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Channel 4 reveals their new drama slate. Heat magazine's Boyd Hilton takes us through the ambitious line-up.Also on the programme: as Bradford's year as city of culture continues, Lisa Campbell joins us to talk about the upcoming Creative Cities Convention, where she has just taken over as director.All that, plus: why Netflix might be turning to podcasts for growth, the BBC provides evidence that AI can't summarise news stories... and, in the Media Quiz... we look at the reboots. That's all happening in this edition of The Media Club. Come on in!Become a member for FREE when you sign up for our newsletter at themediaclub.comA Rethink Audio production, produced by Matt Hill with post-production from Podcast Discovery.We record at Podshop Studios - for 25% off your first booking, use the code MEDIA CLUB at podshoponline.co.ukWhat The Media Club has been reading this week:Get Creative Cities Convention TicketsChannel 4's new drama slateChatbots Can't Summarise News Stories, BBC findsNetflix Eyeing Up Podcasts‘Big Mood' Renewed For Season 2 At Channel 4BBC Podcast ‘How Do You Cope?' Switches To WonderyBBC Presenter Banned from Hinge For Being HimselfChapters:(00:00) Intro(00:42) Media Club Guest Invites: A A Dhand - Harry Virdee(04:40) Media Club Guest Invites: Mike White - The White Lotus(07:50) Jack Thorne New Show(09:10) Channel 4 Announcements(11:30) Funding for Drama(14:38) Netflix Top 10(15:25) AI and the News(22:05) Netflix Video Podcasts(30:32) Bradford Creative Cities Convention(35:52) Pilot TV(36:56) Best TV shows to be watching right now(40:15) The Media Quiz(44:57) Goodbyes Hosted on Acast. See acast.com/privacy for more information.
Merry Christmas! and welcome to Pilot TV's festive round-up of the year that was. Over the course of two glorious hours, we break down the last 12 months in television, sifting through the good, the bad, and the ugly of 2024. From our official best shows list, to honourable mentions, listener questions, some of our favourite moments and an extended (and excruciating) blooper reel from our editor, Darren, we send the year out in style and pave the way for an even better 2025. So kick back, listen up and enjoy!
In an unexpected turn of events, Pilot TV's set visit to the new third (and fourth) season of Apple TV+'s Silo resulted in a sit down interview with both Rebecca Ferguson and the big Apple himself, Tim Cook (27:24). Never one to miss a chance to wax lyrical about Foundation, James cornered the Apple CEO to discuss the streamer's penchant for brilliant nerdy sci-fi. Elsewhere, we review BBC1's latest Strike instalment, The Ink Black Heart (1:19:03), and speak to star Holliday Grainger while we're at it (1:00:45), plus we catch up with Kaley Cuoco's serial killer podcast in the second season of Based On A True Story on Sky (1:31:19). Note: time stamps are approximate as the ads throw them out, so are only meant as a guide. If you want to avoid this and would like the podcast entirely ad-free (as well as 12 hours early, with a second weekly show, and spoiler specials) then sign up to Pilot+ at empire.supportingcast.fm.
As a special treat for you, our beloved listeners, here's a bonus pod for you... an episode of Pilot TV! Yes, our sister TV pod is elbowing its way unbidden into your playlist and forcing itself into your ears like an unwanted U2 album. But before you go skipping ahead, why not stay a while and have a listen? For one, it will greatly reduce the possibility of James coming over to your house, putting headphones on you and playing it to you while you sleep. Plus, you might just enjoy it.On this particular episode, James, along with co-hosts Boyd Hilton and Kay Ribeiro, invite Diego Luna and Gael García Bernal into the Pilot studio to talk about Spanish-language boxing drama a Máquina on Disney+. Elsewhere, Kay gets pilloried for daring to take some time off, James is lambasted for his egregious (if entirely oblivious) queue-jumping, and there's some seasonal spooky chat about the best TV-based horrors. As well as reviewing La Máquina, the team also take a look at starry Apple drama Disclaimer with Cate Blanchett, and Sweetpea on Sky Atlantic, in which Ella Purnell gets in touch with her inner sociopath. And if you like this episode, why not subscribe to Pilot TV? Dropping every Monday, it's a perfect accompaniment to the Empire pod — after all, who doesn't need a guide to the murky waters of modern streaming TV? You can't watch everything.
We have a guest double bill this week as Danai Gurira drops by to talk about taking up Michonne's sword again in The Walking Dead: The Ones Who Live, and Sam Spruell also joins us to talk all things Fargo. Plus we put Jake Gyllenhaal in the dock in Apple TV+'s remake of 1990 Harrison Ford thriller Presumed Innocent, House Of The Dragon roars back onto Sky, and Under The Bridge takes a look a girl violence when it arrives on Disney+. All that and we share with you the details of the great Pilot TV marriage proposal that never was…
This episode marks the Pilot TV debut of Empire's very own Sophie Butcher, filling in for work-shy slacker Kay who's STILL on holiday. Sophie shares with us some of her favourite shows, plus we finally pin Boydy down on a definitive (laminated!) list of his favourite films so he can't keep attaching that label to every one he talks about. Elsewhere, we're delving into competitive teenage athletics in The Gathering on Channel 4, seeing Ian Rankin's Rebus get reborn on BBC1, and seeing if there's still some life in the clone saga in Orphan Black: Echoes, which finally lands in the UK on ITVX.
Sometimes we at the Pilot TV podcast are the very embodiment of calm, dignified professionalism. This is not one of those times. An early recording prompts unfettered anarchy this week as the team go full Joanna Page, cover a postbag slot we've done before and only half review one of the shows (we had our reasons). But all of that's okay, becasue Star Trek Discovery's Sonequa Martin-Green joins us on the show to talk about her final voyage, plus we watch Kate Winslet become a dictator, Jill Halfpenny turn into the lodger from hell and (almost) see a show about a stalker. Absolute chaos.
Not only do we have a 3 Body Problem Spoiler Special with the showrunners now available over on Pilot TV+, but stars John Bradley and Benedict Wong also drop by this week to chat about the show. Elsewhere, we're raging over the unjust and unforgivable cancellation of The Lazarus Project (for shame, Sky!), examining this year's RTS awards, and explore our objects of televisual desire — not to mention reviewing this week's shows, of which there are FOUR (because who needs to go outside?). Colin Farrell takes the gumshoe beat in Sugar on Apple TV+, Romesh Ranganathan's back dodging his problems in Avoidance, Star Trek: Discovery takes its final voyage, and Steven Knight's This Town takes us back to 80s Belfast (and Birmingham).
Julianne Moore pays a visit to the Pilot TV pod studio this week, chatting seducing monarchs in Sky Atlantic's Mary & George alongside director Oliver Hermanus/ Plus we climb into the brain of Guy Ritchie for his Netflix spinoff of The Gentlemen, and get to find out what's going on with Jen and Jizzlord in series two of Disney+'s Extraordinary. And it that weren't enough, there's some egregious questioning of Kay's Whovian enthusiasm, which does not go unanswered.
There can be only one thing more exciting than James Clavell's Shōgun getting a brand new TV adaptation on Disney+, and that's a special Pilot TV/Empire crossover podcast recorded to mark the occasion! Join Chris Hewitt, James Dyer and Nick de Semlyen as they get together to talk all things Japanese, Nick's epic read of Clavell's 1300 page book, and the pros and cons of ninja-themed restaurants. What's more, James sits down with showrunners Rachel Kondo and Justin Marks to talk about bringing Edo-period Japan to life and the art of banging subtitles, plus he chats with star Cosmo Jarvis about taking on the role of ‘The Anjin'. Enjoy!
There can be only one thing more exciting than James Clavell's Shōgun getting a brand new TV adaptation on Disney+, and that's a special Pilot TV/Empire crossover podcast recorded to mark the occasion! Join Chris Hewitt, James Dyer and Nick de Semlyen as they get together to talk all things Japanese, Nick's epic read of Clavell's 1300 page book, and the pros and cons of ninja-themed restaurants. What's more, James sits down with showrunners Rachel Kondo and Justin Marks to talk about bringing Edo-period Japan to life and the art of banging subtitles, plus he chats with star Cosmo Jarvis about taking on the role of ‘The Anjin'. Enjoy!
We like to think of Pilot TV as the height of professionalism — a finely-honed product in which some of TV journalism's finest minds come together to share their wisdom. We like to think that. Evidence here to the contrary, though, as this one is an absolute shambles. James and Kay arrive unprepared, Boyd decides he'd much rather work with Helen and Dan, plus there's a whole thing about musicals. Honestly, it's a miracle we got through it at all. Still, we did find time to watch Black Cake on Disney+ (well, some of us), engage in some witchery with Domino Day on BBC Three, and catch up with Here We Go (again).
Happy Christmas! What better gift to wake up to on December 25 than a Pilot TV Review Of The Year Special? Yes, we assemble live on Christmas morning* to bring you festive cheer, run through all the shows that mattered over the past 12 months, and reveal for you our Pilot TV list of the best shows of 2023. But that's not all! Because we also triage a special end of year postbag and Jamie Dornan stops by to talk about The Tourist, which returns to ITV on New Year's Day. See you all in 2024!*In no way recorded live
Cider's mulling, turkey's turking, yams are yamming, and the Pilot TV podcast is getting ready for Christmas with this the LAST regular show of 2023. And, because this is essentially our yule send-off, Boydy runs through the vast array of shows coming your way between now and the new year, plus we review one of them: specifically, Mark Gatiss' latest festive frightener, Lot No. 249. We also head back to (Bernard) Cornwell country for the adaptation of his Warlord Chronicles, The Winter King on ITVX, and we find out whether Rick Riordan's Greek God saga lands safely on Disney+ with the arrival of Percy Jackson And The Olympians.
We never thought we'd find a place where we belong . . . I said jump, down on Jump Street! 21 Jump Street (1987) is the tv pilot movie for the 21 Jump Street show about undercover cops who infiltrate high schools, busting the criminals committing crimes. Listen as we recap and review one of Beth's favorite tv shows of the late 80s/early 90s! https://www.themoviedb.org/tv/1486-21-jump-street?language=en-US https://www.imdb.com/title/tt0092312/?ref_=ttfc_fc_tt https://www.imdb.com/title/tt0092312/?ref_=ttep_ep_tt https://www.imdb.com/title/tt0501950/?ref_=ttep_ep1 https://www.imdb.com/name/nm0000136/awards/?ref_=nm_awd https://www.imdb.com/name/nm0000136/?ref_=tt_cl_t_1 https://www.imdb.com/name/nm0005372/?ref_=tt_cl_t_3 https://www.imdb.com/name/nm0002078/?ref_=tt_cl_t_2 https://www.imdb.com/name/nm0629006/?ref_=tt_cl_t_5 https://www.imdb.com/name/nm0217938/?ref_=tt_cl_t_4
UNEQUAL SEQUEL - S05 EP03- JAMES DYER ~ Joining Dave and Rich on this episode to discuss his best ever sequel, worst ever sequel and dream sequel is James Dyer. James is a multi award winning journalist, podcaster and film critic. He's the Digital Editor-In-Chief of Empire magazine as well as the Co-Host of the Empire podcast and host of the Pilot TV podcast. If you like what you hear and want even more of us talking to Sooz then check out our subscriber service at www.anotherslice.com/unequalsequel it's only £2.99 a month for loads more bonus content. We'd love it if you could share our little pod with your friends and family. All you need to do is send them a link like one of these... Spotify - https://open.spotify.com/show/5BRZK1OAklN8AAF0zpAO9L Apple Podcasts - https://podcasts.apple.com/gb/podcast/unequal-sequel/id1569119013 Google Podcats - https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81YzdhMTczMC9wb2RjYXN0L3Jzcw== If you want to get in touch with the show here's how: EMAIL: unequalsequel@hotmail.com TWITTER: @UnequalSequel INSTAGRAM: @unequalsequel We hope you enjoy the pod and don't forget please give us a rate and review (5 stars would be great!) and if you want to hear what other great guests are coming up on the pod then click the subscribe button to always know when the next episode drops. Thanks, we love you -- Learn more about your ad choices. Visit podcastchoices.com/adchoices
25 years after it became (for quite a spell) the biggest film of all time at the UK box office, The Full Monty is back with an eight-part limited series, streaming now on Disney+. Writer Simon Beaufoy has reassembled the original cast for a show that goes The Full Monty on the current state of the nation, with Gaz (Robert Carlyle) and chums navigating their way through a series of misadventures that shine a spotlight on everything from the education system to the NHS. In this, the latest collaboration between the Empire Film Podcast and the Pilot TV Podcast, Chris Hewitt sits down with Robert Carlyle and fellow cast members Mark Addy (Dave), Lesley Sharp (Jean), and Steve Huison (Lomper) for candid chats about their return to Sheffield, the show's return, and their relief at being able to keep their clothes on this time. Then, in the podbooth, Chris is joined by Kay Ribeiro and James Dyer to talk about their memories of the original film, the phenomenon it became, and their thoughts about the new series. Oh, and Chris has a meltdown about the existence, or lack thereof, of a certain television commercial... Enjoy.
