Lisa Kudrow: ‘Gay Men Are Superior Beings In My Mind’

10/22/2014   Huffinton Post   By

EXCLUSIVE – Lisa Kudrow poses backstage at the Television Academy’s Creative Arts Emmy Awards at the Nokia Theater L.A. LIVE on Saturday, Aug. 16, 2014, in Los Angeles. (Photo by John Shearer/Invision for the Television Academy/AP Images)

“Friends” star Lisa Kudrow is a hot commodity once again thanks to the reprise of “The Comeback,” the comedy series which has long been a favorite of gay men.

In fact, gay fans have been among the most vocal proponents for the return of the show, which returns to HBO on Nov. 9 nine years after its original cancellation — and that hasn’t gone unnoticed by Kudrow.

“When ‘The Comeback’ first came out, I think that gay men were the only ones who were like, ‘Yes. I understand. I get it. It’s great, and I understand,'” the 51-year-old actress tells PrideSource’s Chris Azzopardi.

As to the inherent LGBT appeal of her character, D-list actress Valerie Cherish, she recalled an episode of “Will & Grace” in which “Karen’s at a theater and she throws her flask and it hits someone in the head, and there’s this joke that gay men wouldn’t care cause, ‘Eh, all in a day.’ … So I wonder if that’s what it is — because Valerie gets, you know, humiliated — or humiliates herself — all the time. And it’s like, ‘Yeah, well, that’s the world.'”

Although she notes that “the people I work with are gay,” Kudrow says her love of the gay community extends beyond the confines of Hollywood, too.

“I don’t know who I’m going to offend by leaving them out, but I need to say that I think gay men are superior beings in my mind,” she said. “The two sides of the brain communicate better than a straight man’s, and I think that has to be really important. They’re not women — they’re still men — and women also have thicker corpus callosums, so I think it’s the combination of those qualities that makes them like a superhuman to me.”

To read the full PrideSource interview with Lisa Kudrow, head here.

http://www.huffingtonpost.com/2014/10/22/lisa-kudrow-gay-fans_n_6029672.html

 

Q&A: Lisa Kudrow On Judging ‘Drag Race’ (As Valerie Cherish!) & Gays Being Biologically ‘Superhuman’

‘The Requirement For Women In Entertainment Is That She Turn Men On’

10/22/2014   Prode Source   By Chris Azzopardi

Ten years without our favorite cupcake-wearing gonzo, Valerie Cherish, is 10 years too long. But the wait’s over. You were heard.

A decade after “The Comeback” first premiered, the hilariously cringe-y HBO trailblazer that lasted just one season in 2005 – and starred Lisa Kudrow as Val, a D-lister reaching for (everything underneath) the stars – returns to the network with the “Friends” actress back as our beloved hot mess.

Lisa, you don’t know how tempting it is to say “hello” three times to you right now. How often do people quote Valerie in your presence? And how often are they gay men?

(Laughs) Frequently and frequently. You know who the next group is after gay men? College students.

Are you surprised by that?

I was surprised… until I got used to it! But it’s fantastic. That’s really thrilling, and then it struck me: “Well, of course! They grew up with ‘Housewives’ of everywhere, and people humiliating themselves on reality TV.” When “The Comeback” first came out, I think that gay men were the only ones who were like, “Yes. I understand. I get it. It’s great, and I understand.” (Laughs)

You know, those are the people I care about the most – the people who really loved the show. That was my only fear after it was all done. Doing it, writing it, shooting it, it was, “Yeah, this is right, this is right.” Then afterwards, “Uh oh, what if it’s not?”

When it comes to Valerie Cherish, what is it exactly about her that we gay men are so drawn to?

I’ve been asking myself that too – not cause it’s a mystery, but I wonder why. I was watching “Will & Grace” once and there was this hilarious episode where Karen’s at a theater and she throws her flask and it hits someone in the head, and there’s this joke that gay men wouldn’t care cause, “Eh, all in a day.” (Laughs) Getting, like, smacked with something is “all in a day.” So I wonder if that’s what it is – because Valerie gets, you know, humiliated – or humiliates herself – all the time. And it’s like, “Yeah, well, that’s the world.”

The other thing that I love about Valerie is, “All right, someone said something not nice, but you know what, can’t use that. Got this other thing I gotta do.” She just ignores that that happened and keeps going.

That’s what it is too: She perseveres.

Completely perseveres! You can agree with her goal or not, but she’s got it and nothing is getting in her way. There’s something admirable about that; there just is. Except, you know, she’s willing to put up with a lot.

When was it first apparent to you that gays were on board with “The Comeback”? Did you know instantly?

Yeah, pretty much. (“The Comeback” co-creator) Michael Patrick King said, “You understand how this will go: First it’s gonna be the gays, then the women, then everyone else.”

RuPaul makes a cameo in the pilot episode…

I know. Oh my god – so good!

This means that Valerie could appear as a guest judge on “RuPaul’s Drag Race,” right?

You know, I’ve been asked to, but I don’t know how Valerie works on a talk show or as a judge. I don’t know. I’m thinking about it. I’m trying to figure out how it works. I don’t wanna say no!

And you obviously shouldn’t. All I’m saying is that I see many opportunities for you to say, “Note to self: I don’t need to see that!”

(Laughs) But she could say all kinds of – I don’t know what we’re allowed to (say on “Drag Race”). I mean, she’s indelicate and gets things wrong and, you know, I don’t know how offensive she’s gonna be.

Valerie is surrounded by gays, and so much of your career has been gay adjacent. You did “Happy Endings.” You turned Meryl Streep into a gay conversion therapist for “Web Therapy.” And then, of course, there’s “The Comeback.” Are you as immersed in the gay community as your career would lead us to believe?

Yes and no. The people I work with are gay. I don’t know who I’m going to offend by leaving them out, but I need to say that I think gay men are superior beings in my mind. I do believe that.

I would love to hear why.

It’s all so tricky. I studied biology and the brains are anatomically different. They just are. There’s a stronger connection with the corpus callosum (in gay men). The two sides of the brain communicate better than a straight man’s, and I think that has to be really important. They’re not women – they’re still men – and women also have thicker corpus callosums, so I think it’s the combination of those qualities that makes them like a superhuman to me.

Even more apparent during this season of “The Comeback” is the inherent commentary on celebrity culture and age and gender discrimination. When it comes to ageism in the industry – the fact that there are so many talented older actresses not getting starring roles – what do you hope “The Comeback” accomplishes in spotlighting that issue?

I don’t know what to say about that. It’s something that just is. I think it’s gonna be a much longer process. I’m really not a revolutionary-type personality, you know what I mean? I’m not the activist type, but mmm, my god. I’m really bad at this – communicating this stuff. But we still… we still… (Laughs) Women still have a different place in our society, and it’s changing slowly but it’s still real slow. Because we’re so interested in the male audience more than the female audience, the requirement for women in entertainment is that she turn men on. That really hasn’t changed much.

That’s particularly the focus of the third episode when – spoiler alert – you simulate oral sex on Seth Rogen.

