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How Mark Burnett and Roma Downey Will Target Faith-Based Audiences With MGM’s Light TV

Matt Winkelmeyer/Getty Images; Alberto E. Rodriguez/Getty Images
Mark Burnett and Roma Downey

The 24/7 network, which will broadcast via Fox affiliates in select cities beginning this December, offers the couple a new way to tackle more religious projects following the success of miniseries ‘The Bible.’

MGM revealed Nov. 16 that Mark Burnett and wife Roma Downey are launching what is being billed as the first 24/7 network for faith and family content. But Light TV is more than meets the eye. Beginning in December, Light TV will be broadcast via Fox affiliates in L.A., New York and several other major cities as a digital multicast, a subchannel like the ones used to broadcast QVC and HSN, as well as such genre-specific channels as African-American-targeted Bounce TV and Katz Broadcasting’s crime- and mystery-focused Escape and action-adventure-themed Grit.

MGM already boasts sci-fi-themed multicast channel Comet and classics provider This TV. Such channels offer MGM a low-cost way to repackage old movies and TV series from its storied library, in Light’s case Rocky, Hoosiers, The Nutcracker, All Dogs Go to Heaven and Pink Panther, while also sharing in a portion of the advertising revenue.

“If you’re a rights owner, you want to figure out how to maximize the value of your portfolio,” says Pivotal Research Group advertising analyst Brian Wieser. “If you’ve got a deep library of content that wasn’t going to see revenue, then it makes sense to do it in this way.”

Roma Downey, Mark Burnett and MGM to Launch Faith Digital Network on Fox Stations

Light TV also gives both the studio and the power couple a new way to reach the growing faith-based audience. Burnett, who serves as president of MGM Television and Digital, and Downey have found success with such religious projects as the miniseries The Bible. Although Downey referred to family-friendly entertainment as “the last unclaimed vertical,” Light TV will face competition from cable competitors Hallmark and Up.

Working in favor of multicast digital channels like Light TV is their easy accessibility. The 5-year-old Bounce is available in 81 percent of U.S. homes. In March, it drew 1.3 million viewers over two airings for the premiere of original soap Saints & Sinners.

Although Light TV is starting out with lower penetration than Bounce, the plan is to strike deals with more Fox affiliates after it launches. Given the potential reach, says Wieser, “there’s a business model to be had there.”

This story first appeared in the Dec. 2 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

Bob Compton VRP

 

Robert “Bob” Compton has produced 11 documentary films, including Oscar nominated for best documentary Cartel Land, Oscar nominated for best original song The Hunting Ground and Rich Hill, winner of the 2014 Sundance Film Festival Grand Jury Prize. His film Sole of a Hustla was an official selection of the American Black Film Festival 2011. He has produced six films exploring K-12 education around the world, including Two Million Minutes and The Finland Phenomenon. Along with Dr. Tony Wagner at Harvard University, he authored the book Creating Innovators: The Making of Young People Who Will Change the World. He earned an MBA from Harvard Business School and had a successful career as high-tech venture capitalist before becoming a filmmaker.

In his own words:
My name is Robert Compton, but my friends call me Bob. I am glad to have lived during such interesting times. I have a wide range of interests and I hope that you and I can learn something from each other.

With an undergraduate liberal arts degree, I began my career at the IBM Corporation initially as a systems engineer, and later as a sales representative selling mainframe computer systems. I left IBM to continue my education at Harvard University’s Graduate School of Business where I received my Masters in Business Administration.

After Harvard, I entered the venture capital industry landing a position at First Chicago Venture Capital. From there, I moved to Indiana where I served as a general partner at CID Equity Partners from 1987 to 1997. My first deal was help-desk software developer Software Artistry, which went public in 1995 and was acquired two years later by IBM for about $200 Million. My subsequent investments included Interactive Intelligence, Allscripts and ExactTarget – all of which had successful public offerings.

I left the venture business to become President and Chief Operating Officer of Sofamor Danek Group, Inc., which at the time was the world’s largest supplier of implants, computer-assisted surgery products, and biologics for spinal surgery. Medtronic acquired Sofamor Danek Group, Inc. in January 1999 for $3.7 billion. I have served on numerous corporate Boards of Directors in an array of industries and have been the lead investor in over 20 businesses, six of which have had successful public offerings.

After traveling to India in 2005, I was inspired to create the documentary Two Million Minutes: A Global Examination to take a deeper look at how the three superpowers of the 21st Century-China, India and the United States are preparing their students for the future. My subsequent 7 films have explored entrepreneurship and education around the world, including my most recent film The Finland Phenomenon: Inside the World’s Most Surprising School System.

Despite the relative decline of American education, the decades ahead can be ones of prosperity and economic growth, provided the American people embrace the 21st Century. I remain an optimist about America. We have always risen to every challenge and I believe the American people will meet this one with characteristic ingenuity and innovation.