25 years after it became (for quite a spell) the biggest film of all time at the UK box office, The Full Monty is back with an eight-part limited series, streaming now on Disney+. Writer Simon Beaufoy has reassembled the original cast for a show that goes The Full Monty on the current state of the nation, with Gaz (Robert Carlyle) and chums navigating their way through a series of misadventures that shine a spotlight on everything from the education system to the NHS. In this, the latest collaboration between the Empire Film Podcast and the Pilot TV Podcast, Chris Hewitt sits down with Robert Carlyle and fellow cast members Mark Addy (Dave), Lesley Sharp (Jean), and Steve Huison (Lomper) for candid chats about their return to Sheffield, the show's return, and their relief at being able to keep their clothes on this time. Then, in the podbooth, Chris is joined by Kay Ribeiro and James Dyer to talk about their memories of the original film, the phenomenon it became, and their thoughts about the new series. Oh, and Chris has a meltdown about the existence, or lack thereof, of a certain television commercial... Enjoy.
This week the boys of HMP asked our supporters over at Patreon.com/HMP to vote and this month they told us that we should review HEAT VISION AND JACK, directed by Ben Stiller, starting Jack Black and Owen Wilson from 1999. New Patreon Supporter- Richard C.- The Cowboy Astronaut Executive Producers: Tim Shifflet (The Longhauler), Matthew Schnapp, Derrick Copling (Sir Slick Derrick The Knight Bard), Larry Trujillo, Jessica Berry, Noah Overton (Noah of The Dark Woods), Nate Stewart (King Solomon's Frog), Brain Zee (Spider-Zee), Alex Caudill New Dirty Baby March- SHOP HMP! Follow Us on TikTok Check out Bruce's YouTube Page Join our Subreddit! HeroMoviePodcast.com Support us on HMP's Patreon Buy Nerdspawn Genesis (Leslieverse Tales Book 1) Buy Our Merch! Review us on iTunes Like Us on Facebook Subscribe to our YouTube Page Follow us on Twitter and Instagram Listen to us on our new show- Mandalorian 30 Questions Adam Portrais: Twitter Nerd Talk Now The Film Find- Twitter Bruce Leslie: Twitter Heroes and Villains PodcastChubby Wizard Sean Kovacs: Twitter
Welcome, folks, to a most extraordinary podcast (in association with Disney+). A podcast in which Team Empire and Team Pilot TV get together to discuss the extraordinary Extraordinary, the brand-new sitcom that is now streaming on Disney+. Created and written by Emma Moran, Extraordinary is set in a world where everyone develops a superpower after they turn 18. Everyone, that is, except for Jen (Mairead Tyers), who is approaching 25 and is still fumbling for direction and meaning and purpose. Beautifully observed and very, very funny, it's already been renewed for a second season, and in this very special crossover event, Chris Hewitt, James Dyer and Kay Ribeiro (pronounced Ru-bear-oh) get together to wax lyrical about the show, discuss which superpowers they'd like to have, and much more. But that's not all! (Told you this was an extraordinary podcast...) There are also two interviews with the show's star players -- first, an uproarious, hilarious and frankly chaotic interview in which Chris sits down with the show's stars, Mairead Tyers, Sofia Oxenham, Bilal Hasna, and Luke Rollason; and then a more considered chat with Emma Moran. Do please extra-enjoy.
Welcome, folks, to a most extraordinary podcast (in association with Disney+). A podcast in which Team Empire and Team Pilot TV get together to discuss the extraordinary Extraordinary, the brand-new sitcom that is now streaming on Disney+. Created and written by Emma Moran, Extraordinary is set in a world where everyone develops a superpower after they turn 18. Everyone, that is, except for Jen (Mairead Tyers), who is approaching 25 and is still fumbling for direction and meaning and purpose. Beautifully observed and very, very funny, it's already been renewed for a second season, and in this very special crossover event, Chris Hewitt, James Dyer and Kay Ribeiro (pronounced Ru-bear-oh) get together to wax lyrical about the show, discuss which superpowers they'd like to have, and much more. But that's not all! (Told you this was an extraordinary podcast...) There are also two interviews with the show's star players -- first, an uproarious, hilarious and frankly chaotic interview in which Chris sits down with the show's stars, Mairead Tyers, Sofia Oxenham, Bilal Hasna, and Luke Rollason; and then a more considered chat with Emma Moran. Do please extra-enjoy.
It may be January but we're stripping off alongside Kumail Nanjiani this week in Welcome To Chippendales on Disney+, watching an early contender for most utterly batshit show of the year with The Reunion on ITVX, and finding the lighter side of undeath with Reginald The Vampire on Sky Sci-Fi. Plus, we talk about some of TV's best character actors, bemoan Netflix's axe-swinging killing spree, and announce the launch of our all-new, very exciting SECOND podcast: the imaginatively named, Pilot TV+.
2022 is DONE! Well, nearly. And, in place of our regular show this week we bring you our official postmortem of the year that was, packed with our personal picks, our favourite episodes, a look at what we're excited about in 2023 and a bunch of year-related questions from you, our long-suffering listeners. But that's not all, because we also run though our final, canonical, completely unanimous and in no way divisive list of Pilot TV's best shows of 2022, and welcome a pair of very special guests from two of those shows, specifically The White Lotus' Will Sharpe and Andor's Denise Gough. Happy New Year one and all! See you in 2023.
Blimey, folks, this week's episode of the Empire Podcast has more guests than Jamie Lee Curtis' home on Christmas Day. (Because she's married to Christopher Guest, you see, and presumably there would be a large number of extended family members invited around for a slap-up meal.) Helen O'Hara has a lovely chat with White Noise star Greta Gerwig about casting herself, her desire to make a musical, and more. Then Chris Hewitt has a lovely natter with action movie ace Frank Grillo, who's spreading his wings as the star of Lamborghini: The Man Behind The Legend. And, in the studio this week, Chris and Helen are joined by the brilliant Damian Lewis and Nick Murphy, star and director respectively of the ITVX drama, A Spy Among Friends (take that, Pilot TV). Lewis and Murphy (no, they're not a RoboCop tribute act) occupy the third and fourth chairs with remarkable grace, fielding questions about spies, breakfasts and buttocks, while tackling this week's listener question, about the best time jumps in movies and TV. Then, Chris and Helen are joined by Amon Warmann to discuss the week's movie news (including all those big trailers), review Violent Night and White Noise, and bang on about Cocaine Bear. Oh, and Amon has his mind blown by Frank Grillo. Enjoy.
GUEST OVERVIEW: Joseph Imperatrice is founder of the non-profit organization BLUE LIVES MATTER-NYC. He has had appearances on FOX BUSINESS, FOX & FRIENDS, NIGHTLINE NEWS, 20/20, PILOT TV. Active NYPD Sergeant. Hopes of one day being a NYC Mayoral candidate.
UNEQUAL SEQUEL - S04 EP02 - BOYD HILTON Joining Dave and Rich on this week's episode is Boyd Hilton. Boyd is the Entertainment Director of Heat magazine, Contributing Editor of Empire & Pilot TV podcaster. He also appears on BBC Radio 5 Live, Front Row to talk about TV & films. He also Does stuff for Bafta. Spotify - https://open.spotify.com/show/5BRZK1OAklN8AAF0zpAO9L Apple Podcasts - https://podcasts.apple.com/gb/podcast/unequal-sequel/id1569119013 Google Podcasts - https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81YzdhMTczMC9wb2RjYXN0L3Jzcw== If you want to get in touch with the show here's how: EMAIL: unequalsequel@hotmail.com TWITTER: @UnequalSequel INSTAGRAM: @unequalsequel We hope you enjoy the pod and don't forget please give us a rate and review (5 stars would be great!) and if you want to hear what other great guests are coming up on the pod then click the subscribe button to always know when the next episode drops. Thanks, we love you
UNEQUAL SEQUEL - S04 EP02 - BOYD HILTON Joining Dave and Rich on this week's episode is Boyd Hilton. Boyd is the Entertainment Director of Heat magazine, Contributing Editor of Empire & Pilot TV podcaster. He also appears on BBC Radio 5 Live, Front Row to talk about TV & films. He also Does stuff for Bafta. Spotify - https://open.spotify.com/show/5BRZK1OAklN8AAF0zpAO9L Apple Podcasts - https://podcasts.apple.com/gb/podcast/unequal-sequel/id1569119013 Google Podcasts - https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81YzdhMTczMC9wb2RjYXN0L3Jzcw== If you want to get in touch with the show here's how: EMAIL: unequalsequel@hotmail.com TWITTER: @UnequalSequel INSTAGRAM: @unequalsequel We hope you enjoy the pod and don't forget please give us a rate and review (5 stars would be great!) and if you want to hear what other great guests are coming up on the pod then click the subscribe button to always know when the next episode drops. Thanks, we love you Learn more about your ad choices. Visit podcastchoices.com/adchoices
Hands! Corner! Behind! No, we're not trying to activate The Winter Soldier — these phrases will make sense to you once you've watched the excellent new comedy-drama, The Bear, the first season of which is now streaming on Disney+. It follows Carmy Berzatto (Jeremy Allen White), a highly-rated and extraordinarily-talented chef who swaps being a rising star on the New York fine dining scene for the relentless grind of running a sandwich shop in Chicago, bequeathed to him after the death of his older brother. And in this latest crossover episode of the Empire Film Podcast and the Pilot TV Podcast, in association with Disney+, Chris Hewitt, James Dyer, and Beth Webb get their teeth into The Bear, talking about its intensity, its humour, their own relationships with food and fine dining, and much, much more. It's a pod so good we give it three Michelin stars. And that, friends, is definitely a recommendation. Enjoy!
Hands! Corner! Behind! No, we're not trying to activate The Winter Soldier — these phrases will make sense to you once you've watched the excellent new comedy-drama, The Bear, the first season of which is now streaming on Disney+. It follows Carmy Berzatto (Jeremy Allen White), a highly-rated and extraordinarily-talented chef who swaps being a rising star on the New York fine dining scene for the relentless grind of running a sandwich shop in Chicago, bequeathed to him after the death of his older brother. And in this latest crossover episode of the Empire Film Podcast and the Pilot TV Podcast, in association with Disney+, Chris Hewitt, James Dyer, and Beth Webb get their teeth into The Bear, talking about its intensity, its humour, their own relationships with food and fine dining, and much, much more. It's a pod so good we give it three Michelin stars. And that, friends, is definitely a recommendation. Enjoy!
Wedding Season is the new thrill-packed, mystery-stuffed rom-com that is now streaming on Disney+. The first-ever UK Original Series on Disney+, it follows the adventures of Stefan (Gavin Drea) and Kate (Rosa Salazar), a couple on the run after Katie's entire wedding party, including her husband, are killed, leaving Katie as the prime suspect, and the cops (and other interested parties) hot on their heels. And in this special crossover episode, brought to you in association with Disney+, the Empire Film Podcast and Pilot TV Podcast teams — Chris Hewitt, James Dyer, and Kay Ribeiro — come together to have a big old natter about the show, about the disastrous weddings they've attended, the nature of love, and the dangers of cake. But that's not all — there are exclusive, and enormously fun, interviews, in which Chris talks to cast members Jamie Michie, George Webster, Bhav Joshi, Omar Baroud and Callie Cooke, plus star Gavin Drea and the show's creator, Oliver Lyttelton. We now pronounce you pod and listener. Enjoy!
