMPH AND TRAGEDY OF THOMAS KINKADE, both of which are being made into movies. She writes about Arts and Culture for the Huffington Post. Her current active projects include her writing and creating the series MUSCLE SHOALS with Johnny Depp producing at ABC, as well as the series LAST CLEAR CHANCE with Chelsea Handler, also at ABC, the television movie MAHALIA about the life of Mahalia Jackson for Lifetime Movies, as well as writing the movie A MILLION MILES AWAY for Netflix and Mark Ciardi, about the first Mexican American migrant worker to end up an astronaut on the international space station. What you’ll learn about in this episode: Bettina’s experience working in a variety of creative endeavors, including alongside the likes of Andy Warhol and other famous people Bettina’s interesting perspective on stories, the life trajectories of humans, and the energy that ties it all together Bettina’s tips to aspiring screenwriters and the story of how she broke into the industry Bettina’s approach to storytelling and character development, supported by evidence from her own body of work Important skills for all creatives to have if they want to ascend to the top of the field Why you need to be thinking about your brand as a young writer The risks and rewards of sticking to genres and how to carry your brand through your characters How Bettina cooperates with the other members of film or TV production teams to construct coherent and meaningful stories Additional resources: Bryan’s Website: https://www.dreampathpod.com Bettina’s recommended resources: www.scriptcity.com Bettina’s Website: www.bettinagilois.com

This interview has a slice of many parts of my father's life so far, but does not even begin to cover all of it. I will just list moments it encapsulates... He Stood in for a Dog in a Dog Food Commercial His stories of the original KFC Colonel Movies: Network, Godfather, Airplane 1&2, Movie, Movie People: Art Carney, George C. Scott, Dom Deluise, The Kool Aid Man His Radio Sketch Comedy Show with Joel Surnow(creator of 24) 1990s sitcoms SNL and Lawyers!!! Ross G Brown the writer vs Ross Brown the Casting Director The Mississippi Being a father Favorite Jokes!

Today's Guest: David Fury, writer, producer, "24," "Lost," "Dream On," "Buffy the Vampire Slayer," "Angel," "Tyrant," "Fringe" Television screenwriter, producer David Fury Pop quiz: name the man who’s been a writer and/or producer for the following TV shows: “The Jackie Thomas Show,” “House of Buggin’,” “Dream On,” “Pinky and the Brain,” “Buffy the Vampire Slayer,” “Angel,” “Lost,” “24.” Give up? It’s David Fury, and he joins us today via phone from Hollywood. David Fury Twitter • Facebook • IMDB • Wikipedia • Order Dream On on DVD from Amazon.com • Order 24: The Complete Series BOB ANDELMAN/Mr. MEDIA: David, welcome to Mr. Media. DAVID FURY: Thanks very much, Bob. I want to answer that question. I know, I know who that is. Order 'Dream On - Seasons 1 & 2,' available from Amazon.com by clicking on the DVD above! ANDELMAN: And we will send you a prize, I promise. FURY: Oh, thank you. ANDELMAN: David, does Barack Obama’s presidential campaign send a commission on every dollar it collects to the producers of “24”? FURY: No, not that I know of. How did Barack Obama come into this? ANDELMAN: Well, I look at Barack Obama, and it seems like he’s had a very smooth sail in these first months of his presidential campaign, and it seems to me, and maybe I’m alone, that a lot of it has to do with “24” making it very comfortable for America to have an African-American president, twice even. FURY: Interesting. Interesting premise. Well, I’d like to think that we’ve, as a country we’ve become more comfortable with the idea of bringing in presidential candidates from different walks of life, whether they be black or women or Asian or anything. If “24” has anything to do with it? All the better. I’d love to think that we’ve, to some extent we’ve matured enough that people are open to the idea. ANDELMAN: It’s interesting. I mean, there hasn’t really been a situation in years past where an African-American would play the President and it wouldn’t be like a big deal, but now it’s like…. FURY: Well, there was Deep Impact I remember which had Morgan Freeman as President. My God, I would have voted for him right there if Morgan Freeman had run, such an excellent presidential candidate. Or James Earl Jones years ago in a movie called The Man. ANDELMAN: I remember that. FURY: I remember that, as well, so I don’t think we’re the first, certainly, to do it, but perhaps…. ANDELMAN: No, but it’s very matter of fact in “24.” I think in those previous settings, it was more, you know, “What?” FURY: Well, certainly in The Man, it was very much evident that this was a racial issue and was telling a racial story. Morgan Freeman was handled matter-of-factly, and certainly David Palmer has been on the show. You may be right, you may have something