Filmography:
Racing Against Rheum (short) Executive Producer 2017
Untitled Highlights Documentary Executive Producer 2017
Brand New Old Love Executive Producer 2017
All Exchanges Final (short) Executive Producer 2016
Bambina (short) Executive Producer 2016
Jacqueline Argentine Executive Producer 2016
First Girl I Loved Executive Producer 2016
The HooDoo of Sweet Mama Rose (short) Executive Producer 2015
Startupland: A Documentary Film Co-Executive Producer 2015
Cartel Land Co-Executive Producer 2015
The Hunting Ground Executive Producer 2015
Independent Lens (TV) Executive Producer 2015
Startupland (TV) Co-Executive Producer 2014
Rich Hill Executive Producer 2014
Creating Innovators (short) Producer 2012
Sole of a Hustla Executive Producer 2011
The Finland Phenomenon Executive Producer 2011
A Right Denied Executive Producer 2010
Win in China Executive Producer 2010
Two Million Minutes: The 21st Century Solution Executive Producer 2009
Two Million Minutes: A Global Examination Executive Producer 2008
Two Million Minutes Website: https://www.2mminutes.com/call-me-bob/
Twitter (inactive since 2013): https://twitter.com/2mminutes
In the Media:

Multiple Stars Turn Out For The Los Angeles Red Carpet Premiere Of The Sundance Award-Winning Film, “First Girl I Loved”  |  Marketwired  |  Oct 20, 2016
The Sundance Film Festival Audience Award Winning feature film “First Girl I Loved” had its Los Angeles premiere on Tuesday, October 18th and the stars were out at the historic Vista Theatre to celebrate. Jaden Smith showed his support for the film (which is partnered with the It Gets Better Project) along with the film’s stars Brianna Hildebrand (who was just nominated for a Teen Choice Award for playing Negasonic Teenage Warhead in “Deadpool”), Dylan Gelula (best known for “Unbreakable Kimmy Schmidt”), Pamela Aldon (writer/star of the hit series “Better Things”) and Mateo Arias (from “Disney’s Kickin’ It”). Also on hand were Stephen Kramer Glickman (“Storks”), Rex Lee (“Young And Hungry”), Bex Taylor-Klaus (MTV’s “Scream”), Brec Bassinger, Rachel Sterling, Damian Whitewood, Will Meyers, Stefan Kapicic, Ramona Young and many, many more.

“First Girl I Loved” is being released in conjunction with the It Gets Better Project and with support from Sundance Institute’s Artist Services program. The film, which has played many festivals around the world including Sundance Film Festival (where it won the Audience Award: NEXT, Presented by Adobe) and Outfest, is the story of seventeen-year-old Anne who just fell in love with Sasha, the most popular girl at her public high school. But when Anne tells her best friend Clifton — who has always harbored a secret crush — he does his best to get in the way. The movie stars Dylan Gelula, Brianna Hildebrand, Mateo Arias and Pamela Aldon and is available on demand, iTunes and in theaters. “First Girl I Loved” is currently the #3 best-selling movie listed under Romance on iTunes.
Some reviews from the film include:

Devon Maloney, OUT
“I loved it, really truthful, painful and funny.”

Crystal Bell, MTV
“I loved it. It really captured teen romance in all of its confusion and messiness.”

Sperling Reich, Showbiz Today
“The only two other times I have said ‘that person is going to be a star’ are Ellen Page and Jennifer Lawrence. Dylan is going to be a major star.”

A portion of the film’s proceeds will go to benefit the It Gets Better Project. The It Gets Better Project was created to show young LGBT people the levels of happiness, potential, and positivity their lives will reach — if they can just get through their teen years. The It Gets Better Project has become a worldwide movement, inspiring more than 50,000 user-created videos viewed more than 50 million times.

“First Girl I Loved” is a PSH Collective production in association with Whitewater Films, Tilted Windmill Productions, Bee-Hive Prods. and Blacklist Digital. (Domestic sales: CAA, Los Angeles.) Produced by Seth Caplan, Ross Putman, and David Hunter. Executive producers, Robert Compton, Leslie Braun, Stephen Braun, Marcus Villigran, Greta Villigran, Peter Parshall Jensen, Stacey Parshall Jensen, Tims Johnson, Narbeh Tatoussian, Rick Rosenthal, Matt Ratner and Bert Kern.

‘Real O’Neals,’ ‘Goldbergs,’ ‘Bob’s Burgers’ Are Most Profane Network Shows, PTC Finds

‘Real O’Neals,’ ‘Goldbergs,’ ‘Bob’s Burgers’ Are Most Profane Network Shows, PTC Finds

Watchdog group measures broadcast’s “(bleeped) ‘s**t’ and ‘s**tting,’ (bleeped) ‘f**k’ and ‘f**king,’ ‘erections,’ ‘boobs,’ ‘penis,’ ‘masturbating,’ ‘nymphomaniac,’ ‘ass,’ and more”

The Parents Television Council is none-too-pleased with the profanity it finds on network TV, particularly the shows on which teenage and child characters use what it calls “overtly sexualized and adult language.”

“During the study period of February-May 2016, language used by child and teen-aged characters included: (bleeped) ‘s**t’ and ‘s**tting,’ (bleeped) ‘f**k’ and ‘f**king,’ ‘erections,’ ‘boobs,’ ‘penis,’ ‘masturbating,’ ‘nymphomaniac,’ ‘ass,’ and more,” per a Tuesday PTC press release.

Quite a list.

TheWrap asked the watchdog group to rank the top offenders for us. Here they are in order: 1) ABC’s “The Real O’Neals,” 2) ABC’s “The Goldbergs,” and 3) Fox’s animated “Bob’s Burgers.”

“It’s bad enough that children are increasingly exposed to vulgar dialogue on television at all hours of the day. It’s even worse that they’re seeing the vulgarity coming directly from the lips of other children,” said PTC President Tim Winter. “This troubling new trend should concern every family, given the inarguable evidence that children are influenced by what they see on TV.”

