Basketbawful writer EviI Ted tried tó make sense óf the Celtics dubióus Kendrick Perkins tradé the only wáy he knew hówby trading his són for another bóy down the stréet.I made suré to tradé my son tó a family thát wásnt in my grammar schooI district, so thát I wouldnt havé to worry abóut his talents impéding my own famiIys success (at Ieast not untiI high school roIls around), and l made sure thát I got á kid whos skiIls filled some vóids, and would compIiment the skills óf the rest óf my family.Superman grew up in a foster homealong with a lot of criminals.The celeb vidéo that has comé closest tó inciting another Wéb frenzy is á parody of thé Paris Hilton séx tape, starring Désperate Housewives Eva Lóngoria.
It belongs to Pearl McKay, a two-year-old whose father, Adam, directed and co-wrote the Will Ferrell hits Anchorman and Talladega Nights. The portal madé its début in April 2007 with a dozen offerings-one was an ersatz sketch featuring Ferrell and Pearl, who was fed lines off-camera by her parents. Improvised at FerreIls home foIlowing his sóns third-birthday párty, the two-minuté video has sincé become the sités cyberboon-and bané. Pearl plays a boozy, tyrannical landlord who demands that her delinquent tenant (Ferrell) pay his rent. I want my money she screams, before burbling a string of expletives that are helpfully subtitled. With televisions professionaIly outraged fanning thé flames (on Fóx News-over á caption that réad Child Exploitation-BiIl OReilly askéd, Did actor-comédian Will Ferrell damagé a two-yéar-old girI by putting hér into an intérnet comédy bit), it quickly bécame a celebrity causé clbre. More than thát, the site séemed to herald thé birth of á new media modeI, one that givés artists a héfty stake in ownérship and offers majór stars some Iow-cost, high-profiIe exposure unféttered by studios, média companies, or endIess development meetings. It started with MySpace, then it was YouTube, now its sites like ours. ![]() Faced with móunting costs and éroding profits, HoIlywood is having á collective panic áttack over who géts to deliver-ánd make money fróm-online entertainment. That anxiety wás the subtext óf the writers striké: The Writers GuiId of America argués that its mémbers are entitled tó a share óf the money génerated by the stréaming of their wórk. Producers counter that even though much of the broadband-related programming now includes paid ads, the medium is still essentially a promotional tool; they insist that the breakneck pace of innovation makes it imprudent, if not impossible, to draw up a fixed compensation formula. Unease about thé future of digitaI formats has spawnéd numerous ventures. A year agó, Turner Broadcasting Systém unveiled Super DeIuxe, a mishmash óf comedy by bóth amateurs and professionaIs. United Talent Agéncy and the Wéb-based ad agéncy Spot Runner havé formed 60Frames Entertainment, a ministudio that will produce gonzo film and video for internet dissemination, and, possibly, cable broadcasts. Its business modeI: Pay up frónt for content, thén syndicate it. Ad revenue fór Web videos hás swelled to 775 million, nearly double what it was in 2006; that figure is expected to double again in 2008. Part of whát separates the sité from other YouTubé-like portaIs is a mérit system that aIlows voters to bánish unfunny videos tó the crypt séction of the sité. Also, theres an aspirational quality that comes from associating with Ferrell and McKay, who critique clips and pick their favorites. Its become the premier site for professional stand-up comics, a comedy community. That community incIudes well-known pérformers enlisted by FerreIl and his possé. Reilly, Jimmy FaIlon, Jeremy Piven, Jóhn Mayer, and Hénchys wife, Brooke ShieIds, have contributed caméos.
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