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Sarah Babineau VRP

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Sarah Babineau is the SVP of West Coast Original Programming and Development at Comedy Central.
 
In the Media:

Comedy Central Promotes Sarah Babineau to SVP, Original Programming  |  Variety  |  June 3, 2016

Comedy Central has named Sarah Baineau senior vice president, original programming, East Coast. Her promotion rounds out the senior development team of network president Kent Alterman, who rose to become head of Comedy Central last month. In her new role, Babineau will oversee the cable network’s East Coast development team as it looks to identify and develop talent for original programming.

“Sarah continually exceeds my expectations,” Alterman said in a statement. “Clearly I need to ask more of her.”

Babineau joined Comedy Central in 2014 as vice president of original programming. She played a key role in the launches of “The Daily Show With Trevor Noah” and “The Nightly Show With Larry Wilmore.” She serves as the network’s executive in charge of production on both shows, as well as “Inside Amy Schumer” and “Broad City.”

Babineau joined Comedy Central from Amazon, where she served as a development and programming executive from 2012. She previously worked at Alterman and Michael Aguilar’s production company Dos Tontos.

Her promotion follows an executive shakeup in May that saw longtime Comedy Central exec Michele Ganeless depart her position as network president, with programming chief Kent Alterman moving into the role.

Gary Mann VRP

Gary Mann

As Senior Vice President, Original Programming and Development for COMEDY CENTRAL, Gary Mann develops new series and serves as a current executive on scripted series, animation, sketch, variety, talk, panel and game shows.
Mann joined COMEDY CENTRAL in 2003, and during his tenure has put the network on the narrative map with the Emmy®-winning “The Sarah Silverman Program.” He also developed “Tosh.0,” the groundbreaking series featuring Daniel Tosh that has become one of the highest-rated programs in the history of COMEDY CENTRAL. The show has also steadily risen to become one of the most popular destinations across COMEDY CENTRAL Digital. In addition, Mann developed the series “Key & Peele,” “Review With Forrest MacNeil,” “The Burn with Jeff Ross,” “The Sports Show with Norm MacDonald” and “The Showbiz Show with David Spade.” He has also transitioned live shows from the COMEDY CENTRAL Stage into series for the network including “Naked Trucker,” “The Hollow Men,” “Crossballs,” and “Mind of Mencia.”

Prior to joining COMEDY CENTRAL, Mann was an independent producer with HBO Independent Productions where he developed shows with Dennis Miller, Jenji Kohan, and Danny Zuker and produced six one-person shows including those starring Greg Behrendt and Paul F. Tompkins that aired as HBO Specials.
While a producer of the Aspen Comedy Festival from 1997 – 2002, Mann created live show concepts such as “The Simpsons Live” with the cast of the hit FBC series, “This American Life ” with Ira Glass and supervised all facets of production for performances by writers and performers including Steve Martin, Sarah Jessica Parker, David Cross, Michael Patrick King, and Zach Galifianakis. During that time, Mann also served as Executive Producer at the HBO Workspace where he produced over 600 presentations of one person shows, sketch, variety, late night, game and talk shows.
Previously, Mann served as a producer on “Saturday Night Special” for FBC and producer for the Ace Award-winning “Full Frontal Comedy” at Showtime, where he gave Tenacious D (Jack Black & Kyle Gass) their television debut.
Mann began his career as a Producer on “Star Search,” where he helped launch the careers of Ray Romano, Kevin James, Dave Chappelle, Martin Lawrence and Brad Garrett and holds a B.A. degree from the State University of New York at Binghamton.
Twitter: (3,525 followers) https://twitter.com/therealgarymann
Filmography:
Hot Takes Executive Producer 2016
Review Executive in Charge 2014
Tosh.0 Executive in Charge 2009 – 2013
The Burn w/ Jeff Ross Executive in Charge 2013
Key and Peele Executive in Charge 2012
Sports Show w/ Norm Macdonald Executive Producer 2011
The Benson Interruption Executive Producer 2010
The Sarah Silverman Program Executive in Charge 2007 – 2010
The Jeff Dunham Show Executive in Charge 2009
Chocolate News Executive in Charge 2008
Back to Norm Executive in Charge 2005
The Hollow Men Executive in Charge 2005
What’s So Funny? Consulting Producer 1995
In the Media:

Comedy Central Ups Gary S. Mann To SVP Original Programming And Development  |  Deadline  |  Nov 12, 2012
Gary S. Mann has developed series like The Sarah Silverman Show, Tosh.0 and collaborated on Key & Peele, The Burn with Jeff Ross and the upcoming Review With Forrest MacNeil since joining the network in 2003. He is based in Santa Monica and reports to SVP Jim Sharp, Comedy Central‘s head of West Coast development. “I have done almost everything in my power to undermine Gary, but he has a sharply honed eye for talent and an uncanny ability to develop shows that are important to us,” said Kent Alterman, Head of Original Programming and Production, who made the announcement today. Mann will continue to oversee The Comedy Central Stage, the network develops live shows that sometimes transition to on-air series. Before Comedy Central, Mann worked at HBO Independent Productions.

Adam Londy VRP

 
 
Adam-Londy
 

Adam Londy serves as Vice President, Programming and Development at Comedy Central where he is responsible for developing series for the network as well as overseeing projects through production. Recent shows include BIG TIME IN HOLLYWOOD, FL, which was produced by Ben Stiller’s Red Hour Films, and WHY? WITH HANNIBAL BURESS. Adam currently has shows in development with outstanding creative talent such as Channing Tatum, Jack Black, Melissa McCarthy and Olivia Wilde.

He also develops and produces content for CC’s Snapchat Discover channel. A big part of his job is to stay abreast of up and coming comedic talent and covering comedy shows/events all over Los Angeles to find viable comedic properties and unique voices for the network.
Prior to joining Comedy Central, Adam had been working at Temple Hill Entertainment, the production company responsible for The Fault in Our Stars, Revenge on ABC, and the hugely successful Twilight franchise. He started at Temple Hill as an assistant to Marty Bowen and worked his way up to director of development and production, overseeing all aspects of development, production, and post-production for such films as 10 Years starring Channing Tatum and Tracers starring Taylor Lautner. Adam was responsible for all comedy development for the company’s first look deal at ABC Studios.
He started his career as an assistant in the television division of Creative Artists Agency, helping to package both scripted and non-scripted projects. He also worked as a development assistant for director/producer Luke Greenfield (The Girl Next Door, Role Models, and Let’s Be Cops).
Adam attended Chapman University in Orange, CA and received his B.A. in Film and Television with a minor in Advertising.
Filmography:
Tracers Co-Producer 2015
Why? With Hannibal Buress Executive in Charge 2015
Big Time in Hollywood, FL Executive in Charge 2015
10 Years Co-Producer 2011

IMDBprohttps://pro-labs.imdb.com/name/nm2173131/

In the Media:

Ben Stiller-Produced Scripted Half-Hour Picked Up to Series at Comedy Central  |  The Hollywood Reporter  |  Jan 10, 2014
Comedy Central is expanding its scripted offerings, picking up Ben Stiller-produced half-hour Big Time in Hollywood, FL to series.

The Viacom-owned cable network has ordered 10 episodes of the series from writer/executive producer/star Alex Anfanger.

The comedy, which was picked up to pilot in August, follows two delusional brothers/self-proclaimed filmmakers — portrayed by Anfanger and Lenny Jacobson — who are kicked out of their parents’ house and forced to fend for themselves for the first time, leading them on a journey in pursuit of the American dream. Kathy Baker, Stephen Tobolowsky and Jon Bass co-star.

