Yolg'iz akula - The Lone Shark
 | Bu maqola uchun qo'shimcha iqtiboslar kerak tekshirish. (2014 yil sentyabr) (Ushbu shablon xabarini qanday va qachon olib tashlashni bilib oling) |
| Yolg'iz akula | |
|---|---|
 | |
| Janr | Tok-shou Hazil Telefon kirdi |
| Tomonidan yaratilgan | Jim Sharki |
| Tomonidan ishlab chiqilgan | Jim Sharki, Shon Xaffner |
| Bosh rollarda | Jim Sharki, Shon Xafner |
| Ochilish mavzusi | ″ Yolg'iz Shark mavzusi ″ Jeyms Jeykobs tomonidan |
| Ishlab chiqaruvchi mamlakat; ta'minotchi mamlakat |  Qo'shma Shtatlar |
| Asl til | Ingliz tili |
| Yo'q fasllar | 10 |
| Ishlab chiqarish | |
| Ishlab chiqarish joylari | Feynfild, Konnektikut, Qo'shma Shtatlar Bridgeport, Konnektikut, Qo'shma Shtatlar |
| Ish vaqti | taxminan. 30 daqiqa |
| Chiqarish | |
| Original tarmoq | WFAC-TV (1991-2000) SoundView jamoat televideniesi (2000-2001) |
| Birinchi marta ko'rsatilgan | Qo'shma Shtatlar |
| Asl nashr | 1991 yil iyun – 2001 yil avgust |
Yolg'iz akula haftalik, 30 daqiqalik edi jamoat uchun mo'ljallangan televizor kabel televideniesi o'n yil davomida efirga uzatiladigan dastur (1991–2001) WFAC-TV-da (1991–2000) va SoundView jamoat televideniesi (2000–2001). Ikkala televizion stantsiya ham tarkibiga kirgan Cablevision Janubiy Konnektikutning dan to Konnektikutning janubi-g'arbiy sohilini qamrab oluvchi kabel tizimi Nyu-York shtati o'rtasidan chegara Nyu-Xeyven okrugi.
Yolg'iz akula dastur yaratuvchisi tomonidan uyushtirilgan va Ijrochi ishlab chiqaruvchi Jim Sharki va dastur tomonidan birgalikda olib borilgan Ishlab chiqaruvchi Shon Xaffner (aka) ″ Shon Prodyuser ″). Dastur yozilmagan bo'lsa ham, Sharki odatda har bir epizodda Xaffner bilan muhokama qilishni istagan mavzular ro'yxatiga ega bo'lar edi. Yolg'iz akula uning uchun tanilgan edi tez sur'at, kuchli til va kattalar uchun mavzular, ko'pincha stantsiya menejerlari televizorda ruxsat berilishi mumkin bo'lgan narsalarga chek qo'yishadi.
Yolg'iz akula dastlab studiyada yoki joyida yozib olingan va efirga uzatilishidan oldin tahrir qilingan, ammo 1993 yildan so'ng dastur efirga uzatishni kechiktirmasdan, tahrir qilmasdan va senzurasiz "jonli" efirga uzatilgan. 2001 yil avgust oyida SoundView televizion stantsiyasi rahbariyati tomonidan dastur ishlab chiqarilishidan butunlay to'xtatib qo'yilgan edi Yolg'iz akula davomida jonli televizorda kattalar jinsiy grafigi tasvirlangan uch soniya efirga uzatildi Bosh vaqt.
Tarix
"VoxPop Television"
1990 yil boshida Cablevision's Jamoat uchun ochiq televizor studiya joylashgan edi Bridgeport universiteti yilda Bridgeport, Konnektikut kampus ichidagi translyatsiya muassasasida. Jim Sharki paydo bo'ldi ″ VoxPop Televizion ″ (Bill Arciprete va Piter Vuras tomonidan ishlab chiqarilgan va olib boruvchi Janubiy Konnektikutning mahalliy kabel televideniesining Cablevision-da efirga uzatiladigan haftalik dastur). Sharkining chiqishlari asosan "muxbir ", unda u" joyida "segmentlarini oldindan lenta qilib qo'yadi, keyinchalik qismlar davomida ko'rsatiladi VoxPop televideniesi.
"Boshqaruvdan tashqarida!"
