Quirky, young(ish) L.A. rabbi, Leah Levy (Becky Kramer) just can’t get God’s chosen people of Boyle Heights to show up for Shabbat. When a klutzy Mormon missionary on a bicycle wipes her out, she decides to do what no Jew has done before (OK, except Jesus) – evangelize. Check out Steph’s full review of this bright, fast-paced, smartly written indie web series in the LA Weekly.
And click on a picture below for a full interview with creator/star Becky Kramer and Executive Producer Kaitlin Walsh on how they made the show. Kaitlin’s interview includes additional answers from writer Christian Ayers and director Aaron Milus. You can watch the whole show at Jewvangelist.com.
Becky Kramer – Creator/Star
Kaitlin Walsh – Exec Producer
Terrence Colby Clemons, Becky Kramer, Michael Saltzman (top), Alex Trugman (bottom), Willem Van Der Vegt, Jayme Bell – credit Adam Hendershott
Blah blah the show is good. Click on the photos below to read Steph’s interviews with Executive Producer/Geek & Sundry Co-Founder Sheri Bryant and the Cast about making the show.
Oscar Nuñez and Maria Bamford in The Program, photo credit Mandee Johnson, FOD
“I’m Peace. I have a Ph.D. in medieval studies. Which means I owe $200,000 in student loan debt at 49 percent interest rate! Whoops,” Maria Bamford quips as she introduces herself and the other endearingly in-debt characters in her new Funny or Die series, The Program.
Bamford and fellow L.A. comedian Melinda Hill co-wrote the show, which follows the journey of five members of a 12-step, Debtors Anonymous program. The two came up with the idea while carpooling to various Anonymous meetings that they “may or may not” have attended in L.A.
Read the rest of Stephanie’s review of The Program in her column about the best series on the web in the LA WEEKLY. Watch The Program on FunnnyOrDie. And check out with her full interview with Maria and Melinda below.
You’re the nebbishy, bumbling IT guy. She’s the hottest girl in the office, maybe the planet. Under no circumstances is she ever going to have a candlelit romantic dinner with you. OK, maybe one circumstance: You both survive the Zombocalypse.
Check out Steph’s full review of Andy Goldenberg’s refreshingly blood-soaked take on the “odd couple on an island” web series in her LA Weekly column HERE. And continue reading below for her full interview with Goldenberg about making the show.
After working in the writers rooms of shows like Community, Hello Ladies, and now Trophy Wife, comedy writer Howie Kremer now has his own series – on the Internet: Uh, Hey Dude. Betsy Sodaro (Animal Practice), Joe Wengert (Playing House) and Tracy Meyer (Hello Ladies) in this slice-of-life, female-centric comedy about three hilarious friends and a whole lot of relatable ‘nothing’. Ala Seinfeld, Uh, Hey Dude explores the small awkward moments that affect us all — like universal experience running into a mutual acquaintance with your friends, and NO ONE being able to remember their F*%#* name. And then they invite you to their birthday party.
Check out Kremer’s hilarious, insightful answers below as to how he created and executed the show and all the steps in between. You can watch more at www.Uhheydude.com
You’ve worked a lot in the TV world. What did you learn from the writers’ room or on set that you carried over into creating your own web series?
EVERYTHING. EVERYTHING and EVERYTHING!
Being in a writers’ room has helped my writing tremendously. Not only have I been lucky enough to be in writers’ rooms, I’ve been in the funniest, weirdest, craziest, smartest, and most lovely writers rooms ever. Each experience has helped me unlock something that has led me to be able to make UHD.
Doing my episode of TROPHY WIFE also helped SO MUCH for UHD. Being onset as a writer, and working with KEN MARINO who directed my episode, was such an incredible learning experience. It helped me with so many things: writing ON THE FLY — when a scene wasn’t working and me and Sarah Haskins had to rewrite a speech for Malin, or when a joke could be beat and you had a few minutes before it shot to write an ALT to camera set ups, lighting, sound, editing and more.
Ever wonder what would happen if Spike Lee and Christopher Guest had a brainchild who wrote a character-driven procedural web series? Meet Diarra Kilpatrick, creator, writer and star of American Koko, a web series that follows Akosua Miller (Kilpatrick) and her fellow gumshoe “Race Detectives” at the E.A.R. (Everyone’s a Little Racist) agency.