Big Time hails from Stiller’s Red Hour banner and Brillstein Entertainment Partners. The series was written by Anfanger and Dan Schimpf, who both executive produce alongside Stiller, Debbie Liebling, Stuart Cornfeld and Mike Rosenstein as well as Brillstein’s Lee Kernis and Brian Stern. A premiere date has not yet been determined. Monika Zielinska and Adam Londy oversee for Comedy Central.

Anfanger and Schimpf, both NYU Tisch Arts graduates, met when they were paired as roommates in their freshman year and began collaborating on comedy shorts shortly afterward. Following graduation, they discovered a scripted reality show they found “overwhelmingly pointless,” and decided to write a series starring a vapid character in a high-stakes world without limits. That became web series Next Time on Lonny, which is in its second season and hails from Red Hour and Maker Studios. For his part, Anfanger also appears in The Secret Life of Walter Mitty, which was directed by and stars Stiller.

For Comedy Central, the Big Time order comes after Kent Alterman, president of content development and original programming, expressed his disappointment that the cabler didn’t broadcast more scripted series. “When I arrived, there was a batch of pilots just completed. We picked up Workaholics out of that batch, and I figured that would be the first of many. It’s been more difficult than I anticipated,” he told The Hollywood Reporter during a May interview.

Big Time marks the latest series in Red Hour’s arsenal. The production company also nabbed a series order at Comedy Central for stand-up comedy series Jonah and Kumail as well as IFC’s sketch comedy series The Birthday Boys, as the banner continues its push into television under Liebling. The company is developing a handful of projects, including a new take on Reality Bites for NBC and two entries set up at HBO.

In addition to Big Time, Comedy Central has ordered animated comedy Moonbeam City, from executive producer Rob Lowe. The weekly series was created and exec produced by Scott Gairdner (Conan) and Olive Bridge’s Will Gluck and Richard Schwartz. Rob Lowe will exec produce the series and lead its voice cast. The ’80s crime show parody series, also featuring Elizabeth Banks, Will Forte and Kate Mara, will debut in 2015.

Comedy Central Goes Big Time in Hollywood, FL  |  ComingSoon.net  |  Jan 10, 2014
Comedy Central announced today that it has greenlit 10 episodes of the weekly, half-hour scripted series, “Big Time in Hollywood, FL.” Produced by Red Hour and Brillstein Entertainment Partners, the new series is executive produced and written by Alex Anfanger and Dan Schimpf, along with Red Hour’s Ben Stiller, Debbie Liebling, Stuart Cornfeld and Mike Rosenstein, and Brillstein Entertainment Partners’ Lee Kernis and Brian Stern. Anfanger will also star in the series, along with Lenny Jacobson, Kathy Baker, Stephen Tobolowsky and Jon Bass. Schimpf directed the pilot.

“Ben, Alex and Dan have fulfilled my career-long dream of having a show based in Hollywood, FL,” said Alterman.

“‘Big Time’ combines the directorial style of Hitchcock, the acting prowess of Streep, the budget of House of Payne, and the nutritional value of Velveeta. I think people’s minds will be blown wide open. For real,” said Stiller.

“Big Time in Hollywood, FL” follows two delusional brothers and self-proclaimed filmmakers, played by Anfanger and Jacobson, who are kicked out of their parents’ house and forced to fend for themselves for the first time in their lives, leading them on an epic journey in pursuit of their American dream. Baker and Tobolowsky will co-star as the brothers’ parents. Monika Zielinska and Adam Londy are the Executives in Charge of Production for Comedy Central.

Anfanger and Schimpf, both NYU Tisch Arts 2008 graduates, met when they were randomly paired as roommates in their freshman year and immediately started collaborating on comedic shorts. After graduating, they stumbled upon a scripted reality show they found “overwhelmingly pointless,” and decided to write a show starring a vapid character in a high stakes world without limits. This became their hit web series “Next Time on Lonny,” which is soon to release its second season, produced by Red Hour and Maker Studios. Anfanger also appears in the feature film The Secret Life of Walter Mitty, directed by and starring Ben Stiller at Fox.

Wendi McLendon-Covey Teams With ‘The McCarthys’ Creator For ABC Hotel Comedy Based On Her Experiences

The 21st Annual Critics' Choice Awards - Arrivals

Years ago, Wendi McLendon-Covey was a floundering twentysomething working at what she has described as “a crappy hotel near Disneyland” where an old nightstand served as her desk, complete with a typewriter. Now The Goldbergs star will tap into her experiences for a comedy series project, which has landed at ABC with a script commitment plus significant penalty.

McLendon-Covey co-created and will co-write the single-camera comedy, tentatively titled Hospitality, with The McCarthys creator Brian Gallivan. In addition to The Goldbergs’ network, ABC, McLendon-Covey has teamed on the project with that series’ producers, Sony Pictures TV and studio-based Happy Madison.

gallivan

Based on McLendon-Covey’s experiences working at the third worst Ramada in Anaheim, the workplace comedy follows three women as they band together against a terrible new boss in the world of two-star hospitality.

McLendon-Covey and Gallivan executive produce with Happy Madison’s Doug Robinson and McLendon-Covey’s manager Gladys Gonzalez.

Over her parents’ objections to pursuing acting as a career, McLendon-Covey did that, leaving her hotel job behind. She rose to fame as one of the stars of Comedy Central’s Reno 911! and now stars on The Goldbergs, which recently kicked off its fourth season as ABC Wednesday comedy block’s new 8 PM anchor. She is repped by UTA, manager Gladys Gonzalez and attorney David Krintzman.

Gallivan also has 29, a single-camera comedy about three generations of women based on Adena Halpern’s book, set at NBC with Sony TV and Davis Entertainment. He is repped by UTA.

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It Feels Great to Successfully Call Out Sexism in Media (and Jonathan Franzen)

By

GOOD MORNING AMERICA – Chris Harrison of ABC’s “The Bachelorette” and writer Jennifer Weiner is a guest on “Good Morning America,” 5/19/15, airing on the ABC Television Network. (Photo by Fred Lee/ABC via Getty Images) Photo: Fred Lee/ABC via Getty Images

In 2010, New York Times best-selling author Jennifer Weiner famously used Twitter to shed light on the sexism surrounding the rave reviews of Jonathan Franzen’s Freedom. The following is an excerpt from her new memoir, Hungry Heart, where she describes using Twitter as a force for good. The book is out now.

*****

How about #Franzenfreude?
Tweeted August 2010

When my first book was published, in 2001, I had a modest set of aspirations. I wanted to go on a book tour, even if nobody showed up at my readings. I wanted to see the book for sale in stores, even if the only people who bought it were my friends. And I hoped for a review in the paper I’d read for my entire life, the New York Times.

The Times is the holy grail for most writers.* Being reviewed in the paper means you’ve really, truly made it—or at least, that’s how it felt to me. But even before I was a writer, back when I was just a reader, I knew that a book like mine wasn’t the paper’s normal fare. Music critics at the paper wrote about opera and Top 40; TV critics covered sitcoms as well as PBS’s twelve-part series on slavery; restaurant critics reviewed Per Se and the under-twenty-five-dollar-a-head ethnic eateries in the boroughs. Every day, in every section, the paper made an effort to be broad and inclusive, to recognize that its readers weren’t all rich or male or even New Yorkers. Then I’d open up the Sunday paper and a version of the Paris Review would land in my lap. The book critics mostly ignored popular fiction and stuck to capital-L Literature . . . unless they were reviewing the popular fiction that men read.

