
Fox has set the sophomore class for its Fox Writers Intensive, the company’s advanced writers program for experienced writers from diverse backgrounds. This year’s 10 finalists were selected from more than 400 nominations and submissions by talent representation and arts organizations, including National Hispanic Media Coalition, Sundance Institute, New York Foundation for the Arts, Outfest, Film Independent, NAACP, Women in Film LA, Coalition of Asian Pacifics in Entertainment and Visual Communications. Here they are, along with their reps:
· Angela Allen (The Cartel)
· Yule Caise (Lichter, Grossman, Nichols, Adler & Feldman)
· Sal Calleros (Rothman, Brecher, Kim / Magnet Management)
· Carol Doyle (The Gersh Agency)
· Sara Endsley (Rothman, Brecher, Kim/ The Shuman Company)
· Warren Hsu Leonard (ICM Partners/ Circle of Confusion)
· Nick Ozeki (Independent)
· Chitra Sampath (Ragna Nervik Management)
· Theo Travers (ICM Partners/ Artists International)
· Marisa Wegrzyn (Abrams Artists Agency / Myra Model Management)
The 10 will spend the next 13 weeks attending seminars and workshops with executives, writers and showrunners, including Hart Hanson (Bones), Shintaro Shimosawa (The Following), Andre and Maria Jacquemetton (Mad Men) and Zal Batmanglij (New York Undercover). This year, the FWI was expanded to provide participants with opportunities across additional Fox companies. At the conclusion of the intensive, Fox will:
- Select one finalist as the Fox Writers Intensive Fellow, whose submitted original script will be purchased and developed jointly by Fox Broadcasting Co., 20th Century Fox TV and FX. The Fox Writers Intensive Fellow will be announced across all Fox entertainment businesses and will receive one-on-one meetings with network and studio heads, as well as priority staffing efforts across Fox properties.
- Select one FWI finalist to apply for the Fox Writers Studio on a first-look basis.
- Select one FWI finalist to pitch his/her script to HarperCollins.
TV Editor Nellie Andreeva - tip her here.


There is a company called The Cartel?
Dumbasses.
Props to the finalists…
Write something new. Don’t follow the leader.
Hope at least one of these writers has a disability. The most underrepresented minority on television. Something needs to change.
I assume you mean under-represented on-screen–how the hell would you know if a screenwriter had a disability?
Excluding non-veterans over 80 years old (but including those with cognitive- or sensory deficits like mental retardation or deafness regardless of age), about 3.5% of us have some level of disability:
• 0.9% of us suffer severe emotional- or cognitive disability;
• 0.9% of us require ambulatory aid (cane/wheelchair/walker);
• 0.7% of us require personal assistance with daily tasks;
• 0.4% of us are legally blind;
• 0.2% of us are deaf;
• 0.2% of us receive military disability benefits;
• 0.2% of us are non-military amputees
One of the biggest roles in television is disabled–although Hugh Laurie is not himself disabled. CSI‘s Robert David Hall, however, is a double-amputee. So is Aimee Mullins. Marlee Matlin is deaf–and plays every deaf role in Hollywood. Temple Grandin has Asperger’s syndrome, and R.J. Mitte of Breaking Bad has cerebral palsy.
If you count all the little people–and I haven’t–the disabled may well be over-represented on television.
By the way, your comment is right next to a headline that reads, “Handicapping The Original Score Nominees”:
Confused about Zal Batmanglij’s involvement in this program. He’s an indie feature writer/director with no TV experience, and certainly no credits (yet) named “New York Undercover”
And may the best person win, and maybe the diversity of this collective body will help to feed the beast of demands the audiences are rising up to become.
The sad truth is we should not need these “programs.” But we all know that the bigotry, racism and clubbyness in the system pushes out anyone who is not white and male. The WGA and DGA are so embarrassed by their part in it that they no longer publish the percentages of minority employment, opting to only report when there is some kind of “increase.” My (very) unofficial sources tell me that on network, the numbers are both well below 2%.
Out f this program, one writer will get a shot. The other will fall away and nothing will happen. Meanwhile, Fox gets to keep its minority numbers up by calling the contestants employees.
All of it is shameful.