“Adding fuel to the fire is the contemptuous content ratings system that allows TV networks to rate such explicit content TV-PG or TV-14, suggesting to parents that the programs are appropriate for their kids,” he added. “Yet children are being exposed to age-inappropriate levels of profanity and sexual dialogue especially on family-targeted sitcoms, such as ABC’s ‘The Real O’Neals,’ which contained more sexual dialogue involving teen and child characters than any other primetime program on broadcast TV,” he added.

Fox has the second-most programs containing child and teen characters using profanity and sexual dialogue, thanks in large part to Sunday’s “Animation Domination” block, which includes “Bob’s Burgers.”

Elsewhere, primetime programming on CBS and NBC is largely targeted to adults, includes few family-themed programs, and thus contains relatively few child or teenage characters.

Spokespersons for ABC and Fox had no comment.

HBO Orders Comedy Anthology Series From Jay and Mark Duplass

'Room 104' centers on the various occupants of a single room at an average American hotel.

Eric Ray Davidson
Jay (left) and Mark Duplass
Jay and Mark Duplass are returning to HBO.

The pay cabler has ordered a comedy anthology series from the brothers, who were behind the now-canceled comedy Togetherness, it was announced Thursday.

Titled Room 104, the project is set in a single room of an average American hotel and tells a different story of the assorted characters who pass through the room in each episode. Production begins later this year for a 2017 debut. The Duplass brothers will serve as showrunners on the comedy, and also exec produce with Xan Aranda. Sydney Fleischmann is attached to produce.

“Jay and Mark Duplass are two of the most inventive talents in TV today,” HBO programming president Casey Bloys said in a statement. “We’re excited to see what they do with this unique concept.”

Added the Duplass brothers: “We’ve all seen stories set in seedy motels and high-class international resorts, but for years we’ve been fascinated by the funny, weird, sad, scary, absurd things going down in that corporate chain hotel near the airport. That’s what Room 104 is after … finding some magic in the seemingly mundane.”

The series is part of Jay and Mark Duplass’ overall deal with HBO that dates back to 2015. In addition to Togetherness, which ended in March after two seasons, the duo are also behind HBO’s animated comedy series Animals, which earned a two-season pickup in 2015 and premiered earlier this year.

In addition to their TV credits, the Duplass brothers are known for their extensive credits in the film world, including Cyrus, Jeff Who Lives at Home and their breakout credit, The Puffy Chair. In addition to their overall deal with HBO, the Duplass brothers have a four-film pact with Netflix. They are repped by ICM Partners and Sloane Offer.

Anthology series have become increasingly more popular in recent years thanks to the success of American Horror Story and Fargo, among others. While many of these have been dramas, anthology comedy series are on the rise. TBS recently ordered a comedy anthology series from Greg Garcia, The Guest Book, which centers on a small-town vacation home and its visitors.

Room 104 joins HBO’s original comedy slate, which includes the recently renewed Ballers, Veep, Silicon Valley, Girls and Vice Principals. The pay cabler is getting ready to debut new half-hours Divorce, Insecure, High Maintenance, Barry and Crashing. HBO also has a long-awaited ninth season of Curb Your Enthusiasm expected to begin production later this year.

How to tarnish Hillary Clinton: Accuse, investigate, come up empty, try again

To the editor: I could not agree more that Democratic presidential nominee Hillary Clinton is the only qualified candidate on the ballot despite news of the FBI email investigation, which you describe as a distraction. (“Even with her email scandals, Hillary Clinton is the only alternative on election day,” editorial, Nov. 2)

But the real poison inflicted in our politics is not so much what has happened recently as it has been the criminalization of politics over the last few years. It goes like this: Accuse a person of committing a crime without any real proof, then form committees and investigations to find something that fits that accusation. Eventually, we find out that there was no merit to the accusation or there was no criminal behavior.

Trump might be a national disaster if elected, but no matter what happens we cannot escape his legacy of the criminalization of politics.

Nicholas Canellopoulos, Riverside 

..

To the editor: The Times should gain no credit for aping the Clinton campaign’s claim that it is the victims of FBI Director James Comey’s October surprise. Comey reopened the investigation when he learned of more emails, and there is no statute of limitations on investigations.

That this came days before the election is Clinton’s fault. She is the one who decided to use a private email server as secretary of State. She is the one who received and sent classified documents over that system. She is the one who repeatedly made false statements about that system.

In his July news conference, Comey stated there was no evidence that Clinton intended to harm the country, be he did say she was “extremely careless.” It would be informative if The Times would parse the difference between “extremely careless” and what the law states is “gross negligence.”

Clinton is a victim of her own actions.

Kent Schmidt, La Cañada Flintridge

..

To the editor: The Times writes that Trump’s election would be a national disaster. Let’s make that an international disaster, because, given this man’s total lack of understanding of global politics, there will be no place on Earth in which to hide from his destructive reach.

Anneke Mendiola, Santa Ana

The Clintons’ old attack dogs have a profitable new role, and sometimes it makes the campaign nervous

As Hillary Clinton’s presidential campaign was about to launch last year, its architects were desperate to dampen the impact of an upcoming book deeply critical of her family’s financial dealings.

They turned to David Brock, who crusaded for the Clinton family during the days of impeachment and scandal in the 1990s.

Clinton’s new inner circle privately called him a “nut bar” and “soulless narcissist,” a wild-eyed mercenary from the old Clinton wars who could be unpredictable. But Brock’s skills in the political dark arts positioned him to hunt down a copy of the book, “Clinton Cash,” before it was on sale.