Just as galling as what looked, to me, like straight-up sexism was the paper’s church-and-state separation of its daily and Sunday critics. The daily people weren’t allowed to talk about what they were reviewing with their Book Review counterparts, which meant that you could read a mixed-to-positive review of a literary novel on Thursday, then a mixed-to-positive review of the same book, by a different critic, in the Sunday section.

In previous decades, a writer who disapproved of the Gray Lady’s policies would have had to content herself with muttering imprecations to her spouse, her mom, her friends, her dog. But in the brave new world of social media, that same writer could hit Twitter and broadcast her displeasure to the world.

I’d noticed the gender/genre divide for a while, and for years had blogged about what I’d seen in the Times—how many male writers were getting the hat trick of two reviews and a profile, how many women were seeing their books relegated to the Style section, how dismissive the paper was when it deigned to even mention chick lit, how lucky I felt when Good in Bed earned a few positive words in a Janet Maslin beach-book round-up, and that I was allowed to sneak my book into my wedding announcement. When Twitter came along, it became even easier to give assessments, almost in real time, of what the paper was doing or not doing—how there were three pieces on the new Nicholson Baker book, which would go on to sell fewer than ten thousand copies, but the only mention of the new Terry McMillan, which was in beach bags across the land, came in a snide reference in the Inside the List column, to her divorce; how the paper quoted or mentioned Gary Shteyngart more than eighty times in five years, and no female writer came close.

When the paper joined in the coronation of Jonathan Franzen in 2010, I shouldn’t have been surprised.

Franzen had emerged onto the cultural landscape in 1996, when he wrote an essay in Harper’s bemoaning the lowly position of the literary novelist in the world of ideas. Interspersed with his insistence that writers like him deserved to be more relevant were attacks on the long, long list of things he disliked. Franzen called bestsellers “vapid, predictable and badly written.” He attacked his peers, literary writers who put their e-mail addresses on their book flaps, as embarrassments. He complained that “our presidents, if they read fiction at all, read Louis L’Amour and Walter Mosley,” and even went after his own brother for failing to understand that Franzen’s work was “simply better” than Michael Crichton’s.

Then came Oprah. In 2001, she made Franzen’s dreams of relevance come true by choosing his third novel, The Corrections, for her popular TV book club. Franzen accepted her invitation, then spent the next two weeks trashing Oprah’s taste, denigrating her viewers, fretting that her sticker on his masterpiece would keep serious, male readers away, and generally acting like such a pretentious, elitist ingrate that even Harold Bloom came forward to condemn him. Oprah rescinded her invitation, with the frosty declaration that “it was never [her] intention to make anyone uncomfortable.” Franzen issued a few limp sorry-not-sorries, and the world moved on.

In 2010, Franzen was back with a new novel. Time magazine put him on its cover beneath the headline “Great American Novelist” (never mind that Time was among the long list of institutions Franzen had sneered at in his Harper’s essay). The New York Times wrote half a dozen stories in the run-up to Freedom’s publication, posting the first of two glowing reviews online days before the book’s release, profiling the author, then writing about the public’s feelings about Franzen, behaving as if its job was to sell the book, not cover it. Some female writers were less than amused. Jodi Picoult tweeted that she wasn’t surprised to see the Times lavish ink on “another white male literary darling,” and I wrote about how, even in a world where the Times typically gave the lion’s share of its attention to men, this seemed excessive. When Lizzie Skurnick, who wrote the Sunday Magazine’s “That Should Be a Word” column, tweeted to ask what to call the Franzenfrenzy, I was working on my own book at the Truro Public Library. I dashed off, “#Franzenfreude,” without first consulting the German-to-English dictionary that I don’t have, because I never studied German (it isn’t a language that Jewish families tend to urge their children to acquire).

It turned out, of course, that the “freude” part of “schadenfreude” means “joy.” It also turned out that, in spite of my very compelling hashtag, the Times was in no hurry to relinquish its unofficial duties as Franzen’s personal publicist. Instead of pulling back, the paper doubled down, running more stories about Freedom and Franzen, even dispatching a reporter to cover Franzen’s book-release party. Her breathless account of the evening—a list of the members of “literary Elysium” who attended, descriptions of the cut of the New Yorker book editor’s dress and the “high-ceilinged rooms awash in the romantic luster of the Colonial era”—concluded with the citizens of Elysium, including Franzen’s editor, Jonathan Galassi, and Salon book critic Laura Miller, lining up to take shots at the “detractors who’ve groused at his good fortune.” The whole thing ran beneath the completely objective, not at all biased headline “In This Galaxy, One Star Shines Brightest.”

It was gross. It was bad journalism. It was completely disingenuous of the Times to report on the “good fortune” of the bright star that it had been instrumental in creating. It was also not Franzen’s fault. He’d been a jerk about popular fiction, he’d been a dick to Oprah and her readers, he’d turned up his nose at the kind of attention and praise that most writers would have killed their own mothers, or at least hobbled their pets, for. But he was just the right kind of writer (white, male) in the right place (New York City) at the right time, with the right publisher (Farrar, Straus and Giroux) to enjoy the Times’ largesse. And the great good fortune didn’t end with the newspaper. Oprah, after years of preaching that women shouldn’t go back to men who’d hurt them, made Freedom a book-club pick and invited Franzen back to her show. Franzen managed to stop insulting her long enough to collect her endorsement, and the attendant hundreds of thousands of sales that her imprimatur guaranteed, before going back to his regularly scheduled Oprah-bashing. It looked like Status Quo 1, Jealous Grousing Detractors 0.

But, in the days and weeks after the Franzenfrenzy subsided, the social-media conversation continued to simmer—about whose books were getting reviewed, and where, and by whom, and with what language; about who were the “right” writers to drive the conversation, about whether change was necessary, about whether change was possible. People kept talking. Back then, their number included Franzen himself, who acknowledged that, yes indeed, women’s books were packaged differently, and treated differently, than books by men . . . and then people started counting.

At the very end of what felt like a very, very long summer, I was having dinner at the Wicked Oyster in Wellfleet when my phone pinged. About ten people, from my agent to my editor to my sister to my mom, were e-mailing the same link, asking “Did you see this?”

“This” turned out to be a story in Slate, where a reporter had actually gone through and counted up how many men and how many women the Times had reviewed in a just-shy-of-two-years period. The news for Times defenders was not good.

Of the 545 fiction books reviewed in the Times between June 29, 2008, and August 27, 2010, 338 were written by men (or  62 percent of the total) and 207 were written by women (or 38 percent of the total). Of the 101 fiction books that received two reviews in that period (one in the newspaper during the week and one in the weekend’s Book Review), 72 were written by men and 29 were written by women.

I remember sitting in the dining room and saying, loudly enough for the sunburned, red-pants-wearing diners at neighboring tables to turn and stare, “I told you so!”

The Slate count was only the first of the damning tallies. That year, an organization of women in the arts called VIDA started counting, not just at the Times, but at a range of high-end newspapers and magazines. Its first Count, which would become an annual event, appeared in 2011. The organization used pie charts to illustrate the problem. What they found was shocking, even to me. In 2010, the Atlantic reviewed books by 10 women and 33 men. Harper’s reviewed 21 women and 46 men. The New Yorker published articles and short stories by 163 women, 449 men. At the New York Review of Books, a whopping 88 percent—or 133 of 152 articles—were written by men. And in 2010 the New York Times Book Review reviewed 283 books by women, 584 books by men.

