Lovehoney Calls for Quality Over Quantity in Adult Retail

Lovehoney is sharing the benefits of marketing quality pleasure products.
XBIZ.com – Pleasure & Retail

Lovehoney Calls for Quality Over Quantity in Adult Retail

Lovehoney is sharing the benefits of marketing quality pleasure products.
XBIZ.com – Pleasure & Retail

Jim Gaffigan: Quality Time (Original Recording) – Jim Gaffigan

Jim Gaffigan - Jim Gaffigan: Quality Time (Original Recording)  artwork

Jim Gaffigan: Quality Time (Original Recording)

Jim Gaffigan

Genre: Comedy

Price: $ 5.99

Publish Date: October 22, 2019

© © 2019 Comedy Dynamics

iTunes Store: Top Audiobooks in Comedy

Quality Control’s Marlo Drops ‘1st & 3rd’ Mixtape

Guests include Future, Young Thug, Young Dolph, Gucci Mane, Moneybagg Yo and more.


HipHopDX News

Quality Control CEO ‘Pee’ Speaks Out Against Lira Galore

Pee just went off on Lira … claiming no matter how challenging things may get in his work life, he ALWAYS makes time for his kids, saying, “No I’m not perfect but if anyone knows me they know I go hard every day so my children will never have…

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TMZ Celebrity News for Celebrity Justice


How Cloud Computing Could Improve Your Quality Of Life | WIRED Brand Lab

BRANDED CONTENT | Produced by WIRED Brand Lab with Comcast Business | While balance looks different for everyone, the common thread is more flexible time on employees’ own terms. Cloud computing may be the modern work/life balance solution and could significantly improve your quality of life.
WIRED Videos

Quality Control: Control the Streets, Vol. 2 – Quality Control

Quality Control - Quality Control: Control the Streets, Vol. 2  artwork

Quality Control: Control the Streets, Vol. 2

Quality Control

Genre: Hip-Hop/Rap

Price: $ 15.99

Release Date: August 16, 2019

© Quality Control Music/Motown Records; ℗ 2019 Quality Control Music, LLC, under exclusive license to UMG Recordings, Inc.

iTunes Store: Top Albums in Hip Hop/Rap

King Combs ft. Yung Miami, AZChike & Tee Grizzley “Surf,” Quality Control ft. Lil Baby & DaBaby “Baby” & More | Daily Visuals 8.13.19

Summer Jam 2019

Source: Johnny Nunez / Getty

Seems like Diddy’s son done learned a thing or two from the Hip-Hop icon. Namely, how to turn up at a party.

In his visuals for “Surf,” King Combs invites Yung Miami, Tee Grizzley and AZChike to his a bikini party where twerking is a must if you wanna get noticed by the cameraman and the pool itself is largely ignored. Kinda surprised no one actually surfed in this video but it is what it is.

Back on the streets Quality Control, Lil Baby and DaBaby get caught up with the wrong people a la Scarface in the bloody clip to “Baby.”

Check out the rest of today’s drops including more work from King Combs featuring Kai Ca$ h and 03 Greedo, Yung Gleesh, and more.

KING COMBS FT. YUNG MIAMI, AZCHIKE & TEE GRIZZLEY – “SURF”

QUALITY CONTROL, LIL BABY & DABABY – “BABY”

KING COMBS FT. KAI CA$ H AND 03 GREEDO – “THE WEST”

O.T. GENASIS FT. G-EAZY, RICH THE KID & E-40 – “BAE REMIX”

PAGE KENNEDY FT. FRED THE GODSON & ELZHI – “ASSASSINS”

YUNG GLEESH – “THEY THINK”

The Latest Hip-Hop News, Music and Media | Hip-Hop Wired

Quality Control Unveils “Control The Streets Volume 2” Tracklist

UPDATE: Featuring Travis Scott, Megan Thee Stallion, Migos, City Girls, Meek Mill, Young Thug and many more.


HipHopDX News

Timeless Quality, Heritage Aesthetic: Todd Snyder + Champion Sale—Plus a Timex Flash Deal!