Ishlagandan so'ng VoxPop televideniesi bir necha oy davomida Sharki o'zining televizion dasturini ishlab chiqarish va o'tkazish uchun etarli narsani o'rganganiga qaror qildi. 1990 yil yozida Sharki ishlab chiqarishni boshladi ″ Outta Control! ″. Dastur, asosan, uning nomi shuni anglatardi: 60 daqiqalik eklektik aralashma, soxta mehmonlar bilan studiyadagi intervyular. Nazoratdan tashqarida! shuningdek, Sharki va mehmonlarning orqasida (ekrandagi kompyuter grafikasi o'rnida) bannerda dasturning joriy segmenti sarlavhasi tushirilgan katta bannerlarni ushlab turuvchi studiya ekipaji a'zolari kabi g'alati xususiyatlarni o'z ichiga olgan.
Faqat oltita qismdan so'ng, Chetdan boshqarish! Cablevision telekanali ma'muriyati tomonidan radioeshittirish qoidalarini buzganligi uchun ishlab chiqarishdan to'xtatildi. Dasturning bir qismida dastur mehmoniga tegishli biznes uchun aloqa ma'lumotlari ko'rsatilgan edi va stantsiya rahbariyati buni mehmonlarning biznesi uchun to'lanmagan reklama deb hisoblashdi. Sharkiga epizod a sifatida qayta efirga uzatilishidan oldin aloqa ma'lumotlarini olib tashlash haqida ogohlantirildi takrorlash, ammo vaqt cheklovlari va stantsiyaga kirishning etishmasligi videoni tahrirlash inshootlar Sharki ushbu epizodni shu hafta oxirida mehmonning aloqa ma'lumotlari bilan qayta translyatsiya qilishga imkon berdi. Cablevision stansiyasi rahbariyati Sharkiga ushbu qisqa muddat ichida ushbu ikkinchi qoidabuzarlik sababli, Chetdan boshqarish! butunlay to'xtatildi.
WFAC-TV (Fairfield University Studios) - 1991-1995 yillar
1991 yilda Cablevision o'zining mahalliy kabel televideniesi studiyasini talabalar shaharchasidagi Xavier Hallga ko'chirdi Fairfield universiteti yilda Feyrfild, Konnektikut. Oxir-oqibat, ushbu yangi ob'ektlar WFAC-TV deb nomlandi. Ishlab chiqarish binolari joylashgan joyning o'zgarishi bilan bir qatorda stansiya boshqaruvida ham o'zgarishlar yuz berdi. Chunki Jim Sharkiga tegishli Chetdan boshqarish! Bridgeport universiteti stantsiyasining sobiq rahbariyati tomonidan to'xtatib qo'yilgan (yangi binolarga hech qanday aloqasi bo'lmagan), to'xtatib turish endi haqiqiy emas deb topilgan va Sharkiga yangi studiya inshootlarida televizion dastur ishlab chiqarishga ruxsat berilgan.
"Yolg'iz akula" (1991-1993)
Sharki o'zining yangi dasturiga qo'ng'iroq qilishga qaror qildi Yolg'iz akula. Bu ism Sharkining "Shark" taxallusiga ishora qilganligi va u endi muxbir sifatida ishlamaganligi haqida so'zlar bilan o'ynagan. VoxPop televideniesi, lekin buning o'rniga o'z dasturini qabul qildi. Yolg'iz akula 30 daqiqalik dastur bo'lishi kerak edi. Sharki, segmentlarni 60 daqiqalik nafas olish tezligida yugurishga moyilligi tufayli buni payqagan edi. Chetdan boshqarish! odatda dasturning ikkinchi yarmida dastur uchun oldindan rejalashtirilgan barcha materiallardan foydalangan nuqtaga yetdi. Shuning uchun, so'nggi 10-15 daqiqa Chetdan boshqarish! Sharkiga yoqmagan dasturning avvalgi segmentlarini yozilmagan erkin shaklda qayta tiklashga aylanadi. Qisqartirish orqali Yolg'iz akula davomiyligi 30 daqiqagacha, dasturning butun uzunligini to'ldirish uchun har doim oldindan rejalashtirilgan tarkibga ega bo'lish umidida edi (va, ehtimol, keyingi haftaning dasturida ishlatilishi mumkin bo'lmagan ba'zi tarkiblar qolgan bo'lishi mumkin).
Ishlab chiqarish Yolg'iz akula 1991 yil iyun oyida Xavier Hall ishlab chiqarish korxonalarida boshlandi. Jim Sharki ikkalasi ham edi Yolg'iz akula Ijrochi prodyuser va boshlovchi, dasturning direktori sifatida Gordon Oppenxaymer ishlaydi va audio panelni boshqaruvchi Lou Segal va VTRlar studiyaning boshqaruv xonasida. Garchi Yolg'iz akula studiyada uchta videokameradan foydalanilgan, har uchala kamera ham uchuvchisiz bo'lgan va har bir dastur davomida (Haffner ishlab chiqarish shtabiga qo'shilguncha) oldindan belgilangan holatda qulflangan.
