Panel
Monday, February 24, 2014
In the past decade, primetime TV has transformed itself from what critics once derided as a “vast wasteland” to the long-form equivalent of Oscar-winning movies and indie films.
There’s the edgy stylishness of “CSI,” “ER,” and “Game of Thrones”; the nuance and subtext of “Mad Men,” “Downton Abbey,” and “The Good Wife”; and the machine-gun dialogue of “24,” “Homeland,” and “House of Cards.”
There were decade-definers like “Lost” and “The Sopranos,” and anti-heroes like “House,” “Dexter,” and “The Mentalist.”
But what does it all mean for the people who actually write and create these shows?
How does a writer get a chance to write for today’s TV shows, anyway?
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