The numbers prompted stories and pointed headlines. “Few Female Bylines in Major Magazines,” from the Columbia Journalism Review. “Where Are the Women Writers?” in Mother Jones. “Voices Unheard: Female Bylines Still Lacking in Male-Dominated Literary Magazines” on Yahoo.com. Editors were called on to justify their pies. Some were defensive. Others were contrite. “It’s certainly been a concern for a long time among the editors here, but we’ve got to do better—it’s as simple and as stark as that,” said David Remnick of the New Yorker.

In the five years since Freedom was published, there’s been some improvement. In 2011, the Atlantic’s bylines were 28 percent female. In 2014, they were 40. The New Republic inched up from 23 to 27 percent. The New Yorker’s percentage rose from 30 to 33 percent, while Harper’s went from a dismal 23 percent to 32 percent. Best of all, from my perspective, the Times hired a (female) editor of the Book Review who seems to have effortlessly corrected its gender imbalance, and who launched a column called “The Shortlist,” which makes room, sometimes, for romance and popular fiction. Which would be great . . . if you didn’t know that the paper devotes regular columns to crime fiction and science fiction and horror, to YA and children’s books and even self-help, but still has no regular, dedicated space for romance or commercial women’s fiction.

So—baby steps. But also an example of how Twitter can at times be a force for good, a way to raise awareness, to point out a problem, to chart progress, and to cheer when things get better.

*And by “most writers,” I mean “in my head.”

From HUNGRY HEART: ADVENTURES IN LIFE, LOVE, AND WRITING by Jennifer Weiner. Copyright © 2016 by Jennifer Weiner, Inc. Reprinted by permission of Atria Books, a Division of Simon & Schuster, Inc.

David Brock: I will pay for ‘Apprentice’ tapes

David Brock, founder of the pro-Clinton PAC Correct the Record, is pictured.
Correct the Record put out a report emphasizing there’s no proof the server was hacked — but you can’t say the same for the federal government | AP Photo

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David Brock is volunteering to pay for the legal fees of any “Apprentice” producer or staff member who may have their hands on potentially damaging tapes of Donald Trump.

Mark Burnett, the television producer behind the reality series who is considered to be a friend of Trump, has warned staff he would not hesitate to sue them if they leaked footage from “The Apprentice,” according to BuzzFeed News.

Brock, the Hillary Clinton ally who runs a network of Democratic groups to help her campaign including Media Matters, responded simply “yes” via email when asked if he’d be willing to back someone financially or legally should they chose to release the tapes.

According to Chris Nee, an award-winning screenwriter and producer, a separate non-Apprentice related contract with Burnett said she would have to pay $5 million if she released footage.

“As a producer on seasons 1 & 2 of #theapprentice I assure you: when it comes to the #trumptapes there are far worse,” tweeted Bill Pruitt, a reality television producer who worked on “The Apprentice” wrote.

Hadas Gold is a reporter at Politico.

How Hillary Clinton Grappled With Bill Clinton’s Infidelity, and His Accusers

By MEGAN TWOHEY

Hillary Clinton was campaigning for her husband in January 1992 when she learned of the race’s newest flare-up: Gennifer Flowers had just released tapes of phone calls with Bill Clinton to back up her claim they had had an affair.

Other candidates had been driven out of races by accusations of infidelity. But now, at a cold, dark airfield in South Dakota, Mrs. Clinton was questioning campaign aides by phone and vowing to fight back on behalf of her husband.

“Who’s tracking down all the research on Gennifer?” she asked, according to a journalist traveling with her at the time.

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The enduring image of Mrs. Clinton from that campaign was a “60 Minutes” interview in which she told the country she was not blindly supporting her husband out of wifely duty. “I’m not sitting here, some little woman standing by my man like Tammy Wynette,” she said.

But stand by she did, holding any pain or doubts in check as the campaign battled to keep the Clintons’ political aspirations alive.

Last week, Donald J. Trump, the Republican presidential nominee, criticized Mrs. Clinton over Mr. Clinton’s affairs and her response to them, and said he might talk more about the issue in the final weeks before the election.

That could be a treacherous strategy for Mr. Trump, given his own past infidelity and questionable treatment of women. Many voters, particularly women, might see Mrs. Clinton being blamed for her husband’s conduct.

It could also remind voters of a searing period in American history, and in Mrs. Clinton’s life.

Confronting a spouse’s unfaithfulness is painful under any circumstance. For Mrs. Clinton, it happened repeatedly and in the most public of ways, unfolding at the dawn of the 24/7 news cycle, and later in impeachment proceedings that convulsed the nation.

Outwardly, she remained stoic and defiant, defending her husband while a progression of women and well-funded conservative operatives accused Mr. Clinton of behavior unbecoming the leader of the free world.

But privately, she embraced the Clinton campaign’s aggressive strategy of counterattack: Women who claimed to have had sexual encounters with Mr. Clinton would become targets of digging and discrediting — tactics that women’s rights advocates frequently denounce.

The campaign hired a private investigator with a bare-knuckles reputation who embarked on a mission, as he put it in a memo, to impugn Ms. Flowers’s “character and veracity until she is destroyed beyond all recognition.”

In a pattern that would later be repeated with other women, the investigator’s staff scoured Arkansas and beyond, collecting disparaging accounts from ex-boyfriends, employers and others who claimed to know Ms. Flowers, accounts that the campaign then disseminated to the news media.

By the time Mr. Clinton finally admitted to “sexual relations” with Ms. Flowers, years later, Clinton aides had used stories collected by the private investigator to brand her as a “bimbo” and a “pathological liar.”

Mrs. Clinton’s level of involvement in that effort, as described in interviews, internal campaign records and archives, is still the subject of debate. By some accounts, she gave the green light and was a motivating force; by others, her support was no more than tacit assent.

What is clear is that Mrs. Clinton was in a difficult spot. She was aware that her husband had cheated earlier in their marriage, but by her telling, she also believed him when he denied the accusations levied by Ms. Flowers and others.

Mickey Kantor, the chairman of Bill Clinton’s 1992 campaign, said that Mrs. Clinton wanted to separate fact from fiction and to size up the women making the claims.

“Let’s say the woman has some not-helpful things that she has done in the past,” Mr. Kantor said. “Wouldn’t you want to know that, and evaluate it?”

At the same time, a growing cadre of conservative groups and media outlets had begun focusing on the issue. Mrs. Clinton, those close to her said, viewed the attacks as a political crusade that demanded a stiff political response.

And that determination to fight back inspired others in the campaign to do the same.

“She’s the firefighter running to the fire,” Mr. Kantor said, “not away from it.”

Mrs. Clinton and her husband declined to be interviewed, and her campaign did not answer questions about her support of efforts to undermine the women. “The country closed the book on these matters close to 20 years ago, and there is nothing whatsoever new here,” her spokesman, Brian Fallon, said in a statement.

Her campaign also released statements from James Carville, Mr. Clinton’s top campaign strategist, and two lawyers who worked for Mr. Clinton, saying that Mrs. Clinton had not overseen the counterattacks.

“Those who took the lead in responding to those attacks at the time have plainly stated that Hillary Clinton did not direct their work,” Mr. Fallon said.

Neutralizing the Whispers

Four years after Gary Hart fled a presidential race amid speculation about an affair, every accusation of womanizing was viewed as a mortal threat to Mr. Clinton’s campaign.

Stanley Greenberg, a pollster for the campaign who had strategized with the Clintons in the fall of 1991 about how to handle the rumors of infidelity, recalled Mrs. Clinton’s acknowledgment that her husband had strayed.

