Blessed with good looks, a winning smile, hippie parents, and a sunny California upbringing, life has been relatively easy for Logan Wood so far. After nearly four decades of coasting along through countless women and random jobs, he now teaches yoga to the hot moms, trophy wives and aspiring celebrities of Santa Monica and Venice Beach.
But when Logan breaks up with his successful older girlfriend Amanda (Paget Brewster), who happens to be the owner of the yoga studio, things start to get complicated for the first time.
Down Dog is a satirical comedy pilot written by Robin Schiff (Are You There Chelsea?) that stars Josh Casaubon (I Just Want My Pants Back), Lyndsy Fonseca (How I Met Your Mother), Will Greenberg (Halt and Catch Fire), Andrea Savage (The Life and Times of Tim), Amir Talai (American Dad), Alysia Reiner (Orange is the New Black) – with Kris Kristofferson (Lone Star...
But when Logan breaks up with his successful older girlfriend Amanda (Paget Brewster), who happens to be the owner of the yoga studio, things start to get complicated for the first time.
Down Dog is a satirical comedy pilot written by Robin Schiff (Are You There Chelsea?) that stars Josh Casaubon (I Just Want My Pants Back), Lyndsy Fonseca (How I Met Your Mother), Will Greenberg (Halt and Catch Fire), Andrea Savage (The Life and Times of Tim), Amir Talai (American Dad), Alysia Reiner (Orange is the New Black) – with Kris Kristofferson (Lone Star...
- 2/11/2015
- Hollywonk
As Netflix continues to assert itself as a major television company with such acclaimed series as House of Cards and Orange is the New Black, Amazon Studios is racing to catch up by ordering series it hopes will be equally well-received. So far, Amazon has scored one big hit in the form of Jeffrey Tambor-led dramedy Transparent, and it hopes to find some more in the new lineup of pilots, which will be made available for viewing as part of the company’s first pilot season of 2015.
Enclosed are descriptions of all seven pilots, courtesy of Deadline. The talented involved on all of them is impressive, to say the least. Mad Dogs comes from Cris Cole (The Bill) and Shawn Ryan (The Shield), while The Man In The High Castle hails from Frank Spotnitz (The X-Files). Carlton Cuse (Lost, The Strain) and Randall Wallace (Braveheart) are behind Point Of Honor,...
Enclosed are descriptions of all seven pilots, courtesy of Deadline. The talented involved on all of them is impressive, to say the least. Mad Dogs comes from Cris Cole (The Bill) and Shawn Ryan (The Shield), while The Man In The High Castle hails from Frank Spotnitz (The X-Files). Carlton Cuse (Lost, The Strain) and Randall Wallace (Braveheart) are behind Point Of Honor,...
- 11/12/2014
- by Isaac Feldberg
- We Got This Covered
Dimension Television, the TV arm of The Weinstein Co., and Entertainment One Television are teaming up to bring Death In The Modern Age to the small screen. Created and written by Josh Shaffer and Eli Kooris, the original series will be produced by Bob Cooper’s Landscape Entertainment and Michael Fuchs. Death In The Modern Age tells the story of a down-on-his-luck suburbanite who, despite having always played by the rules, faces the implosion of his personal and professional lives in spectacular fashion. He decides to start over and radically reinvent himself by faking his own death. But in today’s age of DNA testing and digital fingerprinting that has all but obliterated the notion of individual anonymity, his escape and ultimate transformation prove to be much easier said than done. “The pilot for Death In The Modern Age blew me away with its original characters and insightful writing. I...
- 3/18/2014
- by THE DEADLINE TEAM
- Deadline TV
Dimension Television and Entertainment One Television are partnering to produce “Death in the Modern Age,” an original series created and written by Josh Shaffer and Eli Kooris and produced by Bob Cooper's Landscape Entertainment and Michael Fuchs.The series is centered a suburban man who decides to start his life over by faking his own death, after his personal and private lives fall apart despite his doing everything by the book. But he find out that this turns out to be easier said than done in today's age of DNA testing and digital fingerprinting. “The pilot for ‘Death In The Modern Age’ blew me away with its original characters and insightful writing. I’m looking forward to working with Landscape and eOne to put together a gripping and original show,” said Bob Weinstein in the announcement."Death In The Modern Age" was initially announced as part of SundanceTV's first-ever...