Right! And then you have the two (completely naked) girls standing there for an uncomfortably long time.

Did it feel uncomfortable for you on set?

Well, the girls seemed OK. But, you know, (it’s) always just about making sure everyone’s being treated with respect, right?

Have you ever experienced the ageism that Val experiences in your own career? Roles you didn’t get because of your age?

Not that I know of. I don’t know how to put it, but one of my biggest failings is that I accept things the way they are, and then I just try to adapt. I think it’s incredible people who say, “No, no. It doesn’t have to be this way though.” It’s like, “Oh. Well, wow.”

Have you worked with someone like Valerie Cherish?

Yes! These people exist. There were people who were like, “Oh, I think I know who this is,” and the answer is, “You don’t know who this is, because this isn’t one person.”

Did you have anyone in mind when you created the character?

No, not one person, because it’s an amalgam of people – men and women.

What do you have in common with Val?

Well, a lot. I think I do have a thing where, if something negative is happening and it’s not serving me, then I’m really not gonna let it in and address it because I gotta keep going. If something’s happening that’s negative I try to think, “What’s OK about this?” so that I don’t get distracted by having to do something about that.

Which is exactly a Val characteristic.

Right. And then it’s just exaggerated and heightened in her.

Could you ever imagine turning your own life into a reality show?

No. (Laughs) The closest I came was doing an episode of “Who Do You Think You Are?”

Do you watch reality shows? Are you a fan at all?

I do watch them. They’re so fascinating to me. I like “Top Chef,” “Project Runway” – still like that. I watch “America’s Next Top Model.” And then I watch the “Housewives.” I watch certain “Housewives” of places.

I am fascinated with the level of criticism young people can handle. I could not have handled it. I think I would’ve shriveled up in a ball, so on one level I really admire the Teflon part of them that’s able to say, “OK. Thank you. Good note.” I constantly try to work against that judgmental part of me, and it’s not (easy), especially when it’s the judgmental part that gives you your sense of humor.

And all this is research for “The Comeback,” of course.

Well, yeah, I can’t really say that. (Laughs) It’s not research, but I am fascinated. I also do have this other theory that, thanks to those “Housewives,” we finally do have a point of reference for how women behave. We need to. It can’t just be reasonable, good behavior, because that’s how we depict the downtrodden so that no one thinks we’re sexist or racist, so you end up with all of these subgroups in our society that have to be dull. They’re not allowed to have any flaws, otherwise whoever wrote (that depiction) is accused of having bad feelings about them. To me, that’s when things are finally OK – when everyone’s allowed to have flaws depicted in entertainment.

Mira Sorvino recently brought up a sequel to “Romy and Michele’s High School Reunion.” What are your thoughts on one, and do you think it’ll happen at this point?

I have no idea. Robin Schiff wrote and produced “Romy and Michele,” and we all did get together years ago with a great idea: “Romy and Michele Get Married.” And yeah, Disney wasn’t interested in it at the time. Now, I don’t know what it would be. My worry is, you know, wouldn’t it involve plastic surgery? (Laughs)

With a sequel like “Romy and Michele Get Married,” does that mean they end up being lesbian lovers because of the pact they made to marry each other in the original?

No, they’re not, but that’s always the other meaning. Because that’s the relationship. That is the relationship. But I think by now it’d have to be “Romy and Michele Get Divorced… Again.”

In the spirit of the meta show a la “The Comeback,” if you could play a version of yourself playing Phoebe from “Friends” years later, what would that character be like?

Well, I did play a version of myself playing Phoebe. (Laughs) Phoebe is a version of myself. Valerie’s a version. And Fiona Wallice (of “Web Therapy”) is a version. And, well, Michele Weinberger is not a version, I have to say. I don’t know. I have a feeling if Phoebe had to be revisited, she’d be closer to me.

Why do you say that?

I don’t know about you, but I don’t wanna see a woman my age saying “floopy,” trying to be cute. No, uh-uh. It’s too Baby Jane.

Say “hello hello hello” to Valerie Cherish when “The Comeback” premieres Nov. 9 on HBO.

Chris Azzopardi is the editor of Q Syndicate, the international LGBT wire service. Reach him via his website at http://www.chris-azzopardi.com.

 

http://www.pridesource.com/article.html?article=68569

 

Sarah Silverman transgender backlash

10/10/2014   Ronan Farrow Daily

VIDEO:

http://www.msnbc.com/ronan-farrow/watch/sarah-silverman-transgender-backlash-340241475788

Transgender people are some of the most marginalized people in the workplace. ACLU attorney Chase Strangio discusses the controversy surrounding an equal pay for women viral video released by Sarah Silverman and The National Women’s Law Center.

Netflix and HBO’s Recent Moves Set Stage for Quality Film to Rise Again (Guest Column)

10/21/2014   The Hollywood Reporter   by Ted Hope

Ted Hope

The indie producer-turned-CEO of Fandor argues that the revolution is now being streamed

Finally! The world has changed. Well, it actually changed quite a while ago but we’ve needed further verification before we accepted it with our own eyes, heart or experience. Sure, things shifted in the film business after 2008 but since we were getting our wallets stuffed, we buried our heads in the sand feeling we could ignore the flocks of canaries singing in the gold mine. Not anymore though!

Netflix producing features and crushing theatrical release windows was as inevitable as HBO cutting the chord. The film business should recognize these leaders for something far more impressive than any of their disruptive moves: they have unlocked and profited from the utility that has long lay dormant within cinema. It wasn’t who would become the other; it was would they each take the right lessons from each other’s business, and sure enough they have.

Now the real shakeout begins. We are witnessing the march from once lucrative legacy practices built around titles to a new focus on community. The rewards this time though won’t be just lucre, though; it will also be quality content. Our business has had to be that the audience wins.

Today’s necessity of targeting a specific audience is vastly different from yesterday’s habit of trying to sell to everyone. Similarly, correctly predicating your plays around abundance of competition instead of the past’s scarcity of content, leads to vastly different strategies. The abandonment of the middle ground in favor of the global appeal of tentpoles and family fare was but our industry’s first move to adjust to present realities. Netflix and HBO’s recent moves, though, give me hope that quality film will once again rise.

To me, 2000’s Crouching Tiger, Hidden Dragon was a sweet sounding wake-up bell: there are fans the world over for ambitious and diverse fare. My first company, Good Machine, made Ang Lee‘s first eight films, and no one initially believed in his Tiger, missing the message that global audiences Crouching Tiger 2 (which no Good Machinist has anything to do with) should be closer to an air raid siren for the rest of the film biz; there are more efficient ways to do our business than we have been doing. Yet, like any good farce, some of our so-called heroes will inevitably sleep through the entire ruckus. And many will mistake what should be a seductive dream come true as a total nightmare.

Hollywood has long coasted comfortably on one of the most arrogant business propositions ever: that we can get people to come to the movies. We ask people to change their behavior and break their routine. In a time of cultural scarcity, commercial inconvenience, and forty-hour workweeks perhaps that was an achievable aim. Now in our era of grand content abundance, with every home wired for every pleasure, when time is our scarcest commodity, why do we persist at such an antiquated and illogical practice? Maybe when it is a once a season event, but not when we can supply quality daily.

