c******f
发帖数: 2144 | 1 【 以下文字转载自 NextGeneration 讨论区 】
发信人: jazztech (铁爵士), 信区: NextGeneration
标 题: 【转发】请发信投诉ABC的jimmy kimmel 的节目关于杀光中国人不当言辞不还美债的言论
发信站: BBS 未名空间站 (Sat Oct 19 16:38:09 2013, 美东)
小孩子确实是无知和天真的,但是ＡＢＣ和jimmy kimmel是成年人, 小孩子没有什么错
误，但是成年人选择播放这个就是完全恶意的, 这个如果换成杀光黑人， 或者杀光
任何其他一个种族的言论都是不能接受的, 我们华人的懦弱造成了这样的事件层出不
穷，今天你不说话,以为和你没有关系, 明天德国人屠杀犹太人的历史就在我们身上重
演， 这种借小孩的口说出极端种族注意的言论是不能接受的,请写信给下面的部门投
诉， 这是成年人借小孩之口做出的种族仇恨的言论, 这个完全不能接受.下面是我写
的信的内容, 请稍微更改然后发出.
http://www.fcc.gov/complaints
http://site.abc.go.com/site/contactus.html
I was very disturbed by Jimmy Kimmel’s ‘Kids Table’ show. It was aired
on ABC recently and talked about killing all the Chinese so that the states
do not need to pay back their debts to China. The kids might not know
anything better. However, Jimmy Kimmel and ABC’s management are adults.
They had a choice not to air this racist program, which promotes racial
hatred. The program is totally unacceptable and it must be cut. A sincere
apology must be issued. It is extremely distasteful and this is the same
rhetoric used in Nazi Germany against Jewish people. Please immediately cut
the show and issue a formal apology. | c******f
发帖数: 2144 | | L******0
发帖数: 560 | 3 这个应该置顶。我不光签了，还花了7刀在facebook上sponsor,为了自己和
下一代的安全，请大家务必拨冗，去网上签名。 | s**********u
发帖数: 11996 | 4 这个要支持，同时提供另一个投诉信件内容的版本，供大家参考使用：
I heard about that Jimmy Kimmel’s ‘Kids Table’ show, talking about
killing all the Chinese . I was shocked by this racist host and I am very
angry. NO BODY has the right to ask" Should we allow Chinese to live?".
Jimmy Kimmel and ABC's management need to be responsible for this stupid and
disgusting racial discrimination program. We Chinese need a formal apology. | b*********6
发帖数: 129 | 5 我给 Senator 写了信，请大家也去写！
网站：
http://www.warren.senate.gov/?p=email_senator
http://my.elizabethwarren.com/page/s/contact
Dear Senator Elizabeth:
I am writing to draw your attention to the racial hatred and racial genocide
displayed and promoted by the Jimmy Kimmel Show broadcasted on October 16,
2013.
http://www.youtube.com/watch?v=bRztij26Tfc
Please watch this video from 1':55''.
I find these racial genocide slurs very disturbing and disgusting. Racial
genocide slurs are never, under any circumstance, appropriate.
While the children may not, at the moment, understand the gravity what they
have said, Jimmy Kimmel (who serves as the host and executive producer of
the show) does and should not have allowed or encouraged the jokes even if
his intent is humor. It is not only disgusting but also an insult to America
's Civil Rights movement. We have been worked so hard to promote racial
equality. Unfortunate incident like this reminds us that we still have a
long way to go.
Before the World War II, the same rhetoric was used in Nazi Germany against
Jewish people. In essence, it is the type of slur that served as the basis
of the Holocaust in World War II and deserves no place in a show as widely
watched as JKL or condoned by a man as popular as Jimmy Kimmel. I can’t
believe that after seventy years genocide against one particular race was
still promoted as a solution to problems and was broadcasted in influential
media network like ABC!
Jimmy Kimmel has to deliver an official apology and has to be fired by the
ABC Network. The Jimmy Kimmel Show has to be cut from the ABC Network. We’
re expecting an official apology from the ABC Network to show your standing
against promoting racial hatred and racial genocide.
As a residence of State of Massachusetts who came from China and have a
Chinese face, I am deeply worried that this idea of killing all Chinese or
letting Chinese to live may result in bad direction for kids to be racists
and put others' life in danger. Could you please help take necessary actions
to minimize the damage caused by this unfortunate incident, and to further
prevent unfortunate incidents like this from happening again?
Thank you.