- 3/18/2014
- by Alison Willmore
- Indiewire
Dimension Television announced today that they are partnering with Entertainment One Television (eOne Television) on "Death in the Modern Age," an original series created and written by Josh Shaffer and Eli Kooris. The series will be produced by Bob Cooper's Landscape Entertainment and Michael Fuchs. "Death in the Modern Age" tells the story of a down-on-his-luck suburbanite who, despite having always played by the rules, faces the implosion of his personal and professional lives in spectacular fashion. He decides to start over and radically reinvent himself by faking his own death. But in today's age of DNA testing and digital fingerprinting that has all but obliterated the notion of individual anonymity, his escape and ultimate transformation prove to be much...
- 3/18/2014
- Comingsoon.net
20) Road Signs
The only thing we know about the future is that it will be different.
Peter Drucker
Home Box Office has dodged more bullets than Wyatt Earp at the Ok Corral. Going on the satellite in 1975 turned the company from a regional possibility into a national success; then came “hitting the wall” and the challenge of VCRs in the 1980s; and then there was the late 1990s course correction which turned the service into an original series king; and then there was the struggle of the Chris Albrecht years and the WGA strike.
Today, HBO has its big hits – Game of Thrones and True Blood, and its second tier, buzz-making winners like Girls, The Newsroom, Veep and Treme. Medical dramedy Getting On, and Looking – often described as a gay Sex and the City – show the service hasn’t gotten any shyer about trying to tackle provocative subject matter in risky ways.
The only thing we know about the future is that it will be different.
Peter Drucker
Home Box Office has dodged more bullets than Wyatt Earp at the Ok Corral. Going on the satellite in 1975 turned the company from a regional possibility into a national success; then came “hitting the wall” and the challenge of VCRs in the 1980s; and then there was the late 1990s course correction which turned the service into an original series king; and then there was the struggle of the Chris Albrecht years and the WGA strike.
Today, HBO has its big hits – Game of Thrones and True Blood, and its second tier, buzz-making winners like Girls, The Newsroom, Veep and Treme. Medical dramedy Getting On, and Looking – often described as a gay Sex and the City – show the service hasn’t gotten any shyer about trying to tackle provocative subject matter in risky ways.
- 2/14/2014
- by Bill Mesce
- SoundOnSight
Failure is inevitable. Success is elusive.
Steven Spielberg
As HBO’s CEO, Michael Fuchs, who’d come up through the company’s programming side, had spent 11 years working to transform the service from a movie channel with some pleasant original filler into a true programming platform. Ironically, Fuchs’ vision wouldn’t come to full fruit until after he’d left the company in May 1995, and it would happen under a guy who had no programming experience at all: Jeff Bewkes, who took over the CEO’s slot after Fuchs’ departure.
A friend of mine in the company who’d worked with Bewkes once explained his programming philosophy while we were talking about some of the company’s big dollar extravaganzas, like Band of Brothers. Bewkes didn’t interfere with the creative side. “If you can make it make business sense to him, Jeff’ll say, ‘Go ahead.’ If you can...
Steven Spielberg
As HBO’s CEO, Michael Fuchs, who’d come up through the company’s programming side, had spent 11 years working to transform the service from a movie channel with some pleasant original filler into a true programming platform. Ironically, Fuchs’ vision wouldn’t come to full fruit until after he’d left the company in May 1995, and it would happen under a guy who had no programming experience at all: Jeff Bewkes, who took over the CEO’s slot after Fuchs’ departure.
A friend of mine in the company who’d worked with Bewkes once explained his programming philosophy while we were talking about some of the company’s big dollar extravaganzas, like Band of Brothers. Bewkes didn’t interfere with the creative side. “If you can make it make business sense to him, Jeff’ll say, ‘Go ahead.’ If you can...