On the surface a procedural about sleuthing out racism and racial ignorance in everyday political incorrectness, American Koko uses its equal-opportunity offensive sense of humor to highlight the many ways in which racism is pre-programmed into today’s American society — an objective that’s flipped delightfully on its head when Main Character Akosua falls for (gasp) a white guy. Using the microcosm of an 8th grade musical to earnestly yet satirically ask “what’s the appropriate level of blackness?” — and then actually waiting for an answer — is no easy feat. But, as Diarra so succinctly says, “you can talk about anything if it’s clever and it’s funny, and if you approach it with some irreverence.”
I had the pleasure of sitting down with Diarra and director Miles Orion Feld (both repped by CAA) to drink iced tea, discuss TV, race, making a web series, and the inspirations behind this exciting new serialized-procedural web series, whose humor manages to somehow be both irreverent, indeed — but also equal-opportunity offensive.
How would you define your use of the term “post-racial America” for dumb white folks?
D: When Obama was elected people were trying to peddle this idea that there was no race issue anymore, this was a cornerstone of how far we’d come. a) we haven’t’ gone that far, we still have a long way to go b) I’m not actually interested in a “post-racial America.”… people’s culture and ethnicity is exciting information about who they are… it’s all a way in which we celebrate life. Everyone’s culture shapes how they specifically celebrate life… I’m interested in how people do that in their own particular way. I don’t want to live in a world that’s just beige.
Every morning, Alex (Topher Grace) wakes up in a new body. Some days he’s a virile, chisel-jawed man; others, a prepubescent girl or an overweight hipster. Some days he can speak only Mandarin. The pain of his predicament hits home when we see that he has to measure his feet every morning to find shoes, or when he wakes up next to his sexual conquest of the night before, only to find himself a withered octogenarian.
This is the premise of The Beauty Inside, a breathtaking six-episode series that follows Alex as he tries to woo Leah (Mary Elizabeth Winstead), a young antique-store owner. Unlike the steadfast antique pieces they both love, Alex’s appearance changes daily, rendering their love impossible. Read the rest of my article here…
If schadenfreude came dressed in a yellow mini-dress and heralded from Kansas it would be Amy Kersten at the season three premiere of her digital-series, Hot Mess. Hot Mess is scripted non-fiction, the real stories of real NYC women keep together one post-it note at a time. This post Sex in the City, pre-Lena Dunham series was first hatched in 2007, and it’s come a long way baby.
NYC 2007 – Amy and I were roommates: two straight girls, two gay boys and two cats in a one-bedroom railroad apartment in a 4th floor walk-up in Brooklyn. We kept our sanity and the bed bugs at bay by playing “Enya cover band” with wooden spoons and pots in our kitchen. We laughed, because here’s the thing that can’t be conveyed in an HBO show. NYC is so inconvenient, physically uncomfortable, hot, sticky, and deeply human – that the only way to keep it together is to embrace the ridiculous. Community is forged in “Fire”, literally – I did a turn in an episode of that same name when our oven exploded.
Now ingrained in Hot Mess lore is the story of the seed money that birthed season one, compensation after a giant television fell on Amy’s head on Halloween while working at NYC’s poshest health club. The universe seemed to be whispering (loud enough to shake televisions from the sky) real life is funny. Soon Amy hooked up with co-conspirator Cheri Paige Fogleman and the series took off.
What are your thoughts on the HBO show Looking? What does it do right? What does it do wrong? What would you like to see? A lot of people in the gay community miss Sex and the City. The characters were so easy to identify with and they were fun. I like saying “I’m like the Carrie” or “You’re the Samantha,” but saying that has gotten old and I was looking for Looking to give me some new fun characters to latch on to. I wanted a show where I could say “I’m the Patrick or you’re the Dom.” If I were on the dance floor at Mickey’s and someone were to call me the Patrick or the Dom it would just make me sad. Michael Lannan has created a beautiful show with a beautiful cast of talented actors and it has its place, but I still miss Carrie and Samantha.
HBO’s Looking offers audiences a cast of complex, gay male characters whose lives are just as mundane and confusing as the rest of ours. Funny or Die’s Not Looking does the same, only it’s way freaking funnier. After Looking’s trailer left Jason Looney and Jeremy Shane feeling flat, they decided to shoot an L.A.-based parody trailer with a dash more Girls and Sex and the City. The hilarious Drew Droege and Justin Martindale rounded out the cast. Read Steph’s full review in the LA Weekly film section this week and check out her full interview with hilarious co-writer/creator/star of Not Looking, Jason Looney, below.