Wedding Season is the new thrill-packed, mystery-stuffed rom-com that launches today on Disney+ as part of Disney+ Day. The first-ever UK Original Series on Disney+, it follows the adventures of Stefan (Gavin Drea) and Katie (Rosa Salazar), a couple on the run after Katie's entire wedding party, including her husband, are killed, leaving Katie as the prime suspect and the cops (and other interested parties) hot on their heels. And in this special crossover episode, brought to you in association with Disney+, the Empire Film Podcast and Pilot TV Podcast teams — Chris Hewitt, James Dyer, and Kay Ribeiro — come together to have a big old natter about the show, about the disastrous weddings they've attended, the nature of love, and the dangers of cake. But that's not all — there are exclusive, and enormously fun, interviews, in which Chris talks to cast members Jamie Michie, George Webster, Bhav Joshi, Omar Baroud and Callie Cooke, plus star Gavin Drea and the show's creator, Oliver Lyttelton. We now pronounce you pod and listener. Enjoy!
Join Neil & David for a very meta episode where Neil reviews another podcast as he was lucky enough to go to the Pilot TV Podcasts live 200th episode at Kings Place in London and gives us a breakdown of the day and night! Next up is our review of new horror comedy Bodies Bodies Bodies, David reviews Dragon Ball Super:SUPER HERO while Neil tries to figure out what he is talking about and we wrap up with a spoiler filled look at the first 2 episodes of Marvels She-Hulk:Attorney at LawSupport the showInteract with us on our socialshttps://twitter.com/NeededRoads (run by Neil)https://www.instagram.com/weneededroads/ (run by David)Fund our quest for a superyachthttps://www.buymeacoffee.com/WeneededroadsAnd leave us comments and 5 star reviews at...https://open.spotify.com/show/0E31ucDQy7Ha5PRdtahAjbhttps://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xNjM1MDQwLnJzcw==https://podcasts.apple.com/gb/podcast/we-needed-roads-podcast/id1551792756
In which we reflect on 2017. Follow the podcast on Twitter: https://twitter.com/B2TARDISpod Support us on Patreon: https://www.patreon.com/b2tardispod Follow the hosts: Geoff: https://twitter.com/WheatleyDL Aurora: https://twitter.com/OfMiceAndFems Lumine: https://twitter.com/untilfearleaves SHOW NOTES: S10E1: “The Pilot” on TARDIS Data Core: https://tardis.fandom.com/wiki/The_Pilot_(TV_story) “The Pilot” transcript: http://www.chakoteya.net/DoctorWho/36-1.html Opening theme arranged by Geoff Norman-Anderson Closing theme is "Deserted Dunes Welcome Weary Feet" by King Gizzard and the Lizard Wizard: https://kinggizzardandthelizardwizard.com/polygondwanaland/index.html
Pilot TV is officially one degree of Kevin Bacon as of this week as the City On A Hill star joins us to talk about the new season of that show which is airing now on Paramount+. Plus James, Boyd and Kay get into the viability of slow-burn shows in this era of peak TV, go round 2 over The Sandman, and catch up on the penultimate episode of Better Call Saul (no spoilers). Elsewhere, we review Sharon Horgan's new show on Apple, Bad Sisters, contemporary app-based horror series Red Rose on BBC3, and Nicola Walker and Sean Bean's incredibly affecting Marriage on BBC1. And there's still time to book tickets to our live 200th show on the 21st: https://bit.ly/3plL4hW
As promised a couple of weeks back, we welcome The Man Who Fell To Earth stars Chiwetel Ejiofor, Naomie Harris and Bill Nighy to the show this week, where they were warmly greeted by Pilot TV superfan Chris Hewitt. Plus we run through our pick of the 20 best TV shows of the year so far, and even find time to do a quick rundown of the Stranger Things finale (at the very end if you want to avoid spoilers). We also look at Apple's Taron Egerton prison thriller Black Bird; Sky's parenting black comedy The Baby; Starzplay's true crime drama The Girl From Plainville, with Elle Fanning; and Prime Video's The Terminal List, which sees Chris Pratt kill everyone in sight as a vengeful Navy SEAL.
Only a group as seismic as The Sex Pistols could bring the Empire Podcast and the Pilot TV Podcast together once again. Yes, to mark the launch of Danny Boyle's brand-new six-part series, Pistol, on Disney+, Chris Hewitt, James Dyer, and Beth Webb put their collective noggins together and discuss the show, which debuts on Disney+ on May 31, and which charts the rapid rise and fall of the British punk band towards the tail end of the 1970s. In a fun episode, Chris, James and Beth talk about the cultural impact of Johnny Rotten, Steve Jones, Sid Vicious and the boys; their legacy; their weird link to the Spice Girls, and much, much more. Plus, Chris sits down with two of the stars of the show, Maisie Williams and Thomas Brodie-Sangster, and asks one of them about nicking Andy Serkis' arancini at the Empire Awards. It doesn't get much more punk than that. Never mind the you-know-what, here's [Empire and Pilot talking about] the Sex Pistols.
Only a group as seismic as The Sex Pistols could bring the Empire Podcast and the Pilot TV Podcast together once again. Yes, to mark the launch of Danny Boyle's brand-new six-part series, Pistol, on Disney+, Chris Hewitt, James Dyer, and Beth Webb put their collective noggins together and discuss the show, which debuts on Disney+ on May 31, and which charts the rapid rise and fall of the British punk band towards the tail end of the 1970s. In a fun episode, Chris, James and Beth talk about the cultural impact of Johnny Rotten, Steve Jones, Sid Vicious and the boys; their legacy; their weird link to the Spice Girls, and much, much more. Plus, Chris sits down with two of the stars of the show, Maisie Williams and Thomas Brodie-Sangster, and asks one of them about nicking Andy Serkis' arancini at the Empire Awards. It doesn't get much more punk than that. Never mind the you-know-what, here's [Empire and Pilot talking about] the Sex Pistols.
Not only do we have both Karl Urban and Jensen Ackles on this week's show to talk about the new season of The Boys, but Empire's Helen O'Hara makes her Pilot TV debut, finally getting the chance to lay her hands on one of the stars of Supernatural (figuratively speaking). Then, we nearly fail to get Obi-Wan Kenobi on the show but, thanks to some post-production tomfoolery, we were able to do a last minute drop-in to cover off all things Star Wars, and that was in addition to Danny Boyle's Sex Pistols biopic, Pistol and sci-fi adaptation The Midwich Cuckoos on Sky. All that and Beth (for she has returned) Boyd and James mull over some of the best shows that have filmed in their respective home towns.
The first three episodes of The Dropout, the new series charting the rise and fall of tech entrepreneur Elizabeth Holmes and Theranos, the company she founded, have landed on Disney+, and in the latest team-up between the Empire Podcast and Pilot TV Podcast, Chris Hewitt, James Dyer, and Beth Webb have a good old natter about it. In this very special crossover episode, in association with Disney+, they talk about the real-life events behind the show (created by Elizabeth Meriwether), the reasons why Hollywood is drawn to stories like this, the incredible cast, led by Amanda Seyfried, and much, much more. So turn on, tune in and drop out for The Dropout...
The first three episodes of The Dropout, the new series charting the rise and fall of tech entrepreneur Elizabeth Holmes and Theranos, the company she founded, have landed on Disney+, and in the latest team-up between the Empire Podcast and Pilot TV Podcast, Chris Hewitt, James Dyer, and Beth Webb have a good old natter about it. In this very special crossover episode, in association with Disney+, they talk about the real-life events behind the show (created by Elizabeth Meriwether), the reasons why Hollywood is drawn to stories like this, the incredible cast, led by Amanda Seyfried, and much, much more. So turn on, tune in and drop out for The Dropout...
Happy New Year! Can you hear us? We certainly hope so, because the first Pilot TV podcast of 2022 is brought to you by none other than Clem Fandango, Mr Shazad Latif himself, who joins us to talk all things Toast of Tinseltown. Plus, we take a look at all the TV we didn't cover over the Christmas break and line up Jamie Dornan's outback ordeal, The Tourist, for the full review treatment. Also in reviews are Maxine Peake-starring HR escapade Rules Of The Game, and the third (and final) season of Ricky Gervais' Afterlife (where Boyd decides that Ricky Gervais' character and James might share more DNA than is entirely healthy).
SOBER POP the Playback Podcast - Recaps of our weekly conversations from Clubhouse
Listen to Scott Langer, Co-Founder of Ninety 90 Pictures, share his experience (strength and hope) after wrapping on filming a week-long Indie pilot TV show "Die Pretty". This script is based on the real-life story of Rachel Ellner, who is the other Co-Founder of Ninety 90 Pictures and Scott's girlfriend. The mission of Ninety 90 Pictures is to help people in recovery achieve long-term stability through gainful employment in the film industry. They provide jobs and peer support to people in recovery through their projects. Employment leads to opportunity, a sense of community, stability and is essential to support your recovery journey. Peer support networks form from people with a shared or similar history in a safe space. SOBER POP Culture Club Hosts: Alysse Bryson, Founder of The Sober Curator, Brooke Robichaud, Founder of Sober Biz Babe, and katie MACK Founder of the Webby Award-Winning Podcast Fcking Sober the First 90 Days, DJ Missing Mei, Founder of The Creative Sober, Martin Lapid, Founder of Serenitees Collection, and Pop Buchanan, Founder of Sober is Dope! SOBER POP Culture meets on the Clubhouse App every Wednesday at 6 pm Pacific / 7 pm Mountain / 8 pm Central / 9 pm Eastern Come join the club where the conversations always pop! Link to SOBER POP Content @thesobercurator Link to SOBER POP Club on Clubhouse App --- Support this podcast: https://podcasters.spotify.com/pod/show/soberpop/support
More Star Trek shenanigans abound this week as the team try to work out what in the name of the Prime Directive Pluto TV is. Elsewhere, we finally get to talk about Disney's Hawkeye series, take a trip to the wilderness with a girls' soccer team in Yellowjackets on Sky Atlantic, catch up with killer Charles Lee Ray in Child's Play spin-off series Chucky, on Sky Max, and get a little courtroom monologuing from Samuel Adewunmi in You Don't Know Me on BBC1. Plus, in perhaps the greatest upset in Pilot TV history, James voluntarily watches an animated series — listen now to find out what he thought of it.