- 1/17/2014
- by Bill Mesce
- SoundOnSight
“Every winning streak will have to end sometime.”
Jahinger Khan
In recognition of the job HBO CEO Michael Fuchs had done growing HBO and diversifying its business, he was invited uptown in 1995 to take over Warner Music while still keeping HBO as part of his new, expanded dominion. Assuming Fuchs’ top exec slot at HBO was Jeff Bewkes.
Not long after Fuchs had been given command of HBO in 1984 after the ouster of Frank Biondi, it had been clear that Fuchs’ strengths were not universal. Programming and long-term strategic vision were his fortes. Some of the more mundane and, for Fuchs, onerous tasks, such as kissing up to officers of the major cable MSOs, was something for which the often high-handed Fuchs didn’t have much of an affinity. The solution had been to divvy the company up, putting those non-Fuchsian — but critically important — responsibilities under a newly-created office of President.
Jahinger Khan
In recognition of the job HBO CEO Michael Fuchs had done growing HBO and diversifying its business, he was invited uptown in 1995 to take over Warner Music while still keeping HBO as part of his new, expanded dominion. Assuming Fuchs’ top exec slot at HBO was Jeff Bewkes.
Not long after Fuchs had been given command of HBO in 1984 after the ouster of Frank Biondi, it had been clear that Fuchs’ strengths were not universal. Programming and long-term strategic vision were his fortes. Some of the more mundane and, for Fuchs, onerous tasks, such as kissing up to officers of the major cable MSOs, was something for which the often high-handed Fuchs didn’t have much of an affinity. The solution had been to divvy the company up, putting those non-Fuchsian — but critically important — responsibilities under a newly-created office of President.
- 11/28/2013
- by Bill Mesce
- SoundOnSight
Farmer Gray is tooling down the road one fine day in 1981, and there ahead of him he sees Sam’s Appliance Store. Farmer Gray has had a heck of a wheat crop this year and he’s got $40,000 burning a hole in his pocket. On a whim, he goes into Sam’s. He’s worked hard this year; he figures he owes himself a toy.
“Sam,” he says. “I’m all the way the heck out in the middle of nowhere. You got one of those forty, fifty foot TV antennas I could put up so I could get at least a little bit of TV? I hear this Happy Days thing is just terrific, but where I’m sitting, I can’t get anything on my set but the buzz from my wife’s Lady Schick.”
And old Sam, why he says, “I can do you one better, Farmer Gray.
“Sam,” he says. “I’m all the way the heck out in the middle of nowhere. You got one of those forty, fifty foot TV antennas I could put up so I could get at least a little bit of TV? I hear this Happy Days thing is just terrific, but where I’m sitting, I can’t get anything on my set but the buzz from my wife’s Lady Schick.”
And old Sam, why he says, “I can do you one better, Farmer Gray.
- 11/19/2013
- by Ricky
- SoundOnSight
If you aren’t making any mistakes,
it’s a sure sign you’re playing it too safe.
John Maxwell
By the end of the 1980s, HBO’s nightmarish headlong collision with The Wall in 1984 was just that; a bad dream fading over time. Even during the tough days, the company had remained a money-maker, and although it was taking more effort and cash to bag subscribers, the service was growing again, HBO original programming was racking up awards and acclaim, and in subscriber homes, the channel was kicking broadcast network ass. During the 1990-91 television season, the service beat all three major networks during Saturday and Sunday prime time hours. The good times were back.
Which did not change the underlying, immutable fact, and the greatest lesson to come out of that horrifying 1984 flatline: that the domestic cable universe was finite. Sooner or later, HBO was bound to hit another wall.
it’s a sure sign you’re playing it too safe.
John Maxwell
By the end of the 1980s, HBO’s nightmarish headlong collision with The Wall in 1984 was just that; a bad dream fading over time. Even during the tough days, the company had remained a money-maker, and although it was taking more effort and cash to bag subscribers, the service was growing again, HBO original programming was racking up awards and acclaim, and in subscriber homes, the channel was kicking broadcast network ass. During the 1990-91 television season, the service beat all three major networks during Saturday and Sunday prime time hours. The good times were back.