Yolg'iz akula ishlab chiqarish byudjeti yo'q edi, shuning uchun dasturning ochilish va yopilish kreditlari aslida Jim Sharkining o'zi tomonidan uyda amalga oshirildi. Sharky a kombinatsiyasidan foydalanadi Microsoft Windows 3.11 ekran lavhasi va u yaratgan oddiy tasvirlar Windows bo'yoq cho'tkasi uning shaxsiy kompyuter uyda kreditlar uchun animatsion grafik yaratish. Sharki keyin ishlatar edi S-VHS videokamera ushbu animatsion grafikani kompyuteriga videoga olish monitor. Ushbu usulni yaratishda Sharki (keyinchalik Xaffner tomonidan) ham foydalangan Yolg'iz akula "fon "dasturidan foydalangan holda Sharki orqasida paydo bo'ldi xromakey (yoki "ko'k rang ") texnikasi. Ushbu texnikadan foydalanish har bir segmentning ko'rinishini to'liq o'zgartirishga imkon berdi Yolg'iz akula, chunki fonni har bir segmentda yoritilgan o'ziga xos mavzuga mos keladigan grafikaga o'zgartirish mumkin edi. Bu studiyadagi "amaliy" to'plamlarga ehtiyojni yo'q qildi, o'rniga "raqamli" to'plamlar bilan almashtirildi, ularning narxi VHS video kasseta, bu keyingi haftaning dasturida yozib olinishi mumkin.
Yozib olingan epizodlar (1991–1993)
Ishlab chiqarishning birinchi oyida birinchi epizodlardan biri Yolg'iz akula Jim Sharki va Lou Segalning tanadan ajralgan boshlari namoyish etildi, chunki ular soxta tana qismlari bilan to'ldirilgan muzlatgichning ichki qismidan dasturni birgalikda olib borishdi (xromakey effektidan foydalangan holda). Ushbu qism - ″Jeffri Dahmer bolalar ko'rgazmasi ″ - birinchi bosma OAV e'tiborini jalb qildi Yolg'iz akula qachon a Connecticut Post yozuvchi ushbu epizodni haftalik ruknida eslatib o'tdi. Aynan shu epizod Shon Xaffnerni Jim Sharki bilan bog'lanishiga va uning prodyuserligiga o'z yordamini taklif qilishga undadi Yolg'iz akula. Xafner (Sharkining bolaligidan tanishi) ishlab chiqarish shtatida ish boshlashi kerak edi. Chetdan boshqarish! 1990 yilda, ammo Xaffner ishlab chiqarishga qo'shilishidan oldin ushbu dasturni ishlab chiqarish butunlay to'xtatildi. U birinchi bo'lib qo'shildi Yolg'iz akula tomoshabin a'zosi sifatida (begona odamlar uchun rezina niqob ostida)Leonard Nimoy Disko raqs partiyasi ″ Qism. Nihoyat Xaffner qo'shildi Yolg'iz akula 1991 yil iyul oyida prodyuserlik xizmatining operatori va dasturni joyida yozib olish uchun prodyuser yordamchisi sifatidaKo'zi ojiz Mini Golf Milford O'yin-kulgidagi epizod Milford, Konnektikut.
Ishlab chiqarish jamoasi Yolg'iz akula keyin to'rt kishilik shtabdan iborat bo'lib, har bir ekipaj a'zosi bir nechta vazifani bajaradi. Sharki material tayyorladi, o'tkazdi va yozdi; Xafner qavat direktori bo'lgan va studiyadagi kameralarni boshqargan; Oppenxaymer dasturni boshqaruv xonasidan boshqargan va studiyadagi yoritishni boshqargan; Segal audio platani va VTRlarni boshqargan. Xavier Hall ishlab chiqarish korxonalarida jamoat muhiti bo'lganligi sababli, boshqa dasturlarning prodyuserlari va xodimlari ko'pincha bir-birlarining dasturlari yozilishlarida o'tirar, ba'zan esa boshqa ishlab chiqarishlarning doimiy ekipaj a'zolariga aylanishar edi. Shuningdek, ishlab chiqarish binolari Fairfield University Media Center-da joylashganligi sababli, Fairfield University Video Production Course to'g'ridan-to'g'ri studiya oldida koridorda joylashgan. Video prodaktsiyasi talabalarini tez-tez studiyaga o'rnatish va yozuvlarni ko'rish uchun olib kelishardi Yolg'iz akula ularning ta'limining bir qismi sifatida. Ushbu ikki guruhning qo'shilishi sababli Yolg'iz akula ishlab chiqarish xodimlari, bir muncha vaqt 1992 va 1993 yillarda, xodimlar soni to'rtdan yoki beshtadan ko'p bo'lmagan xodimlarga muhtoj bo'lgan dastur bo'yicha 20 kishidan oshdi. Qo'shimcha ekipaj va talabalarning ko'pchiligi dasturni yozish paytida hech qanday aloqasi yo'q edi, shuning uchun ular ko'pincha studiyada jonli auditoriya sifatida ishlatilgan.