Michael Jamin & Phil Hudson discuss the difference between TV specs and TV pilots, what Hollywood wants to see today, the primary job of a staff writer, and the big problem facing young writers.Show Noteshttps://michaeljamin.com/course - Michael Jamin's Online Screenwriting Coursehttps://michaeljamin.com/free - Free Screenwriting LessonMichael: (00:00)When I'm running a show, we're working it. Should we ne like no one has a stopwatch out. We're never thinking what, 15 minutes. This has to happen. Except like, it just doesn't work that way. It's such a bizarre in my mind. It's almost fascinating to hear you say that because it's was like, whoa, we don't do any of that. So like, it seems to me it's making it unnecessarily hard and like, it doesn't, it's not helpful. You're listening to screenwriters. Need to hear this with Michael Jen. All right, everyone. Welcome to the big show today. We're talking about specs versus pilots. What does that mean? I don't even know. I've got to think this through Phil.Phil: (00:39)Yeah. This is an interesting one. I, one time took a kid to a lunch in film school and I told them what I was working on. And I remember thinking he brought this up and he was just using this terminology. And I know like what a spec versus a pilot is. And I know what a spec versus a commission is, but he used them interchangeably. And so I think there might be some confusion about, about these, especially in the world of television. Yeah.Michael: (01:05)Because there's a lot of the words are kind of used interchangeably. It's an it's unnecessarily complicated. But basically when you're trying to get a show where you're trying to get staffed on a show, uh, you need a writing sample. And so your writing sample could be a piece, an original piece of work, like a pilot that you've written about. You've created it's all yours. Or you could spec an existing show. So you write a sample episode of the show, Barry or whatever, and jolly just so that's two different samples that you, you could show people in thisPhil: (01:34)Stands for speculation, meaning you're writing to on speculation that you could sell it or that it, that I think that's where it comes from the film world. Right. Writing it on spec versus, um, I've been hired to do.Michael: (01:45)Right. So you're right. In other words, don't right. No, one's paying you for it. But the odds ofPhil: (01:49)It's an assumption of risk, I think, is really what it comes down to. Right? Yeah. So writer's Guild says, if you sell a feature on spec, you get paid more because you took the risk of writing it on your own dime versus them hiring you to do a job. And now you're getting paid less because they're assuming the risk that's right. So I think that's where the terminology comes with. Go ahead.Michael: (02:09)But the odds of the truthfully, the odds of you selling your spec pilot are very, very low. It's really just a calling card. It's a, it's a sample of your work to get you a job on a show so that you could get so that you rise up the ranks and you earn the right at some point in the future to sell a show. So most people think, well, I got a show I'm going to sell it. It's like, it doesn't really work that way. Doesn't work that way for me, you know? And I've been doing it for 26 years. So it's not going to work that way for Joe average in the middle of Indiana. Right. So, right. Okay. So back in the day when I was coming up, there were four networks. So there wasn't a lot of choice. So everyone kind of knew the same shows.Michael: (02:46)The big hit shows everyone watched, or at least sample they knew a little bit about. So you would write a spec episode of like, say, say Seinfeld or cheers or friends, or on the drama side, you might write a spec. ER, everyone knew those shows. So whoever was reading your shows would know the tone of it. They don't the characters and you'd write your spec episode of that show and people would read it and they get, okay. Yeah. I've seen the show enough to know that this is a good sample or not. But today the market is, uh, you know, there's so much, there's so many shows out there and no, there are no giant hits anymore. And so there's not one show that everyone is watching really there's shows that like people are popular shows, like let's say like Barry, or let's say a Ted lasso.Michael: (03:26)People seem to watch those, but it's not like it gets the millions and millions of views that everyone else, all the other show is used to get. It's still like a tiny share. So the way the agents and, um, studio executives, what they recommend is not to write a spec episode of an existing show since, you know, no one really knows that language anymore. They want you to write a spec episode of your oven, or they want you to write in an episode or a pilot episode of, of something that came out of your own head and their original idea and original pilot, and use that as a writing sample to get you work. But there's a problem with that in my opinion. Okay. The problem is writing, uh, writing an episode of our characters that already exist. It requires it's actually a lot easier than creating a brand new show from whole cloth.Michael: (04:15)And it's a whole different skill set. And if you're trying to get on a, a staff of a TV show, you don't need to, you don't need that skill set. You don't need to be, know how to create characters and create a world. Like all you need to know is how to, can you, what can I mimic the world that already exists? So I feel that's an unfair burden that studio executives and agents or managers are kind of putting on new writers. Like you're saying, Hey, this is much harder, but this is what you need to do because the world has changed so much the world of TV, at least. And you know, like I said, as a showrunner, I don't really care if you can create these characters. I want to know if you can, uh, if you can run an episode for my characters from my world and also as a store owner, it's harder for me to read those scripts because now it's like, I can read an episode of friends and I know I'm dating myself.Michael: (05:02)I think friends, okay. Let's say two and a half men or the big bang theory or something a little more recent. I can, um, I know those characters and know how they talk. I know how they should sound. I'm familiar with them. Uh, and it's easier for me. It's a lot less work for me to read a script and determine whether you are doing a good job mimicking that tone, but for new, when you create your own world, it's like, okay, now I got to who are these characters again? I gotta flip back. I gotta remind myself who this character is. And I got to remind myself, wait, what's the tone of this show supposed to be? Is it supposed to be silly or is this supposed to be broad? Uh, until it's, it's more work on my end and it's a lot more work on the person who has to write it. Yeah,Phil: (05:39)Yeah, yeah. That makes sense. And so you're what you're saying is the job of a staff writer is to mimic the showrunners voice. And although the pilot can't show creativity, that doesn't showcase that skillset.Michael: (05:52)Yeah. We don't need to know. We don't need to know if you can rate it, create a show. That'll come years later when you create your own show. So it's a little, it's kind of a, it's a bummer. Um, but when you, so when you create one, so, okay. We have to accept the fact that you really don't have any choice here. Let's say you have to re create all these pilots. Now you are going to want to create many pilots in different tones because, and by tone, I mean, uh, is it broad or is it real? Is it grounded? Is it crazy? Is it wacky, you know, on the Simpsons, Homer went to the moon. Well, you know, on family guy, uh, you know, Peter gets murdered every episode or he takes chops, loaves his legs off, like, and then suddenly she has legs in the next scene, you know, or I'll shoot his daughter in the face. Like that's just off the board wacko. Crazy. That show was a really fun show. But the tone of that is just, is like almost, uh, it's almost fantastical, whereas a show, uh, like BoJack horseman, even though he's a talking horse, it's very, it's much more realistic. He's, you know, he deals with issues of psychology and, and real problems with people. So it's a much more grounded show, even though he's a talking horse.Phil: (06:59)Okay. And so in the past, if I was writing samples of shows, I would want to take that same note. And I would say, I want to be able to write a Berry, which is a completely different tone than say, um, big bang theory. Yeah, yeah.Michael: (07:13)Different than any other. And also, and those, for example, and buried, by the way, a single camera show and big bang was a multi-camera show. And if you don't know the difference, so a single camera show look kind of looks like a movie shot like a movie. Often they use two cameras at the same time they're shooting it, but it's called single camera. Whereas a multi-camera show sometimes called a four camera show worth. I'm going to make them confusing. Sometimes it's called a three or four camera show, but a multi-camera show is shot on a soundstage in front of a live in front of a studio audience. So you hear those laughters and it's, it's, it's very perceptive and shot. Like it's like a, it's like going to theater. So people, those characters never, you know, they never leave the theater, the exist only on that stage. Whereas a single camera show, like let's say big, uh, modern family. They would shoot that on location. They go to this location, that location and the writing style is a little different. They both, you both have to understand story, uh, like, uh, a great understanding of story for both, but the way they're written, um, there there's some various, uh, there's a slight difference. TherePhil: (08:13)There's some formatting differences too, right?Michael: (08:15)Yeah. And those multi-camera shows tend to be a joke heavier because you have a studio audience and there's that pressure to keep them laughing when you shoot it. And so those shows you record a multi-camera show, uh, in both single camera and multi-camera show you are, uh, I don't know, that's not really what we're suppose to be talking about, but, but I, I find myself fascinated by my own voice on a continue. Let's go. Um, and I'm on a single camera show. It takes about a week to shoot and a multi-camera show. It takes a week to shoot, but this, the production schedules are very different. A multi-camera show. You have a day where you rehearse, you put on a show on Friday night and in front of an audience. But on that, Monday is the first day of rehearsal and you rehearsed it day two.Michael: (08:59)You were here set on Wednesday, Thursday, Friday, and finally, you know, Friday, you put up on its feet, whereas a single camera show on Monday, you have a rehearsal. I got like a table read where the actress just read it. And then Tuesday, Wednesday, Thursday, Friday, you're shooting the thing you are shooting it. So, and it's because it takes longer to shoot. So there's less rehearsal for those. So by nature of that, because you have so much more rehearsal for a multi-camera show, uh, the each line is really, is really crafted and it's make as funny as possible. You put it, there's a lot of pressure to make the jokes really pop. Whereas a multi-cam a single camera show. You don't really have that same pressure. Okay.Phil: (09:36)Um, multi-camera show you've done several of those in your, in your, in both. Yeah. So in that world, you, as the writer of that episode would be on set or on the stages while they're shooting, right. Just to rewrite somethingMichael: (09:48)For a multi-camera show, all the writers on set all the time, God, all the time, a single, single camera show because it takes so long to shoot it. Uh, there's usually only one writer on set and that might be the showrunner, or it might be someone in the showrunners proxy. You might be a proxy, which could be the person who wrote that episode. Or it could be, let's say a co-executive producer.Phil: (10:07)Got it. So, because I'm not doing specs anymore, you know, um, I'm assuming that the spec work is the real work that helps you prepare for the job of being a staff writer, because you are watching a show, you're internalizing the voices, the characters, and you're crafting stories that fit into that world and match that tone. Yeah. Likewise, um, I could do the same thing in the world of a pilot where, but that seems like a lot more work because I have to create the characters, the setting, the reason these people are together. And so it's almost like, it seems like easier and better practice to do the spec, even though people are asking for a pilot.Michael: (10:47)Yeah. Yeah. And if your spec by the, if it's a show that like all comedy writers know Barry, they we've all watched Barry. So I think that'd be okay. Show despair, even though it's not known by the billions of people in the outside world, I think they'd be perfectly fine to spec that same thing with maybe Ted lasso. It seems to people seem to really like, um, those are probably be good specs. Uh, and I, like I said, I would, I would prefer to read that. I, and then I'm just judging it. I'm terms of like, okay, does this person understand a story structure? Uh, how has their dialogue, is it, is it punchy? Does it flow? Does a sound like the dialogue in the existing show? I don't need to know the other stuff. The other factors that go into creating a TV show, it doesn't help me. I don't need that. Okay.Phil: (11:29)And so I write these specs, I write these spec pilots. I practice them as I think that begs the question, like how does one approach both of these situations. And so I just want to walk you through what I was taught in film school and my television writing class. And I want you to tell me if you think this seems like a good format. Okay. Sounds good. You've already found. All right. Let's send the ascended episode. I do think that there, there were some things lacking here. Um, because as I've worked with you, as I've sat in writers rooms as a writer's PA, as I've sat on set, as I've seen rewrites of episodes, I've noticed that there are things that we didn't address per se in our classes. Yeah. Let's dive in. What we were taught to do was basically watch multiple episodes of the TV show, which sounds like a good idea. And then we were basically instructed to take a stopwatch and the time every single scene and count the number of scenes, and basically just put them into a spreadsheet and say, this, this act before this commercial break, there were this many scenes and they took this long and added together. I can expect my act one for this show to be this long. Yeah.Michael: (12:36)Yeah. I would never, I would never approach, uh, when I was running, when I'm running a show, we're working. It should, we knew like no one has a stopwatch out. We're never thinking, well, at 15 minutes, this has to happen and stuff like, it just doesn't work that way. It's such a bizarre in my mind, a it's almost fascinating to hear you say that because it was like, whoa, we don't do any of that. So like, it seems to me it's making it unnecessarily hard and like, it doesn't, it's not helpful.Phil: (13:04)I think what I took from that is what's happening in these scenes more than what, how long are these scenes taking or what are the number of scenes? And it was really looking at, you know, who is leading this scene, who is leading these. And I think that the reason that was interesting to me is because you and I had already had some back and forth about what story structure should look like. Yeah. But in general, what I noticed when we got to the next step, you know, two steps down. So then we take it, we break our own story, we kind of fit it into this formula. And then we do a table read. And what I noticed is that most of the table reads scripts. You know, the scripts that we've table read in our class, they were a lot of people doing things about a lot of nothing happeningMichael: (13:44)Or the characters. I mean, yeah,Phil: (13:46)It was, it wasn't like, we're really pushing towards one big thing. It wasn't like we had any real focus or drive through these moments of action. And there were moments of conversation, but it was almost like every single scene was set up to be its own unique act. And they didn't really take me anywhere.Michael: (14:05)It sounds like you got bogged down in the minutia, but you missed the bigger picture. Yeah.Phil: (14:09)Yeah. Yeah. And I think it's because there was just a general lack of conversation about actual story structure rather than, you know, here's how many scenes you should have versus sequences you should have versusMichael: (14:21)Well, it's like when I could walk as a TV writer, even though I'm in comedy, I could walk into any writers room in Hollywood. If they let me, if there were writers who are not on zoom anymore because of the pandemic, but I could walk into any writer's room, drama, comedy, whatever, and jump right in and fit right in because we all speak the same language, which is story. And none of us are talking about holding stopwatches and, and, you know, we don't, we just didn't thought how we approach.Phil: (14:44)So I know the answer to this, but you know, just playing devil's advocate, which I know we just tore apart recently. Um, so obviously you're talking about Joseph Campbell's hero's journey and miss structure then, right?Michael: (14:55)Yeah. Yeah. And, and I've read that, you know, it's a seminal work. It's an, uh, it's an important, it's interesting to read, but if that Joseph Campbell and like, you know, I'm not denigrating it at all, but if it was, if it was helpful in terms of breaking a story, you'd think that would be that chart. That famous chart would be on every writer's room in Hollywood. We would just be referring to the