Which did not change the underlying, immutable fact, and the greatest lesson to come out of that horrifying 1984 flatline: that the domestic cable universe was finite. Sooner or later, HBO was bound to hit another wall.
- 11/6/2013
- by Bill Mesce
- SoundOnSight
An Original Voice
“We didn’t get mad, we got smart,” HBO CEO Michael Fuchs said about hitting The Wall, looking back at HBO stalling in 1984 from the vantage of the early 1990s. Actually, a lot of the rank and file didn’t get mad or smart; we’d seen 125 of our friends and colleagues get shown the door when the company had suddenly flatlined after eight years of phenomenal growth, and what we got was scared.
But it’s to the credit of HBO’s execs that whatever anxieties they may have had, they showed no panic or even nervousness in public. Instead, they poured any concerns into energetically and immediately addressing the question of, “What do we do now?” The world we knew had changed and there was no going back to the Gold Rush days of the late 1970s and early 1980s. The company required a humongous...
“We didn’t get mad, we got smart,” HBO CEO Michael Fuchs said about hitting The Wall, looking back at HBO stalling in 1984 from the vantage of the early 1990s. Actually, a lot of the rank and file didn’t get mad or smart; we’d seen 125 of our friends and colleagues get shown the door when the company had suddenly flatlined after eight years of phenomenal growth, and what we got was scared.
But it’s to the credit of HBO’s execs that whatever anxieties they may have had, they showed no panic or even nervousness in public. Instead, they poured any concerns into energetically and immediately addressing the question of, “What do we do now?” The world we knew had changed and there was no going back to the Gold Rush days of the late 1970s and early 1980s. The company required a humongous...
- 10/11/2013
- by Bill Mesce
- SoundOnSight
15) The Wall
“I used to say this to the staff,
‘We’re all working very hard, but pause and reflect,
because not many people in their professional lives ever get the chance that we’re having.”
Tony Cox
It’s New York, the early 1980s, and if you were young, still relatively new to The City, looking for only your first or second job, it would’ve been hard to find a more exciting – or fun – place to work than Home Box Office. It was a great, grand time for the company, one in which it was hard not to feel you were part of what still felt like an adventure into unmapped territory, where success followed success, and where – as I remember one of my colleagues saying in reflection – it often seemed like one, big party. In an HBO 20th anniversary commemorative brochure, Tony Cox, one-time president of the HBO Network group,...
“I used to say this to the staff,
‘We’re all working very hard, but pause and reflect,
because not many people in their professional lives ever get the chance that we’re having.”
Tony Cox
It’s New York, the early 1980s, and if you were young, still relatively new to The City, looking for only your first or second job, it would’ve been hard to find a more exciting – or fun – place to work than Home Box Office. It was a great, grand time for the company, one in which it was hard not to feel you were part of what still felt like an adventure into unmapped territory, where success followed success, and where – as I remember one of my colleagues saying in reflection – it often seemed like one, big party. In an HBO 20th anniversary commemorative brochure, Tony Cox, one-time president of the HBO Network group,...
- 9/16/2013
- by Bill Mesce
- SoundOnSight
2) Introduction
“Television is going to be the test of the modern world…we shall discover either a new and unbearable disturbance of the general peace or a saving radiance in the sky. We shall stand or fall by television — of that I am quite sure.”
E. B. White
Perhaps it began with a puff of smoke.
Some early brand of homo sapiens had something he wanted to say, and felt compelled to have a lot of his prehistoric colleagues hear it. So, he grabbed himself his mastodon pelt blanket in one hand, his sparking flints in the other, trudged up the nearest high hill, made himself a fire and started flapping the blanket making smoke signals visible for miles around.
And here, a few milennia later, are his somewhat better postured and less hairy kin still working from the same agenda. Instead of a blanket and flint, though, they have TV studios and uplink facilities.
“Television is going to be the test of the modern world…we shall discover either a new and unbearable disturbance of the general peace or a saving radiance in the sky. We shall stand or fall by television — of that I am quite sure.”
E. B. White
Perhaps it began with a puff of smoke.
Some early brand of homo sapiens had something he wanted to say, and felt compelled to have a lot of his prehistoric colleagues hear it. So, he grabbed himself his mastodon pelt blanket in one hand, his sparking flints in the other, trudged up the nearest high hill, made himself a fire and started flapping the blanket making smoke signals visible for miles around.
And here, a few milennia later, are his somewhat better postured and less hairy kin still working from the same agenda. Instead of a blanket and flint, though, they have TV studios and uplink facilities.
- 6/15/2013
- by Bill Mesce
- SoundOnSight
Sundance Channel has unveiled its 2013-2014 original scripted development slate, which includes five drama projects: Valentines from producer Robert Redford and writer Olaf Olafsson, Behind The Sun from producers Steve Buscemi and Stanley Tucci and writer Dylan Gary, The Descendants (no relation to the 2011 movie) from producer Sarah Condon and writer Aaron Guzikowski, T from producer Ira Glass and writers Dan Futterman and Anya Epstein, and Death In The Modern Age from producers Bob Cooper, Jj Jamieson and Michael Fuchs and writers Josh Shaffer & Eli Kooris. Sundance Channel’s first wholly owned scripted drama, Rectify, is slated to premiere next year. The channel’s scripted efforts to date have been in the limited series/mini-series area through co-productions and acquisitions. They include miniseries Carlos, Appropriate Adult and the upcoming Restless. Here are details about the projects on Sundance’s drama development slate: Valentines Based on the novel by Olaf Olafsson,...
- 11/7/2012
- by NELLIE ANDREEVA
- Deadline TV
Diane Haithman is a Deadline contributor: Loyola Marymount University’s School of Film and Television annual Steed Symposium included past and present media heavy-hitters on a panel at Creative Artists Agency’s Ray Kurtzman Theater. The subject was ‘The New Disruptors’ about today’s showbiz gamechangers. The panel included past Big Media disruptors like Michael Fuchs, chairman/CEO of HBO (1984-1995) and former chairman of the Warner Music Group as well as Warren Lieberfarb, the former president of Warner Home Video; and today’s disruptors like Ross Levinsohn, Evp of Yahoo!’s Americas region, and Sara Pollack, YouTube’s senior marketing manager. Film producer and former United Artists chief Paula Wagner moderated. First up with a comment was Fuchs, honored earlier in the day on the Lmu campus for pioneering original content on HBO. (He joked that he’s an ‘old disruptor’.) Fuchs was sharply critical of traditional Hollywood companies.
- 3/26/2012
- by THE DEADLINE TEAM
- Deadline TV
When you’re little, being a disruptor will get you put in the corner; today, it gets you in the corner office. That was the theme of The New Disruptors: Content, Devices & Distribution at the 7th annual Steed Symposium, held March 22 at CAA and sponsored by Lmu School of Film and Television. Moderated by producer Paula Wagner, the panel consisted of DVD godfather Warren Lieberfarb, former president of Warner Home Video; Ross Levinsohn, VP of the Americas region for Yahoo!; Michael Fuchs, former chairman and CEO of HBO; Rick Allen, CEO of SnagFilms (Indiewire’s parent company); Sarah Pollack, YouTube’s senior marketing manager and former production executive at Big Beach; and transmedia pioneer Lance Weiler. Encouraging disruptors sounds a little like rewarding misbehavior -- but what better sign that Hollywood may finally understand the value of technology? Here’s four ways that Hollywood can practice getting unruly. 1. Learn How to.
- 3/24/2012
- by Valentina I. Valentini
- Indiewire
Co-founders Michael Fuchs (left) and Sam Ladach-Bark invite you to enjoy the vibe and creations at their brand new Under Pressure screen printing store in Austin. ...But you have to make your own breaks in today's economy, so they're giving it their all in hopes of making this a lasting business both online, in their store and on the road at various festivals and fairs.
- 8/24/2009
- by Ed Bark
- UncleBarky.com
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