You could never do that joke in live-action. Verrone: As I look around this room, virtually every one of these shows, with the possible exception of Futurama and King of the Hill, has had some big problem with a group of people who have found the show objectionable in one respect or another.
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Matthew Carlson: I think the main reason we did this animation is because I would never do God or the devil or go to hell on a live-action show—although I have. I expected the Christian right—Falwell and those people—would get upset any time you put God in any kind of comedy. These self-appointed moral watchdogs are always barking. But I was surprised to see affiliates actually take this up.
That was really shocking to me. Mike Scully: You know, The Simpsons might actually be the only show on TV now that has a minister as a regular cast member. Mike Scully: You want to get that religious audience. We get our share of letters because, like Matthew said, the minute you say God and put Him in any context, people just get uptight. Cohen: There was one great letter when I was writing for The Simpsons. Some joke had been made about the Protestant Reformation on the Halloween show—.
Good work, and kudos to your whole staff. Richard Appel: We do well if we just stick pretty closely to the episode suggestions we get from the network. We have an episode coming up where Bobby is mistaken for a reincarnated lama—. Mike Scully: Oh, shoot! You guys are doing that, too? But they do go every week. Marge goes willingly. Homer goes grudgingly, but he goes. Verrone: Do you ever get some indication from network that you should be writing for a specific demographic, or do you try and appeal to as wide an audience as you can? Verrone won an Emmy for Muppets Tonight! Verrone wrote and co-produced The Critic —95 , was a staff writer on The Tonight Show —90 and is currently supervising producer of the hybrid computer-traditional animated series Futurama.
Mike Scully has written on The Simpsons for eight seasons, executive-produced it for four, won three Emmys and two nominations for that work, and currently executive-produces that perennial Fox hit series. Currently he is doing a live-action Fox sitcom pilot starring comic Robert Schimmel. Richard Appel won two Emmys for The Simpsons from —98, rising to co-executive producer and another for the Texas-accented animated series King of the Hill, which he has executive-produced for the past two seasons.
Cohen developed and executive-produces Futurama — , for which he was Emmy-nominated, and garnered two Emmys and two more nominations for The Simpsons. Steve Tompkins began as a staff writer on In Living Color —93 , earned an Emmy and a nomination for The Simpsons —98 and was nominated again in for The PJs, which he co-created and executive-produces.
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Matthew Carlson, who garnered the Humanitas Prize and two Emmy nominations for writing The Wonder Years —90 , was recently executive producer of God, the Devil and Bob, which was dropped by a few outraged NBC affiliates in the religious heartland and then cancelled by the network. He also wrote the comedy screenplay Wagons East Larry Wilmore is executive producer and co-creator of The PJs, for which he was Emmy-nominated last year.
Seth MacFarlane, who began his career with Hanna-Barbera, created and executive produces The Family Guy — , which earned him an Annie nomination.
Fair shared cities: the impact of gender planning in Europe
After MacFarlane refused to change the name of a Family Guy character, his former headmaster an Episcopal clergyman successfully pressured several companies to pull their ads from the show. We aim the jokes and the storylines more at adults. If you write a Frasier, also write a Raymond, so they can see your different writing styles. I believe that I could not have written a good spec King of the Hill or Simpsons or any of the shows around this table unless I had spent a few months trying to get the sensibility of the show and seeing what the rules are in those worlds—because they do have rules.
But if you actually study The Simpsons or read the scripts or put some thought into it, you realize that 98 percent of the time it has a very solid A-story. Mike Scully: One of the most common mistakes I see is when people submit a Friends or Seinfeld spec script that has three or four storylines going at once. Try to write those funny instead of trying to juggle multiple storylines. You have 10 experienced writers sitting around a table for a week or more, for 10 hours each day, in addition to someone spending several weeks writing a script and a group of people pitching out the story and giving the jokes.
So the number of man-hours is tremendous—greatly exceeding the amount of time one person could put into a spec script. Make the terms funny as well as the jokes. You need interesting turns—positive-negative, negative-positive—to make it real interesting. Lacking actors, we tend to write more realistically, making it more about behavior. The words our characters say are much more important than in live-action.
Mike Scully: Animated comedy writing is really all about the characters and having a solid story. In spec scripts you have to have a real solid story, with a strong emotional through-line. Finally, it has to be less than 50 pages. That being said, if I read a couple scripts that I liked equally and met the writers and one of them happened to be a member of a minority, I might lean that way a little because opening the door up is a good thing to do. Larry Wilmore: The biggest thing about diversity is getting exposure to a wide range of writers.
The animation world is not really clique-y, so you do know a lot of different people. I feel I could probably go to any animated show today because people know who I am. You succeed by getting a good reputation.
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I completely agree with what Mike said, that it should completely be a meritocracy, with jobs going to the best scriptwriter. We have always joked about the diversity of our crew because, like the Ark, we had two virgins, two transplantees one had a kidney transplant and one had a lung transplant , two orthodox-religious people one an Orthodox Jew and the other a born-again Christian , two brothers, and two gay people. We had just about everything, but it was all by accident. Verrone: Well, the clock on the wall seems to indicate the time is running out. So that being said, the Writers Guild and I thank you all for being here.
Keep writing. Castle Bernau small castle view in Upper Austria dates back to the 12th century. It has changed hands quite a few times during its long history, endured a great fire in and metamorphosed significantly, each new owner apparently adding what he liked, walling off rooms and creating new ones. The castle did not always have a moat. That was probably added in the 16th century, maybe after the fire? Four towers were constructed at the corners and in the SW tower, a chapel was installed. When it was consecrated and when it was dissolved, cannot be pinpointed exactly, but a two-story chapel with a vaulted ceiling is mentioned in the handwritten annals around The walls were plastered with many thick layers and the little church forgotten.