“It was an uncomfortable meeting,” Mr. Greenberg said in an interview for an oral history of Mr. Clinton’s presidency conducted by the Miller Center at the University of Virginia. “I remember Hillary saying that, ‘obviously, if I could say no to this question, we would say no, and therefore, there is an issue.’”

Weeks later, their first taste of trouble came in a Penthouse magazine story by a rock groupie named Connie Hamzy, who claimed Mr. Clinton had once propositioned her at a hotel in Little Rock, Ark.

Mr. Clinton brushed off the story, saying that Ms. Hamzy had made a sexual advance toward him, George Stephanopoulos, the communications director of the 1992 campaign, recalled in his book, “All Too Human.”

But Mrs. Clinton demanded action.

“We have to destroy her story,” she said, according to Mr. Stephanopoulos.

In what became a common tactic, affidavits were collected, from an aide and two others who stated that they were with Mr. Clinton at the hotel and that Ms. Hamzy’s story was false. (Contacted recently, Ms. Hamzy said she stood by her account.)

When the work was done, both Clintons called Mr. Stephanopoulos, together, to offer their thanks.

An Explosive Accusation

The Gennifer Flowers story landed like a bomb weeks before the New Hampshire primary.

Ms. Flowers, a lounge singer and Arkansas state employee at the time, sold Star magazine her story claiming an affair with Mr. Clinton that had lasted more than 10 years.

In a meeting with aides, the Clintons scripted a unified defense that they delivered in the interview on “60 Minutes.”

With Mrs. Clinton nodding agreement, Mr. Clinton admitted to the TV audience to “causing pain in my marriage,” but denied an affair with Ms. Flowers. Mrs. Clinton professed sympathy for Ms. Flowers, saying she had been caught up in rumors through no fault of her own.

But at a news conference the next day, Ms. Flowers reasserted her claims, playing excerpts from her calls with Mr. Clinton. The two could be heard discussing the attention the rumors were getting, and she joked about his sexual talents.

Glimpsing the news conference in South Dakota, Mrs. Clinton directed an aide to get Mr. Clinton on the phone, Gail Sheehy, a journalist traveling with her, recalled in a recent interview.

“It was a reaction of no surprise, but immediate anger and action,” said Ms. Sheehy, who also described her observations in a Vanity Fair article that year. “Not anger at Bill, but at Flowers, the press and Republicans.”

Back on a plane that night, Mrs. Clinton told Ms. Sheehy that if she were to question Ms. Flowers in front of a jury, “I would crucify her.”

01/26/92: The Clintons
Video by CBS

Explaining His Behavior

Years later, Mrs. Clinton would say she had thought her husband had conquered his weakness in the late 1980s. The comment came in an interview with Talk magazine in 1999, after the Monica Lewinsky scandal nearly brought down his presidency.

In that interview, as well as in conversations around that time with a friend, Diane Blair, she explained her husband’s straying: It was rooted in his childhood, when he felt pressure to please two women — a mother and a grandmother — who battled over him; he was under great stress; she herself had not attended to his emotional needs.

“She thinks she was not smart enough, not sensitive enough, not free enough of her own concerns and struggles to realize the price he was paying,” Ms. Blair wrote in her notes of their talks.

And, in Mrs. Clinton’s eyes, her husband’s encounters with Ms. Lewinsky were “not sex within any real meaning,” she told Ms. Blair.

But in 1992, that unbending devotion to Mr. Clinton had an important effect. It had made a lasting impression on everyone around the couple, and helped keep the campaign from listing.

She did not falter, even when her aide, Richard Mintz, told her she would have to call Ms. Wynette, who had taken offense to the “60 Minutes” reference.

“Was this what she wanted to do? No,” Mr. Mintz said in an interview. “But she gathered herself together. She was composed and resilient.”

“It was the toughest week you could ever imagine.”

The Digging Begins

Weeks later, a small group of campaign aides, along with Mrs. Clinton, met at the governor’s mansion in Little Rock, and they made a pivotal decision: They would hire Jack Palladino, a private investigator known for tactics such as making surreptitious recordings and deploying attractive women to extract information.

An aide to the campaign, who declined to be publicly identified because the aide had not been authorized to speak for the Clintons, said Mrs. Clinton was among those who had discussed and approved the hiring, which shifted the campaign to a more aggressive posture.

Mr. Kantor, the campaign chairman, said he did not know whether Mrs. Clinton had specifically approved Mr. Palladino’s employment as the other aide recalled. But he said that she had seen a need for outside help.

“She believed we had to deal with the issue directly,” Mr. Kantor said.

Mr. Palladino, who did not respond to requests for an interview, reported to James Lyons, a lawyer working for the campaign. In a memo that he addressed to Mr. Lyons on March 30, Mr. Palladino proposed a full-court press on Ms. Flowers.

“Every acquaintance, employer, and past lover should be located and interviewed,” Mr. Palladino wrote. “She is now a shining icon — telling lies that so far have proved all benefit and no cost — for any other opportunist who may be considering making Clinton a target.”

Soon, Ms. Flowers heard from ex-boyfriends and others who said they had been contacted by a private investigator.

“They would say that he would try to manipulate them,” Ms. Flowers recalled, “or get them to say things like I was sexually active.”

Karen Steele, who had worked with Ms. Flowers at the Roy Clark Celebrity Theater in Branson, Mo., was among those who received a visit. “I remember I got questioned about brothers Gennifer and I once dated,” she said. “It wasn’t warm and fuzzy.”

Going on Offense

The information gathered by Mr. Palladino was given to Betsey Wright, a former chief of staff to Mr. Clinton in Arkansas who, with Mrs. Clinton’s support, was put in charge of dealing with accusations of infidelity.

“Betsey Wright was handling whatever those issues were,” Susan Thomases, a friend of the Clintons who had served in the campaign, told the oral history project. “And it had been very comfortable because Hillary had let her do it.”

Through Ms. Wright, the digging into Ms. Flowers and other women would be passed on to reporters.

Ms. Wright declined to be interviewed, saying in an email, “It is reprehensible that The New York Times is joining The National Enquirer and Donald Trump by dredging up irrelevant slime from the past.”

At the time, Ms. Wright boasted to The Washington Post of Mr. Palladino’s success in countering what she memorably called “bimbo eruptions,” and in defusing two dozen accusations of affairs, which she contended were false.

In the cover story of an issue of Penthouse in which Ms. Flowers posed nude — she would earn at least $500,000 selling her story to media outlets — Ms. Wright pushed allegations about her gathered by Mr. Palladino, including “résumé hype, attempted blackmail, manufacturing a self-styled 12-year affair with Clinton to salvage a flopola singing career.”

Ms. Wright read to the Penthouse reporter a statement, taken by Mr. Palladino, that “when the richest of her many lovers would not leave his wife, or come across with more money, she staged a suicide attempt with wine and Valium.”

Mrs. Clinton herself took aim at Ms. Flowers in a June 1992 appearance on “The Arsenio Hall Show” better remembered for Mr. Clinton’s saxophone playing. Mr. Hall asked Mrs. Clinton about Ms. Flowers: “You know what her problem is?”

“She’s got lots of problems,” Mrs. Clinton said.

Ms. Flowers denied the accusations about her, calling the suicide story, in particular, “false and cruel.”

Mr. Clinton later admitted, during a deposition in the Paula Jones sexual harassment case, that he had sex with Ms. Flowers once.