Studiya vaqtini va efir vaqtini bron qilish uchun vaqt jadvalining ziddiyatlari tufayli, Yolg'iz akula tez-tez dasturni tahrirlash uchun oz vaqt yoki bo'lmasdan, haqiqiy efirga uzatilganidan keyin bir soat ichida yozib olingan. Ko'p marta, shunchaki yozib olingan dastur lentalari, efirga uzatilish vaqtigacha atigi bir necha daqiqa yoki soniyalar ichida zal bo'ylab efirga uzatilgan. Yolg'iz akula asosan lentaga tushirilgan, ammo tahrir qilinmagan jonli dastur sifatida efirga uzatilayotgandi.[iqtibos kerak ]
Jonli epizodlar (1992)
1992 yilda, Yolg'iz akula dasturning studiya vaqti uning efir vaqtiga to'g'ri keladigan kunlarda ikkita jonli qismni namoyish qildi. 1992 yil 17 mart (Aziz Patrik kuni ) studiyada namoyish etilgan epizod tana teshilishi, erkakning ko'kragini teshayotgani va ayolning kindigini teshayotgani bilan. Pirsinglarning juda yaqin masofadan turib, to'liq ekranli kameraga tushirilgan suratlari shunchalik grafika ediki, stansiya menejeri "Televizorda bunday material uchun joy yo'q" deb e'lon qildi va to'xtatib turishga urindi. Yolg'iz akula ishlab chiqarishdan, ammo muvaffaqiyatsiz tugadi. Yilning oxirida, ikkinchi jonli efirda munozarasi kam materiallar namoyish etildi, chunki bu asosan tomoshabinlarning telefon qo'ng'iroqlarini qabul qilishga bag'ishlangan epizod edi.[iqtibos kerak ]
Formatni o'zgartirish (1992)
Shon Xaffner ishlay boshlaganidan bir necha oy o'tgach Yolg'iz akula, mezbon Jim Sharki u va Xaffner birgalikda yaxshi ishlashganini angladilar (hatto dastur mazmuni va yo'nalishi bo'yicha har doim ham bir xil fikrlarga ega bo'lmasalar ham). Sharki Xaffnerdan prodyuser bo'lishni xohlaysizmi, deb so'radi Yolg'iz akula (Sharki dasturni ijrochi prodyuser sifatida boshqarishi bilan) va Xaffner qabul qilindi. O'sha paytdan to oxirigacha Yolg'iz akula ishlab chiqarish, Sharky tarkibini nazorat qiladi Yolg'iz akula, Xaffner esa dasturning texnik tomonlarini boshqargan.
Sharki va Xafner, odatda, har bir epizod davomida studiyadagi yagona odamlar edilar Yolg'iz akula (agar epizodda studiyadagi mehmon ishtirok etmasa). Qolganlari Yolg'iz akula ekipaj odatda Xafnerning kamerasiga yoki studiya devoridagi portga ulangan aloqa eshitish vositasi orqali studiyada Xaffner bilan aloqada bo'lib, boshqaruv xonasida ishlaydilar. Xaffner deyarli har doim Sharkini ko'rsatgan kameraning orqasida turar edi, shunda dastur davomida gaplashayotganda Sharki kameradan uzoqlashmasin. Chunki Yolg'iz akula yozilmagan va teleprompter Sharki kamerasida matnni o'qish uchun foydalanilmagan bo'lsa, Sharky WFAC-TV texnik xodimlaridan Xaffnerga teleprompterni qanday qilib qayta ulashni ko'rsatishini so'radi, shunda u xuddi shu videofilmni namoyish qildi. Yolg'iz akula tomoshabinlar tomosha qilishdi. Bu Sharki uy tomoshabinlari nimalarni ko'rishi va ko'rmasligini aniq bilib olishlari uchun edi. Xafner studiyadagi monitorni prokat aravachasiga yoniga qo'yar edi, shunda u dastur davomida xuddi shu video tasmani ko'rishi mumkin edi.