“Feels like what Brock is good at,” John Podesta, now the campaign chairman, emailed Robby Mook, who would become the campaign manager. “Great idea,” Mook replied. Brock’s team delivered.

As Clinton aims to move back into the White House, the cottage industry around her political aspirations has sprung up anew and created tensions along the way. Tapping a deep network of donors and their own appetites for bloody political combat, eccentric operatives earn handsome livings orbiting in Clinton’s universe and even work within the shadowy corners of her campaign, according to interviews, tax and campaign filings and hacked emails from Podesta’s inbox posted on WikiLeaks.

Chief among these operatives is Brock, the former right-wing antagonist who now commands a network of political groups that will raise about $65 million to elect Clinton and other Democrats this cycle. The groups have paid generous salaries to him and others, including millions of dollars in commissions to a fundraiser who has summered with Brock in the Hamptons.

Over the months of this long campaign, Brock’s operation became an indispensable part of Clinton’s machinery — just as in the old days, leading the attacks against her enemies.

This time, though, he helped Clinton push the boundaries of finance rules by coordinating their efforts.

Soon after Clinton entered the race, Brock announced that Correct the Record, a super PAC he created in 2013, would work directly with her campaign. That wouldn’t break campaign finance rules prohibiting coordination with a candidate, group representatives argued, because no money would be spent on ads; Correct the Record would instead concentrate on posting material for free. With that, the organization assumed key roles for Clinton, handling opposition research and the “rapid response” job of blasting out fiery attacks on her critics.

Campaign leaders came to rely on Brock, particularly for the dirty work.

When Clinton’s aides were upset about a quote in another negative book about her, they discussed how to fight back: “I’m sure Brock and team would love to go at him,” wrote Christina Reynolds, then Clinton’s director of rapid response.

Brock boasted in an interview about pulling off maneuvers others still considered taboo, such as heeding the campaign’s orders to quickly “saturate the airwaves” last week to spin the revelation that the FBI is looking at the emails of a Clinton aide.

“That is the kind of thing we couldn’t have done before,” Brock said, pointing to federal rules that other super PACs still interpret to ban such conversations with a presidential campaign. “This legal interpretation is breaking new ground.”

Donors have taken notice. A Brock fundraiser alerted Podesta late last year that billionaire hedge fund manager James Simons was intrigued that Correct the Record was “a coordinated PAC,” as he mulled giving as much as $1 million. Simons did not write the mega-check, but one of his closest associates from his Renaissance Technologies hedge fund, Henry Laufer, gave half a million dollars, the group’s biggest contribution.

Campaign finance reformers were appalled.

“Hugely problematic” and illegal is how Brendan Fischer, associate counsel for the Campaign Legal Center, described the arrangement Brock has brokered with Clinton’s campaign. The group has filed a complaint with the Federal Election Commission.

“A billionaire can’t come in and say, ‘I’m going to pick up the salary of the campaign manager.’” Fischer said. “If Clinton had kept her opposition research team in-house, a donor couldn’t have said, ‘I’m going to pay for all the salaries of the researchers.’”

Even Clinton’s allies worried that the unprecedented setup has gone too far, the hacked emails show. “This does seem shady,” Clinton friend Neera Tanden wrote to Podesta. His response was brief: “Brock $ machine!”

“That’s fine,” Tanden wrote back. “But skirting if not violating law doesn’t help her.”

The campaign declined to comment on the emails hacked from Podesta; it has not confirmed their authenticity.

Brock, 53, with owlish glasses and a shock of white hair, made his name trying to discredit Anita Hill’s sexual harassment allegations about Supreme Court Justice Clarence Thomas, and publishing Arkansas state troopers’ allegations about Bill Clinton’s womanizing.

But as Clinton’s impeachment loomed, Brock refashioned himself as a devout defender of the Clintons, providing insider intelligence for their defense. He brought his story to the fundraising circuit, impressing many in Clinton’s circle of wealthy donors with his experience in the inner workings of the right. They gave generously.

Brock built a network of 10 nonprofits and political groups, all sharing an office in downtown Washington. They include Correct the Record, the $9.4-million super PAC; and Media Matters for America, devoted to pushing back against the right-wing media. Brock earns about $575,000 per year.

In the same suite of offices is the small firm belonging to Brock’s friend and fundraiser, Mary Pat Bonner, which collects a 12.5% commission on money brought in. The arrangement could net Bonner’s company about $4 million this cycle, positioning her for earnings that dwarf those of chief fundraisers at much bigger and more sophisticated operations. Bonner did not respond to requests for comment and Brock could not say how much she earns.

“Mary Pat’s take-home pay is her own business, not mine,” Brock said. He praised her ability to find new donors and keep old ones happy and argued that other groups spend even more on fundraising. “I don’t think I would have been able to do it any other way,” he said.

The Brock operation is also providing for the care and feeding of a select group of longtime Clinton warriors. Sidney Blumenthal, the former journalist and advisor in the Bill Clinton White House, earns $200,000 a year providing “strategic advice” — a payment made public only by mistake. Also earning $200,000 for the same type of gig, said Brock, is James Carville, the fervent surrogate who helped run Bill Clinton’s 1992 campaign.

The financing agreements are a source of tension among Democrats. Brock and Bonner alleged a conspiracy against them by fellow Democrats when news reports about Bonner’s impressive salary emerged just before Clinton entered the race. It moved Brock to briefly quit the board of Clinton’s biggest super PAC.