to that. ANDELMAN: Well, I do think you guys should get a commission. I think you should look into that. FURY: All right. ANDELMAN: I hear a lot that Republicans tend to love “24” because of its kind of take-no-shit approach to terrorism, and I wondered if the creative staff has a noticeable political bent. FURY: Well, certainly a couple members of our staff lean very heavily toward the right, as there are a couple members that lean very heavily toward the left. We have a wide diversity of different political viewpoints. I don’t think Republicans, just simply Republicans love the show. I have heard that people as diverse as Barbra Streisand is apparently a big fan of the show. ANDELMAN: I didn’t mean to suggest that only Republicans, by no means, but… FURY: Everybody likes to filter their viewing of “24” through their own viewpoint, and we try to give a very diverse viewpoint on the show. Republicans will certainly embrace some of the more right wing aspects of “24,” the take-no-prisoners approach to terrorism, and there are others who recognize that that doesn’t work all the time. What you really have is somebody like Jack Bauer, who is serving the greater good but who has no particular political bent. I mean, David Palmer, I think, was always presented as, I think, a Democratic president, and Jack’s loyalty was to him for the most part for the first few years. Our executive producer/co-creator, Joel Surnow, is very vocal about his conservative Republican leanings, and he has a lot of friends of his who do enjoy the show and do think it supports their agenda. Although many of them criticized the show earlier this year, when we did the story line about Wayne Palmer’s sister who was voicing sort of the liberal bent, and her boyfriend, who was incarcerated along with other Muslim prisoners, we suspected to be involved with terrorism and then weren’t, I know Joel got a lot of criticism that, “What, is the show starting to lean toward the left? There are good Muslims that were over-reacting?” We’re trying to say that there’s no easy answers, basically, and some people look for answers in the show, and some people recognize that that’s just not going to come. Order '24: The Complete Series,' available from Amazon.com by clicking on the DVD box set above! ANDELMAN: You don’t have to answer this, but where are you in your own political leanings? FURY: I’m very moderate. I’m a registered Democrat. I suppose I’m conservative fiscally, and socially I’m much more moderate, so I am either a very liberal Republican or very conservative Democrat, I’m not quite sure. ANDELMAN: Would it be a wrong guess that, politically, those writers’ room sessions could be pretty interesting conversations? FURY: Oh, you have no idea! The debates that go on and on on a daily basis regarding whatever is going on in the current administration. There’s people, Evan Katz, another executive producer on the show, who definitely leans more toward the left, and he gets into a lot of debates with Joel and Manny Coto, another one of our co-executive producers who is a staunch Republican. And then you have somebody like Bob Cochran, the other co-creator, who is a Republican but much more moderate than other people. And then Howard Gordon, our show-runner, whose wife is very heavily involved with liberal causes -- and Howard himself is a registered Democrat -- supports Democratic causes. The conversation does lean toward political debates. ANDELMAN: Did the conversation a few months ago about torture on the show come back to the writers’ room? FURY: Oh, most definitely. We discussed it. Even when it came on and before it became an issue, before it was made into a news issue, the discussion whether torture works, about whether it should ever be used, and the moral ramifications. We discussed that at great length. Once it became more of an issue, I found myself defending our approach to it on a podcast and wound up on CNN News as the “writers of ‘24’ speak up on this controversy.” My contention was simply that we’re not trying to present a documentary or a realistic approach to fighting terrorism, we’re producing an evening of entertainment, and liberties have to be taken. The whole structure of the show, the ticking time clock and Jack Bauer fighting it the entire season, that’s something that just doesn’t happen in real life. There is no ticking clock, so there’s never any need to torture someone to get information out of them so quickly. You have to create scenarios where that would have to be, and at that point, you’re speaking in hyperbole. ANDELMAN: I find the recovery from some of the torture sometimes to be entertaining. I keep thinking back to poor Morris getting that drill through his shoulder, but there he is back at work a few hours later (laughs). FURY: Well, he’s a strong man, that Morris. Again, it’s the real challenge of the show, and certainly we’ve taken a lot more liberties later