chart all the time to how to tell a story. And we just don't. And to me, it's like, it's almost like reverse engineering, something where it's like, okay, I'm going to make a robot. That's take apart this robot. And then we'll, and now we know how to make a robot. It's like, no, no. You know how to take apart a robot. It doesn't mean you have to build a robot. You just took one apart. Right. And so that to me was what that hero's journey circle reminds me of.Michael: (15:40)Hi guys, Michael Jamin here. I wanted to take a break from talking and talk just a little bit more. I think a lot of you guys are getting bad advice on the internet. I know this because I'm getting tagged. One guy tagged me with this. He said, I heard from a script reader in the industry. And I was like, wait, what? Hold on, stop my head and blew up and blacked out. And when I finally came to, I was like, listen, dude, there are no script readers in the industry by definition. These are people on the outside of the industry. They work part-time. They give their right arm to be in the industry. And instead they're giving you advice on what to do and you're paying for this. I mean, it just made me nuts, man. He's getting more unqualified to give my dog advice.Michael: (16:17)And by the way, her script is it's coming along quite nicely. And oh, and I'm not done. Another thing when I work with TV writers for a new one, I'm writing staffs. A lot of these guys flame out after 13 episodes. So they get this big break. They find it to get in and then they flame out because they don't know what is expected of them on the job. And that's sad because you know, it's not going to happen again. So to fight all this, to flush all this bad stuff out of your head, I post daily tips on social media. You can find me on Instagram and Tik TOK and Facebook at Michael Jamin writer. If you don't have time, two minutes a day to devote towards improving your craft guys, it's not going to happen. Let's just be honest. So go find naked. Happy. Alright. Now back to my previous.Phil: (17:01)So, because I've been through your course and I've seen how stories are broken in an actual writer's room, there are definitely almost beats. There are things that need to exist to help carry the story along. But the, but that's just more of like what I would call 10 poles that would hold up the structure.Michael: (17:19)Yeah. Right. It's the foundation,Phil: (17:21)The foundation. And then you do your story fits into that to help kind of guide us along because there's like an internal expectation in ourselves as humans been telling stories for millennia, then that resonates with this. And I think that's where Joseph Campbell stuff kind of coordinates here, but, or correlates here. But in general, this is, these are things that weren't really addressed. Like, you know, back behind me, I've got like a wall of filmmaking and screenwriting books. I have Joseph Campbell's here with a thousand phases. I have Chris Vogler's the writer's journey writer's journey I got because it was a required text for our class. And yet we never read it in class. We never opened it. We never talked about that. I was in film school that was in film school in my specifically my TV writing class. So ultimately I think what it boils down to is this process that I w I learned, isn't actually the way you do things, and it's not helpful because we're missing, as you said, the foundational things. We're so focused on the, on the other stuff.Michael: (18:21)And it's interesting to study all that little stuff is, but it's just not how we do it on the, on a daily basis. So, you know, I, I, I don't know why it's they teach? You know, I get a little frustrated when I get on my soapbox, when we talk about film school. And I always say like, make sure you are, you're clear on who you're studying from, because you can study from a screenwriting from a professional teacher, but if they haven't done it for years and years and years, like they're just teaching you what they were learning, what they learned, what they were taught. You know, you're not like I didn't go to film school and I didn't study any of this. Most of what I learned, I learned on the job from other writers, professional writers before me. And so I just do it the way they taught me. And that's, that's how we do it in the world.Phil: (19:06)It's the apprenticeship model, right. Where you go and you learn through osmosis and through putting in the sweat equity.Michael: (19:14)Yeah. And that's kind of, that's how I teach in the course. I'm like, well, you know, I don't mess around with like theory. I go, okay, let's take an idea. Here's an idea. How do we stretch this? Is it a good enough idea that we'll fill, let's say 22 minutes of TV show, or if it's a drama obviously longer, is it a good there's enough meat on that bone to turn it into 22 minutes? And if so, how do you unfold? All the events that occurs in this, in the plot so that it feels like an engaging story so that people are engaged in one-on-one what happens next? And I just do that by the way I was taught. So the course, that's how I, I, I run the course. It's like, okay, we're going to, you're going to pretend you're in my writer's room. We're going to take an idea and we're going to turn it into an episode of TV and we're not going to talk theory. We're going to do it.Phil: (19:55)Yeah. So when you're reading these things, and when we've talked again on this podcast quite a bit about, you have to be good at your craft, sounds like that's the quintessential thing here is you need to be able to tell a story that follows the proper structure and then entertain me is secondary to that.Michael: (20:14)Yeah. And, and, you know, to be clear when, when I first my partner and I first landed on TV shows, like we didn't know how to do any of this. Like we wrote, we were able to write a story, a decent enough story from our gut. And it was good enough, but we didn't know, we certainly couldn't have done it on a consistent basis. Like week after week on it. You know, we couldn't have been like a showrunner or, and so, but as you work on a show and you rise up through the ranks and you start making more money, more is expected of you. And so sooner or later, you need to learn how to do that. This, this story breaking know how to tell a story, uh, because if you can't that you will, you will hit a glass ceiling and then you will eventually be out of work. Got it,Phil: (20:52)Got it. Do you have any recommendations on how to approach, you know, but you know, picking a show to follow or to spec or to follow in match the tone, orMichael: (21:05)I do, like, I remember years ago working with a hiring a young writer and a laced kind of, we weren't in the rehiring. He was kind of, we were told he's going to be on our show. And so, okay, great. The studio said that we're like, okay, got it. And I remember asking him, are you a drama or a, would you consider yourself a drama or a comedy writer? He goes, oh, I, I do both. And I remember in my mind thinking, okay, you do, neither because you know, if your comedy got you, you say your con, you just know your comedy. I think comedy writers can do drama, but drama writers, they can't do comedy. It's not like you can say, I can write funny, but it's like, you know, you can, and you can, it's not like something you, I don't know if I'm explaining it. Well, it's like, you have to have a good sense of humor to write comedy. You can't, it's not like any drama writer can write comedy, comedy, radio, current drama, because you're just leaving out the funny parts. You're just not making it funny. You're telling the story. It's just not a funny story, but it's all story.Phil: (21:59)Um, but it's not, uh, it doesn't, that's I think an important note. It's not, how can I be as funny as possible? It's the thing that makes those shows so amazing. Are they keep you laughing? And then in one moment you're crying, right? Like they, they hit you in the gut because it's so emotionally real that you relate to it.Michael: (22:16)Yeah. And, and that's actually why the, the hours on a sitcom tend to be a lot worse than an hours on a drama. Because in both Kansas cases, you're telling a story, story, a story, but in one you have to make it funny. And the funny part that, that adds an extra layer of difficulty, because not all ideas are funny as we know. SoPhil: (22:35)Pick your lane, pigeonholeMichael: (22:36)Yourself. I think so. I think it's important to pigeon yourself because that's what you're saying. That's how you're marketing yourself. If you say to your, to someone, I can do anything you want, all right. I don't really know what you want, but if you say I'm really great at writing broad wacky comedies, Ooh, that's what I need. That's what I need. Don't make me do the, if I'm going to hire, don't make me do the work of figuring out what you are. You tell me what you are. Tell me you're great at it. And then if it's what I need, I'll hire you.Phil: (23:02)Yeah. In the, in the marketing world, we would call this niching down or niching down if you want to be more appropriate, but niching down. And you know, we try to keep it clean. But the other time I've heard in the marketing world is the niches. The, like your, your niche is what separates you from everybody else. Yeah. It is. What makes you the specialized expert?Michael: (23:23)I think people are worried about, well, I don't want to limit my opportunities. I, cause I, I don't care what I write, whether it's drama or comedy or broader or grounded, but honestly you are helping yourself get hired by, by getting in that lane and becoming good at that lane. You are, it's going to be easier for you to get hired. Yeah. SoPhil: (23:40)It was like if one of my e-commerce clients came to me and said, I want to be the next Walmart online. I want to sell everything under the sun. I would say, okay, how many hundreds of millions of dollars do you have? You kind of be like, what versus someone says, Hey, you know, we're a specialty craftsmen and we make the super fine, um, rare wood cutting boards. Can you help me? I'm like, absolutely. I could sell that all day because there's an, there's a niche there, which means less competition, less. It's very people looking for very specific things, more likely to be able to be marketable there. And it's the, again, the old adage from businesses, if everyone's your customer. No, one's your customer. Yeah.Michael: (24:18)Right, right. This is another example from our life. So my wife has a, um, drives a mini Cooper and she could get that repaired at any, any mechanic could work on it, but there's a guy I don't know, 20 miles away and who all needs works on mini Coopers. And she wants, insists on driving to him because he's a specialist in mini Coopers. That's all he does. And he knows it inside it. Now, now that doesn't limit this guy, that that mechanic could work on any car, probably. I mean, if you work on BMWs, for sure, it's close enough to mini Cooper. They own mini Cooper. But by saying that's all he does, everyone, all the mini Cooper go owners flood to him. So he has, you know, a larger, the pie is smaller, but he has a larger share of it. So you should be a specialist too. This is what I'm really great at.Phil: (25:02)Yeah. I love that. So you pick your lane, you've pigeonholed yourself, you've picked your niche. And now you're finding what kinds of shows you've talked about Ted lasso, and you talked about Barry. It seems like you should be matching the type of, to me, it makes sense. I want to have something that shows the type of tone for the job I'm applying for. So that would, that would dictate to me that it's not just about having one great pilot. It's about having a pilot that matches the tone of a Berry or a Ted lasso or a multicam that's really popular. That kind of thing.Michael: (25:35)Yeah. Right. And, and so the rules, by the way, the rules that apply to someone who's new don't or my role is a little different. Like I like I, because I've been doing this so long, I can write a broad show. I can write a grounded show, a single camel account, an animated. I kind of can do it all. Uh, if you're just starting out and I would recommend figuring out what tone you think you're going to be great at and, and, and going down that lane. And then, and then if you like, then you want to branch out a little bit like, okay, I've written a spec for a broadsheet. Let me try writing a spec for a grounded show and you write one of those and make it as good as you can.Phil: (26:09)Um, you know, I started earlier by saying, it seems like riding that many pilots seems incredibly daunting because it's so much work. You have to create the world and characters. And this is, uh, you know, again, I apologize bringing it back to the business world, but I think it's a very valid point. You know, my mentor who taught me how to do e-commerce and digital marketing, he was talking specifically about how to sell things on Amazon, because Amazon lets third-party sellers sell things. In fact, most of the time you're buying things, they're probably from a third party seller and they have very strict regulations on who can sell what and what you need to have to sell things on there. And they do that to protect the customer. And whenever we would train and do consulting at businesses about how to list their products on Amazon, he would bring up this point.Phil: (26:53)A lot of people look at that and say, oh, well, it's so much work. I don't know if it's worth it. And he said, you should be praising Amazon because they have made such a it's made it so difficult that the riff Raff will stay out. Yeah. It's just gatekeeping. And it basically, what it's saying is if you're worthy enough to pass this threshold, then you're going to, you're going to succeed because we have what you want. And we're just, we're basically weeding out the lazy people and yeah. And it goes back to another thing you said, he said, ultimately, you went in business by doing more than your competitor will. And so when I hear w whenever I hear that seems difficult, or whenever I feel that I might go, oh man, that's daunting. And I don't want to do that. That's kind of my benchmark for that's something I absolutely need to do, because it sets me apart from everybody else.Michael: (27:40)Th there's a lot of free work that you have to do to get a job. You have to write all this writing spec scripts, that's free. No, one's paying you to do that. If the idea of doing free work turns you off, then writer's not the profession for you. You know? So, uh, but yeah, you have to do. And like, and like you're pointing out, like when something's hard or requires a lot of work, I was like, oh good. That'll weed out. All the people who are not serious about it, that that just cuts my competition down. Like immensely.Phil: (28:09)Yeah. It, I mean, and it, as we discussed already too, and I know other screenwriting podcasts I've talked about, it is almost easier to be in the NFL than it is to be a working writer. And so you have to approach it as a professional, not as a hobbyist, this is what you do, because this is who you are. And it's almost like it needs to become part of who you are, what your identity is.Michael: (28:30)Yeah. Yeah. How often do you write? Well, the answer is every day, all the time, all the time. And when I'm not writing, while I'm thinking about writing, I'm taking notes about what I want to work on next. And so like, if you're not sitting, like if you want to compete you or anybody's listening, once they compete with me, you're gonna have to step up your game because this is what I do. So if you're not willing to do what I did well, you're, you're coming after my job. So this is what I do. You want to come after my job? You better be working hard.Phil: (28:55)Yeah. Great, great stuff. I, again, thanks, Michael. For all of this good stuff. Do you have anything else that you think is valuable on the spec or by,Michael: (29:02)I think that's it. We got more pilot. We got more, um, episodes of our, of our, of our podcast, coming. I'll have something to say next time.Phil: (29:09)I'm looking forward to understanding Michael. Thanks everybody else. Make sure, you know, love, leave a review, send it, share this with somebody else who needs to hear this episode. Yeah.Michael: (29:18)So the next one by all means, and follow me on Instagram. I've got smart things as hand Instagram at @MichaelJaminWriter.Phil: (29:23)Yeah. Again, the members of your course have all said that that's where your gems are. That's where all the gyms have information. SoMichael: (29:30)Yeah. Yeah.Speaker 3: (29:33)[inaudible],Phil: (29:44)This has been an episode of Screenwriters Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review, and sharing this podcast with someone who needs to hear today's subject. If you want to support yourself, I encourage you to consider investing in Michael's screenwriting course and MichaelJamin.com/course. I've known Michael for over a decade and in the past seven years, I've begged him to put something together during the global COVID-19 pandemic. Michael had time. And I have to say, I wish I'd had this course 10 years ago. As someone who's personally invested in most online courses, earned a bachelor's degree, and actively studied screenwriting for over a decade, this course has been more valuable to me than most of the effort I've put in because it focuses on something no one else teaches: story. In his course, Michael pulls back the curtain and shows you exactly what the pros do in a writer's room. And that knowledge has made all the difference for me. And I know it will for you too. You can find more information at michaeljammin.com/course. For free daily screenwriting tips. Follow Michael on Instagram, Facebook, and TikTok @MichaelJamminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.