“Welcome to whacko land,” Podesta wrote in an email about the dust-up to Tina Flournoy, Bill Clinton’s chief of staff.

When a panicked Bonner pleaded with Podesta for advice on how to respond to the “press nightmare” the spat had become, Podesta curtly warned her that obsessing would only garner more media attention. “Stop feeding the beast,” he wrote.

Bonner regularly pestered Podesta to mollify big donors. When a senior Clinton policy advisor declined to offer a job to the granddaughter of Qualcomm co-founder Irwin Jacobs, Bonner pushed Podesta to intervene. The woman was later hired.

It was not the only time Brock created heartburn at Clinton’s Brooklyn headquarters, where staffers might be able to turn to Brock for help but had no reins to pull him in.

Podesta became enraged during the Democratic primaries when he learned Brock was making an issue out of the health record of Vermont Sen. Bernie Sanders. As Podesta fumed, Tanden hypothesized that the idea to demand Sanders’ medical records might have been hatched by Bill Clinton, reflecting what she suggested is the former president’s penchant for political skulduggery.

Podesta and Tanden, who runs the liberal Center for American Progress, pondered whether Brock could be a GOP plant, a real-life “Manchurian candidate,” or just an “unhinged narcissist.” Tanden, who called Brock a “nut bar” and a “menace” in the emails, asserted that the Clintons’ continued confidence in Brock reflected their own taste for conspiracy theories and dirty-tricks politics.

Brock laughed it off, saying he had been called worse in campaigns. He says Podesta has enthusiastically helped build and nourish his network since 2003, and a few snarky emails do not reflect their relationship. He interprets Podesta’s “money machine” note as a nod to his fundraising prowess, not an insult.

As for Tanden, Brock said she sent an apologetic note, explaining that she was trying for “dark humor.”

“I told her I totally understood and I was sorry her privacy had been violated,” Brock said. “As far as I’m concerned, we’re all on the same team.”

Brock said angst inside the campaign about the legality of his role dissipated long ago, after Clinton’s own attorneys explained what he calls his “novel” arrangement that found a way around rules that prohibit campaigns from working directly with super PACs.

Clinton’s campaign, Brock said, would have severed ties with Correct the Record if it were doing anything risky. “If they had doubts about the legal nature of our work, they wouldn’t touch us with a 10-foot pole,” he said.

Brock doesn’t anticipate the partnership ending on election day, though he has no interest in joining the government payroll as a White House advisor. He says lawyers are looking at how Correct the Record could function as part of a Clinton presidency, battling new investigations already threatened by Republicans.

“There will be plenty of work to do,” Brock predicted.

On Six Feet Under and Those Moments When Life and TV Collide

By

Photo: HBO

We turn to our favorite television shows for all kinds of reasons. Sometimes it’s because we need a laugh at the end of a long work day during which way too many people used the word webinar. Sometimes our spirits are desperate for a boost and the only thing that can boost them is hearing Tami Taylor say “y’all.” In the case of Game of Thrones, perhaps, it’s because we just want to see Ramsay Bolton finally get his comeuppance, since we all know that until there is justice for Reek and Sansa, there can be no peace.

But sometimes specific TV shows become therapeutic in more profound ways, by showing up at exactly the moment we need them most. I’m thinking about this today because, as the anniversary-happy internet reminds us, June 3 marks the 15th anniversary of the premiere of HBO’s Six Feet Under, the drama that introduced us to the Fisher family, their funeral home, and the notion that television can alert us, on a weekly basis, that every last one of us is mortal. (HBO2 is in the midst of running a marathon of all five seasons, so feel free to cancel your weekend plans.) While it sometimes got overshadowed by other HBO series of its era, most notably The Sopranos, Six Feet Under is still rightfully regarded as one of the most finely etched family dramas of TV’s so-called second Golden Age, and a show that felt extraordinarily personal to many people for a simple, obvious reason: We all lose loved ones. Eventually, we all must face death. Sometimes that even happened while we were watching the Fishers lose people and face death on Six Feet Under.

When the fifth and final season aired on HBO during the summer of 2005, my father was dying. He had pulmonary fibrosis, a lung disease that can go from bad to seriously awful rather quickly. At least that’s how it went for him. My dad was such an upbeat person and such a minimizer of the negative that I continued to believe he had weeks when in reality, he only had days, and then hours.

On July 24, 2005, the Six Feet Under episode, “Singing for Our Lives,” aired. That’s the one in which the show’s principal Fisher, Nate (Peter Krause), has a brain embolism and collapses. (Yes, this is the one with the “Narm,” which, in a way, was the Hodor of 2005.) On July 26, 2005, my father died. On Sunday, July 31, 2005, we held a wake for him; the funeral was scheduled for the following Monday morning.

On that final Sunday night in July, with my eulogy written but not yet delivered, I had a lot on my mind. But I also, technically, had  time to watch the new episode of Six Feet Under, “Ecotone,” a gloriously messy heartbreak of a bottle episode where everyone gathers at the hospital following Nate’s collapse, and they — and we — wait to see if he’ll be okay. I don’t remember if I knew for a fact that Krause’s character would die in that episode or if I just strongly suspected it. All I know is I wrestled with whether it was appropriate to watch it under the circumstances of my actual life. I loved the show, and spending an hour with it would give me a break from feeling both nervous about my speech and shocked that my dad was gone. But it wasn’t going to be a break from my grief. In fact, it would be an invitation to lean even harder into it, an invitation I wasn’t sure I wanted to accept.