The missing cog in our entertainment ecosystem is aggregated community, one united by values, interests, and behaviors. Why aren’t we hard at work building them now? Doesn’t it make far greater sense to bring films to where the people are gathered and offer it to them where, when, and how they want it? But has common sense ever been the fuel that makes the magic? Isn’t it about time?

The irony of course is that both HBO and Netflix have used Hollywood’s own product to build community and thus a business with more consistent and predictable returns. On top of that, they each have mined that data to then produce their own content more suited for their members’ demonstrated taste. With such efficient machines there is no reason why they shouldn’t go after each identified revenue stream, whether it is HBO’s move to capture the non-cabled segment, or Netflix’s to capture a global audience’s interest in a title or star. HBO will now be getting more robust data via new digital native subscribers and Netflix will continue to grow its subscriber base due to their exclusive original content available in a first window position.

Common sense is reflected in actual data. The facts don’t lie – if you can ever find them, that is. The Internet first promised the availability of everything. That was soon enhanced with the access to everyone. If that wasn’t enough, those behind the curtain whispered of the marvels that the quantification of all that ever was or may be (otherwise known as big data) would soon reveal. To some these seemed like separate pies, but over in the valley to the north this trifecta is recognized as an incredible feast, one that needs not be movable because it blankets the globe. We are now witnessing what happens when these three propositions truly collide and mate.

Think about what a unique product cinema is. It releases a shared emotion response amongst strangers in the dark, legally. It compels us to talk about it afterwards. Films create empathy despite great chasms of difference.  Nothing else comes close to this, but we never have exploited this remarkable utility – but Netflix and HBO have built their business around it. While the traditional business gathers people to engage, to reveal themselves, so that they can upsell 15 cents worth of popcorn for six dollars, these streamers have created communities that pay then $10 – $15 a month whether they do anything or not.

It’s not that Netflix (or presumably all the other platforms that will follow it in its wake) has upset the lucrative windowing of content that is so disruptive. It is not that is is taking top titles and talent before Hollywood would that is the game-changer. It is that Netflix has built a better business on the back of entertainment than the rest of the film industry has ever imagined. It has used audiences’ tastes to predict their behaviors with a reasonable certainty and it is making a practice of giving them what they want, how they want, when they want, where they want. Once gathered, Netflix and its online brethren use cinema to help the audience reveal themselves even more. And yes, they are going to just keep getting better and better at it.

If the independent film business was an outsider industry dependent on the insider infrastructure to prosper, it only could because for decades the foreign sales model offered a predictive revenue stream allowing new content to be generated with little risk. Those predictive revenues allowed the independents to seemingly take greater risks on content and not simply chase sequels and established brands.

The independents thus were able to not only dominate the awards season year after year but also launch our director brands that now are one of the core sources of ambitious film. Independents lost this sure thing but the online platforms have built a better mousetrap in its place.  And guess who is delivering the most ambitious content as a result?

Our film industry no longer needs to tell everyone what we have in the false belief that since we built it they will come. We can now target specific audiences and go directly to them the world over. Netflix’s original cinema bets are made to appeal to the entire globe but really a globe netted together in an abundance of small clusters. We can now approach niches now on a grand scale, and that is going to fill many a new pocket in the process.

Our world generates far more content than our audiences can consume.  We have digitized our past to such an extent that we could watch nothing but five star films every night of the week without running out of selection until decades after our death. Outsiders have always been able to climb the Hollywood castle walls by delivering to underserved audiences, and these hungry hordes remain the world over.

The online cinema biz has learned where everyone is, learned exactly what they like, and got them to deliver a regular supply of cash. Did we really expect them to wait much longer to also make a business of giving the people what they want too? The online cinema biz has given us a business model where ambition and diversity can flourish, freed of the demand to diminish risk and all other costs. They are using diverse and ambitious content to build community and then giving that community what they want – whether they knew it or not.

I have only ever wanted to make great films. I realized early on that to do that I needed to be in the international sales business. There was a moment when it felt like having discovered many excellent directors and delivered good work on a consistent basis that was enough. Things change though. In order to make beautiful films, I think now I need to have a community of film lovers and makers united through a glorious collection of streaming cinema. It seems inevitable to me.

Ted Hope is the CEO of Fandor, the film aficionado’s subscription streaming service. He is the author of the recently published memoir/handbook/manifesto “Hope For Film” and maintains a film community blog of the same name, hopeforfilm.com. Hope, whose Twitter handle is @TedHope, has produced over seventy films, and helped launch the careers of many directors including Ang Lee, Alejandro Gonzalez Innaritu, Nicole Holofcener, James Gunn, Todd Solondz, and Hal Hartley.

 

http://www.hollywoodreporter.com/news/netflix-hbos-moves-set-stage-742234#sthash.REuHM3O2

 

TheWrap’s 2014 Innovators List: 11 Thought Leaders Who Are Changing Hollywood

10/1/2014   The Wrap

For our second annual list, TheWrap picks the most dynamic, risk-taking, out-of-the-box figures remaking our industry

YouTube networks, Google Glass films and marketing movies using the secret sharing app, Whisper. Welcome to the new Hollywood.

In our second annual Innovators List, TheWrap identifies the change agents who are thinking differently about the creation and distribution of entertainment.  We zeroed in on how some of the industry’s biggest stars are rewriting the rules of film and television production. Enjoy the list, watch the video inteviews… and be sure to catch our Innovators Panel at The Grill on October 7 in Beverly Hills.

 

Andrew Stalbow, Seriously CEO
In a mobile-dominated world, one-time Fox executive Andrew Stalbow is re-thinking how you launch successful entertainment franchises.  Hollywood’s playbook typically involves taking characters from the big screen, and then creating related games and merchandise. Stalbow, also formerly Executive Vice President of Strategic Partnerships at “Angry Birds” maker Rovio, believes in beginning with mobile games for iOS and Android devices. Seriously’s first franchise is “Best Fiends” and it has raised funding from well known investors, such as Upfront Ventures. – Jon Erlichman

 

Jeff Gaspin & Jon Klein, Co-Founders, TAPP
TAPP Chairman Gaspin (formerly of NBCUniversal) and CEO Klein (formerly of CNN and CBS) see a TV future ruled by subscription channels.  The two long-time friends launched TAPP (short for “TV App”) as a subscription-based, online video platform for big personalities such as Sarah Palin.  For $9.95 a month, Sarah Palin Channel subscribers get to watch the former Alaska Governor and GOP VP nominee discuss everything from Obamacare to her “award winning BBQ salmon recipe.”  TAPP’s backers include Discovery Communications and Google’s Eric Schmidt.  While it’s not yet clear how many people will pay $9.95 a month for such programming, TAPP is targeting a range of personalities in categories like sports, politics, religion, entertainment and fashion. – Jon Erlichman

Angelina Jolie, Actress-Director-Philanthropist
The latest phase of Angelina Jolie‘s ongoing metamorphosis may be her most impressive yet: In addition to being a globe-trotting activist, busy mother of six young kids, Oscar-winning actress and perpetual tabloid magnet, the 39-year-old is also the filmmaker behind one of the most highly anticipated films of the season. Early glimpses of “Unbroken,” an historical drama based on the life of war hero and Olympian Louis Zamperini, look equal parts gorgeous and harrowing, with a supreme lead performance out of soon-to-be breakout actor Jack O’Connell. Jolie will be credited for getting the best possible work out of the young Brit, and it’s likely that she’ll get an equally strong performance out of her now-husband, Brad Pitt, in her next directorial effort, “By the Sea.”