Except for one single telltale sign, nothing even hinted at the fact that there was once a chapel in the building. At that time the new owners, who had acquired the castle with land they bought, began to renovate it. Krajnc decided to paint real frescoes, a technique, which he had learned, while studying at Accademia Raffaello in URBINO, Italy, gaining hands-on experience helping with the painting and restoration of frescoes in several churches of the region. Making real frescoes is much more demanding than the mere painting of murals on dry walls, and yielding much longer lasting and much more luminous images.
When the plaster dries, it sets with a rocklike cohesion and the pigments dry with it as an integral part of the surface. Sounds complicated? Well, it is. And strenuous. Think of months spent balancing on scaffolding, painting above your head,chapel ceiling stretching or crouching in various uncomfortable and not undangerous positions… working continuously until the plaster sets and having to stop when it does!
Except by taking hammer and chisel and removing the whole plaster section, and starting over. But it can also be quite exhilarating. Because this ancient technique allows the artist to create images, which he can guarantee for about years. Give or take a few hundred. Krajnc uses pure color pigments that come in so many shades that the shop in Munich, where they can be bought, looks like a candy-store for artists.
Fair Shared Cities: The Impact of Gender Planning in Europe
Mixed with lime-water, they coat each and every grain of sand in the plaster the paint is applied to, thus creating the extra brilliance associated with frescoes and ensuring their lasting beauty. As the surface dries, a waterproof layer forms, protecting the painting and sealing it in. It took three summers, from to remove the added ceiling, prepare the walls, sculpt light-fixtures and paint the original vaulted ceiling and five walls, all over 27feet high, curved and meeting at odd angles remember, the towers were added to the building much later.
The frescoes were completed in It will be mainly used for small weddings and baptisms. As it is situated in Austria, it is basically Catholic, but will be open to all faiths.
For information on how to reach them or how to get there from Vienna 2 hours by car or Salzburg 1 hour by car , just ask. Moneeka C was born in Caracas, Venezuela, where she lived until the age of She studied art in Italy, the United States and France.
Her work has evolved in direct proportion to her travels. At the onset of her career, the artist studied various artistic styles. But these were cold works, images of a reality too narrow for her, too enclosed.
In her paintings, Moneeka tries to depict a way out from the dark issues of life — a path of hope through color. She uses strong primary colors reds of fruit and birds, blues and greens of jungles and seas. These hues bring forth optimism in a world filled with too much negativity. I want people to look at them and feel happy. The artist lives and works in Rome, but travels to several countries to organize her art exhibitions and get inspired!
But to understand the artist, we need to appreciate the importance of color and traveling. My paintings keep me moving. They are the bridge between everything I have seen and experienced, they are the key to my memories, the encounters I could not be detached from. Gender-sensitivity is therefore evaluating the impact of policy on different genders and acting to ensure the equality of this impact. The intense thematic exchange covered many areas of opportunity for cities to make a change. Follow the money.
Vienna, like many European cities, faces distinct challenges from diminishing public spending. The significance of EU funding was flagged here. When funders include assessment criteria on gender and diversity, it provides a helpful stimulus to embed equality measures. The answer from Vienna? Do more with less. Although there are no quick fixes to gender inequality, there are small inexpensive measures the city can put in place to improve representation, safety and access in public spaces: better street lighting, quotas for elected representatives and participatory processes that involve women is all examples of this work in action.
Engaging civil society. NGOs and associations in cities across the EU work closely with women from all backgrounds, socio economic groups and ages. They are uniquely positioned to articulate their needs and feed into policy making that is more impactful. Likewise, there are many universities and research agencies that have gender departments or expertise that can contribute with supporting knowledge. The Vienna team acknowledged that often these partnership dynamics are not without tension, as agencies will rightly push for better services, for change and hold the city to account.
Calls to action: data, equal pay and representation. We need data broken down by gender amongst other indices to best understand how women and men experience the city differently. In Vienna we learnt how both quantitative data and qualitative approaches such as social space analysis had underpinned their plans. Without this knowledge, attempts to solve the problem can be misguided. For example, qualitative data collected in London suggests that women and particularly women of colour do not feel represented by the advertising in their city.
The winner will receive free advertising on the underground for a year! Participants in Vienna suggested quotas as a temporary solution to the problem, but only when combined with mentoring, training and incentives to get women into local office and high paying roles, and keep them there. Plurality of voices. It is clear that women and men do not all experience the city in the same way based on their gender, and experts discussed how to better incorporate plural voices.
One thing was clear from the workshop in Vienna: when it comes to gender equality, supportive spaces to network, co-create and share are crucial. Ultimately, gender equality is about changing centuries of discrimination that in simply hold back cities and all their citizens. It is complex and multi-faceted and transformation requires a long term, strategic approach. A key part of this process is capacity building about how gender impacts the city and the unique opportunity it has to change this. Our experts from across Europe testified to the success of structured learning programmes, unconscious bias training, webinars, role play and theatre to help the city lead by example in its approach to gender equality.
Communication across European networks is also important to connect gender equality to different urban issues. Finally, everyone can support change-makers in everyday life: lift women up, call out inappropriate behaviour and advocate for change. The same for white women asked to speak on all white panels. These are small acts that can make a big difference.