than earlier in the earlier years of the show where people do have to bounce back so that we can bring them back into the story. It’s very difficult if someone is tortured. Generally speaking, they’d be hospitalized, and you wouldn’t see them for several days, but of course, in a 24-hour period, you have to find ways to re-integrate them, and sometimes it takes a lot of suspension of disbelief to get those people back. Poor Milo was shot, and there he is with a sling, still back at work. We just have to chalk it up to, “Well, we’re understaffed, and we need you, and this is an emergency situation, and normally, we’d let you rest, but you can’t now.” ANDELMAN: Well, and how often does Jack get hit in the head with a heavy metal object…. FURY: Oh, well, sure. My God, Jack never died and was revived and picked up a gun and went after the bad guys again. ANDELMAN: Well, now, it’s funny you mentioned that, because I wanted to ask you the thing that has always driven me crazy, and I mean in a good way as a viewer, is that the CTU staff seems to have the worst institutional security in America. I mean, there’s spies, there’s moles, there’s data taps, and God forbid you’re a high-threat suspect and you get brought back to CTU for questioning, because you or somebody is going to die, right? FURY: Yeah, that’s usually the case. The justification that’s been given to me when I bring these things up is that CTU is really an intelligence-gathering organization, and organizations like that aren’t really heavily fortified security-wise. I mean, certainly we do an excessive amount of it, but the idea that CTU cannot be breached because it’s such a top government agency is probably over-stating it, since what they mostly do, they are a branch office of an anti-terrorist intelligence-gathering organization. They do have a task force, but if we need their systems to be tapped for a story, we’ll do it. If we need someone to get into CTU to stage a gas attack, that’s going to be a lot more interesting than saying, “Well, it’s impossible to get into CTU, no one would ever be able to do that.” We have to make allowances like that for dramatic purposes. Well, it does make CTU look a little, well, inept, you know, and again, it’s the alternative is, well, if we show them bei

http://stopkennedysmears.com/ - Sign the petition telling History Channel that until they stop running politically motivated fiction as historical "fact," you will refuse to watch their programming.Almost 50,000 of you signed our petition to the History Channel telling them that you refuse to watch their programming if theyre going to produce right-wing propaganda and call it history. In response to our video and your petition, Stephen Kronish, a screenwriter for The Kennedys, told The New York Times that he based his script on books by renowned Kennedy historians, mentioning David Talbot as one of his sources. If Im wrong, Kronish told The Times, I guess all of them are wrong. So we tracked down David Talbot, who has read the script, and asked him what he thinks of Kronishs claim to have based his story on Talbots research. This video shows what Talbot had to say.

http://stopkennedysmears.com/Sign the petition telling History Channel that until they stop running politically motivated fiction as historical "fact," you will refuse to watch their programming.Joel Surnow, a hard-right activist and former Fox News producer who supported Rick Santorum and is close friends with Rush Limbaugh, is the executive producer of an upcoming mini-series on the Kennedys that is character assassination of the most disgusting kind.Unfortunately, in its desperate quest for ratings, The History Channel has decided to let fiction pass for historical scholarship. The History Channel has decided to push Surnows sleaze, degrading the accomplishments and trashing the memory of one of our nations most beloved families.

Bajo el lema de “Seek the truth” (busca la verdad) es que finalmente llega a nuestras pantallas la película de The Da Vinci Code (EL código Da Vinci) después de la euforia ocasionada por el best seller de quien actualmente es el escritor mejor pagado (aunque no necesariamente signifique que sea el mejor escritor), mi tocayo Dan Brown.La historia trata acerca de cómo el buen profesor Langdon (interpretado por las extensiones de cabello de Tom Hanks, digo, por Tom Hanks) y Sophie Neveu (Audrey Tautou, a quien muchos recordarán por Amelie) van descifrando poco a poco los misterios y claves dejadas por un anticuario asesinado dentro del Louvre quien da la misteriosa casualidad de ser el abuelo de Sophie. Es aquí donde los conocimientos acerca de simbolismos del profesor Langdon y la preparación seudo policiaca de Amelia, que diga, de Sophie van entretejiendo la historia acerca del descubrimiento del engaño mas elaborado (y más remunerable) de la historia.Para los que leyeron el libro, lo más probable es que les guste la