Sincerely,
还美债的言论
【在 c******f 的大作中提到】
: 可能这个链接更好用 http://abc.go.com/contact-us
| w********a
发帖数: 621 | 6 赞
不过Senator Warren 的正式官方网址是
http://www.warren.senate.gov/?p=email_senator
genocide
,
【在 b*********6 的大作中提到】
: 我给 Senator 写了信，请大家也去写！
: 网站：
: http://www.warren.senate.gov/?p=email_senator
: http://my.elizabethwarren.com/page/s/contact
: Dear Senator Elizabeth:
: I am writing to draw your attention to the racial hatred and racial genocide
: displayed and promoted by the Jimmy Kimmel Show broadcasted on October 16,
: 2013.
: http://www.youtube.com/watch?v=bRztij26Tfc
: Please watch this video from 1':55''.
| s********9
发帖数: 4395 | 7 这些节目真恶心，看照片还有一个亚洲（中国）小朋友？
已经签名了。 | b*********6
发帖数: 129 | 8 谢谢！
我在这个Link重新发了。
【在 w********a 的大作中提到】
: 赞
: 不过Senator Warren 的正式官方网址是
: http://www.warren.senate.gov/?p=email_senator
:
: genocide
: ,
| Q**J
发帖数: 1196 | | f*****s
发帖数: 219 | 10 刚刚在 ABC 和senator的网站都发了信，用大家的模板，花费时间两分钟。
多一个我们中国人的声音，举手之劳。
还美债的言论
【在 c******f 的大作中提到】
: 可能这个链接更好用 http://abc.go.com/contact-us
| x*******i
发帖数: 3847 | | c******f
发帖数: 2144 | 12 大家得继续！人家只发布了一个私人性质的道歉
欠我们一个官方的公开道歉 强烈要求fire Jimmy | b**********s
发帖数: 9531 | 13 支持。那个道歉根本就是托辞，连具体事件都不提，你也可以解释为abc歉了woo 1刀还
没还而道歉。如果真诚道歉，应该写清楚事件缘由，那天，谁，说了什么，这些都没提
到。
fire jimmy太简单了，script后面有写手，我觉得我们也搞不清，它们道歉信上应该写
明白谁的责任的。咱们大家以后再disney,abc，espn上少花钱把，这个惩罚最有效。 | C*****1
发帖数: 746 | 14 What It's Like to Write For a Late Night Talk Show
by Elise Czajkowski| October 16th, 2013
Comedy is an industry. For every performer on stage, there are hundreds of
people working behind-the-scenes. These creative and business jobs, which
exist in all disciplines and levels of comedy, collectively make up the
comedy scene. In this column, we're looking a comedy jobs that are less
visible than that of a performer, and talking to the people who do those
jobs about what they do, how they got there, and how that job has affected
their perspective on comedy.
The past year has brought a crop of new late night talk shows to television,
and that means more opportunities for late night writers. One of the most
sought after comedy writing jobs in the industry, there’s no set route to
becoming a late night writer. Many develop their voices in standup, sketch,
and acting, while others hone their skills in online videos. The Daily Show
’s Elliot Kalan began as an intern at the show, serving as a production
assistant before applying for his writing job, while Jimmy Kimmel Live head
writer Molly McNearney began as an assistant to the show's executive
producer.
The practical path to becoming a comedy writer is much the same as most
writing jobs. "The best piece of advice I have, and it's the simplest, is
just to write," McNearney told Splitsider. "I think a lot of people say they
want to be a writer, but you actually look at their day, and they're not
writing." Being deeply involved the comedy scene, or already working for a
show, are the best ways to find out about job openings, and from there, the
next step is writing a packet of jokes that are appropriate for that
particular show. Nikki and Sara Live co-host Sara Schaefer's tips on looking
for a late night job and actually applying for the gig provide great
insight into the application process.
For a creative job, working on a late night show is fairly structured. But
each show, whether weekly or daily, requires it own specific organization
and routine. On TBS’s Conan, for instance, the show’s writers are divided
into separate teams of monologue and sketch writers. “Our day is a series
of deadlines for turning in what we term "batches" of jokes (because we're
Keebler Elves) and meetings with our team and Conan to winnow down the joke-
herd,” said Rob Kutner, a monologue writer at the show. On the sketch side,
the ideas can be so last minute that "by 11 o'clock, there's a few ideas,"
said writer/director Scott Gairdner. "Writers are dispatched to work on some
of those ideas, and hopefully you have some version of it somehow
miraculously together by 1:30, when the rehearsal starts."
It’s a very different style at ABC’s Jimmy Kimmel Live. “Every writer is
responsible for writing monologue jokes,” McNearney said, adding that, “
most nights, each writer usually has an assignment for a celebrity guest
coming on the show who wants to do a comedy bit [...] I would say Jimmy
Kimmel Live is known in the industry for putting together really smart,
funny pieces for their guests.” That show also employs four Clip
Researchers, who’s sole job is to watch TV and pull clips.