Since 2013, menswear king Todd Snyder and sportswear legend Champion have been collaborating on a recurring line of vintage-inspired, street-smart style pieces. Each year, the Todd Snyder + Champion collaboration is one of Todd’s most popular collections. But, as the saying goes: “Out with the old and in with the new.” So to make room for incoming spring and summer styles, Todd Snyder is blowing out a ton of TS + Champion gear, including sweatshirts, joggers, and knitwear. All of it is marked at least 30 percent off regular prices.

Even better, this weekend only, from Friday, May 3 through Monday, May 6, toddsnyder.com is having a flash sale on its fabulous Timex watch collection. With the code timex20 you can get an additional 20 percent off all Todd Snyder + Timex Collection watches on sale. Regularly priced at $ 158, Todd Snyder + Time Peanuts-themed watches with Charlie Brown, Snoopy, and more are a mind-blowing $ 79. The digital Timex Ironman sport watch, normally $ 98, is just $ 47, and the mod-retro Blackjack watch is $ 79.

TS
Todd Snyder

The Todd Snyder + Champion collab has always been about melding Champion’s heritage aesthetic and timeless quality with Snyder’s love of classic American tailoring. The original collection played with Champion’s 1950s gym line, updating the styles and fabrics and colors into something modern and contemporary with a vintage feel. Since its debut the line has morphed time and again. These days you’ll find bright pastels, patchwork fabrics, cool color combinations, and other tweaks.

Five years in, Todd Snyder + Champion is always one of Todd Snyder’s most anticipated collections of the year. We’ve found some fantastic joggers on sale, slim-cut for the modern aesthetic but in the palette of original Champion gym gear. The colors are phenomenal, too—just right for spring and summer.

Brand History

Todd Snyder was founded in 2011. Snyder’s career began with successful stints at industry heavyweights such as Ralph Lauren, Gap, and J.Crew. Influenced by his Iowa upbringing, the Todd Snyder collection is rooted in American classics. Tailored suiting, traditional knits, and outerwear styled with thoughtful ease and finish. Todd Snyder also collaborates with like-minded legacy brands including Timex, PF Flyers, Moscot, and Cole Haan.

Founded in 1919 in Rochester, New York, Champion Sportswear is celebrating its 100th anniversary in 2019.

Check out our Sale finds from the Todd Snyder + Champion collection below, and see all the sale items at Todd Snyder here.

Charlie Brown Watch 60% OFF!

What dad wouldn’t love to get this funky, fun, and practical gift on Father’s Day? This watch is actually reduced further than the other watches in the Peanuts line, so 20 percent off the sale price of $ 79 is just $ 63. Just use code timex20 get the deal.

GET IT: Take an additional 20 percent off the sale price of this Todd Snyder + Timex Charlie Brown watch ($ 63; was $ 158) using code timex20

Todd Snyder

Champion Graphic Tee 30% OFF

Inspired by a vintage tee, this 9-oz. cotton tee is crafted on authentic flat-lock machines and features a script Champion heat transfer graphic at the chest. Premium Champion knitwear exclusively designed and manufactured by Todd Snyder.

GET IT: Pick up the Champion Graphic Tee ($ 49; was $ 70) at Todd Snyder

Todd Snyder

Champion Graphic Slim Tipped Jogger 30% OFF

The season’s hottest hookup comes in French terry with a graphic heat transfer of the iconic Champion logo down the left leg and sporty stripes on tipped ribbing at the waist and cuffs. This slim take on our go-to sweatpant pairs back to the classic sweatshirt, for the ultimate off-duty suit. 

GET IT: Pick up the Champion Graphic Slim Tipped Jogger ($ 89; from $ 128) at Todd Snyder

Todd Snyder

The Blackjack Watch 43% OFF!

This timepiece is an homage to Formula One drivers of the 60s and 70s. Nodding to speed dials and roulette wheels, the Blackjack evokes the noir glamour of fast cars, hot tires, and midcentury Monaco casinos. Use code timex20 to get an additional 20 percent off the sale price.

GET IT: Take an additional 20 percent off the Todd Snyder + Timex Blackjack watch ($ 79; was $ 138) using code timex20.