película. Ron Howard se apego de manera fiel al mismo y en cierta manera esa es su más grande acierto… o su peor defecto. A final de cuentas no hay sorpresas y la trama es la misma. Desafortunadamente lo que puede leerse de manera fluida y atraparte en el texto, no necesariamente es igual de cautivador en la pantalla grande. En teoría las actuaciones de Hanks y de Autrey deberían agregarElementos para que la película se moviera de manera fluida, desafortunadamente los dos se ven extremadamente acartonados. De hecho, el gato que tiene Hanks en la cabeza le roba cámara la mayor parte de las ocasiones. De igual manera, la sagacidad y encanto que Autrey ha demostrado en trabajos anteriores no esta presente en la película. Sin embargo y gracias a Dios tenemos a Sir Ian Mckellen el cual nuevamente demuestra que es un señorón actor y los momentos donde aparece son definitivamente los mejores del film. Ojo con el señor ya que también aparecerá de manera importante en X-Men 3.La verdad la película esta buena para pasar el rato, pero nada mas. No esperen descubrir el secreto de la vida ahí. Igual y desperto muy grandes expectativas, considerando la fuente de la cual parte y el hecho que en el trailer le ponían el recurso musical numero 7 si quieres que apantalle a la audiencia. Digo, si se estableció con Réquiem for a Dream (Réquiem por un sueño) y funcionó con Lord of the Rings (El Retorno del Rey), ¿por qué no en ésta? Desafortunadamente las formulas no deben de repetirse donde no van, y eso también se aplica para los números o las letras voladoras que al buen Ron Howard le encanta usar desde A Beautiful Mind (Una mente brillante).Otra producción que se estreno, aunque con menos bombo y platillo, fue el documental: Wal-Mart: The High Cost of Low Prices (Wal-Mart: El alto costo de los precios bajos). Este documental de Robert Greenwald se anuncia como que le hará a la cadena de super mercados lo mismo que Super-Size Me (con el “ingenioso” título de Super Engordame, como se le conoció en México) le hizo a Mc Donalds.En este documental se nos presenta el horrible efecto que tienen los Wal-Marts en la economía de las ciudades en que se instalan . La manera en la cual empiezan a disminuir los ingresos económicos de las personas que tienen negocios cerca del lugar y el daño que realiza inclusive a nivel ecológico puede ser grave. Por otro lado, los sensacionales sueldos y los beneficios que ofrece a sus empleados son tan impresionantes, que un porcentaje mayoritario de los mismos en Estados unidos, tiene que acudir a solicitar apoyo del gobierno para poder librarla.Desde que Michael Moore puso de moda la protesta a través de documentales como Roger & Me, Bowling for Columbine (Masacre en Columbine) o el fallido Fahrenheit 9/11, se creía que la gente iba a acudir más a ver este genero tan olvidado del cine. Afortunadamente, ya hay mas distribución de documentales en las salas normales de cine, desafortunadamente, a la mayoría de la gente le da flojera ver algo que tiene mas información que trama. La semana pasada fui a ver el documental de Metal y la sala estaba completamente sola. Esta semana fui a ver el documental de Wal-Mart y nuevamente la sala sola. ¡Prácticamente le podía decir al proyeccionista que le pausara a la película si quería ir al baño o por mas palomitas! La ventaja de tener una sala es que no tuve que aguantar a la chica fresona contestando el celular en voz alta a media función o al tipo que le encanta decir lo que esta pasando va a pasar en la película… Odio cuando pasa eso.En conclusión, este documental esta bastante recomendable. Si les gusta recibir algo de información que para variar si esta investigada (no que en el Código…), vayan a verla.Cabe mencionar que este viernes nos llegará a cartelera la última entrega de la trilogía de X-Men. Esta cinta, dirigida por Bret Ratner, a quien muchos ubicaran por ser el hombre detrás del éxito de la serie Prison Break, nos muestra la última batalla por la salvación de la raza mutante. Nuevamente Magneto, encarnado por Sir Ian McKellen tendrá que pelear tal vez en contra de su misma raza, encabezados por los X-Men de Hugh Jackman y la ex gatubela Halle Berry.Datos Triviales¿Sabían que originalmente el creador de 24 (24, 2+4=6), Joel Surnow, quería adaptar el Código Da Vinco para la televisión? Para bien o para mal, a Dan Brown no le pareció. Seis meses después, Sony Pictures le pagó 6 millones de dolares por los derechos y se empezó a hacer la película.Autoridades de la Abadía de Westminster no dejaron que se filmaran escenas de el Código en este lugar, alegando que el libro era teológicamente incorrecto (y en cierta medida, tienen razón). En su lugar, en vez de filmar ahí, se izo en la Catedral de Lincoln, acá en Inglaterra.Los hijos… y las hijas del Sr. Sam Walton (fundador de la cadena Wal-Mart) han donado la sensacional cantidad del 1% de su fortuna a caridad. Bill Gates, por otro lado, ha donado el 56% de su lana.