Jim Sharki har bir epizod paytida Shon Xaffner bilan tez-tez suhbatlashardi Yolg'iz akula, lekin Xaffner mikrofonda bo'lmaganligi sababli, tomoshabinlar Xafnerning Sharkiga aytgan fikrlarini ko'p marta eshita olmadilar. 1992 yilda Sharki ushbu vaziyatni Xaffnerga mikrofon berib, uni Sharkining sherigiga aylantirish orqali hal qilishga qaror qildi. Xaffner (endi nomi bilan tanilgan ″ Shon Prodyuser ″) dasturni birgalikda olib borishda kamera orqasida qolardi, bu unga studiyada erkin yurish va Sharki bilan suhbatlar paytida texnik vazifalarda qatnashish imkonini berdi. Bu muntazam formatga aylandi Yolg'iz akula kelajakdagi barcha epizodlar uchun, Jim Sharki kamera oldida o'tirar, dastur mavzularini diktator qilar va telefonlarni boshqarar edi, Xaffner esa kameralarni boshqarar edi va eshitilar edi, lekin kamdan kam Yolg'iz akula tomoshabinlar (bundan mustasno hazilkash ″ Shon Ovozi Prodyuseri ″ grafikalar Sharki Xaffner har qancha vaqt gapirganda namoyish qilish uchun yaratgan).
CGI grafikalarini qo'shish
1993 yilda mezbon Jim Sharki Deyv Uorner ismli tomoshabin bilan bog'lanib, u kompyuter grafikasi dizayneri sifatida o'z xizmatlarini taklif qildi. Uorner yangi ochilish va yopilish kreditlarini yaratishini aytdi Yolg'iz akula va u ishni bepul bajarishini. Warner ijod qilayotgan edi CGI grafikalar an Amiga uyda kompyuter, va u o'z ishini tinglovchilarga ta'sir qilishini xohladi. Uorner do'sti va hamkasb dizayner Deyv Parent bilan birgalikda WFAC-TV-da Sharki va Xafner bilan uchrashdi. Yolg'iz akula. Warner va Parent Sharkiga ular yaratgan turli xil CGI animatsiyalarining demo makarasini sovg'a qilishdi. Sharki va Xafner - animatsiyalarning professional sifatidan hayratda qolishdi - darhol Warnerning taklifini qabul qilishdi. Tez orada ular Uornerning qonuniy ravishda ko'r ekanligini (konjenital ko'z kasalliklari sababli) bilib oldilar, bu uning animatsiyalarining yuqori sifatini yanada hayratlanarli qildi.
Deyv Uornerning animatsiyalari ko'rinishini o'zgartirdi Yolg'iz akula. Uorner yaratgan yangi ochilish va yopilish kredit animatsiyalari o'sha paytdagi ko'plab tarmoq televizion CGI animatsiyalariga raqobatdosh edi. Tahrirlash Yolg'iz akula lentali epizodlar WFAC-TV-ning montaj to'plamidan Warnerning uyidagi xonaga ko'chib o'tdi. U xonada Uorner, Sharki va Xaffnerlar har hafta yig'ilib, dasturning har bir qismida qanday grafikalar va animatsiyalar tahrir qilinishini hal qilishadi. Keyinchalik Warner grafikalar va animatsiyalarni yaratadi. Bir necha kundan so'ng, trio yana Warnerning uyida uchrashib, tasvirlarni oldindan yozib olingan qismlarga tahrir qilishdi. Ko'pincha Yolg'iz akula, Sharki va Xaffner epizodni yozib olayotganda xuddi rasmlarni ko'rayotgandek tasvirlar yoki grafikalar haqida sharhlar berishar edi - aslida, grafik hatto Warner tomonidan epizod yozilguniga qadar yaratilmaydi.
Deyv Uorner ishlagan Yolg'iz akula ikki yildan kamroq muddatga. 1995 yilda u o'zining Nyu-York shtatidagi ko'plab ko'zi ojizligi sababli davolanish uchun qaytib keldi. Garchi Warner faqat yoqilgan bo'lsa ham Yolg'iz akula 1993 yildan 1995 yilgacha bo'lgan xodimlar, uning ochilish va yopilish kredit animatsiyalari 2001 yil oxirigacha dasturda ishlatilgan.[1]
E'tiborli epizodlar ro'yxati
Ba'zi mashhur yoki muhim epizodlarning ro'yxati Yolg'iz akula televizion dastur, ba'zi epizodlardan olingan kliplarga havolalar bilan.