An industry unto herself, Jolie is blazing a trail for female talent while reaching deeper for her artistic voice, a seemingly impossible task under the constant spotlight that shines down on her. – Jordan Zakarin

 

Sev Ohanian, Indie Producer
Sev Ohanian made a name for himself producing the indie hit “Fruitvale Station.” And his unique approach to movie-making makes him an innovator. His first feature, “My Big Fat Armenian Film,” was shot on his dad’s home video camera and promoted on YouTube.  The film’s profits helped pay for his film school training at the University of Southern California’s School of Cinematic Arts (where he’s now an adjunct professor). In 2013, USC was part of a group of film schools that teamed up with Google Glass to see how the technology could be used in movies. The Ohanian-produced “SEEDS” was an instant hit and has been viewed nearly 2.5 million times (Watch it here!). “When new technology comes around, it’s best for everyone to embrace it and truly make it work for your story,” he tells The Wrap. Ohanian is currently working with a major studio on a small feature film to be distributed online.  He’s also talking with Google about ways to make more films with Google Glass. – Jon Erlichman

Jimmy Fallon, ‘Tonight Show’ Host
“Saturday Night Live” alum Jimmy Fallon didn’t go halfway when it came to making “The Tonight Show” his own after he inherited it from Jay Leno last year. Taking full advantage of the chops he had developed on “SNL” and “Late Night,” Fallon has gone beyond the traditional “Tonight Show” hosting duties of dishing out monologues and interviewing guests — his ability to mimic musical icons, develop bizarre stunts and slow-jam the news has led to a treasure trove of viral video moments and brought the  decades-old late-night institution into this century. Suddenly, Leno’s “Jaywalking” and “Headlines” segments seemed positively quaint by comparison. – Tim Kenneally

 

Ze Frank, President, BuzzFeed Motion Pictures
BuzzFeed has moved light years beyond cute cats.  The social news and entertainment company, which says it reaches more than 150 million monthly unique visitors (and caught Disney’s eye) is making a big push in Hollywood. BuzzFeed hired vlogging pioneer Frank in 2012 to lead its video efforts.  In August, BuzzFeed announced an infusion of $50 million in new financing led by the venture firm Andreessen Horowitz to expand its video operations, which have been rebranded as BuzzFeed Motion Pictures.  Frank is leading the unit as President, with help from Hollywood producer Michael Shamberg (“Pulp Fiction”) and comedian Jordan Peele (“Key & Peele”). The company has said BuzzFeed Motion Pictures will “focus on all moving images from a GIF to feature film and everything in between.” – Jon Erlichman

 

Beatriz Acevedo, Founder & President, MiTu Network
By now, you’ve heard about the dramatic rise of multi-channel networks, also known as MCNs. Disney’s acquisition of Maker Studios and Dreamworks Animation’s purchase of AwesomenessTV have brought a new level of credibility to YouTube channels and their stars.  Like Maker and Awesomeness, MiTu is an MCN, but one focused on programming for Latino audiences. TV industry veteran Beatriz Acevedo founded MiTu in 2012, along with her partners Doug Greiff and Roy Burstin.  The company says its videos have generated more than 6 billion views.  MiTu, which recently partnered with Maker, is also seeking to build on its YouTube audience.  It inked a licensing deal with AOL and teamed up with HLN on a late-night show inspired by MiTu’s “El Show w/ Chuey Martinez.” The company recently raised $10 million in funding, led by Upfront Ventures, an original investor in Maker. Other MiTu investors include the Chernin Group, Machinima co-founder Allen DeBevoise and Shari Redstone’s Advancit Capital.  — Jon Erlichman

Michael Heyward, CEO & Co-Founder, Whisper
Whisper is one of LA’s standout startups.  According to the company, the secret sharing app generates more than 6 billion page views per month. Los Angeles native Michael Heyward (son of  ”Inspector Gadget” creator Andy Heyward) co-founded Whisper with Brad Books in 2012.  With the hiring of former Gawker staffer Neetzan Zimmerman and a BuzzFeed partnership, Whisper posts are getting widespread attention outside of the app.  And Hollywood is taking notice. Paramount has a marketing partnership with Whisper for the upcoming film, “Men, Women and Children.” Other Whisper entertainment partners include Hulu, Universal, MTV and VH1. – Jon Erlichman

 

Cody Simms, Managing Director, Techstars
The Disney Accelerator aims to bridge the gap between Hollywood and Silicon Valley. In its inaugural year, the program brings together entrepreneurs, mentors, creatives, investors and technologists to support the next generation of entertainment innovators. Operated by Cody Simms at Techstars, the accelerator provides 10 startup companies $120,000 and 15 weeks to advance their consumer entertainment and media products. During that time, the entrepreneurs receive access to stories, resources and relationships from across the Walt Disney Company with the goal of presenting to media and investors at an industry demo day. – Gina Hall

Lisa Kudrow & Dan Bucatinsky, Is Or Isn’t Entertainment
Emmy-winning actors Lisa Kudrow and Dan Bucatinsky formed their production company, Is Or Isn’t Entertainment, in 2003. The duo produced the online series, “Web Therapy.” It would live online for four seasons and get picked up by Showtime later, with a fourth season slated to premiere on the premium cable channel on Oct. 22. It continued online in the meantime and wrapped its fifth season this past February. Additionally, the company produced genealogy show “Who Do You Think You Are?,” which aired on NBC for three seasons, was canceled and then revived on TLC in 2013. And “The Comeback,” which was canceled by HBO after one season, returns this November nine years later for Season 2. The return season will explore the changes in the TV landscape over the last near-decade with Kudrow’s Valerie Cherish, which the producers know much about. Whether it’s broadcast, cable, or digital, Is Or Isn’t operates under the assumption that good content can exist in any platform and has made their projects an example of this.– Jethro Nededog
Jake Schwartz, CEO & Co-Founder, General Assembly
The skill set for success in Hollywood is changing.  Enter Jake Schwartz. The New York-based entrepreneur co-founded General Assembly in 2011 to help techies and non-techies alike beef up their training, offering courses on everything from iOS app development and UX design to digital marketing and data science. Along with online courses, General Assembly’s global footprint is growing quickly.  It has classes in more than a half dozen U.S. cities, as well as campuses in London, Hong Kong, Sydney and Melbourne.  GA, which already has a presence in Santa Monica, will be opening another campus in downtown LA later this year.  – Jon Erlichman
http://www.thewrap.com/thewraps-2014-innovators-list-11-thought-leaders-who-are-changing-hollywood/

‘Biggest Loser’ Trainer Jillian Michaels Clarifies Comments About Being Uncomfortable With ‘the Gay Thing’

10/20/2014    By

‘Biggest Loser’ Trainer Jillian Michaels Clarifies Comments About Being Uncomfortable With ‘the Gay Thing’

Though she’s best known for whipping overweight Biggest Loser contestants into shape, Jillian Michaels (pictured above with her partner Heidi and their children) raised eyebrows last week after expressing that she wasn’t entirely comfortable with being open about her sexuality.

