Created in part by Brian Eno and the production team responsible for the English avant-video show Buzz, Zoo TV’s agitated splash of appropriated video images and glib buzz phrases triggers eye-popping juxtapositions of cliche and truth: Everything You Know Is Wrong Guilt Is Next to God I Want a Job, Pussy, School Everybody Is a Racist. The members of U2 have retooled themselves as wiseacres with heart and elephant bucks to burn on the hallucinatory video sport of Zoo TV (a wordplay on MTV and the loony Morning Zoo shows dominating American Top Forty radio). Gone is the spiritual-gladiator image immortalized by that shot of Bono in the video of “Sunday Bloody Sunday,” waving the white flag against the hells-caldron glow of the fires at Red Rocks Amphitheater. The po-faced asceticism of its Joshua Tree-Rattle and Hum days is, for the most part, history. At a time when rock’s established order has been upended, with skate-teen gods like Pearl Jam and the Red Hot Chili Peppers holding the Top Ten hostage while Bruce Springsteen is left knocking at the back door, U2 has regained critical and commercial favor by negotiating an inspired balance between rock’s cheap thrills and its own sense of moral burden. Zoo TV and the triple-platinum Achtung Baby are the sight and sound of U2 leaving the hair shirts at home and singing in the rain. U2’s out there saying: “Fuck the umbrella. It’s like if you walk around with an umbrella over your head all the time. Here’s a bandage, some hope and some fun. They go out there trying to give the audience something to take home with them - the idea that for all of the things that are wrong, you don’t have to feel mortally wounded all the time. “It gives us insights into what storytellers to pay attention to and brings the audience in to let them have a say.“But this is also a different U2 in a way, not knights in armor,” Fallon continues. “The data is a tool it doesn’t replace the human,” says Hosanagar, who also serves as professor of operations, information and decisions at The Wharton School. As a television veteran, Rosenbaum did not need the identifying algorithm or the incubator, but Hosanagar says the project still benefited from the proprietary testing process. An untitled sci-fi Western from Queen of the South executive producer Scott Rosenbaum.Emmy-winning producer Shelby Stone ( Bessie) mentored the project durings its time in the Jumpcut incubator and remains attached as a co-producer alongside Freedom Road Productions’ Derek Dudley. Jack 9, a sci-fi action thriller from emerging writer Barrington Smith-Seetachit and TV scribe Adam Starks ( Home Before Dark, On My Block).Jumpcut has already sold a project in India, and Subtle Asian Traits joins two other scripted series that the company is developing and is planning to take to market this summer: Jumpcut founder and CEO Kartik Hosanagar tells The Hollywood Reporter that the algorithm isn’t just scouting for raw quantitative metrics but rather is able to sift for “strong filmed entertainment” and “emotional reaction.” A second proprietary process tests narrative concepts for resonance among various audience types.įor its storytellers that Jumpcut finds outside the traditional pipeline, the company runs a six-week incubator program with experienced mentors such as Lawrence Bender to get their projects ready for market. That’s one of the ways in which Jumpcut sources projects, but the studio stands out for another, more unusual approach: using an algorithm to identify stories and storytellers that have elicited a particular level of online engagement. 'Yellowjackets' Creators Ink Showtime Overall Deal
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