“You’ve got to believe that Hillary Clinton wanted to protect her husband and thought he was being unfairly charged,” Mr. Kantor said. “Does she know more today than she did then? Of course.”

Gloria Allred, a well-known women’s rights lawyer who was a convention delegate for Mrs. Clinton, said that digging up a woman’s sexual past was a classic shaming strategy.

“Most people are not nuns, and most people aren’t Girl Scouts,” Ms. Allred said. “That doesn’t mean they’re not telling the truth.”

Told of Mrs. Clinton’s support for hiring Mr. Palladino, she said, “If Hillary signed off on a private investigator, let’s call it a minus.” But she added, “It wouldn’t change my support for her because there are so many pluses for her, like her stance on abortion.”

“I’d like to hear from Hillary Clinton on the role she played.”

Mrs. Clinton’s campaign, asked about her role, released a statement from Mr. Lyons saying that Mrs. Clinton “was not involved in hiring” the private investigator. It also released a statement from Mr. Carville.

“Hillary wanted us to defend the governor against attacks,” Mr. Carville’s statement said, adding: “It’s just ridiculous to imagine that she was somehow directing our response operation. That was my job, not hers.”

A Lawsuit’s Heavy Toll

After Ms. Jones, an Arkansas state employee, accused Mr. Clinton in 1994 of having made an unwanted sexual advance, Mrs. Clinton begged Ms. Wright to “put a stop to it,” Ms. Wright recalled in Carl Bernstein’s book “A Woman in Charge.”

In a recent interview, Ms. Jones put it this way: “They sent out people to dig up trash on me.”

The Clintons saw Ms. Jones’s lawsuit in political terms; it was eventually bankrolled by the conservative Rutherford Institute, part of what Mrs. Clinton would call a “vast right-wing conspiracy” out to get the couple.

But it would take a great toll.

Before Mr. Clinton settled for $850,000, without making any admissions, Ms. Jones’s lawyers were able to ask him in a deposition about Ms. Lewinsky. His lying about their affair ultimately led to his impeachment on charges of perjury and obstruction of justice.

In her book “Living History,” Mrs. Clinton wrote that after Mr. Clinton admitted what had happened, she was left “feeling dumbfounded, heartbroken and outraged that I’d believed him.”

Friends wondered whether the marriage had reached its breaking point.

But weeks later, Mrs. Clinton told her friend Ms. Blair that “they’re connected in every way imaginable, she feels strongly about him and family and Chelsea and marriage, and she’s just got to try to work it through,” according to Ms. Blair’s personal writings, which her family gave to the University of Arkansas after her death in 2000.

While Mrs. Clinton considered the Lewinsky affair a “personal lapse” by her husband, she gave him credit for trying to break it off and manage someone who was a “narcissistic loony toon,” according to Ms. Blair’s papers.

Soon after, Mrs. Clinton expressed pleasure to her friend that she and her husband were able to drive “their adversaries totally nuts” because they did not appear to be suffering.

Ms. Blair wrote in that entry a direct quotation from Mrs. Clinton: “Most people in this town have no pain threshold.”

Brian Moylan VRP

 

 
 

Brian Moylan is a freelance writer and pop culture junkie who lives in New York. He is also a senior writer for Hollywood.com, Tubesteak columnist for VICE, and would call himself a bon vivant if that didn’t make him sound like he went to NYU. He did not. He has an honorary PhD in Jersey Shore Studies from the University of Chicago. His work has appeared on Gawker, NYMag.com, the Guardian, VMan, Man About Town, VH1, and probably a dirty magazine you are currently hiding under your mattress. He is a former staff writer for Gawker and currently married to his DVR. He often contributes recaps of “The Real Housewives…” series for Vulture.

New York Magazine Archivehttp://nymag.com/author/Brian%20Moylan/
Twitter (13.1K followers): https://twitter.com/BrianJMoylan
Medium (1,6K followers): https://medium.com/@brianjmoylan
In the Media:
A Fond Farewell to Brian Moylan On His Last Day  |  Gawker  |  March 3, 2102

Today is Brian Moylan’s last day here at Gawker. Brian is on to bigger and better things and though we will miss him dearly, we know he and his mustache will continue to rile up the Internet from wherever they go.

We bid you farewell, dearest Brian!

Hamilton Nolan: I have absolutely nothing in common with Brian Moylan. He is tall, I am short. He has a mustache, I do not. He likes to recap television shows that I do not watch. He likes to have sex with people of a different gender than I prefer. He does not like cheese. But the biggest difference of all took some time to discover: he is a much, much more friendly dude than me. Although Brian has a very well-cultivated reputation for public bitchiness, he is, in fact, one of the nicest people ever to grace the Gawker masthead. He even invited us all to his birthday party and gave away free porn. He has a heart as big as his mustache. Big, thick, and bushy.

Brian Moylan has heart that will never “shut up.” We will hear from him, forever, loudly.

Maureen: Brian Moylan taught me everything I know about the following topics: twincest, JWoww, poppers, Grindr, thruples, gift-wrapping, marauding drag queens, the correct pronunciation of “Biel,” Marc Jacobs’ love life, Calvin Klein’s love life, Nick Denton’s love life, affordable lunch options in SoHo, and the exact consistency of santorum.

Every time Brian walks into a room, he’s simultaneously the nastiest gossip and the guy with the most friends. It’s a remarkable feat pulled off by sheer force of charm: Brian Moylan, the most lovable hater in New York.

Leah: From day one, Brian took me on as his personal slave wingman. Together, we pored over Jersey Shore clips and stills to make the world’s best power point presentation, emptied Shutterstock to create immaculate works of Photoshopped art, and sifted through countless Grindr profiles…just ‘cause. Needless to say, dear BrianOhBrian is the silliest, loudest, and best seat-mate-to-the-left a lady could ask for. Thankfully, I have endless amounts of emailed porn (saved under BrianYikesStayOut) to remember him by. We will think of you Brian, when the wind howls across Soho and from the Gawker roof above there comes a single, perfect, “Hey Gurl.”

John: Brian Moylan will tell you to go fuck yourself with the most pleasant, polite, assured look on his mustachioed face. He is truly unflappable, and isn’t afraid to tell you what he thinks, which is one reason he is one of the internet’s most accomplished bomb-throwers. His honesty will be missed, as will his appreciation for my periodic imposition of the Liz Phair and Sleater-Kinney catalogues on my unsuspecting colleagues via the office stereo. What will not be missed is his insistence, against all logic, reason, and decorum, on wearing shorts to the office in the summer. Actually I will miss that too.

Max: In 2010, Brian Moylan was nice enough to invite me to his birthday party, even though we’d never spoken, and I’d only been working the night shift at Gawker for a few weeks. He was even nicer in person, at the party, which I barely remember: there were cupcakes baked inside ice cream cones, somehow, and a topless woman with a strap-on). Since then I’ve tried to live up to his remarkable ability to be an impeccably kind, open and loyal person, even while working at Gawker — if only because it seems easier to match him on that than on his unbelievably quick and funny blogging skills.

Emma: I do not know Brian Moylan very well, because I just got here, but I am so very grateful for how kind he was to me when I first arrived from the other side of the office. I will forever admire and hope to emulate his ability to casually break down social/cultural phenomena such as Jersey Shore’s Meatballs in just a few words, along with his willingness to go public with opinions as contentious as hating cheese. I also hope to have his mustache some day, because, well, duh.