“Look, I wish I had some strapping football player husband,” she admitted in an interview with Health, explaining that she sometimes introduced her wife Heidi Rhoades as ‘her friend.’ “It would be such a dream to be “normal” like that, but I’m just not.”

Over the weekend Michaels reached out to People magazine in an attempt to clarify her statements which she felt members of the LGBT community had simply “misunderstood.”

“I attempted to shed light on how hard and scary it can be to be out,” Michaels told People. “That gay families get attacked and even small daily interactions involve others being ‘shocked and disturbed’ by the gay lifestyle.”

“I was saying if along the way in my life that had been a choice I would have made it, but it’s not who I am. Gay is not a choice. If I was ashamed of who I am, I would be in the closet. Considering my family was on the cover of PEOPLE magazine, I think I’m pretty far from that.”

 

 

http://www.towleroad.com/2014/10/jillian-michaels-attempts-to-backpedal-on-comments-about-the-gay-thing.html?onswipe_redirect=no&oswrr=1

 

MIPCOM: Drama Dominates While Reality Grows Stale

10/16/2014   The Hollywood Reporter   by Rhonda Richford, Scott Roxborough

‘How to Get Away With Murder

“There are no game-changers” as reality retreats from the market and online platforms grow

Drama was hot, reality was, well, not and, if there was ever any doubt, the digital revolution has arrived. Those were some of the main takeaways from this year’s MIPCOM, the international TV market that wraps Friday in Cannes.

Personality of the year award recipient Simon Cowell was honored for the ways he changed both television and music — and reinvented the non-scripted formats genre that has populated programming schedules and been a mainstay at MIPCOM for a decade. Inside the Palais, the mood was a bit more somber for reality buyers.

“We’re all looking for next big thing, but aren’t finding it,” said Annette Romer, TV2 Denmark’s head of acquisitions and formats, at Wednesday’s formats panel. “All the shows that have launched this year are derivative. There are no game-changers.”

All the attention was on high-end drama, with very few sitcoms, procedurals or soaps to be found. During his super-sized session, director Morgan Spurlock credited the rise of serious fiction for making non-scripted fare look rather cheap, calling out copy-cats like Fox’s Utopia for not challenging viewers.

A+E Networks had a very busy market selling their made-for-TV film fare widely across Europe, but executive vp international Sean Cohan believes viewers’ desire for mid-range shows is being ignored. “With this scripted move that everyone’s making, including viewers, there’s a taste for the crème de la crème that a lot of us are chasing, but there’s still a taste for the procedural, and that’s not being served by the industry,” he said.

“It’s all downers with stars,” noted one veteran European buyer on the abundance of big names attached to mostly earnest series.

Indeed, the dramatic phenom was everywhere to be seen, whether on network shows like ABC’s How to Get Away With Murder, Fox’s mystery series Wayward Pines and NBC’s period thriller Aquarius, or cable and online-only fare such as AMC’s upcoming Breaking Bad prequel Better Call Saul and Netflix’s period drama Marco Polo.

“Every channel is looking for a channel-defining drama show,” said Jan Mojto, head of production and sales group Beta Cinema, who produce Netflix series Borgia and have boarded Tom Tykwer‘s 1920s crime drama Babylon Berlin.

“There is always going to be a business for reality television,” said Masterchef judge Joe Bastianich, who used MIPCOM to launch his new TV production shingle. But with many U.S networks pulling back or out of reality TV, he admitted there has been “an evolution in the category. People like us who are either participating in or creating reality formats have to up our game to stay relevant.”

Staying relevant was also the catchphrase for broadcast networks, who found themselves on the wrong side of the cool-o-meter as online services and MCNs bragged about their rapid growth rates and massive (and young) audience base. Spurlock and former YouTube southeast Asia head of content Amit Agrawal all touted short-form video as the future.

What these new masters of the universe — like Charles Zhang of China’s Sohu.com, or Maker Studios CEO Ynon Kreiz — neglected to mention is that their revenue per user is often miniscule and far behind that of traditional TV. Spurlock touted his upcoming Smartish network, calling short form “more lucrative” for filmmakers, but of course that’s backed by Disney dollars.

Still, new mobile and online deals were the buzz of the bunker. Carriage deals for established channels across new platforms were one of the biggest growth areas at the market. This year was a ” beta version” of connecting channels and platforms, a program that MIPCOM will grow next year, said director of television Laurine Garaude of conference organizer Reed Midem. “We’re looking at developing that as more of a market. There are more platforms being created all the time and many more opportunities,” she said. The platforms with deep pockets nearly doubled this year to 200 at the market.

Chinese platforms were snapping up international content — their delegation topped 100 companies, including everything from regional television and movie channels to online goliaths Sohu.com and YoukuTudou.

“We felt strongly during this show that the technology questions were less the topic and it is really getting the content on all of the platforms,” said Garaude. “There’s much less anxiety about technology. Everyone’s embracing it. It’s part of the overall picture now.”

While the windowing question remains to be answered as viewers seemingly unquenchable thirst for content expands to all devices, buyers are doing more business around it.

Anne Sweeney, outgoing president of the Disney–ABC Television Group, argued that old-school linear TV still has its place. She said hit shows like Shonda RhimesScandal and How to Get Away With Murder have become the drama equivalent of live sports, as fans avoid time-shifting in order to watch — and tweet — about their favorite shows together.

It’s ironic, then, that Sweeney herself, who is stepping down to pursue a career as a TV director, appears to be following the advice of Sohu.com’s Zhang. In his keynote to industry execs at MIPCOM, the Chinese Internet entrepreneur said that instead of trying to compete with online video companies, broadcasters should “jump to the right side of history” by quitting their jobs and making content themselves.

 

http://www.hollywoodreporter.com/news/mipcom-drama-dominates-reality-grows-741303#sthash.UG4ePpql

 

The Stream Finally Cracks the Dam of Cable TV

10/19/2014   The New York Times   by

The last time I wrote about the traditional cable bundle — which has been so lucrative to networks like CBS and HBO — I warned that change comes very slowly, but then happens all at once.

This is the all-at-once part. Last week was pretty big for television, one in which not just a cable channel, but a broadcast one as well, jumped onto the streaming bandwagon with both feet. We all knew it was coming, but not this fast. The future, as it always does, sets its own schedule.

