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Posts Tagged ‘Brooks Barnes’

Pair of Extra Executives Go After the ‘Haters’

New York Times showbiz correspondent Brooks Barnes has a preview of H8R, the CW half-hour reality show debuting Wednesday. Created by Extra producers Lisa Gregorisch-Dempsey and Jeremy Spiegel, and hosted by their program’s on-air personality Mario Lopez, it all sounds rather contrived.

On each episode, a pair of celebrities are shown videotaped rants made by someone who “hates” them and then track down those people for a “surprise” encounter. There’s no doubt the underlying issue here is serious, but nothing in Barnes’ piece suggests the show will come close to a strange bit of family gravitas linkage involving Gregorisch-Dempsey:

One of her cousins is Glenn Berman, the New Jersey judge presiding over the trial of Dharun Ravi, who is accused of secretly taping his Rutgers University roommate [Tyler Clementi] having an intimate encounter with another man and streaming the images online. The roommate committed suicide a few days later.

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New York Times Debates Pros and Cons of Comic-Con

What to make of the upcoming absence from Comic-Con 2011 in San Diego of Warner Bros., Disney, Dreamworks, The Weinstein Co., and possibly even Marvel Entertainment? That’s the question New York Times reporters Brooks Barnes and Michael Cieply tackled in a Sunday piece bound to be chewed over today by a thousand and one movie blogs.

Thanks to the ridiculously high expectations of attendees and this group’s ability to go ape on social media about any disappointment with previewed blockbuster and comic book movie elements, Comic-Con has become an extremely tricky PR proposition. The reporters wonder whether the absence of some of the big studios has anything to do with last year’s push-and-pull, which overwhelmed Sucker Punch, TRON: Legacy, Buried, and a certain Michael Cera flick:

Scott Pilgrim vs. the World was the big alarm. That Universal movie was the belle of last year’s convention, and the studio spent heavily to make it so, draping the entire side of a skyscraper with an ad, for instance. Released just three weeks after the convention, Scott Pilgrim fizzled and the $60 million movie sold just $32 million in tickets.

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Mary Hart Gets Ready to Say Goodbye

There’s a whole lot of Mary Hart love being shown in the media this week ahead of her final appearance tonight on Entertainment Tonight. And she deserves every bit of it.

Hart is the Johnny Carson of the entertainment TV news magazine world, retiring at the top of her personal game after 29 years on the air. Joining her for an ET send-off taped yesterday were a number of her former male co-hosts, including the best one of them all, John Tesh. Those two had major on-air chemistry, the kind that LA TV station execs dream of when envisioning ideal local news anchor pairings. The latest crowning tributes include one from Brooks Barnes of the New York Times:

“Without Mary, ET starts to look like what it is–kind of dear and not particularly edgy,” said Martin Kaplan, the director of the Norman Lear Center for the study of entertainment and society at the University of Southern California. “I don’t know how large the cultural niche is for dear in a Perez Hilton, TMZ, Gawker world.”

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Brooks Barnes Gets Seacrest Scoop

Just how expansive are the powers of 35-year-old mogul Ryan Seacrest becoming? According to New York Times media reporter Brooks Barnes, the pixie king of all media’s new $60 million contract extension with Clear Channel includes provisions that will give him a level of control over who advertises on his radio shows, as well as permission to squeeze in his own “marketing partners.”

Is this a conflict of interest? No more so really than AT&T handling the phones for American Idol and Seacrest getting a great minutes deal on his iPhone. Barnes has more juicy info about the new deal:

Mr. Seacrest will also create a joint venture with the company to explore the creation of a record label, music publishing business and live concert series, according to the people with knowledge of its details, who spoke on the condition of anonymity.

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NYT Documents the Decline of Variety

varietycoverwhiteman3333.jpgNew York Times’ Michael Cieply and Brooks Barnes write about the history and plight of the entertainment business’ oldest trade Variety:

In a more detailed interview, Neil Stiles, Variety’s president, said his paper was profitable but declined to disclose financial figures for the operation, which has been owned since 1987 by Reed Elsevier. He said Variety had suffered a year-to-year ad revenue decline less severe than the estimates of 50 percent or more that have been heard in Hollywood.

But Martin Kaplan had the best quote:

“Traditionally, the trades have offered gossip, casting announcements, advance reviews and hopefully a little news,” he said. “Go through that list and ask what’s left. It’s all widely available elsewhere.”

Whole piece is here.

Previously on FBLA:

  • Todd McCarthy and David Rooney Out at Variety

  • WGA Strike: Truth and Fiction in the NYT


    Brooks Barnes, the NYT’s guy in LA, is once again ever so wrong. Dancing With The Stars is a union show.

    And his quoted source, Deborah Blum, hasn’t had a writing credit since 1999, and that one just might not be a union gig.

    Jennifer Pozer tries to explain the differences in the Huffington Post, but gets a little tangled. Yes, reality shows have “writers” who are usually credited as story producers. The WGA does not represent them, and doesn’t have any contracts with the production companies that employ them.

    Many reality writers are rather bitter at the WGA’s mismanagement of the short lived strike of the writers of America’s Next Top Model. Some reality story producers are WGA members, and either can’t get hired in episodic or sitcoms or like the reality genre. Plenty of picketers are of an older generation, and thus the residuals issue means a lot–especially as they can’t get hired in the notoriously agist world of TV writing.

    Brian Stelter, late of, blogs about the fate of talk show guests, but he means only late-night talk. Some day-time talk shows use WGA writers, like Dr. Phil, The Ellen DeGeneres Show. Others, like the Oprah Winfrey Show or Disney-ABC’s Live With Regis and Kelly do not.

    ET and The Insider writers labor under separate WGA news contracts. So do writers on NBC Universal’s Access Hollywood, which will continue.

    (photo by The Associated Press)

    WGA Members to NYT Writer Brook Barnes: Wise Up!


    Remember when FBLA suggested that New York writers were clueless about LA and show biz? Our point is proved again, thanks to Brooks Barnes of the New York Times. Writing about the upcoming WGA vs. AMPTP residuals smack-down, he’s wrong about nearly everything. To wit:

    Movie script writers get an upfront payment, now at least $1 million for a major film, according to studio executives.

    Su-u-u-re they do,sonny.

    And also:

    Under their proposal, unveiled with unexpected zest in early July by Barry M. Meyer, chief executive of Warner Brothers Entertainment, so-called creative employees would get residual checks only after the studios have recouped their basic costs.

    In Hollywood, studios almost never recoup “basic costs”. And this guy’s a business writer?

    Craig Mazin and his readers and David Poland take this guy apart. And they hate his name.

    Barnes, who joined the NYT from the Wall Street Journal, is a Montanan by birth, and perhaps he just got all dazzled by those flashy show biz types. Or he’s an idiot.