To herald the arrival on Disney+ of Dopesick, Danny Strong's drama chronicling the devastating impact of the opioid crisis on America, the Empire Podcast and Pilot TV Podcast crews have, once again, set aside their differences and come together to have a good old natter. In this very special crossover episode, in association with Disney+, Chris Hewitt, James Dyer, and Beth Webb do a deep dive into Dopesick, which tackles the opioid crisis from the points of view of characters connected to the crisis in various ways. They talk about the crisis itself, about the show's all-star cast (including Michael Keaton, Rosario Dawson, Peter Sarsgaard, Kaitlyn Dever, and Will Poulter), and much, much more. And if that weren't enough, Beth also sits down with Danny Strong, Kaitlyn Dever and Will Poulter for an in-depth chat about the show. So sit back, relax, and enjoy Dopesick, an Empire + Pilot TV podcast special with Disney+.
To herald the arrival on Disney+ of Dopesick, Danny Strong's drama chronicling the devastating impact of the opioid crisis on America, the Empire Podcast and Pilot TV Podcast crews have, once again, set aside their differences and come together to have a good old natter. In this very special crossover episode, in association with Disney+, Chris Hewitt, James Dyer, and Beth Webb do a deep dive into Dopesick, which tackles the opioid crisis from the points of view of characters connected to the crisis in various ways. They talk about the crisis itself, about the show's all-star cast (including Michael Keaton, Rosario Dawson, Peter Sarsgaard, Kaitlyn Dever, and Will Poulter), and much, much more. And if that weren't enough, Beth also sits down with Danny Strong, Kaitlyn Dever and Will Poulter for an in-depth chat about the show. So sit back, relax, and enjoy Dopesick, an Empire + Pilot TV podcast special with Disney+.
The wonderful Julianna Margulies joins the cast of The Morning Show for season 2, and Pilot TV for episode 159, dropping by this week's show to chat all things TMS and how it feels to be reunited with Jennifer Aniston, with whom she exploded onto network television at exactly the same time and on the very same lot. Plus James, Beth and Boyd take to task people who still think films are better than television, try to navigate streaming subscription priorities, and still find the time to review Netflix's Sex Education, Channel 4's Help and Sky's Young Rock. All that and Beth foolishly opens the door to a galaxy of possibilities by teeing herself up for an inaugural Star Trek experience, which YOU can help organise #startrekforbeth.
After 151 episodes, it was the end of an era for the Pilot TV podcast this week, as the third leg in our triumvirate of bellends, the legend that is Terri White, bid the show a fond farewell and signed off for the very last time. To mark the occasion we did make the somewhat dubious decision to stream the episode live online (you can find it on the Empire Magazine YouTube channel) and, miraculously, nothing went wrong! In addition to giving Terri the send off she so richly deserved, we let you, the listeners, bombard her with questions, a few of Boyd's celebrity friends sent in their own parting thoughts, and James gave her one final serenade on the guitar. All that and we still found time to review Stephen on ITV, Series 2 of Back To Life on the BBC and Only Murders In The Building On Star.
As a wise doctor once said, "we're in the endgame now." Particularly when it comes to The Walking Dead. The eleventh and final season of the iconic, groundbreaking show is set to premiere from Monday 23rd August as a STAR exclusive on Disney+, and that is an occasion so momentous that, once again, the Pilot TV and Empire Podcast teams have joined forces with STAR on Disney+ to talk about it. So, in this very special crossover episode, Chris Hewitt, James Dyer, and Beth Webb pop into the virtual podbooth for an in-depth discussion about their hopes, fears, and dreams for the final season. Who will survive, and what will be left of them? And what about the characters on the show? But that's not all. In an exclusive interview, James sits down across Zoom with Angela Kang, the show's producer and co-writer of Acheron Part I and Acheron Part II, the first two episodes of this 24-episode run, and they have a conversation about sticking the landing. So sit back, relax, and enjoy.
With Chris being off on.... *looks up the term* a 'ho-li-day', it's up to the lethally cunning Helen O'Hara and the consistently megalomaniacal James Dyer to hold down the fort alone, largely by dancing on the grave of the Three Fact Structure and plugging the Pilot TV podcast every third minute. Beyond that, though, Hell's Bells and Jimbo manage to re-cast the Discworld with members of the MCU and remake a number of 80s fantasies for the modern era (hypothetically, you understand - they haven't set up a studio). Plus they dive into this week's releases and give Free Guy, The Courier, and CODA the full Empire Podcast treatment. Not to mention the fact that Jodie Comer joins us on the podcast this week to chat all things Free Guy, while Uatu The Watcher (aka the legendary Mr Jeffrey Wright) steps away from the multiverse of possibilities to talk to us about What If? WHY ARE YOU STILL READING THIS? Download the pod and start listening!
Boyd Hilton of Heat, Empire and Pilot TV, returns to the podcast to discuss iconic Star Trek episode, The City on the Edge of Forever, and his love of The Original Series in general whilst calling James Dyer a bellend a lot. We break down the episode discussing the success of its emotional core, Harlan Ellison's original vision, how the story went on to inspire many other Sci-Fi stories to come as far and wide as Alex Garland's Devs and 90s Nicholas Lyndhurst Sitcom, Goodnight Sweetheart, and Paul gives us the lowdown on the scenes that ended up on the cutting room floor thanks to previous guest, Roger Lay Jr's Roddenberry Vault. As usual you can find SPOCKLIGHT on: TWITTER - @spocklightpod INSTAGRAM – @spocklightpod FACEBOOK – https://www.facebook.com/spocklightpod/ EMAIL - spocklightpod@gmail.com Please Follow, like, share and all that good stuff. You can find Boyd @boydhilton on Twitter and the Pilot TV Podcast on Apple Podcasts or wherever you catch your pods. Credit for our wonderful theme music goes to the incredibly talented, Adam Johnston's, you can find more of his work at - https://adamjohnstonuk.bandcamp.com/ Our beautiful artwork was created by Stephen Trumble, see more at http://www.stephentrumble.com Huge thanks to Russell Honeywell for post production support
You're in store for a corker of an episode today folks. Chris & Stu enter into a 4 Ball with Rob & George from the quality Pilot Season podcast.Of course the subject was going to be Top 5 Pilot TV Shows and our guests really get stuck into breaking down their encyclopaedic knowledge of great television.BONUS FACT: Chris only mentions his foreskin once in this episode.You can check out Pilot Season Podcast by clicking this link.You can also chat to Rob & George on insta @pilotseasonstuffBECOME A PATRON AND PICK YOUR OWN TOP 5HARDCORE LISTING ON TWITTER HARDCORE LISTING ON INSTACOME LEAVE US A ROTTEN 5 STAR REVIEW ON FACEBOOKSPONSORS:LOVE BEERBANG BOOM CREATIVEwww.eggfried.comSTORE:https://sosclothing.co.uk/collections/hardcore-listing-podcast See acast.com/privacy for privacy and opt-out information.
National Polygamy Advocate ™ Mark Henkel was interviewed for Carlos Watson (for a non-aired pilot TV show) by associate producer Amanda Erickson for Dawn Syndicated Productions, on May 22, 2008. The producer sought to develop a pilot that would be presented to network executives to see if they would fund a new talk show to be hosted by former CNN personality, Carlos Watson. For this project, the producer made that which Mark Henkel politely identified as a "Circus Act Request" (C.A.R.) - requesting to put a polygamous family "on display" to make a show about UCAP, Unrelated Consenting Adult Polygamy. The discussion remained genuinely positive throughout the interview. Mark Henkel provided some great soundbites, including some attention-grabbing "hype" that the producer quite agreed was possibly helpful. As positive as this interview was, no subsequent project ever occurred. http://www.NationalPolygamyAdvocate.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nationalpolygamyadvocate/support
We've been threatening to do it for weeks and now we've finally delivered. Here, for your listening pleasure, is a Pilot TV spoiler special dedicated to the greatest TV show ever made: The West Wing. To celebrate the fact that Terri binged the entire show over the past month, and in recognition of the fact that James needs absolutely no excuse to bang on about it until people beg him to stop, we bring you a mammoth recording where the team thrash over the themes, the cast, the major plot points and much, much more. Plus, you can enjoy James' interview with the man who started the whole thing: West Wing creator Aaron Sorkin. Enjoy!
Episode Three hundred and Sixty-eight. Join hosts Trevor and Jason as they discuss the latest in movie news, box office numbers, and trailers. Reviews Conan the Adventurer (1997) - Starring Ralf Moller, Danny Woodburn, Jeremy Kemp, Robert McRay, T.J. Storm, Aly Dunne Ferris Bueller (1990) - Starring Charlie Schlatter, Brandon Douglas, Ami Dolenz, Jennifer Aniston, Richard Riehle, Cristine Rose, Sam Freed
This week's Empire Podcast features two interviews with fast-rising British stars, both of whom play icons in films released this week. First off, Chris Hewitt has a chat with actor-musician Johnny Flynn about his experiences playing David Bowie in Stardust, and later has a natter with Kingsley Ben-Adir about playing Malcolm X in Regina King's sensational directorial debut, One Night In Miami. Then, Chris is joined in the virtual podbooth by Helen O'Hara and James Dyer to discuss their favourite movie (and real-life) teachers, talk about the week's movie news (this episode was recorded before that rumour about a certain character returning to the Marvel Cinematic Universe), and review One Night In Miami, Stardust, Blithe Spirit, and the first two episodes of WandaVision. In fact, there's quite a bit of TV chat on this week's show, but we're pretty sure we haven't been infiltrated by the Pilot TV podcast. Yet. Enjoy.
You didn't think we'd leave you all Christmas with no Pilot TV podcast did you? With the long-awaited Season 3 of Cobra Kai mere days away, we bring you this special episode dedicated to the show, featuring none other than Daniel LaRusso and Johnny Lawrence themselves: Ralph Macho and William Zabka. The stars of the show chat the way of the fist with James, discuss how this most unlikely of reunions became the biggest show on streaming, and what we can expect going forward. Strike first. Strike hard. No mercy!
The Expanse returns this week, much to Terri and Boyd's bemusement - but don't worry, James is on hand to Beltersplain everything as needed. We also dive into Amazon's new pseudo-Lost show, The Wilds, and embrace a little festive cheer (kind of) with the Euphoria Christmas special. All that and a rather unexpected discussion of late stage capitalism, some thoughts on additions to established ensemble casts, and Terri inadvertently trigger's the Pilot TV podcast's new security system, much to her chagrin.