And Netflix is the necessary figure in what will come to be seen as the year that television staged a jailbreak. Yes, Netflix, which was supposed to lay waste to traditional media companies, may have saved them instead.

Reed Hastings has led Netflix into the future.

True, Netflix’s earnings took a beating last week, partly because it missed estimates and partly because, well, it now has company. But its bet on streaming has never looked smarter.

Netflix pointed a way forward by not only establishing that programming could be reliably delivered over the web, but showing that consumers were more than ready to make the leap. The reaction of the incumbents has been fascinating to behold.

Richard Plepler, the chief of HBO.

As a reporter, I watched as newspapers, books and music all got hammered after refusing to acknowledge new competition and new consumption habits. They fortified their defenses, doubled down on legacy approaches and covered their eyes, hoping the barbarians would recede. That didn’t end up being a good idea.

Television, partly because its files are so much larger and tougher to download, was insulated for a time, and had the benefit of having seen what happens when you sit still — you get run over.

Instead, traditional television is morphing in nontraditional ways. Last week, Richard Plepler of HBO and Leslie Moonves of CBS both announced streaming services that would bypass established distribution systems. Suddenly, two fairly traditional media executives, sitting on top of lucrative companies, were adopting the tools of the insurgency and augmenting their current business models with ones that leave the bundle behind.

For any legacy business under threat of disruption, the challenge is to get from one room — the one with the tried and true profitable approach — to another, where consumers are headed and innovators are setting up shop. To get there, you have to enter a long, dark hallway, a scary place.

I had always thought that HBO would hold hands in the hallway with existing cable providers and offer an over-the-web product that they would jointly sell on broadband. There will be some of that, but HBO’s programming will also show up on Xboxes and as a part of stand-alone offerings. HBO’s move is motivated partly by global considerations. Right now, HBO has licensing deals all over the world and a complicated set of arrangements with an array of cable systems. An Internet product will be lower priced while also letting HBO develop a direct relationship with consumers. And in sidestepping cable in some instances, HBO — likewise CBS — will have its hands on precious viewer data, an asset Netflix has used to lucrative ends.

The strategy has its risks. In 2012, HBO announced that it would offer a streaming-only service in Denmark, Finland, Norway and Sweden, partly to complicate Netflix’s entry into the market. But the product was delayed, then disappointed customers when it started. And here in the United States, those of us who piled online to watch the finale of “True Detective” on HBO Go received a “fatal error” message instead. Delivering high-definition video online is complicated — a different skill set than making must-see programming.

VIDEO:

Molly Wood reviews new devices from Roku and TiVo that offer Internet-enabled alternatives to costly cable TV plans.

http://nyti.ms/1qz5gra

But those early kinks seemed to have been ironed out, and Mr. Plepler of HBO surprised many, including me, when he announced Wednesday morning during an investor meeting for its parent company, Time Warner, that sometime in 2015, the network would christen a stand-alone Internet-based service.

“It is time to remove all barriers to those who want HBO,” he said.

Just in case people didn’t get the message, he later added, “This is the most exciting inflection point in the history of HBO.”

Reed Hastings, the chief executive of Netflix, who in the past has delighted in tweaking the network, responded in unexpectedly respectful fashion, another sign that the dividing line between insurgent and incumbents is increasingly becoming meaningless.

“The competition will drive us both to be better,” he wrote in a letter to investors. “It was inevitable and sensible that they would eventually offer their service as a stand-alone application.”

Consider the advantages. In addition to meeting a cohort of young consumers in the place and manner in which they watch, programmers will gain leverage in negotiations with distributors. With more than one route to the ocean (of consumers), HBO and CBS will be less exposed should Comcast manage to consolidate much of the video ecosystem. And the next time CBS fights with a cable system, it can do more than take out full-page ads to complain — it can tell consumers to use its cheap, $6-a-month service to get its must-see shows.

Leslie Moonves, chief of CBS.

If another service like Aereo comes along offering recorded broadcast programming over the web, CBS can say, by the way, we are already in that business. (It’s worth pointing out that HBO announced its streaming service with few specifics — the details, of which there are many, remained to be worked out — while CBS has a product you can buy right now.)

Mr. Plepler was plain-spoken about how going beyond cable strengthened his company’s hand: Just the threat “gives us added leverage,” he told investors. He was mostly addressing the broader international market, but HBO’s increased independence will also prove valuable in negotiations over revenue splits or efforts to wrangle better bundling arrangements. As Peter Kafka of Recode pointed out, ESPN is seeking a similar advantage by making its programing available with a low-cost online service from Dish Network. (Of course, most cable channels lack the profile to live outside the bundle, and the moves by HBO and ESPN might hurt them in the long run.)

Comcast, always a step ahead, has been working for years to decrease its reliance on a strictly cable model and forge a big footprint in the broadband services that will carry the new unbundled initiatives. That’s part of the theory of scale and ubiquity: Everywhere you turn, there we are.

Given Comcast’s ambitions, no media company will completely outrun it, but it’s now apparent that there are other ways to reach audiences.

If, in a few years, cable and broadcast programmers — many will follow the examples of CBS and HBO — are still thriving in a vastly changed entertainment landscape, they may have to send Netflix a thank-you note.

In addition to funneling cash to legacy media providers by paying close to $3 billion for their programming, Netflix has schooled them on the way forward by challenging their business model without tipping it over.

It makes sense; after all, Netflix famously disrupted itself by moving away from DVD rentals and tackling streaming with a vengeance. There’s an upside for Netflix as well. As older media companies invest in streaming, they may begin to see net neutrality and better Internet infrastructure as more than just something Netflix should worry about.

It will be a while before the smoke clears from the current upheaval, with mergers, new players and the diversification of platforms. But with each passing day, it is becoming clear that content is not just a commodity — it is precious and valuable — and distribution is up for grabs.

http://www.nytimes.com/2014/10/20/business/media/the-stream-finally-cracks-the-dam-of-cable-tv-.html?emc=eta1&_r=0

 

Amazon Closes Multi-Year Deal With Simon & Schuster, The Other Big Five Publisher It Was In E-Book Pricing Negotiations With

10/20/2014   Business Insider   by

Amazon has inked a multi-year deal with Simon & Schuster, the second major Big Five book publisher it has been negotiating with about the price of e-books, a source with knowledge of the situation tells Business Insider.

Amazon has been in a brutal battle with Hachette since the publisher’s contract expired in March, but Business Insider’s source says that negotiations with Simon & Schuster closed two months before its contract expired.

Amazon CEO Jeff Bezos

The publisher and the tech giant have signed a multi-year, print and digital contract. Simon & Schuster made its original offer and an agreement was reached after only a few tweaks by Amazon, according to our source.

Initial reports of Simon & Schuster’s negotiations with Amazon started back in July.

It appears that Amazon’s negotiations with Hachette still aren’t over.

