Film and Writing Festival for Comedy. Showcasing best of comedy short films at the FEEDBACK Film Festival. Plus, showcasing best of comedy novels, short stories, poems, screenplays (TV, short, feature) at the festival performed by professional actors.
A liberated Californian teen and new girl at her high school, finds herself at odds with the girls of the Christian chastity club.
CAST LIST:
Tyler: David Rowan
Zeek: Thomas Fournier
Tamara: Pascale Behrman
Narration: Kat Smiley
Nora: Aimee Poulin
Raquel: Jillian Robinson
Bill: Bill Poulin
Jerry Turner: Allan Brunet
Overview: One of the best things about this script is that you were willing to take chances and they certainly paid off. Bojack, Princess Carolyn, Diane, and Todd are at the core of this episode. Each begins with very different expectations and perspectives than they end with and the overall plotline is something that fans will immediately connect with.
CAST LIST:
Narrator: Andrea Irwin Irwin Irwin
Waiter: Thomas Fournier
Mr. Peanutbutter: Jolly Amaoko
Diane: Delphine Roussel
Bojack Annaleigh: Steven Holmberg
Princess Carolyn: Katelyn Varadi
Todd: Logan Forsyth Freeman
The Global Fund is a parodical global economic institution, headquartered in Washington, whose Director and Staff attempt –and often fail– to rule over the various countries of the world. They clash and try to make an arrangement with the Presidenta of a country in debt.
Paul Bicker is the Director of the Global Fund, an international public institution that tries to prescribe what to do to the various countries of the world. In the pilot, Bicker pretends to address the huge debt of a South American country with an incompetent government. He reaches a deal with the ignorant and arrogant Presidenta of Platonia to trade off the economic policy dictated by the Global Fund with permission for the country to keep its domestic politics and elections, which generates a catastrophe.
2. What genres does your screenplay fall under?
Political satire. Comedy.
3. Why should this screenplay be made into a TV show?
The Trump’s presidency, Brexit, the rising of populist and nationalist movements, have opened a new golden era for political satire. But no sitcom has dealt yet with the global institutions, such as the World Bank, the International Monetary Fund and alike, which have recently become more and more powerful over the entire world economy and are now the main target of politicians’ and voters’ backlash in many countries.
4. How would you describe this script in two words?
Globalization fun.
5. What movie have you seen the most times in your life?
Casablanca.
6. How long have you been working on this screenplay?
Several years doing academic research on the global institutions in Washington, and about a year to write the satirical version.
7. How many stories have you written?
I have published a dozen academic monographs, textbooks and non-fictions essays; I have also a satirical campus novel written; this is my first TV screenplay.
8. What is your favorite song? (Or, what song have you listened to the most times in your life?)
As time goes by.
9. What obstacles did you face to finish this screenplay?
I know the technocratic jargon and the political speech well, but I needed to give a different voice to every character, which I was not used to do.
10. Apart from writing, what else are you passionate about?
Movies.
11. You entered your screenplay via FilmFreeway. What has been your experiences working with the submission platform site?
So far it has offered me this nice opportunity to have a video for promotion, which I didn’t find elsewhere.
12. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
The initial feedback was very helpful, although the reviewers didn’t know much about the global institutions that I am satirizing and I had to clarify. This confirms that this TV show is necessary for the education of the public about the importance of the current governance of the world; I think a satirical comedy may be an effective way to explain how they work and to call the attention to the opportunities and perils they bring about.
Critics Consensus: With spot-on 1980s period detail, knockout writing, and a killer cast, GLOW shines brightly.
Set in Los Angeles during the 1980s, an unemployed actress hopes to find stardom by portraying a female wrestler.
Genre: Comedy
Network: Netflix
Premiere Date: Jun 23, 2017
Netflix’s wrestling drama GLOW is funny, poignant, and wonderfully acted, but what makes it really interesting is how aware it is of its own contradictions.
Glow is smartly written and the kind of character-driven TV that not only reflects our own messy lives but also those of the people we know, even if we’re not bouncing around a ring.
To call it a feel-good hit would be a bit reductive and presumptive, but “GLOW” deserves all the love and respect thrust upon it. Sit back, turn it up, and enjoy.
This new interpretation of GLOW… is packed with an excellent ensemble cast… sharp commentary on gender and racial stereotypes, and an awesomely ’80s soundtrack. It’s also just plain fun.
One of the best things about GLOW is the sheer Eighties-ness of it all — it’s a sensory explosion of synth-heavy tunes, neon lights, high-cut leotards, hairspray… and even a robot which dispenses cocaine.
GLOW is a throwback to movies about the adorable underdog misfit from the ’80s, set against a synth-heavy soundtrack. But in 2017, it is about a lot more.
Watching Brie’s vulnerable, overachiever Ruth – a character who is oftentimes frankly, the worst – also may make you wonder, why she didn’t get her own leading role sooner.
The criticism of professional wrestling is that it’s fixed, canned, fake, and predictable. GLOW is none of those things. It’ll keep you guessing, right to the very end.
GLOW could just go the straightforward route of following a ragtag team of weirdos as they face obstacles and beat the odds… [But GLOW also throws] in genuinely surprising twists while finding realistic and creative character motivations.
Critics Consensus: Timely, provocative, and sharply written, Dear White People is an entertaining blend of social commentary and incisive humor.
All those detractors who accused it of “race-baiting” only proves why a series like this is so relevant and necessary. But Dear White People is not arrogant or deranged enough to think it’s got the answers. It’s simply asking the questions.
Dear White People is a pop culture-savvy, sometimes explicit, always entertaining look at that process. It’s the perfect series for young people negotiating a world where struggles over identity grow more complex every day.
The show is beautifully character-driven, weaving through romantic and platonic and unrequited relationships, while also highlighting those aforementioned multitudes of blackness.
Yet despite all the right-on sloganising, there’s lively playing from an unfamiliar cast who create some intriguing characters, and the series may well prove worth pursuing.
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