WFAC-TV-da ziddiyatlar
″ Ichki doiralar Other va boshqa ishlab chiqaruvchilar
Ko'pchilik a'zolari Yolg'iz akula ekipaj ham ishladi VoxPop televideniesi, Sport liniyasi (Rod Michaud bilan) va boshqa bir nechta dasturlar. Bu dastur boshlovchilari va ekipajlari o'zlarini efirda deb hazillashib o'zlarini havola qilishlariga olib keldi "Ichki doira" WFAC-TV. Bu nom (stantsiyadagi boshqalar bilan taqqoslaganda, dasturlarning ekipajlari samaradorligi bilan bir qatorda ularning dasturlari sifatiga ishora qiladi) (yana hazil bilan) tushuntirildi. Garchi a'zolari "Ichki doira" o'zlari bu nomni jiddiy qabul qilmadilar, WFAC-TV-ning boshqa dasturlarini ishlab chiqaruvchilarining ba'zilari (bu nomdagi hazilni sezmaganlar) buni shafqatsizlik belgisi sifatida qabul qilishdi. Ushbu ishlab chiqaruvchilar - xususan Gus Montanaro, mezbon ″ Bridgeportning ochiq forumi ″ - ko'rib chiqildi ″ Ichki doira ″ mag'rur va xudbin. Montanaro muntazam ravishda haqoratli sharhlar berib turardi ″ Ichki doira ″ uning dasturida. Boshida, "Ichki doira" Montanaroning izohlarini e'tiborsiz qoldirdi yoki dasturlari paytida ularni kuldi. Ammo keyin Montanaro to'g'ridan-to'g'ri a'zolaridan biriga qarshi kurashishga qaror qildi ″ Ichki doira ″.
Montanaroningniki Bridgeportning ochiq forumi Montanaro tomoshabinlarning telefon qo'ng'iroqlarini qabul qiladigan va Bridgeport (Konnektikut metropoliteni) bilan bog'liq mavzularni muhokama qiladigan jonli chaqirilgan siyosiy tok-shou edi. Montanaroning og'irlashishi "Ichki doira" nihoyat u Rod Mikudga qarshi g'azablana boshlagach, havodagi portlashga olib keldi. Michaud, kim sport suhbat va intervyu dasturini olib bordi MSG tarmog'i va CPTV deb nomlangan ″ Sport bilan gaplashish ″, shuningdek, WFAC-TV-da jonli chaqiriq bo'yicha sport tok-shousini o'tkazdi ″ Sport liniyasi ″ va keyinroq, Rod Rod Michaud namoyishi ″ (ikkala dastur ham Lou Segal tomonidan uyushtirilgan - u Maykud hazil bilan atalgan ″ Noto'g'ri ma'lumotlar ustasi ″). Montanaro Michauddan yaxshiroq sport nutqi dasturini yaratishi mumkinligini da'vo qildi (u buni o'z kasbi sifatida qilgan) va keyin barchaga qarshi kurashishni davom ettirdi. ″ Ichki doira ″. Keyin Montanaro WFAC-TV dasturlari jadvalida Michaudning vaqt oralig'ini olishga va uni almashtirishga urinib ko'rdi Sport liniyasi o'z sport nutqini chaqirish dasturi bilan. Montanaroning dasturi odatdagi juma oqshomida efirga uzatishni boshlaganda, bu mahalliy siyosat va sportning g'alati aralashmasi edi, Montanaro ikkala mavzuni ham jiddiy muhokama qilishga urindi. Dastur muntazam ravishda WFAC-TV telefon liniyalarini to'sib qo'ygan prank telefonlari tomonidan bekor qilindi. Va nihoyat, a'zolari ″ Ichki doira ″ Montanaroning havo hujumlari va Michaud dasturini uzoq vaqtdan beri payshanba kuni kechqurun o'z vaqtidan majburlashga urinishlari etarli edi. Ikkala a'zoning ko'p a'zolari Gapirish sporti va Yolg'iz akula aktyorlar va ekipaj o'zlarining dasturlarini namoyish qilish paytida Gus Montanaroga og'zaki ravishda hujum qila boshladilar (Bill Arciprete va Peter Vouras kurashdan chetda qolishdi) VoxPop). Montanaro qo'ng'iroq qila boshlagach, mojaro yanada kuchaygan Gapirish sporti efirda Rod Michaud bilan bahslashish.