Ultimately I chose to watch, and was glad that I did. The following Sunday, when the Fishers gathered for Nate’s funeral less than a week after my family had gathered for my dad’s, I wrestled again, and ultimately watched again. That episode and the remaining episodes of that season served as both an odd comfort and, more importantly, an outlet for my own emotional release.

I am extremely skilled at boxing up my emotions. Give me a feeling that’s connected to something real and upsetting that’s happened in my actual life, and I will put that feeling in a box and tuck it into the back corner of a shelf in my psyche faster than you can say Walking Psychological Container Store. But when I watch great TV — or see an amazing movie, or listen to a particularly meaningful song — that’s when my emotions leak out. Sometimes that’s because of the actual content of the art. When I cry during the closing montage of the final episode of Six Feet Under, yes, it’s because I love those characters, and my God, they’re all dying, and good Lord, they’re all dying while this Sia song is completely wrecking me. But when I cried during that montage the first time I saw it, in the summer of 2005, I know a lot of those tears were tears for my father that couldn’t find their way out until Six Feet Under unlocked them.

Our lives and the people in them are precious and real. They will always be more important to us than our favorite TV shows. But there are certain series that connect so deeply to our hearts and become so intertwined with our own personal experiences that they get braided directly into our existences. For you, memories of high school may be intertwined with memories of watching Gilmore Girls. A friendship may be defined by its whispered confidences and inside jokes, but also by the fact that it began because of a shared love of Twin Peaks.

There are a lot of shows like this for me, and Six Feet Under is certainly one of them. I loved that show for its boldness, for its macabre sense of humor (it pretty much had me from Claire stealing that foot in season one), for its consistently moving performances, and for its ability to capture the strange, surreality of this thing called life in ways that made my heart feel full.

But I will reserve a more special place for Six Feet Under, forever, because it helped me say good-bye to my dad.

Your Guide to TV’s British Period Dramas, Sorted Chronologically by Era

Photo-Illustration: Maya Robinson

There’s something inherently pleasing about tuning into a good British period drama. The accents, the costumes, the landscapes, and even the colloquialisms are an aesthetic treat for the eyes and ears. As another such drama lands on streaming today — Netflix’s most expensive production to-date, The Crown — we’ve rounded up all the British-produced period dramas currently on the air, and sorted them in chronological order for your convenience. More a fan of the Victorian-era monarchy than 1960s detective capers? Fear not, we have all of your interests covered below.

THE VIKING AGE

The Last Kingdom

Short pitch: Set in the late 9th century, the series primarily revolves around the fictional Uhtred of Bebbanburg, who must choose between his birth country, Wessex, and the people who raised him after he was orphaned, the Danish, when a war between the two kingdoms rages on.
The costume scale: The Saxons and Danes have distinctive visual identities, but the costumes themselves aren’t inherently special. (Lots of armor and assorted battle gear.)
Where can I watch it? Netflix

THE STUART PERIOD

Versailles

Short pitch: There’s a whole lot of sex and nudity on this steamy drama, which chronicles the life of Louis XIV in the mid-17th century when the Sun King decides to move his court from Paris to Versailles.
The costume scale: The French courts know a thing or two about grandeur, to say the least.
Where can I watch it? No legal streaming services yet, but it’s currently airing in the U.S. on Ovation.

THE GEORGIAN ERA

Poldark

Short pitch: A debonair and stubborn captain returns to his home in Cornwall following the end of the American Revolutionary War, where he attempts to rebuild his life and faces many difficulties in the process.
The costume scale: Frocks and tricorn hats and breeches galore, but it’s generic for the setting.
Where can I watch it? PBS, Amazon

THE VICTORIAN ERA

Victoria

Short pitch: Beginning when Queen Victoria ascended the throne in 1837 at the age of 18, the first season of the show recounts everything from her early years: the romances, the politics, and the birth of her first child.
The costume scale: All of the most opulent wardrobes you can possibly imagine for the mid-19th-century monarchy. (The royal jewels are pretty grand, too.)
Where can I watch it? Coming to PBS early next year, or available on the ITV Hub if outside the U.S.

Ripper Street

Short pitch: A competent group of detective inspectors and captains patrol the particularly violent area of London’s East End in the late 19th century and do their best to solve any and all crimes that occur … which is usually a lot.
The costume scale: Lots of great looks for both the men (three-piece suits, bowler hats!) and the women (bell-like silhouettes, corsets!), which provide a nice juxtaposition to the gritty cityscape.
Where can I watch it? Netflix

INTERWAR BRITAIN

Peaky Blinders

Short pitch: A cunning gangster family — also known as the real-life Peaky Blinders gang — is the epicenter of a post–World War I Birmingham. Their fearless leader has a penchant for violence, cunning mind tricks, and avoiding the police.
The costume scale: You won’t find a lot of colorful dressers in gloomy central England — there are a lot of muted, dark hues that are often paired with herringbone tweed.
Where can I watch it? Netflix

The Durrells (also referred to as The Durrells in Corfu)

Short pitch: Due to some pesky financial problems, a mother, Louisa Durrell, and her four children move from the south of England to the idyllic island of Corfu in the 1930s. It takes them a bit of time to adjust to the new locale.
The costume scale: Light and airy ensembles that are perfect for spur-of-the-moment seaside strolls.
Where can I watch it? PBS