In a letter to authors and their agents, viewed by Business Insider, Simon & Schuster’s chief executive, Carolyn Reidy, wrote that the publisher is, “very happy with this agreement as it is economically advantageous for both Simon & Schuster and its authors and maintains the author’s share of income generated from eBook sales.”

The letter also says that the new agreement with Amazon is a return to a “version of agency pricing that, with some limited exceptions, gives control of e-book pricing to Simon & Schuster.”

An Amazon spokesperson sent the following statement:

We are pleased to announce that Simon & Schuster and Amazon have reached a multi-year agreement for the sale in the US of both print and digital books.

We are very happy with this agreement, as it allows us to grow our business with Simon & Schuster and help their authors reach an ever-wider audience. Importantly, the agreement specifically creates a financial incentive for Simon & Schuster to deliver lower prices for readers.

Disclosure: Jeff Bezos is an investor in Business Insider through his personal investment company Bezos Expeditions.

http://www.businessinsider.com/amazon-closes-multi-year-deal-with-simon-and-schuster-2014-10

 

Everyone Loves This Emotional Monica Lewinsky Speech on Sexism and Cyberbullying

10/20/2014   New York Magazine   By

“My name is Monica Lewinsky, though I have often been advised to change it or been asked why on earth I haven’t,” the former White House intern told the Forbes “30 Under 30” summit in Philadelphia today. “I am still Monica Lewinsky.”

Building off of her essay in Vanity Fair this summer, Lewinsky has relaunched her public persona — she’s on Twitter now, too — as an advocate against online harassment. “Overnight I went from being a completely private figure to a publicly humiliated one. I was Patient Zero,” she said. “The first person to have their reputation completely destroyed, worldwide, via the internet.”

“It is only my fourth time delivering a speech in public,” she began. “So if I seem nervous, forgive me, because I am. And a little emotional, too.”

“I fell in love with my boss, in a 22-year-old sort of way,” she went on. “It happens. But my boss was the President of the United States.” Lewinsky, through some tears, then detailed the sexist campaign of what’s now dubbed cyberbullying she faced in the wake of the Clinton affair. Her mantra throughout, she said, was “I want to die.”

Invoking Tyler Clementi of Rutgers and the recent hacking of celebrity nudes, Lewinsky said, “Having survived myself, what I want to do now is help other victims of the shame game survive, too. I want to put my suffering to good use and give purpose to my past.”

The reviews were glowing:

http://nymag.com/daily/intelligencer/2014/10/listen-to-monica-lewinsky-cyberbullying-speech.html?mid=emailshare_dailyintel

Laurence Silberman: the Right Man or the Right’s Man?

2/13/2004   People For the American Way

Is retired federal judge Laurence Silberman the right person to co-chair the Iraq intelligence commission? Those who know him—including onetime Nixon aide and respected author Kevin Phillips, former independent counsel and Eisenhower deputy attorney general Lawrence Walsh, and reformed right-wing hit man David Brock—raise serious concerns about Silberman’s past activities, his temperament, his judgement and his unyielding commitment to right-wing orthodoxy. After reviewing this criticism, along with Silberman’s own statements, it becomes clear that Silberman is ill suited for a role on the intelligence commission.

“October Surprise”
Both Phillips and Walsh allege that Silberman was involved in the Reagan campaign’s purported efforts to delay the release of American hostages in Iran until after the 1980 presidential elections.

In a commentary on National Public Radio, Phillips notes:

“Silberman has been more involved with cover-ups in the Middle East than with any attempts to unravel them [including] the October surprise episode in 1980 in which the Republicans were later accused of colluding with the revolutionary government of Iran to keep 52 American hostages confined in Iran so that they could not be freed by the Jimmy Carter administration in time to influence the 1980 presidential election….[I]n 1980 as part of that year’s Republican campaign, he attended at least one of the October surprise meetings where an Iranian representative discussed what Iran would want in exchange for keeping the hostages.”

Walsh’s book, Firewall: The Iran-Contra Conspiracy and Cover-Up, provides a similar account:

“…Silberman had been on the fringe of the negotiations to avoid the possibility of an ‘October surprise’–the pre-election release of the U.S. embassy staff held captive by Iranian radicals. He and Robert McFarlane had represented Reagan in at least one meeting with a person who claimed to have influence with Iranians who might affect the timing of the release of the hostages. Among some career officers in the State Department, he was jokingly referred to as ‘our ambassador to Khomeini.’”

Equal Justice?
Silberman’s strikingly different views on independent counsel investigations of the executive branch suggest that Silberman has two standards of justice: one for his friends and ideological soul mates and another for those perceived as his enemies.

In 1987, while independent counsel Alexia Morrison investigated the Reagan administration, the U.S. Court of Appeals for the D.C. Circuit ruled that the independent counsel statute was unconstitutional. According to Silberman, a Reagan appointee, who penned the decision:

“[The office of independent counsel] so deeply invades the president’s executive prerogatives and responsibilities [for law enforcement] and so jeopardizes individual liberty as to be unconstitutional…. A statute that vests the appointment of an officer who prosecutes the criminal law in some branch other than the executive…obstructs the president’s ability to execute the law. [And creating a prosecutor free of the usual restraints] has troubling consequences for those who find themselves the target of the independent counsel.”

In a 7-1 decision, the Supreme Court reversed the ruling written by Silberman, holding that the independent counsel law was constitutional, with only Justice Scalia dissenting.

However, in 1998, when independent counsel Kenneth Starr investigated the Clinton administration, Silberman’s take on the independent counsel was decidedly different. Gone were worries about “the president’s ability to execute the law.” Instead, in a case concerning whether Secret Service agents could be forced to testify about private conversations involving the President, Silberman went further than any of his colleagues in arguing for deference to the independent counsel. In the ruling, the court of appeals rejected the arguments of the Treasury and Justice departments that a “protective function privilege” should be recognized with respect to Secret Service agents who guard the President. Silberman not only agreed with that ruling, but also argued that “no one” in the federal government, including the Treasury and Justice departments, should be permitted even to appear in court and disagree with the independent counsel on the issue. Although Silberman claimed that this result was compelled by the Supreme Court’s ruling upholding the independent counsel law, not a single one of his colleagues agreed with his opinion. Silberman went even further, claiming that “the President’s agents literally and figuratively ‘declare[d] war’ on the Independent Counsel”. Noting that the independent counsel “represents the United States,” Silberman went on to ask, “Can it be said that the President of the United States has declared war on the United States?”

Silberman and Oliver North
Walsh, the independent counsel who investigated the Reagan administration’s involvement in the Iran-Contra affair, found that his staff could not get a fair hearing from Silberman. According to Walsh, when the counsel’s office tried to make the case against Iran-Contra conspirator Lt. Col. Oliver North in one argument, Silberman cut them off at every turn:

“Silberman’s bias had been so intrusive that it had almost prevented [Gerard Lynch, who represented the independent counsel’s office] from presenting a coherent argument…. [R]arely had [Lynch] reached the fourth sentence in any answer before Silberman interrupted him–not seeking clarification but simply badgering him to make some concession. At times, the judge’s sole purpose seemed to have been diversion and obstruction….[Silberman’s interrogation] had been an overbearing effort to coerce a concession if not just to block a fair statement of our position. His performance had been ugly.”