WFAC-TV-da ishlab chiqaruvchilar o'rtasidagi ziddiyatli ushbu davrda Reychel Olschan Gus Montanaroning ekipajiga ishlab chiqarish bo'yicha yordamchi sifatida qo'shildi. Olschan mojaro haqida hech narsa bilmas edi, Montanaroning ekipajiga faqat mahalliy televizion dasturning prodyuserlik guruhida ishlash tajribasini olish uchun qo'shildi. Olschan Montanaroning dasturlarida bir necha hafta ekipaj a'zosi bo'lib ishlagan, bir kuni kechqurun u boshqa dasturda ishlash uchun bir soat oldin WFAC-TV studiyasiga kelgan. Olschan studiyaga kirganida Sport liniyasi ekipaj yaqinda jonli translyatsiya uchun studiyani tashkil qilayotgan edi, shuning uchun Olschan prodyuserga yordam berishni taklif qildi. Xost Rod Michaud va uning ekipaji doimiy ravishda o'z guruhiga murojaat qilishdi ″ He-Man Woman nafratlar klubi ″ - erkaklar guruhiga havola ″Bizning to'da ″ qisqa metrajli filmlar. O'sha oqshom efir vaqtida Michaud boshqaruv xonasida Reychel Olschanni payqab qoldi va uni studiyaga kelishini iltimos qildi. Michaud Olschanni dasturning "mehmon o'rindiqlariga" o'tirdi - studiyadagi ikkita yoki uchta o'rindiq, u Mixaud yaqinida joylashganki, unga kim o'tirgan bilan bemalol gaplashishiga imkon beradigan bo'lsa. "Mehmonlar o'rindig'ida" o'tirgan har bir kishi kamerada va mikrofonda edi. Michaud Olschan bilan suhbatlashar ekan, u unga murojaat qilishni boshladi ″ Darla ″, chunki asl nusxasi ″ Darla ″ yilda ″ Bizning to'da ″ kirishga ruxsat berilgan yagona ayol edi ″ He-Man Woman nafratlar klubi ″. Dasturning qolgan qismi uchun u nazorat xonasiga qaytib kelganda, Michaud Olschandan ekipaj a'zosi sifatida ishlashni davom ettiradimi, deb so'radi. Sport liniyasi va u shunday qilishini aytdi.
Ertasi kuni kechqurun Olschan GF Montanaroning dasturida ishlash uchun WFAC-TV-ga qaytdi. U studiyaga kirish paytida Olschan o'zining tashqi qiyofasini ko'rgan g'azablangan Montanaroga duch keldi Sport liniyasi. Montanaro dasturda ishtirok etgani uchun Olschanni g'azablantira boshladi. Olschan (hali ham ziddiyat haqida hech narsa bilmaydi "Ichki doira" va Montanaro) Gusdan nega undan xafa bo'lganini so'radi. Montanaro Olschanga baqirdi: "Bu stantsiyada ikkita lager bor - u erda mening lagerim va Rodning lageri bor, va siz ikkalasida ham bo'la olmaysiz!". Montanaroning rantidan hayratda qolgan Olschan bunga javoban: "Keyin men Rodning lageridaman" - va studiyani tark etdi.
Keyingi hafta Olschan ishlashga kelganida Sport liniyasi, u Rod Michaudga va ekipajning qolgan qismiga o'zi va Montanaro o'rtasida nimalar sodir bo'lganligini tushuntirdi. Michaud Rachelga ekipajda ishlashni davom ettirish uchun xush kelibsizligini aytdi Sport liniyasi. O'sha paytdan boshlab, Michaud muntazam ravishda Olschanga ega edi (uni endi hamma chaqirdi) ”Darla” dastur davomida) Sport liniyasi mehmon o'rindiqlari.