2020 has been quite a year. A global pandemic, political upheaval and most of us being forced to spend large chunks of it under virtual house arrest. However, amidst the crises and carnage we've been treated to a genuinely outstanding year for television and that's what this episode is all about. James, Terri and Boyd run through their takes on 2020 and count down Pilot's definitive list of the Top 20 shows of the year. Want to know what essential shows you've missed over the past 12 months? Or what you absolutely must add to your watch list over Christmas? Well you're in luck, so strap in, get a notepad handy and feast your ears on Pilot TV's recap of the year in television.
Pilot TV's bellend-in-chief has taken a rare holiday this week leaving Terri in the hot seat and welcoming Amon Warmann onto the team as they watch Ethan Hawke gives it his all in abolitionist drama The Good Lord Bird on Sky Atlantic; Steve McQueen's second instalment in Small Axe, Lovers Rock, which comes to BBC1; and a pair of teenagers come of age on a US military base in Luca Guadagnino's We Are Who We Are on BBC Three. All that and Pilot TV is graced with its first musical review, Boyd utters the phrase, "Layers of mousse," and Terri decides to Banshee a show we have previously reviewed on this very podcast, throwing all the rules completely out the window.
Writer and director Kurt Martin joins the Cinema Australia Podcast to discuss his new Australian drama, Moon Rock for Monday. Kurt Martin is a director and writer from Sydney, Australia. He has directed numerous short films, TVC's, Music Videos, Web series and Pilot TV series, and has worked on several feature films as an assistant director (1st/2nd) including Teenage Kicks, The School, Out Of The Shadows. Kurt’s body of work has received numerous international nomination's including Switzerland International Film Festival, Schnit Shorts, Tokyo Lift Off, Mumbai Navi International Film Festival and Los Angeles Lift Off Film Festival. His screenplay writing has also been shortlisted for the world’s most prestigious screenplay competitions, including the International prestigious BlueCat ScreenPlay Competition. Kurt is a member in the Director's Chapter in the Australian Director’s Guild and the Australian Film Institute / Australian Academy of Cinema, Television and the Arts.
Episode Three hundred and Sixty-six. Join hosts Trevor and Jason as they discuss the latest in movie news, box office numbers, and trailers. Reviews Alien Nation (1997) – Tv Pilot spinoff of the 1988 James Caan film Tremors (2003) TV Pilot based on the movie franchise starring Michael Gross, Fred Ward and Kevin Bacon
Join Jewish Comedians Rachel Creeger and Philip Simon for the first episode of Series 2 of their comedy podcast, a chat show about all things Jewish produced by Russell Balkind. This week's guests are Boyd Hilton and Valerie LandsburgFollow them on social media, follow US on social media and don't forget to let us know what you think about the show.Facebook: @JewTalkinTwitter: @JewTalkinInstagram: @JewTalkinLots more fantastic episodes waiting to be released every Friday morning, so don't forget to subscribe and leave us a 5* review - it really helps other people find the show. Go on...it's what your mother would want!--------------------------------------------------------------------- Valerie Landsburg: @VLandsburgBiog:An American actress, television and film director. She is best known for playing Doris Schwartz in the 1982 series “Fame”. She has had recurring roles in “Hotel” and “Dream On”, and appeared in numerous TV series, including “Murder, She Wrote”, “Beverly Hills, 90210”, “Nip/Tuck” and “The Unit”. She is also a successful film director, including her upcoming movie “Love & Debt” which will hopefully have a UK release soon.Valerie mentions this video: https://www.youtube.com/watch?v=z4dwtzqOFe4&list=PLQgsplhJqU7ibOZPEsGdZ9bgu_01XCUM9&index=51Boyd Hilton: @BoydHiltonBoyd is the Entertainment Director of Heat Magazine and Deputy Editor of Pilot TV. He is also the host of hit podcasts Footballistically Arsenal & Pilot TV.--------------------------------------------------------------------- *This episode was recorded under lockdown conditions. See acast.com/privacy for privacy and opt-out information.
The winner of the 2020 Publisher Podcast Awards Entertainment category was the Pilot TV Podcast from Bauer Media. Editor-in-chief Terri White says podcasts are integral to a publishing brand and need a clear, easy to understand proposition. But, don’t be scared to evolve and don’t forget the long term goal of making money.
Episode Three hundred and Sixty-four. Join hosts Trevor and Jason as they discuss the latest in movie news, box office numbers, and trailers. Reviews TimeCop (1997) – Tv Pilot spinoff of the 1994 Jean Claude Van Damme film Time Cop (1994) dir. Peter Hyams Bill and Ted's Excellent Adventures (1992) TV Pilot based on the movie franchise starring Keanu Reeves and Alex Winter
Get those headphones on and send the kids to bed for this special illicit sex-themed episode of the Pilot TV podcast where we not only visit Samantha Morton's house of ill-repute in Harlots and delve into the adaptation of Anaïs Nin's Little Birds, but see an affair take a distinctly supernatural turn in Lisa McGee's The Deceived as well. And speaking of The Deceived, Lisa herself is a guest on this week's show, dropping by to talk us through her Donegal-set psychological thriller and what we can expect from the next series of Derry Girls.
Chris Hewitt (Empire Magazine) and James Dyer (Empire Magazine and Pilot TV Magazine) return to Flixwatcher (remotely) to review Chris’ choice The Fugitive. The Fugitive is a 1993 action-thriller starring Harrison Ford as Richard Kimble on the hunt for the one-armed man who may or may not have killed his wife and Tommy Lee Jones as U.S Marshal Samuel Gerard hot on his heels. Famous at the time for two specific special effects moments - the train crash and the dam dive - are only minor moments in the whole film. For a film with a run time of over two hours, the film (just about) manages to sustain a high level of tension. Strangely nominated for Best Picture at the Oscars (it didn’t win) the real star of the film is Tommy Lee (also nominated and won Best Supporting Actor). He gets all the best lines and is clearly having a lot of fun. Ford is the most un-Ford, acting mostly with his crinkly face and moving around largely unnoticed. The Fugitive isn’t perfect - the flashback scenes are a bit clumsy and it feels very 90s and you have to question the evidence for convicting Kimble in the first but there is something about the classic cat and mouse genre being played out by two superstars that make it an enjoyable piece of 90s film. Scores [supsystic-tables id=171] The Fugitive smashes it out of the park for recommendability - with fives from everyone and super high across the other categories bringing the overall score to 4.78. Meaning there is a new JOINT number one (with When Harry Met Sally) in the Flixwatcher scores! What do you guys think? Have you seen The Fugitive? What did you think? Please let us know in the comments below! Episode #164 Crew Links Thanks to the Episode #164 Crew of Chris Hewitt (@ChrisHewitt) from, Empire Magazine and James Dyer (@jamescdyer) also from, Empire Magazine and Pilot TV Magazine. Find their Websites online at https://www.empireonline.com/ and at https://podcasts.apple.com/gb/podcast/pilot-tv-podcast/id1435481214?mt=2 Please make sure you give them some love More about The Fugitive For more info on The Fugitive, you can visit The Fugitive IMDb page here or The Fugitive Rotten Tomatoes page here. Final Plug! Subscribe, Share and Review us on iTunes If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below.
Joining Olly Mann: Podcaster and deputy editor of Pilot TV, Boyd Hilton, presenter of the BBC's Woman's Hour and Fortunately, Jane Garvey and broadcast consultant and director of RadioTechCon, Ann Charles.This week: Buzzfeed's London staff go in search of new jobs, TV productions turn their hand to socially-distanced shooting and is BBC Four on the chopping block?Plus, Helen Thomas takes the reins at Radio 2 and in the Media Podcast Quiz, as Richard and Judy's Book Club returns to save us from lockdown purgatory we play Beat The Bookshelf.The Media Podcast is a PPM Production. Produced by Rebecca Grisedale-Sherry. Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.
Sam Clements is curating a fictional film festival. He'll accept almost anything, but the movie must not be longer than 90 minutes. This is the 90 Minutes Or Less Film Fest podcast. In episode 35 Sam is joined by film critic Amon Warmann, writer for Empire Magazine, Pilot TV and NME to name just a few. Amon is also known for his Amontage series of Youtube videos. Amon has chosen the 76 minute long Batman Beyond: Return Of The Joker. Originally released direct to video in 2000, a feature-length spin off from the Batman Beyond animated TV series. The film is directed by Curt Geda, who actually worked in the art department on previous 90 Minutes Or Less entry; Batman: Mask Of The Phantasm. Amon and Sam talk about life as a film critic, the dark undertones in Return Of The Joker and the exciting reunion of iconic voice actors Mark Hamill and Kevin Conroy as the Joker and Bruce Wayne. Thank you for downloading. We'll be back in a couple of weeks! Rate and subscribe on Apple Podcasts: https://tinyurl.com/90minfilm We are a proud member of the Stripped Media Network. Website: 90minfilmfest.comTweet: @90MinFilmFest Instagram: @90MinFilmFest Hosted and produced by @sam_clements. Produced and edited by Louise Owen. Guest star @awarmann. Additional editing and sound mixing by @lukemakestweets. Music by @martinaustwick. Artwork by @samgilbey. If you enjoy the show, please subscribe, rate, review and share with your friends. We're an independent podcast and every recommendation helps - thank you! Bonus Link: Interview with Joker voice actor Mark Hamill on how he came up with the iconic laugh.
Liam and Matt are joined by James Dyer of the Pilot TV Podcast and Empire Magazine to discuss classic Star trek: The Next Generation 2-Parter, Chain of Command. As usual you can find SPOCKLIGHT on: TWITTER - @spocklightpod INSTAGRAM – @spocklightpod FACEBOOK – https://www.facebook.com/spocklightpod/ EMAIL - spocklightpod@gmail.com Please Follow, like, share and all that good stuff. You can find James @jamescdyer on Twitter and the Pilot TV Podcast on Apple Podcasts or wherever you catch your pods. Credit for our wonderful theme music goes to the incredibly talented, Adam Johnston’s, you can find more of his work at - https://adamjohnstonuk.bandcamp.com/ Our beautiful artwork was created by Stephen Trumble, see more at http://www.stephentrumble.com
For this week JW2 James Dyer (Empire Magazine and Pilot TV Magazine) and Chris Hewitt (Empire Magazine) join Flixwatcher (remotely) to review James’ choice John Wick: Chapter 2. John Wick: Chapter 2 (JW2) is the second film in the John Wick franchise, Keanu Reeves returns as John Wick and Chad Stahelski returns to direct. Having come out of retirement to avenge the death of his dog Wick now wants to go back in retirement but can only do this by clearing his debt in the form of a marker (a novelty-sized coin). Rejecting the marker is a violation of one of the two rules of the underworld and Wick is forced to carry out one last hit. JW2 brings the action and high kill count from JW and adds extra while taking some of the action to Rome and weaving in a little more of the mythology. JW2 is everything you would expect, drawing on martial arts and using stunt choreography over special effects keep the fight scenes fresh. Chances are if you enjoyed JW you’ll probably like JW2 (possibly it could be your favorite in the franchise so far), if you didn’t you’ll probably give this one a miss. In John Wick Reeves has created the ultimate fanboy dream hitman, after a long period in the wilderness of terrible films he has finally found his groove. He is clearly enjoying every second, his deadpan delivery (much mocked in many of his other films) just works and he gets to flex his gun-fu muscles. With a death count of 128 and an ending perfectly set up for JW3 there is a lot for fanboys to enjoy. Scores [supsystic-tables id=156] If you’ve always wanted to see John Wick kill someone with a pencil this film is the one for you. JW2 scores highly on recommendability but lose points on the small screen score (best experienced on the big screen was universally agreed) to score 3.75 overall. What do you guys think? Have you seen John Wick Chapter 2? What did you think? Please let us know in the comments below! Episode #150.1 Crew Links Thanks to the Episode #150.1 Crew of James Dyer (@jamescdyer) from Empire Magazine and Pilot TV Magazine(@empiremagazine) and Chris Hewitt (@ChrisHewitt) from Empire Magazine Find their websites online at http://jamesdyer.co/ and https://www.empireonline.com/ Please make sure you give them some love More about John Wick Chapter 2 For more info on John Wick Chapter 2, you can visit John Wick Chapter 2 IMDb page here or John Wick Chapter 2 Rotten Tomatoes page here. Final Plug! Subscribe, Share and Review us on iTunes If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below.