Toder: When I first started at Gawker, an email from Brian was the worst possible way my day could go as it meant I would spend the next hour or so pulling between five and seven thousand clips from whatever show he was recapping that day. But then again, Brian was always unflinchingly polite when changing his mind halfway through so it wasn’t all bad. We didn’t really work together until Debi Mazar and her husband Gabriele Corcos taught him how to flip a pancakeand after that I learned just how great a guy Brian is – he’s warm and funny, full of an incredible number of ideas that are equally hilarious and insane. And his mustache is irreplaceable. Werk, Brian.

Why Bloodline’s Cancellation Hints at a New Phase for Netflix

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RIP. Photo: Saeed Adyani/Netflix

Netflix did something it’s rarely done in its four-year history of original programming Wednesday: It canceled a show. Bloodline, the Emmy-nominated thriller starring Kyle Chandler, will wrap up its run on the service following next May’s launch of season three. While not exactly shocking news — there’d been speculation the show’s future might be shaky for months — the demise of Bloodline is still a pretty big deal. Of Netflix’s dozens of original series, only two have previously seen their runs end prematurely, and neither of those programs (Hemlock Grove and Lilyhammer) was nearly as high profile. Ending an Emmy-nominated series with such prestigious auspices represents a turning point for a company whose story has, until now, been almost exclusively about adding things: subscribers, shows, awards. So why did Netflix, with its hundreds of millions in annual revenue, decide to pull the plug? Other than a statement praising the show’s cast and creators, the company isn’t talking. So Vulture decided to check in with some of our best industry sources to get a better sense of what might have happened, and what it could mean for Netflix. Here are four reasonable conclusions to be drawn from this week’s news:

Bloodline’s audience probably wasn’t big enough to justify its cost.
Netflix famously refuses to release viewership statistics for its series, making it impossible to do anything but speculate about how many of its subscribers have watched the first two seasons of Bloodline. There is no reliable data on how its audience size compares to, say, House of Cards or Unbreakable Kimmy Schmidt. And yet, we do know Netflix has been paying producer Sony Pictures Television a substantial sum of money for the series. As it does with many of its originals, the streaming giant covers the full cost to produce a show, then tacks on a substantial upfront premium — anywhere from 30 to 60 percent — to make up for the fact the studio can’t sell reruns to another network. The model means a studio such as Sony is guaranteed a profit in advance, but it also results in shows being much more expensive for Netflix compared to what an FX or HBO would pay. In the case of Bloodline, multiple sources tell Vulture Netflix was paying Sony somewhere between $7 million and $8.5 million per hour — or $70 million to $85 million for a ten-episode season. Spread out over the course of what will now be Bloodline’s 33-episode run, Netflix could end up investing in the neighborhood of a quarter-billion dollars on a show which, despite solid reviews and some Emmy nominations, never attracted the sort of buzz that a Stranger Things or Master of None achieved with just one season. This doesn’t mean plenty of Netflix subscribers didn’t watch and enjoy the show. (It also doesn’t mean they did; we just don’t have data.) But Netflix’s decision to end Bloodline next spring strongly suggests the streamer simply wasn’t seeing the sort of viewer engagement and enjoyment which would justify further investment in the asset, at least not at the price tag attached to the show.

Accolades (and buzz) matter.
In addition to cost and audience size, it’s worth noting that Bloodline never generated the sort of rapturous response you’d expect for a series with its, well, bloodline. Created by the producers behind FX’s acclaimed Damages and featuring a cast of acclaimed actors such as Chandler, Ben Mendelsohn, and Sissy Spacek, expectations ahead of its 2015 premiere were extraordinarily high. But while reviews for the first season were generally good, the show never broke though in a big way with Emmy or Golden Globes voters. And because the series is, by design, more of a slow-burn than an over-the-top soap (see: House of Cards), it didn’t lend itself to saturation coverage by entertainment news outlets (including Vulture). Nor, for that matter, was it the sort of meme magnet that so many Netflix shows are. This left Bloodline in something of a Netflix purgatory: not good enough to earn a place among TV’s best prestige dramas, not juicy enough to be a pop-culture hit. Had the show scored higher on either one of those fronts — and had it be a bit less expensive to make — we might not be talking about its shorter-than-expected lifespan.

It would be wrong to call Bloodline a failure.
The show’s producers made it clear in past interviews that they were hoping to spend multiple seasons with the Rayburns, so ending after just three is obviously not what was planned. And yet, Netflix didn’t just pull the plug on the show without warning: The decision was made far enough in advance for season three to be constructed as a last chapter, assuming that’s what the producers want. (There’s been no indication producer Sony will try to keep Bloodline alive at another network, or that such a move is even possible, but the studio does have a history of not accepting cancellations, and a Sony spokesperson did not respond to multiple requests for comment.) Thirty-three hours of TV is still a significant accomplishment, particularly for a show which, at its heart, is a non-flashy family drama. Unlike recently canceled shows, like HBO’s Vinyl and FX’s The Bastard Executioner, viewers won’t be left hanging mid-story. And in weird way, because Bloodline’s final episode tally will be a relatively trim 33 hours, Netflix subscribers who’ve thus far avoided checking out the show might be more willing to commit to a Bloodline binge-watch over the next few years. Remember, Netflix monetizes shows over a period of years, not months. Its much-hyped algorithm will continue to suggest the series to subscribers well into the next decade. Bloodline will keep finding an audience — and continue to be an asset for Netflix — long after its official run ends.

Netflix has entered a new phase in its history.
Over the past half-decade, Netflix has embarked on an almost unprecedented programming ramp-up, surging from just a couple of originals shows to literally dozens. There’s no indication the streamer is slowing down its green-lighting of new content, given the sometimes weekly announcements of new projects. But the Bloodline cancellation is the surest sign yet the company has started balancing its big spending with some strategic retreats. From 2013 to 2015, Netflix was still in the process of scaling up its originals library, and seemed reluctant to part ways with anything. The main goal was to simply get bigger, to see what kinds of shows clicked with subscribers, and to ensure there was something new arriving every week. But in recent months, industry insiders have sensed a disturbance in the streaming force. As one studio executive told Vulture last spring, “We’re having conversations now where Netflix is saying, ‘Wow, we really love that show. It feels too expensive.’” Those sorts of talks didn’t happen a year ago, and the move to cut bait with Bloodline indicates execs at the Los Gatos, California–based company have decided not every programming journey can have a happy ending.

This really isn’t all that surprising, particularly given another recent trend at Netflix: a slowdown in subscriber growth. During the second quarter of 2016, Netflix signed up 1.7 million new users — about half the number who joined during the similar time frame a year ago. Those results aren’t disastrous, and the company is still bringing in plenty of money (thanks in part to a hike in its monthly subscription fee). But with fewer people signing up, it seems entirely logical for Netflix to start tapping the brakes a bit on its previously unchecked program costs. Don’t be surprised if a couple other Netflix originals end their runs prematurely over the next six months.

Drunk History’s co-creator tells us about storytelling and getting Lin-Manuel Miranda drunk at his parents’ house


In the Comedy Central series Drunk History, a drunk comedian — gently guided by series co-creator and drinking buddy Derek Waters — tells a historical story, which in turn gets acted out with characters lip-syncing every one of the narrator’s sloshed words.

The whole thing started out in 2007 as a lowbudget YouTube sketch, with Mark Gagliardi telling the story of Alexander Hamilton and Aaron Burr’s deadly duel after he had downed a bottle of Scotch. Fast-forward nine years, and Waters is shepherding an Emmy-nominated show that’s about to premiere its fourth season of booze-soaked storytelling.