Todd Snyder

Terry Pocket Sweatshirt 30% OFF

The perfect top layer for the shoulder seasons, right now all the colorful Todd + Champion’s pocket sweatshirts are marked down. From yellow and rust to purple, aqua, and peony (shown), get in the Spring spirit with bright pastels and striking shades.

GET IT: Pick up the Terry Pocket Sweatshirt ($ 69, from $ 98) at Todd Snyder

Todd Snyder

Stripe Rugby in Navy 52% OFF

A sophisticated twist on classic collegiate style, this sporty rugby is smart enough for weekend brunch. Crafted from a Japanese striped fabric and impeccably detailed with crimson cover-stitching, a self-fabric bound neck, and a small Champion logo at the sleeve hem. 

GET IT: Pick up the Champion Strip Rugby ($ 79; was $ 168) at Todd Snyder

Todd Snyder

Terry Slim Jogger Sweatpant 33% OFF

The counterpart to the sweatshirt that’s also on this list, this hip jogger is also on sale—with all the spring colors to match. Crafted from 100 percent cotton French terry and weather-dyed for a lived-in texture. Finished with elasticated cuffs, two slash pockets, and a herringbone tubular drawstring.

GET IT: Pick up the Terry Slim Jogger Sweatpant ($ 79; from $ 118) at Todd Snyder

Todd Snyder

Striped Track Jacket 30% OFF

This track suit jacket plays well with sporty basics but also goes the extra mile paired back to tailored separates. Detailed with a white nylon coil zipper for graphic pop, it’s also available in red. Japanese fabric, raglan sleeves, and made in Portugal.

GET IT: Pick up the Striped Track Jacket ($ 139; was $ 198) at Todd Snyder

Todd Snyder

French Terry Striped Warm-Up Short 30% OFF

Fusing the comfort of sweats and the cut of a gym short with the style of a swim trunk, this hybrid short is crafted with sport styling and finished with a clean hem. This limited edition exclusive features the original C patch Champion logo, and is designed and manufactured by Todd Snyder.

GET IT: Pick up the French Terry Striped Warm-Up Short ($ 69; was $ 98) at Todd Snyder

Check out all the products and gear we’ve selected for Men’s Journal readers here

See Also:

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Todd Snyder

The post Timeless Quality, Heritage Aesthetic: Todd Snyder + Champion Sale—Plus a Timex Flash Deal! appeared first on Men's Journal.

Men’s Journal Latest Style News

‘If Beale Street Could Talk’ finds epic quality in love story

Two years after his Oscar triumph with “Moonlight,” director Barry Jenkins has delivered another carefully polished gem in the form of “If Beale Street Could Talk,” an adaptation of James Baldwin’s 1974 novel. Timely in its themes — including African-Americans and the justice system — it’s one of those small movies that manages to make personal interactions feel epic.


CNN.com – RSS Channel – Entertainment

GamersGate: The World's Largest Online Game Store

Good Audio Is Key to Quality Camming

In past articles, I’ve covered many different subjects, on how to be more successful as a cam model, including some deep topics. This time, I want to cover a few basics relating to audio. Because while the aesthetics of your room is very important, there is something equally vital that is often overlooked. Sound.
XBIZ.com – Opinion

Quality Control: Control the Streets, Vol. 1 – Quality Control

Quality Control - Quality Control: Control the Streets, Vol. 1  artwork

Quality Control: Control the Streets, Vol. 1

Quality Control

Genre: Hip-Hop/Rap

Price: $ 16.99

Release Date: December 8, 2017

© Quality Control Music / Motown Records / Capitol Records;℗2017 Quality Control Music, LLC and UMG Recordings, Inc.

iTunes Store: Top Albums in Hip Hop/Rap

Quality Control Shares “Control The Streets Vol. 1” Compilation

New music from Migos, Nicki Minaj, Young Thug, Cardi B and Lil Yachty.


HipHopDX News

Motorbunny Rolls Out 5-Year Warranty, 10-Year Quality Guarantee

Motorbunny is extending its warranty to five years, and is announcing an additional ten-year Quality Guarantee Program.
XBIZ.com – Pleasure & Retail

Jared Kushner and Ivanka Trump Enjoy Some Quality Family Time

Jared Kushner and Ivanka Trump Enjoy Some Quality Family Time

Jared Kushner and Ivanka Trump Enjoy … 2:13
Jared Kushner may officially be a member of the president’s family, but that doesn’t mean his wife Ivanka lets him mingle with the true born Trump children.
Submitted by: Funny Or Die
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Keywords: Jared Kushner Ivanka Trump Wife Tiffany Trump Sister Shopping Business Testify Deposition Senate Testimony Alibi emasculate Donald Trump Senior Advisor President Trump Private Life Whipped Dominated Humiliated Drag Crossdressing Parody Impersonation
Views: 442,568

Funny Or Die | Funny Videos, Funny Video Clips, Funny Pics

DJ Skee Talks Returning To FUSE For SKEE TV Season 2: “The Quality Of Production Has Doubled”

The boundaries DJ Skee continues to push for not himself and his team’s brand but for the Hip-Hop culture as a whole, is nothing short of astronomical.

After a successful first season of his unrivaled SKEE TV variety show, the new and improved FUSE saw no reason not to ask him back for another go around. Hip-Hop Wired crashed the taping of the upcoming first show (yes, the same one that airs tonight where The Game disses Young Thug) and caught up with the host to explain how he keeps his win tally up.

HHW: What was the feeling you had when you woke up this morning and knew you were about to be consumed with Season 2 of SKEE TV?

DJ Skee: It feels great because when you’re going into the second round of anything, you kind of gotten a feel for what works and what doesn’t it and get a little room in between to think about it. We have a bunch of different things from new 3-D type signs on stage to various format changes. It’s still the same show but just a lot of the little details we were able to really tweak and spend the time on and get right. Even with the talent, we have more time to put it together and get more people who are aware of it and it’s really exciting. It just really steps it up a level.

HHW: You kind of got a bit of a monopoly going on seeing that there isn’t a lot of Hip-Hop entities/blog world/digital age on television right now.

DJ Skee: It’s really interesting. We got online before a lot of people were and now there’s not a lot of stuff on TV, we saw that there would be a huge opportunity and huge potential. It’s something we’re really proud and worked really hard to get and something we love owning in the space so we really want to represent the culture in an authentic, honest and positive way while showcasing the opportunity for those [artists] who are on the rise as well.

HHW: How big has Fuse’s role been on this?

DJ Skee: Fuse has been awesome. Straight up. They’re under new ownership and they totally relaunched the network the same week we came back with season 2 of the show right here. They understand what are brand is and what we do and give us the opportunity to let us do whatever we want. They understand our place within the culture and what we do within the community, and allow us to excel and showcase our skills while utilizing the amazing platform to present to the craziest audience they have of over 70 million homes. It’s really cool to be a part of the new umbrella of their brand which is about being yourself.

the-game-dj-skee-season-2

HHW: What is the biggest change we can expect when comparing Season 2 and Season 1?

DJ Skee: I’d say a level of production quality. You’ll notice it right away if you watched last season. Our biggest problem is we always run out of time and only about an hour a week to say it in. So we’re always pushing to get more in there and we kind of figured out the formula and really maximize that time. So you’ll see a much more well thought out show with bigger guests and we really stepped it up a notched this season.

HHW: It seems like it was only right that you had The Game on as the first guest to kickoff the new wave?

DJ Skee: Absolutely. And we are going to get to the bottom of this two-album deal he has going on. The first one is incredible. Ten years ago, we dropped “300 Bars” and I owe a lot of success to him for being the catalyst behind much of brand. I’ve always said, no matter what you think about him or the drama that surrounds him, he’s one of the most talented artists I’ve ever been in the studio with in my life and he continues to prove that over and over. Musically he’s evolved a lot as an artist and it’ll be great to have him and get inside his head.

SKEE TV airs on Fridays on 10pm/9c on FUSE (starting tonight!) and will features the likes of Fetty Wap, Keke Palmer, T-Pain, Overdoz., Post Malone and many more. Tune in.


Photos: DJ Base

The post DJ Skee Talks Returning To FUSE For SKEE TV Season 2: “The Quality Of Production Has Doubled” appeared first on Hip-Hop Wired.

Hip-Hop Wired

Netflix, Binging And Quality Control In The Age Of Peak TV

Matt Singer posed a timely question today: Why is it that the original programs made by Netflix — the place that perfected binge-viewing — aren’t necessarily all that binge-able? 

By downplaying the importance of individual episodes in favor of longform narratives, the company has also downplayed the propulsive storytelling style and shocking cliffhangers that define the best binge-watch shows. A television show structured as a one giant 13-hour story can be highly absorbing. But without those big hooks and twists at the end of every episode, it’s very difficult to make it addictive.

Singer’s onto something here: I’ve spent the summer rewatching “The X-Files,” and there’s something about traditionally made, pre-“peak TV” dramas that often makes them deliciously binge-able. Writers on the kinds of shows that eventually made binging a thing were often under pressure from networks to hook viewers, through juicy relationship arcs, propulsive stories, exciting mythology reveals and hints that something big was coming in the next week. Not all good “binge-ers” have those elements, but many of the good ones are very good at serving up self-contained episodes, distinctive characters and moments so entertaining that you just want another hit of whatever they’re selling. 

Obviously television’s ambitions have expanded since the heyday of binge-inducers like “Alias,” “Lost” and “24,” and Netflix is among the many outlets testing the boundaries of what kinds of television can sustain an audience for a binge or a leisurely stroll, even as TV redefines what success means in an era of micro-niches and all manner of nonlinear viewing opportunities.

That said, my first reaction to Singer’s piece on the binge-resistance of Netflix’s dramas consisted of a question: I really wonder how much of that is intentional. It may not be a feature, but a bug.

Singer’s theory is that Netflix executives don’t really care if it takes a few months to watch one of their original series; that’s actually a good thing, if the slow pace keeps a subscription active. That makes sense from a business perspective, but, based on statements Netflix executives have made and the shows they’ve released, I wonder if that’s their primary intent.

My theory’s different: I think Netflix and Amazon executives give their creative types a lot of rope, and I’ve often had occasion to wonder is they’re giving them too much rope. It’s common for their dramas to get tangled up and slow down, even at the pilot stage, and in the middle of seasons, Netflix dramas often sag and meander, and — as Singer notes — they take a long time to work up a head of steam. 

My first reaction to Singer’s piece on the binge-resistance of Netflix’s dramas consisted of a question: I really wonder how much of that is intentional. It may not be a feature, but a bug.

But this isn’t just the case at streaming services: It’s happening a lot in the more ambitious realms of television. Maybe it’s just me, but when it comes to many shows, especially dramas, in the cable, pay-cable and streaming arenas, I see a trend toward laxness and a lack of energy and dynamic tension. There’s more ambition than in a derivative NBC or CBS procedural, sure, but there’s also often a lack of urgency within an episode and, most notably, over the course of a season.

It’s also fairly common to find that the character development is not strong and vivid enough to make me want to revisit these shows while they figure out how to crank up the narrative drive, as was the case with Amazon’s “Bosch” and USA’s “Complications.” I did finally begin to enjoy AMC’s “Halt and Catch Fire,” especially in its second season, but most people had checked out well before it kicked into high gear, and that may have doomed the show (though I hope not). 

Of course, it’s unfair to cherry-pick the best examples, but let’s face it, this wasn’t too often the case with with the best binge-ers the Commercial Television Machine produced. Even in a bad episode of “The X-Files” or “Lost,” the Mulder and Scully banter or the Hurley quips make up for a lot. Hence my current obsession with what I call B-movie TV: Genre fare that is smart and subversive but also energetic and not overly concerned with being Important. (The two best new shows of the year, Lifetime’s “UnREAL” and USA’s “Mr. Robot” may not neatly fit in the B-movie TV category, but both were pleasingly knotty, had great characters and were suspenseful from the jump. They’re binge-ers, for sure.)  

Sag and drift problems have cropped up throughout TV history, obviously. But I think it’s telling that it’s cropping up a lot lately, often at places that could and should know better (despite its great cast and terrific moments, I gave up on the rudderless “Masters of Sex” near the end of Season 2 and haven’t seen a compelling reason to jump back on board). As Todd VanDerWerff has pointed out, TV is fumbling for direction in the age of binging and stacking and all episodes of television existing simultaneously everywhere (well, not really, but it feels that way sometimes). So as TV figures out the creative implications of the nonlinear era, some sloppiness and experimentation is to be expected.

But I think there’s more to it than that. The competition for talent and the huge desire lock down hot writers while also trying to create Signature Programs has led to situations where executives have let way too much bad writing slide.

There’s an enormous scramble for content at the moment, so much so that multiple seasons are being ordered at an accelerated pace and it’s almost normal for shows to be renewed before they debut. That was decidedly not normal only a few years ago. But Netflix, Amazon, Hulu and any number of other new players have changed the game, just as cable did a decade or so ago.

As I’ve argued elsewhere, this is a good thing, overall. Not every show in Ye Olde Golden Age was a keeper, but almost every network was forced to raise its game and give writers more leeway. Hooray!

But there was sigh-inducing side to that revolution: There was too much imitation and a blind pursuit of uninspired dramas about tortured white guys. These days, as TV expands into what FX president John Landgraf has called peak TV, there’s a lot of great TV, but the signal-to-noise ratio is not necessarily heading in a reassuring direction. As TV competes to keep eyeballs on its ever-expanding array of content, we’re being subjected to a lot of empty spectacle and rote brand extension. And it’s worth pointing out, as Linda Holmes does in her great essay series on TV’s growing pains, that the kinds of people who get to make TV now are usually the kinds of people who always have gotten to make TV. Diversity is a buzzword executives know they should throw around these days, but their commitment to it seems tenuous at best.

So this revolution has its frustrations, among them the problems Singer neatly delineates. And given that the issues he noticed and I’ve described are mostly taking place in the streaming, cable and pay-cable arenas, the following statement mostly applies to them: Maybe its because they have too many shows to keep track of, or maybe it’s because they’re working with writers they think might try to get a better deal somewhere else, but I get the sense that a number of networks and executives are not exercising the quality control they used to. It’s a problem.

Too many times lately, with too many shows that are well cast and clearly expensive, I’ve wondered why the people in charge appear to be asleep at the switch. “Fear the Walking Dead” is repetitive and boring, but AMC wants to keep “Walking Dead” mogul Robert Kirkman in the corporate family, so that show’s going to be what Kirkman wants it to be, for good or ill. The last two seasons of “American Horror Story” haven’t been very good, but they’ve been noisy enough to get a lot of eyeballs, and FX wants to be in business with Ryan Murphy, so that show will continue to be variable and frustrating (and maybe occasionally excellent, who knows). “Bloodline” assembled various prestige TV markers without going anywhere all that compelling with them, but it seems like the kind of show Netflix should be making — and if they didn’t make it, someone else might — so it got renewed. And so on.

The power dynamics in the industry are unstable — only in certain places, of course, and only for certain people. But the current scramble for talent has given some writer/producers more power than these kinds of folks have ever had in the past, and the side effects of that development aren’t always good. For one thing, in part due to talent flight, drama pilots on the broadcast networks have been mostly lame and terrible for years, with a few rare exceptions, because those who don’t want to deal with a lot of network interference are going elsewhere. (The CW, which has been on a roll, is the exception among the broadcast networks, but that’s a story for another day.)

The current scramble for talent has given some writer/producers more power than these kinds of folks have ever had in the past, and the side effects of that development aren’t always good.

As many writer/producers head to what they perceive to be greener pastures, executives are doing whatever they can to lock down talent, and the end result of this whole process can sometimes be self-indulgent and lazy television. Drift, repetition and laxness are things a good executive can spot, catch and help correct. With the good or improving shows, that’s likely at least part of what’s happening. Given the glut of bad, lazy or directionless dramas, that’s not happening enough, or some creatives just aren’t listening. When a drama like “True Detective” goes that off-course and wastes that much potential, it’s not just a chance to have fun with memes and hashtags, it’s a sign that something has seriously gone awry in the quality-control systems that helped TV get to where it is now. 

HBO, once the strutting king of the TV scene, can’t openly criticize newcomer Nic Pizzolatto, lest he bolt and the network’s reputation as a welcoming haven for top talent take a hit. Netflix and Amazon go further: They openly celebrate their hands-off approaches. Executives at both places have basically said that because they’re not married to the usual commercial television models, they’re letting their talent do … whatever. 

“We are not really in the solid outcome business, you know,” Amazon Studios head Roy Price said at an Amazon executive panel at the Television Critics Association press tour recently. “We are not really in the programming business.”

“It’s not the intent to draw the biggest audience from any single show,” Netflix content chief Ted Sarandos said at TCA. “The shows are built and designed and we invest in them based on the audience that we believe the show can attract. And it’s successful if it attracts that audience segment.”

Joe Lewis, Amazon’s comedy chief, said something similar: “I think we are … just looking for shows that are our customers’ favorites.”

That all sounds good, in theory. And in practice, it’s occasionally resulted in wonderful television. Netflix’s “BoJack Horseman” is as weird a concoction as I can think of, but it’s incisive and funny even as it goes to some heartbreaking places. I’m glad that Amazon is betting big on “The Man in the High Castle,” which may supply the smart sci-fi I’ve been searching for. And of course, all of television is a crapshoot; most shows fail, good ones are always hard to make and great ones are always rare.

But these streaming executives are indicating that they think non-interference is the only way to get good shows.

“[W]e built the company on this in this internal culture of freedom and responsibility, and we really did apply that to our showrunners too,” Sarandos said at TCA. “We decided it would be our role not to coach the creatives because it really wasn’t our wheelhouse. It was going to be our role to pick the right projects, pick the right worlds, pick the right talent to run those shows, and then really try to create an environment for them to do the best work of their lives.”

This statement kind of floored me, honestly. If the executives not there to make shows better, what are they there for? Also, can I have an executive job at Netflix? Because I would really like to make a lot of money to not do things. They give many millions to those making their shows, but telling them how to spend that money wisely? LOL, pass. 

Of course, some of this is just the kind of chest-thumping tech-exec hyperbole that “Silicon Valley” lampoons so well. And that’s the analogy I’ll stick with: Amazon and Netflix executives don’t seem to consider themselves TV executives, and it may be more useful to think of them as the kinds of guys who run Uber and other boastful, well-funded startups. They hacked television, bro, and they’re going to do it better.

Except … really? They think they’re going to do it better than the kinds of people responsible for the Commercial Television Machine? I mean, maybe someday they will, and if they get to that point, break out the Champagne. But their track record isn’t nearly there yet, and it’s more than a little grating that they’re so dismissive of the kind of TV-making processes that led to the creation of so many good and great shows — the very binge-able content they so eagerly bought up and built their businesses on top of. 

And that brings me back to my reaction to Singer’s essay, which boils down to this: Giving people a lot of rope is not necessarily how the best TV gets made. It can produce good results, in the hands of a disciplined professionals who know what to do with that freedom — and what not to do with it. If the discipline, vision and restraint are lacking and are not supplied by the showrunner or by executives, the results are usually ponderous messes (“House of Cards,” “Hand of God,” “Low Winter Sun”).

It’s worth noting that Jill Soloway (“Transparent”) and Jenji Kohan (“Orange Is the New Black”), who created the best shows in the streaming realms, are longtime veterans of the Commercial Television Machine. And all that has happened before has happened again. Long before those shows were a gleam on some site’s server, Ron Moore reinvented “Battlestar Galactica” by taking the best of what he’d learned in a long career as a writer for various “Star Trek” TV series and blowing up the rest. I really wish streaming executives wouldn’t valorize throwing out the baby with the bathwater, at least not until their rosters have more shows like “Transparent” and “OITNB” and “Battlestar Galactica” and fewer sludge piles like “Hand of God” and “Marco Polo.”

Quality control matters in television; look at how USA nurtured “Mr. Robot” into an accessible yet deeply adventurous show, and the showrunners of “The Americans” often talk about how executive input helped the show go from good to great, to name just two examples. And this concept matters even more when you think about the fact that Amazon and Netflix — like many networks — are ramping up their content machines. The efficacy of quality control is partly related to volume, and it’s moderately terrifying that this phenomenon of peak TV could result in 400 primetime scripted shows in 2015 alone.

 At TCA, Landgraf said he’s capping the number of shows FX and FXX make.

“I really don’t care how much money a business has to spend. As someone who struggles every day to program good and great television, who still reads nearly every script and watches every rough cut of every episode we program, I believe it’s impossible to maintain quality control with too many shows,” Landgraf said.

 His Peak TV speech contained a lot of food for thought, some of which good critics are still chewing on, but he’s right about that. Despite my fears for my sanity, I generally think Peak TV is a good thing — without it, we don’t get weird gems like “Rectify” and “BoJack” and a more diverse array of creators and protagonists. Given how many more shows are being made and how many of them have less experienced or inexperienced showrunners, however, now’s not the time for executives to just let people sink or swim, but signs of floundering are already all over the place. All in all, I am very concerned about whether we’re going to get more good TV, or just more TV. 

There are certain kinds of quality control that Netflix and Amazon executives seem amused by or appear to think is unnecessary. And stories of the excesses of overly controlling, uninspired and unhelpful networks executives are not hard to find and easy to mock, but the good ones are also partly responsible for sweetest fruits of the Commercial Television Machine. 

Of course, writers, actors and directors are incredibly important when it comes to a show’s quality, but knowing how to shepherd, shape and market a show — these are real and important skills. If you read Difficult Men and The Revolution Was Televised, you’ll come across many instances of writers doing their best to rebel against whatever network strictures had frustrated them in the past. But you’ll also come across TV executives who knew what they were doing and helped birth great shows and unquestionably helped turn those programs into the juggernauts that they became. These are the shows we all binged at some point or want to binge someday — and they didn’t appear by magic.

Covering TV for the past 15 years has taught me that the best shows tend to have two elements embedded in their DNA: Collaboration and tension. I don’t mean conflict, not exactly, which is not unknown on the sets of ambitious shows, of course. Conflict is inevitable when grown people work together on any project for any length of time. But what I’m referring to is the kind of creative tension that exists when people who work together don’t always agree but find ways to let the better and smarter ideas win. Sharp people questioning each other, pushing each other, testing each other and leading each other to epiphanies — those are among the conditions that can lead to great TV, and sometimes those exchanges involve executives who care and know television. They exist, and right about now, I wish there were more of them. Maybe they exist at Amazon and Netflix, but if so, I wish their bosses weren’t so disparaging of the work they were (possibly) hired to do.

Every writer I’ve ever spoken to has told stories about executive notes that were dumb — and notes that were brilliant. Dealing with feedback from an executive — even an executive a creator doesn’t much like — can force a writer to better articulate her vision. Probing questions can lead to stronger and clearer choices and even dumb questions can lead to breakthroughs. As Joss Whedon has said, “It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.”

Who is asking questions these days? How smart or dumb are the ideas under consideration? And is anyone listening? As we head into the uncharted waters of peak TV, those are some of the questions I have. 

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One Quality That Sets Successful Parents Apart

In his “Tip of the Day” video above, Dr. Phil talks about what makes a successful parent. “When you look at children as a project, you have to think about them in three phases. They start out being totally dependent on you, then they move into a phase of preparation. This is where they’re learning, going to school, developing social skills, a sense of self, self-esteem, self-worth. And then they move into the phase of performance. It’s really hard sometimes to let them go to the next level, because it’s an unknown. It’s scary for you; it’s scary for them. But when children go to the next level, you want them to do it with a sense of confidence, a sense of knowing that they can meet the responsibilities.”

In other words, your roles are going to change as your children’s stages of life change. Dr. Phil sums it up: “Don’t resist the change; embrace the change.”

Have a question for Dr. Phil? Ask it here!

Like Dr. Phil | Follow Dr. Phil | Be on the Show | Ask Dr. Phil

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