HALF POSTWAR BRITAIN, HALF GEORGIAN ERA

Outlander

Short pitch: This incredibly sexy, bonkers time-travel drama follows a former World War II nurse who gets transported back to mid-18th-century Scotland while on a trip with her husband in Inverness. Plenty of brutal historical happenings and timey-wimey romantic entanglements ensue.
The costume scale: Three words: Swan. Nipple. Dress. (The costumes are incredible.)
Where can I watch it? STARZ on Demand, Amazon

POSTWAR BRITAIN

Father Brown

Short pitch: An astute Roman Catholic priest in a small Cotswold village helps assist the local police force with solving an array of crimes.
The costume scale: Conservative clergy chic for the 1950s. Unremarkable, really.
Where can I watch it? PBS

The Crown

Short pitch: Netflix has huge plans for this very expensive period drama, with the first season beginning with Queen Elizabeth II’s wedding to Prince Philip and the tumultuous early years of her reign.
The costume scale: Nothing less than stunning and ornate, literally fit for a queen. You will ooh and you will ah.
Where can I watch it? Netflix, beginning November 4

Grantchester

Short pitch: An Anglican priest in the 1950s turns out to have quite the natural sleuthing chops in his cozy Cambridgeshire village, which earns him the trust and mentorship of a local detective inspector. They’re good at solving cases together!
The costume scale: Once again, clergy chic, but far more progressive than Father Brown, especially for the women.
Where can I watch it? Amazon, PBS

Call the Midwife

Short pitch: A group of hardworking nurse midwives in the late 1950s juggle their difficult medical duties — in a particularly poor part of London, no less — while living in an Anglican nursing convent.
The costume scale: Often drab to accompany the very drab East End, but those blue medical dresses and red cardigans are iconic.
Where can I watch it? Netflix, PBS

Inspector George Gently (also referred to as George Gently)

Short pitch: This 1960s-set drama in northern England follows an old-fashioned, methodological inspector who pursues justice with the help of his faithful sidekick sergeant.
The costume scale: Pretty normal dressing for a professional, police workplace setting.
Where can I watch it? Hulu, Netflix

Endeavour

Short pitch: A diligent police constable and his equally able-bodied team solve various crimes in 1960s Oxford.
The costume scale: A plethora of well-tailored, nondescript suits.
Where can I watch it? PBS

Love, Nina

Short pitch: A 20-something girl moves to the buzzing metropolis of London to take a job as a live-in nanny for a single mother with two rambunctious boys.
The costume scale: Exactly what you imagine people in the mid-’80s to have worn. Things are starting to get a bit grungy!
Where can I watch it? No legal streaming services yet, but the episodes can be purchased on Amazon.

Small-town Alaska newspaper for sale, cheap, as publisher’s wife decides she wants a flush toilet

Tom Morphet at his desk at the Chilkat Valley News in Haines, Alaska. (Courtesy Tom Morphet.)

Haines Borough Assemblyman Tom Morphet didn’t like a headline last week about his demand for a special election, but he couldn’t complain because he owns the newspaper.

Morphet ran the Chilkat Valley News for 25 years before he bought it five years ago. But this year he got tired of watching from the sidelines of local politics. He tried to sell the paper to avoid a conflict of interest — for a fourth of what he paid for it — but the sale fell through.

The hot issue in Haines right now is whether to go ahead with a harbor expansion project. Morphet thought the Assembly was rushing to hire a contractor. He wants voters to weigh in before the borough signs anything.

At 55, he needs a new career. His wife, Jane Pascoe, has her eye on a house in town that, unlike his cabin in the woods 8 miles out, has power and water.

“I said, ‘Honey, we could live for free in the cabin.’ But she wants to flush a toilet,” Morphet said. “When I met her she was a girl living out of a backpack and she didn’t care.”

Haines newspaper editor Tom Morphet and his wife, Jane Pascoe in 2012. (Courtesy of Tom Morphet)
Haines newspaper editor Tom Morphet and his wife, Jane Pascoe in 2012. (Courtesy of Tom Morphet)

Morphet accepted poverty for decades to do no-nonsense journalism in a tiny town that could barely support it and didn’t always appreciate it. The News has won 20 Alaska Press Club awards in the last three years but sells only 1,500 copies at the height of the visitor season.

Heather Lende, also elected to the Assembly in October, began her writing career at the paper. She still gets $75 apiece for obituaries, long after much larger papers, including this one, switched from staff-written obits to making money by letting families write their own. Morphet treats every obituary as a hard news story.

Lende has published three books based on her Haines obituaries, developing a national reputation as an essayist. But she said Morphet still makes her verify every fact and flatten her prose into straight, short newspaper sentences.

She said he’s stubborn, raises his voice at times and makes enemies.

“Most people thought when Tom ran there was no way he would get elected,” Lende said. “Except for Tom. And he campaigned unbelievably … Even when people would slam the door, he’d say, ‘wait-wait-wait.’ “

In the end, Lende said, even some of those who didn’t like him realized a tough, ethical, inquisitive guy could represent them well.

Morphet grew up near Philadelphia. He spent summers home from Marquette University working in the engine rooms of oil tankers. Bumming around after graduation, he saw an ad in a Seattle paper that brought him to Alaska.