It's here! The first socially distanced Pilot TV podcast is live, and not only is it business as usual for Pilot TV during the current pandemic but we also see the triumphant return of Terri White as it turns out that isolation and maternity leave are actually quite compatible. On this week's show we *finally* get to review The Mandalorian as Disney + launches here in the UK, and we *at last* get to see the return of Veronica Mars as it makes a belated appearance here as well. Plus we go murderising with Mel and Sue in Sky's Hitmen and catch up with Jason Bateman in Ozark Season 3. All that and enough banter, random police sirens and general nonsense to keep your minds off all things virus-related for an hour and a half. Enjoy!
Olly Mann is joined by podcaster and deputy editor of Pilot TV magazine, Boyd Hilton and the founder of Wakey Wakey TV, Deborah Coughlin.This week's top questions: Who's in the frame to succeed Tony Hall as director general at the BBC? Who will step into Sandi Toksvig's shoes on Bake Off; Will NBC's new global TV news network threaten the dominance of rivals CNN and BBC World News? Should shorthand still be a required skill for journalists? And why is Victoria Derbyshire leaving our daytime screens?Plus, in the Media Podcast Quiz, AI-generated poetry from the latest virtual influencer.The Media Podcast is a PPM Production. Produced by Rebecca Grisedale-Sherry.Please help us to maintain The Media Podcast with Olly Mann as the most popular independent voice of the UK media industries - https://www.themediapodcast.com/dedicate-an-episode/ Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.
Happy new year! Pilot TV’s first show of 2020 marks the triumphant return of Netflix’s Sex Education, the declaration of a national emergency in Sky’s Cobra, and a supernatural twist on the modern crime drama with the HBO adaptation of Stephen King’s The Outsider. Plus James, Terri and Boyd thrash out the various shows they managed to cram into the Christmas Break, not least of all the Derry Girls edition of Bake Off.
Journalist and author, Terri White is this week’s guest at the Hot Mess Clubhouse. She’s the editor in chief of Empire and Pilot TV magazines, as well as the author of upcoming book, Undone. She talks to host Lucy Vine about her incredible career, editing an array of big-name magazines, as well as explaining how she harassed her way into her first journalism job and how she repeatedly upended her life in pursuit of new work challenges. Terri also opens up about being the gender underdog, cheap chocolate, poverty violence and kissing boys in trees. Be warned: there’s also a lot of shouting about feminism. Music by Harry Harris. Recorded at Waterstones Gower Street and produced by Pineapple Audio Production. See acast.com/privacy for privacy and opt-out information.
Olly Mann is joined by director of RadioTechCon Ann Charles and podcaster, deputy editor of Pilot TV magazine and the reason Olly's wife still buys Heat, Boyd Hilton.The Media Podcast is a PPM Production. Produced by Rebecca Grisedale-Sherry. Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.
We have a very special Pilot TV podcast this week as we celebrate Terri's birthday with a Bumper Birthday Banshee Bonanza! Where James breaks out two whole carrier bags of 'classic' box sets and talks through the contents in excruciating detail. In other Banshee news, the creator of said show, Jonathan Tropper, has a new series out this week in the form of period kung fu action drama Warrior, which gets reviewed alongside the new seasons of S.W.A.T. and How To Get Away With Murder. NOTE: If you want to avoid Terri and Boyd's discussion of the Years And Years finale (you'll hear a warning first) skip everything between 04:47 and 08:56.
Liam and Matt are joined by James Dyer of the Pilot TV Podcast and Empire Magazine as we dive right into Discovery Season 2 and try and have a little fun along the way in one epic Spoiler Special. As usual you can find SPOCKLIGHT on: TWITTER - @spocklightpod INSTAGRAM – @spocklightpod FACEBOOK – https://www.facebook.com/spocklightpod/ EMAIL - spocklightpod@gmail.com Please Follow, like, share and all that good stuff. You can find James @jamescdyer on Twitter and the Pilot TV Podcast on Apple Podcasts or wherever you catch your pods. Credit for our wonderful theme music goes to the incredibly talented, Adam Johnston’s, you can find more of his work at - https://adamjohnstonuk.bandcamp.com/ Our beautiful artwork was created by Stephen Trumble, see more at http://www.stephentrumble.com
The 85 South Show with Karlous Miller, DC Young Fly and Clayton English
SEE THEM LIVE IN DENVER! https://www.altitudetickets.com/event... On this hilarious episode recorded in the Trap Living Room, comedians Karlous Miller and DC Young Fly talk about the TV business and what goes into to getting a Pilot TV show picked up. Plus DC Young Fly gives a tour of his gangsta feet and roasts his own Momma. FOLLOW THE CREW KARLOUS MILLER - https://www.facebook.com/karlousm/ DCYOUNGFLY - https://www.facebook.com/DcYoungFly1/ CHICO BEAN - https://www.facebook.com/OldSchoolFool/ BILLY SORRELLS - https://www.facebook.com/billysorrells/ FAT AND PAID - https://www.facebook.com/Fatandpaid/ DARREN BRAND - https://www.facebook.com/darrenbigbab... CLAYTON ENGLISH - http://www.claytonenglish.com/ JOE T. NEWMAN - http://www.ayoungplayer.com CHAD OUBRE - https://www.instagram.com/chadoubre/ LANCE CRAYTON - https://www.instagram.com/cat_queso/ J.O.N - https://www.instagram.com/heeeyj_o_n/ CRIAG GRAVES - https://www.instagram.com/craigshoots23/
Dead rabbits are order of the day on this week's Pilot TV podcast, with the Beeb's Watership Down getting the review treatment. Also in the line-up is colonial era Jamaican drama The Long Song and Channel 5's pseudo fictional Agatha & The Truth Of Murder which contains both Agatha (Christie) and murder but little in the way of actual truth. All this and a celebration of Hell On Wheels, Oz and Terri banging on about The Apprentice, which is entirely against Pilot T&Cs.
This week on the Pilot TV podcast we treat you to a wealth of pick 'n' mix metaphors, Sex And The City dissection and an inexplicable analogy involving eighties Lenny Henry incarnation Delbert Wilkins (Sponditious!). We also take on some Irish period drama with Jamie Dornan in Death & Nightingales (no nightingales were actually harmed), hear all about Ruth Wilson's nan in Mrs. Wilson (yes, really) and catch up with Eternal Sunshine's Michel Gondry and Jim Carrey for Kidding. Plus we read out some of the more colourful comments from our iTunes reviews page and discover why James has the enunciation of a Disney villain.
Mike Flanagan's adaptation of Shirley Jackson's novel drops on Netflix TODAY! Mike is joined by journalist and podcaster extraordinaire, Boyd Hilton, to discuss the series. The chat begins with a spoiler free section, followed by a more in-depth analysis of the first half of the series (episodes 1 to 5). Music by Jack Whitney. Email us! Follow us on TWITTER Like us on FACEBOOK Join the DISCUSSION GROUP Follow us on LETTERBOXD Boyd Hilton is a podcaster and journalist. He's entertainment editor of HEAT and editor of PILOT TV magazine. You can find him on TWITTER Mike Muncer is a producer, podcaster and film journalist and can be found on TWITTER
On this week's Pilot TV podcast we take an exclusive peek inside the TARDIS with an early look at the new series of Doctor Who, recount some of our favourite TV shows (hear all about Terri's penchant for misery porn and why James despises all things fun), plus we get apocalyptic with the new Season of American Horror Story. There's also the usual rundown of the latest TV news, as well as an in-depth, spoilerific debate about the Bodyguard finale (all plot spoilers are restricted to between 09:00 and 18:33, so if you haven't seen it yet then you might want to skip that bit).
The second instalment of Pilot TV's podcast once again with our hosts banging on about Bodyguard as we get to grips with Sergeant Budd's latest escapades (minus spoilers, naturally). More coherently, however, we take a deep dive into the three best shows kicking off this week, which include the phenomenal Killing Eve (making its way to British shores at long last), Netflix's mega-trippy Maniac, and bonzer Australian drama Mystery Road. All that and the latest TV news, including the latest Westworld casting and why we're all going to die while watching The Walking Dead.
Pilot TV Podcast is a weekly show bringing the biggest TV news and reviews from the team behind Pilot TV Magazine. Launching 10/09/18
Heat Entertainment Director / Pilot TV Deputy Editor Boyd Hilton joins me to talk all things Film + TV, including the trouble with British male actors, why men won't buy weeklies, and what readers get from magazine 'lifers'. Plus: The evolution of Heat, keeping monthlies relevant, and the freedoms of podcasting vs. print. // Contact the pod: readslikeafour@gmail.com // Follow the pod: @readslikeafour (Instagram See acast.com/privacy for privacy and opt-out information.
How the media lives in the shadow of big tech: Amol Rajan is joined by Farrah Storr, Cosmopolitan editor, Terri White, editor in chief Empire and Pilot TV magazine, Madhumita Murgia, FT European Tech correspondent and Melanie Stokes, managing director of Kindle Entertainment. Presenter: Amol Rajan Producer: Richard Hooper.
On this week's Empire Podcast, we're filled with joy as Anya Taylor-Joy pops by our offices to talk to Chris Hewitt about her new film Thoroughbreds, dealing with tricksy accents, the much-delayed The New Mutants, and the moment when she found out that Split was a stealth sequel to Unbreakable. It's a fun, and lengthy, chat that starts at 27.44 and runs all the way to 55.56. Elsewhere, Chris derives a different kind of joy from John Krasinski's A Quiet Place, which he declares his film of the year thus far in the reviews section. He's joined for the main pod by James Dyer and Ben Travis, who discuss just what it is that makes the act of cinemagoing so special, review Thoroughbreds and Ghost Stories, natter about the week's movie news, and talk about Empire's new sister magazine, Pilot TV. Oh, and that song isn't aired this week, you'll be delighted to know. This is a safe place. A quiet place.
MayCay Beeler is a spirited vivacious American aviatrix, record breaking pilot, best-selling multi award-winning author, television personality, veteran TV host/producer/journalist, spokesperson, and active FAA Certified Flight Instructor with a passion for all things flying. BUCCANEER - THE PROVOCATIVE ODYSSEY OF JACK REED - ADVENTURER, DRUG SMUGGLER AND PILOT EXTRAORDINAIRE WINNER 2016 Hollywood Book Festival - Wild Card Award Winner 2016 Independent Publisher Book Awards (IPPY Awards) - National SILVER Medalist True Crime Award-winning Honorable Mention 2016 Readers' Favorite International Book Awards - Non-Fiction Drama Award Winning Finalist 2015 Readers' Favorite International Book Awards- Biography Non-Fiction Award-Winning Finalist 2014 USA BEST BOOK AWARDS - True Crime Non-Fiction "Beeler has written the raucous tale of a cocaine smuggler and incorrigible hedonist who paid for his adventures with life in prison - and would gladly have done it over again." - Bruce Porter, BLOW author Learn more online at www.MayCayBeeler.com. Available from booksellers worldwide.
What does it take to become a pilot? Join us as Matt Dearden gives us insight into his inspiring pilot journey. After originally catching the flying bug as a teenage cadet, Matt Dearden, switched working a normal 9-5 IT job in England to flying around the jungles of Indonesia in the ultimate bush plane. Not only is he a Commercial Pilot with 1000s of hours in command Pilatus PC-6 aircraft with Susi Air, flying in the mountains of Papua, Indonesia. Matt is also a Successful Blog blog owner and guest blogger, Magazine Column writer and Star of the recent Channel 4 docu-series, “Worst Place to be a Pilot”.
On this week's episode of In the Queue, TJ and Alex discuss the Instacast for Mac beta, Netflix's redesigned (and worse!) queue and of course, the pilot episode of Warehouse 13. Show Notes:Linked: Instacast for Mac - Public Beta | MovieByteLinked: Netflix’s “Unorganizable” Queue | MovieByteYouTube to advertisers: we're the new TV, because we're nothing like TV | The Verge"Warehouse 13" Pilot (TV episode 2009) - IMDbWatch Warehouse 13 Online | NetflixThanks for listening!& [...]
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