Walsh even considered reporting Silberman for judicial misconduct. Ultimately, North’s conviction was overturned by the court on procedural grounds in a 2-1 decision, with Silberman in the majority.

A Question of Temperament
Walsh notes Silberman’s badgering, ugly, obstructionist performance during Oliver North’s appeal. His sarcastic display was hardly an isolated instance. Supreme Court Justice Ruth Bader Ginsberg, who once served with Silberman on the D.C. Circuit Court of Appeals, reportedly referred to some of the judge’s opinions as “disrespectful.” During a particularly animated debate, Silberman warned another of his colleagues, Judge Abner Mikva, “If you were 10 years younger, I’d be tempted to punch you in the nose.”

Of particular concern is Silberman’s treatment of yet another colleague from the D.C Circuit, Judge Patricia Wald. According to David Brock—former right-wing hit man and columnist for the American Spectator—Silberman “hated [Wald] with a passion.” In The Real Anita Hill, Brock portrayed Judge Wald as a conspirator in the campaign against Clarence Thomas, a frivolous allegation. In Blinded by the Right, Brock’s 2002 mea-culpa memoir, he indicates that “it had been none other than Judge Silberman who gave me the false information on his colleague Pat Wald.” As it turns out, President Bush has nominated both Silberman and Wald for the intelligence commission. How can Wald and her colleagues on the commission expect fair and respectful treatment from Silberman given his record?

David Brock’s Surrogate Father
During the early years of the Clinton administration, Brock wrote stories—which he now disavows—accusing Anita Hill of lying in her testimony against Supreme Court Justice Clarence Thomas. Brock also wrote smear pieces concerning rumors of President Bill Clinton’s alleged sexual improprieties, including the now infamous “Troopergate” scandal. According to Brock, who has since cut his ties with the Right, Silberman and his wife Ricky were his “surrogate parents” during this period and played “an absolutely key role” in what he wrote.

In Blinded by the Right, Brock notes that the Silbermans provided grist for the Anita Hill rumor mill even as he was serving as a judge on the Court of Appeals:

“If Republican aides were eager to abet my savaging [Anita] Hill, so were Thomas’s closest friends [including] D.C. Circuit Court Judge Laurence Silberman [and] his wife, Ricky…. [Judge] Silberman speculated that Hill was a lesbian, ‘acting out.’ Besides, Silberman confided, Thomas would have never asked Hill for a date: Did I know she had bad breath?”

Such groundless speculation eventually served as part of backbone for Brock’s 1993 book, The Real Anita Hill.

Brock also indicates Ricky Silberman viewed investigations of the Clintons as payback for the Clarence Thomas hearings:

“[I]t was actually Ricky Silberman’s idea to approach Ken Starr to file that friend-of-the-court brief in the Paula Jones case. And Ricky knew the Jones case was simply payback for the Anita Hill affair. She thought, wouldn’t it be delicious that Clinton would now be accused of sexual improprieties in the same way that Clarence Thomas had been?”

And, according to Brock, Silberman pressed him to write a controversial piece on Troopergate:

“Though he was a sitting judge who would rule on matters to which the Clinton administration was a party, Larry [Silberman] strongly urged me to go forward…. The trooper story would be much bigger than the Anita Hill book, he predicted. Clinton would be ‘devastated’…. [T]he judge told me he felt sure that if the same story had been written about Ronald Reagan, it would have toppled him from office. Clinton, he surmised, might be toppled as well.”

Refusing Recusal
Why didn’t Silberman recuse himself in 1998 when he was part of a three-judge panel settling disputes between Ken Starr and the Clinton administration? After all, he was a friend of Starr’s and had served with him on the D.C. Circuit Court. Meanwhile, his wife, Ricky, hired Starr to write an amicus brief for her organization in the Paula Jones suit against Clinton. And, as Brock notes, Silberman frequently crossed the line from impartial jurist to unabashed partisan as he devised strategies to attack Hill and Clinton: “Larry would often preface his advice to me with the wry demurrer that judges shouldn’t get involved in politics—‘That would be improper,’ he’d say—and then forge ahead anyway.” Such involvement in political activities would be in violation of judicial ethics.

Incredibly, in spite of his intense political involvement, Silberman has sharply criticized other judges for much less political activities. For example, in 1991, he responded with indignation to a piece by federal Appeals Court Judge Jon Newman of Boston, which urged President George H.W. Bush to withdraw the Clarence Thomas nomination. Silberman said, “I do not see how it could possibly be suggested that Judge Newman’s dramatic entry into the intense political controversy was appropriate conduct for a federal judge.” In another instance, after Judge A. Leon Higginbottham Jr. wrote an open letter to the newly-confirmed Justice Thomas, Silberman said:

“The letter’s patronizing tone, telling a new justice how to vote, was surely in shockingly bad taste, but its political cast – it could have served nicely as an election campaign speech – breached any conceivable standard of judicial ethics.”

Not that this has prevented Silberman from criticizing the Supreme Court when it suits him. In a November 2002 speech, Silberman, by this point a senior judge on the Court of Appeals, sharply criticized Supreme Court decisions on abortion, religion, and gay rights, declaring,

“I do not think it even can be seriously argued that any of these lines of decision had a shadow of true constitutional justification…. How does the court get away with it? It maintains its legitimacy so long as its activist opinions coincide with the views of a broad national consensus of elite opinion.”

Clearly Silberman understands judicial ethics. However, he apparently doesn’t believe that they apply to him.

Federalist Society Connection
For additional insights into Silberman’s political philosophy, one need look no further than his involvement with the Federalist Society, the right-wing group that screens President Bush’s judicial nominees. Silberman is a member and a frequent guest speaker at Society events. At an April 2002 event, Silberman advised Bush judicial nominees to avoid questions posed to them regarding their ideology or controversial issues. In fact, he took credit for stealthily guiding Justice Scalia through the confirmation process by avoiding such issues. Can a man who urges secrecy to protect his ideological compatriots be expected to uncover secrets as co-chair of the intelligence commission?

Wrong Man for the Job
His hyper-partisan activities, belligerent temperament and questionable ethics make Laurence Silberman the wrong choice to help lead the U.S. intelligence commission. Given that the American people are relying on the commission to answer troubling questions about issues as large as war and peace, President Bush should replace Silberman with someone worthy of the nation’s trust.

Is retired federal judge Laurence Silberman the right person to co-chair the Iraq intelligence commission? Those who know him—including onetime Nixon aide and respected author Kevin Phillips, former independent counsel and Eisenhower deputy attorney general Lawrence Walsh, and reformed right-wing hit man David Brock—raise serious concerns about Silberman’s past activities, his temperament, his judgement and his unyielding commitment to right-wing orthodoxy. After reviewing this criticism, along with Silberman’s own statements, it becomes clear that Silberman is ill suited for a role on the intelligence commission.
http://www.pfaw.org/print/8956