I recently caught up with Waters by phone to talk about how Drunk History is made, what makes a good drunken storyteller, and returning to a Hamilton story with Tony-winning musical creator Lin-Manuel Miranda in a way that brought something new to a story he’s now told a thousand times over.

This interview has been lightly edited and condensed for clarity.

Caroline Framke: You’re four seasons into Drunk History now, so you’ve clearly found ways to keep it interesting for yourself.

Derek Waters: Somehow!

CF: Was there anything you knew you definitely didn’t or did want to do going into this season?

DW: There were so many stories in the past three seasons that I kind of felt were forced in because we needed a third story for a city-themed episode. So I didn’t want that to happen at all this season. The purpose and goal [of Drunk History] is that every story is in because it’s an amazing story, and we’ll figure out a way to tie it in.

CF: Did the themes come first, or did you figure out the themes as the stories came up?

DW: This season, the stories came first and then we figured it out. “Oh, those were all escape stories, let’s do one called ‘Escapes.’ Those people were all legends, let’s do one called ‘Legends.’”

It was fun, and if we do it again, I’d definitely go with themes first and then find the stories, because, uh, this was pretty hard. But I’m so proud of the stories we found this season.

CF: What’s the process of choosing the stories? Is it collaborative, or do the participants come to you with the stories they want to tell?

DW: Sometimes I know they’ve always loved a story or a certain historical figure that I have researchers look into. Sometimes I just pitch them types of stories. Most of the narrators I know pretty well, so I know the types of stories they like, and then I present them with three or four stories that we’re definitely going to do this season and let them pick which one of those that they really attach to.

This year, we have a story about Ella Fitzgerald and Marilyn Monroe’s friendship. It’s really great, and when I pitched it to potential narrator Tymberlee Hill, she was like, “Oh, I know this story! I have a picture of Marilyn and Ella in my room!” Those are cool moments. I love that.

That’s the goal. Narrators have to be people who are passionate about the story and are dying for more people to hear it.

CF: So what makes someone a particularly good storyteller, outside of passion?

DW: It’s a mixture of a couple different things … a strong voice of their own, a confident demeanor, and likability. If you don’t like the narrator, you’re not gonna give a shit about the story.

They have to be comfortable on camera. [It shouldn’t be] their first time drinking, and they should be smart. Intelligent. It sounds simple, but telling the beginning, middle, and end of a story is hard for certain people, and then you multiply that by alcohol and it’s very difficult.

They deserve all the credit in the world. There’d be no show without them.

CF: Being a likable drunk is also so much harder than it sounds.

DW: It’s very hard! Hard to like someone who can’t make sense. But that’s what I like — you’re kind of rooting for these people. “Oh, they’re struggling, but they’re gonna get through this!” And they always do.

CF: You’re basically the moderator, too.

DW: Yeah! I guess I’m a drunk whisperer, in a way. Drinking with them and knowing what to say and what not to say. I’ve learned a lot of patience. A lot of patience.

CF: When do you know that someone is at the right level of drunk to tell a story? Are there any tells?

DW: There are a couple. The first one is repeating something that you heard, like, 10 minutes ago. I’ll say, “You told me that already,” and they’ll go, “No, I didn’t.” And then you go, “Okay, here we go.”

Also, the brain won’t allow, like … like a VCR, you have the fast-forward, rewind, stop, and rewind functions. When I say, “All right, what happened before that?” and they say, “Well, he was born in. …” The drunk brain has a very hard time going backward one chapter. It likes to go back to the beginning.

What’s another one I’ve never said? It’s weird, I can kind of just tell! [laughs] Usually it’s just their demeanor, the way they’re talking to me. At first it’s really nice, like, “It’s so great being on this show!” Then it becomes, “FUCK YOU, DEREK!”

And then when they stop caring about the camera, too. Every human being in front of a camera is going to be playing to it for a little bit, but once that stops happening, it’s good.

I don’t want anyone trying to be funny. I want the premise of the comedy to be how they’re telling this story.

CF: It’s always kind of interesting to watch the people who try to make jokes still, but it’s almost always funnier when they’re just telling the story and ridiculous things come out.

DW: Yeah. But if they’re bad jokes and I can make fun of them, I usually keep those in. [laughs]

CF: Can you tell me a little bit more about how the Hamilton episode came together? I know Lin-Manuel Miranda was really excited about it.

DW: It was really a gift. I had heard that he wanted to do it and was a fan. I reached out about the possibility of doing Hamilton, and it was hard because he knew we had already done one; it was the very first one we did online.

I also just didn’t want him to feel like, “Oh, it’s the drunk musical.” I wanted to reiterate that this would be a completely different thing, and that I would want him to tell stuff he didn’t get to tell in the musical, and that it would be a whole episode. One story for a half-hour is bold, so I wanted to make sure we did it in a delicate and smart way.

Because that’s what I want to find: great stories told by people who are passionate about them. There’s no one more passionate about Hamilton than that young man.

Hamilton
Lin-Manuel Miranda will be telling a drunken Hamilton story this season.

CF: Was it difficult to make sure you got weirder and more obscure details from him? He’s told that story so many times, so to fill a half-hour, how did you both try to tell a story that we hadn’t heard before?

DW: Well, I don’t think he’s ever told it publicly and while drinking. I guess I just tried to treat it similarly to the other stories, humanizing these people and conveying why we need to know about this story, what was important about it, what we can learn from it.

I just let it happen. My goal all the time is to make people feel as comfortable as possible. We shot it at his parents’ house, so, you know, there’s nothing more comfortable than getting drunk at your parents’ house while they’re upstairs listening to you drunkenly yell about Hamilton.

CF: Did you know already that Aubrey Plaza and Alia Shawkat were going to play Hamilton and Burr? How did that casting come about?

DW: That took a little time, because we wanted to do something as an homage to the musical but not doing it exactly, with mixed races for everybody. Bokeem Woodbine (Fargo) does play George Washington, which is cool.

We just thought, “Why can’t they be women?” And Alia and Aubrey are just two of my favorites. They’re the best.

I just wanted it to be heartfelt and have you believe these two are Hamilton and Burr. They did an amazing job. Their performances are unbelievable.

CF: What makes someone good at reenacting the stories?

DW: I learned this recently with Busy Philipps, who was just so good it was mind-blowing. I asked her, “How are you so good at this?” and she was just like, “It’s ADR” [voiceover work actors sometimes do to fill in sound gaps].

Being able to lip-sync along with the narrator’s persona and how they speak, too. It’s a real specific skill that possibly they didn’t even know they had until they did it.

Basically, someone who’s taking every word as if it were Shakespeare when it comes out as drunk rambling. The more dramatic, the better. Ridiculousness taken seriously.

There are so many things that go into this show that it could fail real quickly if we didn’t get the best of the best — behind the camera, in front of the camera, everywhere.

CF: Was there anyone this season that you wished you could get to play a character and then it actually happened?

DW: I always wanted Tony Hale to play Buster Keaton. He looks like him, and obviously he plays Buster in Arrested Development. But what he did with that was just unbelievable.

And then there’s a Charlie Chaplin in the Buster Keaton story, and I was like, “Man, it would be really cool to see Billie Joe Armstrong of Green Day play that part.” It turns out that he said yes, and revealed to me that he’s been researching Chaplin for the past year. He’s obsessed with him.

That’s the kind of thing where it’s like, I’m just part of this ride. It’s above and beyond where it’s gone, when I thought it was going to be some one-time thing.

Season four of Drunk History premieres September 27 at 10:30 pm on Comedy Central. Previous episodes are currently available to stream on Hulu.