Over at Comedy Central, The Daily Show writers are responsible for
monitoring their relevant television channels. “When you’re not working on
a particular assignment, you’re watching the news and looking on the
internet for stories to pitch, or angles to pitch on stories on larger news
stories,” said Kalan. “So we all know that there is a government shut down
happening right now, so you wouldn’t write a pitch that was like, ‘Hey,
we should write about the government shut down!’ But if you came up of an
angle for it, you would pitch it.” And each show’s focus determines the
basic research; at MTV’s pop culture heavy Nikki and Sara Live, says writer
Emmy Blotnick, “we meet in the morning to talk about whatever things Miley
Cyrus has dry humped, and then we usually break off and start putting
scripts together for different parts of the show.”
And writing for a regular television show is not quite as free-wheeling as
many imagine. “Working here as a writer is not everybody sitting in one
room and tossing out crazy ideas at each other,” Kalan said. “I think
there’s this feeling that comedy writing works the same way that it did
during The Show of Shows, where they where just sitting in a room acting out
characters and making stuff up.” Gairdner agreed. “I think a lot of
people would be surprised at how much it is less sitting in a room and
joking and figuring out ideas and more sending out emails, telling people
how big the green screen needs to be and that kind of thing.” The biggest
misconception, according to The Daily show’s Zhubin Parang, is “probably
the 30 Rock-suggested idea that we're all schlumpy early-20 slackers who pee
in jars. Most of us are married, and we're generally all social, put-
together people. I've got a plant on my desk and everything.”
Inevitably, working long hours on comedy will change a writer’s perspective
on the genre. “I'm a tougher comedy audience – some might say ‘a dick’,
” said Kutner. “You see and hear so many types and just so MUCH funny all
day long, it takes something just way more insane to really tickle me. And
because of the factory-like nature of what we do, I've usually had my fill
of comedy by days' end.”
But churning out material at such a rate invariably improves its quality in
the long run. “The more you write, especially the more you write comedy,
the less it becomes like this mysterious process that you’re trying to
capture,” Kalan said. “After years of doing it professionally, instead of
staring at it and hoping for some inspiration, it becomes much more of a
systematic process than, ‘Oh well. I guess I’ll sit here until the back of
my brain thinks of something and tells me what it is.’”
“The big thing I've learned is the importance of hard jokes,” said Parang.
“I think in improv and sketch comedy, especially the kind done around New
York, there's a tendency to be intellectual and absurd, which plays well
with the hard-core comedy audiences here (including me), but TV moves way
too fast for that. You need to hit jokes hard and often, and not just trust
that a general comedic concept will be enough to power a segment.”
“I got my start making videos on YouTube,” said Gairdner, who works
primarily on video sketches for Conan. “My speed was approximately one
three-minute video every two months, because I would agonize over every
choice. But now, having made a lot of things for YouTube and a lot of things
for Conan, I've started to get a better perspective on what are the
important fights to fight and what things to let go.”
Although late night talk shows are are amongst the oldest, and in many ways,
most stable formats on television, they have have also had to adapt swiftly
to the new media landscape. For one thing, late night shows no longer exist
exclusively in their time slots. "12:30 late night is not a 12:30 show
anymore,” former Late Night with Jimmy Fallon writer Anthony Jeselnik told
Splitsider last year. “It’s a 24-hour show now, because everything is
online the next day.” And shows now must contend with more competition on
television and the Internet. “I'm envious of people who got to work on
these shows 20 years ago, when there were a quarter as many of these shows,
and there weren't all of these websites too, because you're just constantly
competing against other shows and them getting to the idea first,” said
Gairdner. “Topicality and the shelf life of parody targets is getting
slimmer and slimmer because there a thousand of these shows, all waiting to
jump on something and parody it.”
For many writers, that breakneck schedule is both the best and worst part of
the gig. "It is a real grind, but every day is a new day," said McNearney.
"Your successes are short lived, but then so are your failures. So you can
have a great bit on the show and you can really enjoy it for about an hour
and then you have to start thinking about tomorrow's show. But if you didn't
do that well, that's also short lived and you have the next day to prove
yourself."
"Every job is a job and it stops being magical after a moment," said Kalan.
"And you have to remind yourself like, no, this is really amazing. Things
that seem magical or impossible to you become mundane reality. You lose
perspective and you get lost in the non-amazing parts of things and you
forget how amazing comedy is or how lucky anyone who gets to do it is."
Elise Czajkowski is an Associate Editor at Splitsider. She promises to start
tweeting more.
Photo via Getty. |
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