“They suckered me in,” he recalled. “The ad said, ‘Seeking adventure?’ Yes, that’s me. ‘Seafood processors needed.’ “

The hilariously awful, minimum wage job on a floating slime line — with rotting fish and no water for bathing for up to two weeks at a stretch — landed him in Anchorage in 1984. He worked at the Anchorage Times until, adventure over, he drove toward home, his Datsun’s hood secured with a camera strap.

A two-day wait for the ferry south in Haines caught him. The sun was out.

“I couldn’t understand why there weren’t more people here. It was the prettiest place I had ever seen,” Morphet said.

Shortly, he had a temporary job for the local paper. Which slowly turned permanent.

Morphet took breaks. He bought his cabin and 5 acres with money he earned at a construction site in Las Vegas in 1991, where he watched tortoises to keep them from being run over. He met his wife, Pascoe, an Australian, on the dance floor at the Alaskan Bar in Juneau during another work break from journalism in 2001.

The breaks helped him to survive in Haines. Good journalists make people mad, which in a small town means alienating neighbors and advertisers.

Morphet particularly remembers the anger when the News reported in the 1990s that a local teen had been drinking before a fatal auto accident. A group of local business people started another paper that would be more positive and less liberal. It didn’t last, but the lack of advertising from the town’s grocery stores is still a major financial issue.

“It’s a real tightrope walk to uphold the standards of journalism in a town this small, because there is not a buffer between the reporters and the people they write about,” Morphet said. “What you write becomes very personal very quickly.”

The harbor issue is his latest battle. Morphet called for a vote in an editorial last year. When it didn’t happen, he decided to run. He offered to sell the paper to his reporter for a deep discount to prevent a conflict of interest, but she left instead.

He is still trying to sell, but with heavy conditions.

“I only want it to go to a local person who is committed to the community,” he said. “When you’ve done this for 25 or 30 years, what you have in it is something different than cash. You have an investment in the community.”

Morphet said the $60,000 he paid for the News — on installments — bought him a $50,000-a-year, seven-day-a-week job. The paper doesn’t bring in enough money for an owner to take out a profit without also working there.

He’d like to go back to his original plan to be a historian.

Morphet expected to major in history at Marquette, but when he arrived as a freshman his counselor told him he would probably end up selling pants at Sears. Morphet thought of his Aunt Stella, who had sold him a new pair of double-knit slacks every year of his childhood.

“He didn’t know it, but he hit me right in my Achilles. I thought, ‘Oh my god, I’m going to end up like Aunt Stella,’ ” Morphet said. “He said, ‘I encourage you to pursue journalism, because at least you’ll be able to make a living.’ It was probably the worst advice I ever took.”

The views expressed here are the writer’s and are not necessarily endorsed by Alaska Dispatch News, which welcomes a broad range of viewpoints. To submit a piece for consideration, email commentary(at)alaskadispatch.com. Send submissions shorter than 200 words to letters@alaskadispatch.com or click here to submit via any web browser.

AwesomenessTV VRP

 


AwesomenessTV is a media and entertainment company located in Los Angeles, California. It is a joint venture of DreamWorks Animation, Hearst, and Verizon, with the former owning controlling interest. It was founded on June 12, 2012 by Brian Robbins (Smallville, Varsity Blues, All That) and Joe Davola (One Tree Hill, In Living Color, Smallville, MTV Networks).

Founded by Brian Robbins and Joe Davola, AwesomenessTV started as a YouTube channel and multi-channel network. Targeting teenagers and preteens, AwesomenessTV creates original web series, television shows and theatrical films across all platforms.
The company operates a talent division, branded entertainment division, consumer products division, publishing division, music division, and global network of affiliate YouTube channels.
Founded: 2012
Company Size: 201 – 500
CEO: Brian Robbins
SVP: Russell Rothberg
Senior Line Producer: Casey Fenton
Head of TV: Shelley Zimmerman
Producer: Brin Lukens
YouTube: (4.4 million subscribers) https://www.youtube.com/user/AwesomenessTV
Twitter: (261K followers) https://twitter.com/awesomenesstv
In the Media:
AwesomenessTV & Verizon Hire Ex-Uni TV Head Of Drama Russell Rothberg As SVP  |  Deadline  |  Oct 26, 2016\AwesomenessTV and Verizon’s premium content venture is building a formidable executive team. Samie Kim Falvey, the former EVP Comedy Development at ABC who joined the video venture as Chief Content Officer in August, has brought in another former longtime department head at a major TV company, Russell Rothberg.

Rothberg, who headed Universal TV’s drama department for five years, most recently as EVP Drama Development, until his exit at the end June, has joined the unnamed venture as SVP Creative. Reporting to Falvey, he will oversee development and production for all genres of programming for the new service, which is focused on producing premium shortform mobile content from A-list writers, producers and directors that appeals to young adults in the 18-35 age group. Its slate will be a completely different from the current AwesomenessTV programming.

“Russell’s ability to connect with creators has made him a stand-out executive in the industry, and I am thrilled to have him join our team,” said Falvey. “Together we will create exceptional mobile friendly programming with the best auspices for our new platform.”

During his stint as Universal TV’s head of drama, Rothberg developed such series as Bates Motel for A&E, The Path for Hulu and Chicago Fire and Shades of Blue for NBC. In addition, he developed the upcoming dramas Emerald City and Midnight, Texas for NBC, Pure Genius for CBS and the Noami Watts starrer Gypsy for Netflix.

Prior to that, Rothberg served as VP Current Programming at Fox Broadcasting Co. where he oversaw such series as House, Bones, American Dad and The Sarah Connor Chronicles.