CODA: The Bunker just wants to add, on a personal note, that back in the day, this was the kind of story you would find on the front page of the LOS ANGELES FREAKING TIMES, and not on the blog of some dude in New York City.
We know things are tough at the formerly great newspaper out there, but it was once the leading journal of all things Scientology. Doesn’t it bother anyone there that so many Los Angeles Scientology stories are broken here rather than in the city’s supposed paper of record?
Archives: February 2013
Half of all freelancer pitches get the green light at Relish, and editors are always hungry for more. Launched in 2006 to celebrate America’s love for food, the pub enjoys a large readership thanks to its status as a newspaper-distributed magazine.
Now that its parent company has a new CEO, “We are looking towards being a total multimedia company, not just print,” said editor-in-chief Jill Melton.
Relish tells stories of the people, places and things behind the food, and editors like queries with national appeal and a good sense of place. Think you’ve got a great idea? Get more details and editors’ contact info in How To Pitch: Relish. [Mediabistro AvantGuild subscription required]
What’s most intriguing here is that Jay Penske is continuing a pattern of promoting female staffers (Littleton) to heretofore male-dominated editorial roles. Last fall, he appointed Michelle Sobrino-Stearns associate publisher. From this morning’s announcement:
The installation of Eller and Littleton as two of the three editors-in-chief marks the first time in the brand’s storied history that women have served in the top editorial role.
How cool is this? A few years ago, Toronto-based animator Steve Stark tweeted out to Kevin Smith and Jason Mewes a cartoon he put together based on a Jay & Silent Bob SModcast. It led to a relationship that now has the Canuck first-time directing the pair’s cartoon feature.
Jay & Silent Bob’s Super Groovy Cartoon Movie will start rolling out this spring by means of a Red State USA-style cross-country road show, with the two leads in tow for lively post-show podcast Q&A. From today’s announcement:
“This is what can happen when you put the plug in the jug, kids,” said Mewes. “As an actor, it was awesome to play Jay again. But as a producer, I sweated every nickel because I wanted to keep the budget low… And dirty.”
The above tweets were rattled off by Moore around 4:45 p.m. PT this afternoon. He is taking issue with Stuart’s claims that an LAX incident last week involving Oscar-nominated Palestinian director Emad Burnat (5 Broken Cameras) and U.S. Customs and Border Protection personnel was wrongly characterized as “racial profiling.” From Stuart’s piece:
A source working at LAX familiar with the situation said when Burnat wasn’t able to produce that document [Oscar invite] on the spot, he was taken to a secondary inspection area where he found the ticket, showed it Customs officers, and was immediately allowed to proceed to the baggage claim. This source insists the whole process took no longer than 25 minutes total, and was standard practice for anyone entering the country.
Maybe it’s just us. But when a mid-Wilshire office staff is forced to evacuate because of a white, powdery substance found inside an envelope, we don’t think that should be the set-up for weak Twitter jokes.
Several reporters, including one from The Hollywood Reporter, made circa-1980s cocaine cracks after THR‘s LA offices were briefly evacuated this morning. There was also this bit of odd civics boosting:
The lucky film students presenting trophies during last night’s Oscars were not the only “regular” folks to make it into the telecast. There was also of course Stephen Battaglio (pictured), the journalist whose byline adorned a series of fake next-day reviews referenced during an opening bit by host Seth MacFarlane and surprise remote guest William Shatner.
Although the logical assumption would be that Battaglio was in on the gag, the New York-based business editor for TV Guide was in fact blindsided. “I was home watching the Oscars with my wife,” he tells FishbowlLA via telephone, “saw the first version of the review come up and said, ‘Oh, that’s my name!’ It took me a few seconds to absorb, and then I just went with the joke.”
“I went on to Twitter and posted a tweet that said, ‘Yes, I wrote that,’” he continues. “Then it came up a second and a third time, at which point every single electronic device in the home was either vibrating, buzzing or ringing. It was kind of a wild moment to be a part of the media event that the whole world was focused on.”
San Francisco media blogger Rich Lieberman has shared a chastening bit of history this morning. According to his sources, TV news anchor Anna Chavez‘s sudden retirement from local CBS affiliate KPIX-TV in the late 1990s was predicated on some very serious off-camera circumstances:
One of the main reasons Chavez left TV was because she was being pursued by stalkers – several, in fact, including one individual who was considered “very dangerous” according to sources who worked with Chavez. The stalking episode lasted several months and years, according to the sources who spoke on condition of anonymity…
One victim told me, “It’s well known in the [TV news] industry that many women and some men have had very scary stalkers.” The source said it’s not uncommon for police to become involved, including providing private protection by off-duty officers.
As predicted by yours truly last night, The Onion’s tweet about Quvenzhané Wallis still has the Internet in full wrath mode. Not only was the offending tweet removed, this morning Onion CEO Steve Hannah issued a rare apology on the paper’s Facebook page.
“On behalf of The Onion, I offer my personal apology to Quvenzhané Wallis and the Academy of Motion Picture Arts and Sciences for the tweet that was circulated last night during the Oscars. It was crude and offensive—not to mention inconsistent with The Onion’s commitment to parody and satire, however biting.
“No person should be subjected to such a senseless, humorless comment masquerading as satire.”
That Wallis is 9 and utterly adorable is obviously what has everyone so worked up. It’s also why the joke is so funny. It probably wouldn’t fly on TV, with its mass mainstream audience. But it’s an appropriately crude, tongue-in-cheek joke for a disposable, largely-adult, medium like Twitter.
Hannah’s letter in full after the jump: