We just got back from Austin, after spending four glorious days surrounded by all things TV. And it was amazing.
The ATX Television Festival is a fairly young, relatively small convention, whose sole focus is television past, present, and future. Sounds pretty magical, right? Cory & I went to the Fest in 2013. It was its second “season,” and highlights included a reunion of the Boy Meets World cast & crew, and an American Dreams celebration/reunion. Like its much older, louder, and intimidating brother San Diego Comic-Con, those celebrity-driven events get most of the attention, such as this year’s Gilmore Girls reunion. More on that later.
But also like Comic-Con, the venues are filled with fascinating panels of industry insiders, covering topics like single cam vs multi cam comedy scripts, pitch tips, and niche vs. mass audiences. The panels are usually well-stocked with high-level executives, producers, and creators, offering truly honest experiences and genuine advice. And when there’s a good moderator and a great mix of personalities, the conversations can be deep and eye-opening — far from any scripted, 15-minute “look at these guys!” panel in Hall H.
The best part is the Fest is still small enough to feel small; the panel rooms aren’t cavernous — you can sit anywhere and still make eye contact with the panelists, many of whom are happy to stick around longer than scheduled to answer more questions.
Another thing is ATX TV Fest uses a Fast Pass system, which has worked well up until this year, I believe. If you purchased a badge, you’re able to register for 3 Fast Passes a few weeks before the event. The Fast Pass essentially guarantees entry into the chosen panel, provided you’re there on time, and gets you prime seating choice, since they clear rooms in between panels. So no camping out! Or in! The reason it didn’t really work well this year was the epic Gilmore Girls reunion. The Fast Pass ticketing site crashed, froze, and caused general frustration and anxiety. I still think the FPs are a good idea, especially judging by the lines of people trying to get into each room. But each year the Fest reconsiders, so I guess we’ll have to see how that all plays out.
Anyway, Cory & I did not go last year, since it was a moving year and we just couldn’t do everything, even though there was a Hey, Dude! reunion. Still kinda bummed I missed that one. This year, only because of our impending nuptials, we agreed we would only go if our pitch made the final round. Spoiler Alert.
We were just happy that this year, the Pitch Competition was on Friday morning. That meant we could enjoy the rest of the weekend. And enjoy we did.
There were a lot of great panels on Friday, including a Girl Meets Boy Meets World discussion. However, after pitching and the following reception (where we briefly spoke with Dan Harmon), we were wiped out, so we did not participate. Instead, we camped out in the Intercontinental Stephen F. Austin hotel bar, figuring out the next move with the pitch and our subsequent projects. It was also a great social outing — fest-goers came up to us all day, congratulating us on our pitch and offering other kind words. We were surprised by how many of them actually thought we were already in the television business, but I guess that’s a good thing?
Saturday was planned out. We had Fast Passes to a panel called Niche vs. Mass Audiences. The panel included Phil Rosenthal (Everybody Loves Raymond), Bryan Fuller (Hannibal, Pushing Daisies), Kathleen McCaffrey (HBO development), and Noah Hawley (Fargo). They talked about what ratings used to mean, what they mean now, and how networks feel about them. If you’re interested in the business side of TV, this was a great conversation. Interesting, funny, and honest, it was also great that the panel each had experiences with different networks.
Afterward, we headed next door to see the great James L. Brooks (if you don’t know, look him up), who was receiving the ATX TV Fest Award. I was really excited about this one. Thanks to the Fast Passes, we got second row in the theater space. Phil Rosenthal was the “moderator,” and the hour-long event consisted of Brooks discussing his vast television history – how polite and perfect Mary Tyler Moore was during filming, how fucking insane and brilliant Andy Kaufman really was, how funny Tracey Ullman could be — I could’ve listened to him for hours.
When the discussion was over, Rosenthal and Brooks walked off the stage and started to head up the aisle. I pushed forward, trying to time it perfectly. Then, we were face-to-face. I essentially told him the story about how Chuckles Bites the Dust was the first script I ever read, because my dad (of course) had a framed copy signed my Mary Tyler Moore. He seemed surprised, but grateful, and asked me a few questions about what I do, and I what I hope to do in television. Phil Rosenthal listened intently, too, asking a few questions himself. It was a big moment for me, needless to say.
While still on a little bit of a high, we headed over to another panel called Unseasonably, which was supposed to look at what a TV season is today, and how to keep audiences engaged when a series is released all at once, etc. This panel was…. okay. I’m not sure if it was the topic, the moderator, or the panelists (all dudes, but whatever), but nothing really went anywhere. They all just kept saying, “If it’s good, the audience will find it.” And all I could think of was a few dozen cancelled shows who wished this was true.
The Gilmore Girls reunion was Saturday night. We did not get Fast Passes because I would’ve felt guilty. I’m not a die-hard fan; if I went, it was just because it was a big deal, not because I really, really wanted to go. And I knew there were people who really, really wanted to go. The plan was to check out the general line and decide if it was worth it. We did. It was not. The line couldn’t start until 5 pm, and even then the blazing sun and dense humidity made standing outside for hours really unpleasant. Instead, we opted for dinner at the restaurant next door, then moved to the bar upstairs, where we realized we were surrounded by “Gilmore Girl Rejects,” or those who did not make it into the theater. The venue had 1,300 seats, but a few hundred, apparently, did not get in. Throughout the whole process, it’s pretty evident the ATX Fest crew did not anticipate the fandom of GG.
Sunday started with a panel called The Directors (all women – yay). Each panelist had a ton of experience directing in various mediums, but mostly television – Mimi Leder (Deep Impact, The Leftovers), Betty Thomas, Tamra Davis (Billy Madison, Younger), and Daisy von Scherler Mayer (Orange is the New Black). The scene-stealer here was the great Betty Thomas, whose directing credits include The Brady Bunch Movie, John Tucker Must Die, and recently, Grace & Frankie. Overall, they gave great advice on how to get into directing, and how to maintain relationships with writers and creators. Fun note – they agreed that often the most difficult person to work with on a shoot is not an actor, but the cinematographer.
We caught brunch with some new friends, then checked out The Leftovers panel, really just to see Damon Lindelof in person, instead of on a giant screen in the back of Ballroom 20. The panel was good, and they discussed the difficulty in promoting a show that is ultimately grim, with of course a few sly winks at past errors (*Lost*cough*).
That was the end of our experience at ATX TV Fest. It was incredible, to say the least. I really admire the co-founders, Caitlin McFarland and Emily Gipson – they are present at the events, very hands-on, and this is something they clearly put their hearts and souls into.
For me, this Fest is invigorating. It’s so weird to be surrounded by people who speak my language – seasons, ratings, episodes, characters, networks, producers — vocabulary I usually only use at family dinners with Dad and James. These Fest-goers are all serious fans, no matter their involvement in the industry – which is the best part – network executive, showrunner, writer, critic, viewer – everyone here has the same passion. And that is something special.
Oh, and did I mention it’s in Austin? ‘Cause…. that’s pretty great, too.