Reychel Olschan o'zini yaxshi his qildi ″ Ichki doira ″, ham ekipaj a'zosi sifatida, ham dasturdagi chiqishlarida. Olschanning kiritilishi Sport liniyasi Rod Michaudning dastur nomini o'zgartirishiga sabab bo'lgan omillardan biri edi Rod Rod Michaud namoyishi ″, chunki dasturdagi suhbatlar ko'pincha sportdan uzoqlashdi. Dasturda muntazam ravishda muhokama qilinadigan mavzular orasida Olschan va Shon Xaffner (ular ba'zan mehmon sifatida ham paydo bo'lgan) yaqinda birga ko'rish uchun ketgan filmlar mavjud edi. Keyinchalik Olschan shunday bo'lib ko'rinadi ″ Darla "Dumaloq kartochka" ichida ″Asr jangi ″ qism Yolg'iz akula va kabi ″ Darla mukofotli qiz ″ epizodlarida Alternavision Bill Arciprete va Shon Xaffner bilan. Yillar o'tib, Olschan televizion va kinofilm prodyuseri va sherigi bo'lishga kirishadi Din Devlin Ning Elektr-ko'ngil ochish.
Vaqt o'tishi bilan Gus Montanaro bilan ziddiyat pasayib keta boshladi, chunki Montanaro hech kimga ma'qul kelmasligini tushunmagan holda. ″ Ichki doiraning ″ dasturlari va ularni kutib olishmadi ″ Montanaro lagerining ″ dasturlar. Shunga qaramay, Montanaro mojarosi yana paydo bo'lishi mumkin edi ″Asr jangi ″ qism Yolg'iz akula Montanaro prodyuserlikni o'z zimmasiga olgan va epizodda ishtirok etganida, Jim Sharki va Shon Xaffnerning ajablanib va g'azablanishiga sabab bo'lgan.
"Lone Shark Live" - 1993-2001 yillar
1993 yilda Yolg'iz akula WFAC-TV telekanali rahbariyati bilan muammoga duch kela boshlaganda, yangi stantsiya qoidalari bo'yicha WFAC-TV inshootlaridan efirga uzatilishi kerak bo'lgan barcha dasturlarning lentalari stantsiya rahbariyati tomonidan ko'rib chiqish uchun taqdim etilishi kerak edi. sana. Ushbu qoida davomida stansiya rahbariyati tomonidan qabul qilingan ko'p qoidalardan biri edi Yolg'iz akula o'n yil televidenieda stantsiya rahbariyati "yaxshi did" deb hisoblagan narsalarning chegaralarini oshirgan deb hisoblagan ba'zi ko'rsatuvlarning mazmunini boshqarishga harakat qildi. Jim Sharki va Shon Xaffner bu ikki haftalik bo'shliqni katta to'siq sifatida ko'rdilar Yolg'iz akula. Chunki muhokama qilingan mavzularning aksariyati Yolg'iz akula o'sha kunning yoki o'sha haftaning yangiliklari bilan bog'liq edi, agar dastur yozilganidan keyin bir necha kun ichida ko'rib chiqilmasa, mavzular ma'nosini yoki dolzarbligini yo'qotadi.
Dasturni yozib olish va uni efirga uzatish o'rtasidagi ikki haftalik bo'shliqni bartaraf etish uchun Prodyuserlar dasturni jonli efirga uzatishga qaror qilishdi. Ushbu harakatga yana ruxsat berildi Yolg'iz akula tomoshabinlardan jonli telefon qo'ng'iroqlarini qabul qilish. Sharki, Xaffner va tomoshabinlarning o'zaro ta'siri har hafta dasturni tomosha qiladigan va unga qo'ng'iroq qiladigan doimiy auditoriyani yaratishga yordam berdi. Tomoshabinning telefon qo'ng'iroqlari ham dasturga har bir epizodda foydalanish uchun ko'proq materiallar berdi. Shu sababli, Sharki va Xafner dasturning 30 daqiqasini to'ldirish uchun faqatgina tomoshabinlarning telefon qo'ng'iroqlaridan foydalanishga asoslangan holda butun epizodlarni tayyorlashlari mumkin edi.
Dasturning rasmiy nomi hali ham mavjud edi ″ The Lone Shark ″, Sharki va Xaffner ko'pincha dasturga murojaat qilishdi One Lone Shark Live ″. Ushbu ism jumlaning birikmasi edi "Yolg'iz akula - jonli"Sharki va Xafner tomoshabinlarning telefon qo'ng'iroqlariga javob berganda yoki jonli epizodni efirga uzatishda dastur to'g'risida gaplashganda, tezda shov-shuv ko'tarishadi. WFAC-TV translyatsiyasida hech qanday kechikish bo'lmaganligi sababli, dastur umuman sansürsüz efirga uzatildi. Studiya vaqtiga to'g'ri kelmaydigan kamdan-kam holatlar bundan mustasno Yolg'iz akula efirga uzatiladigan vaqt oralig'i, ushbu jonli format 2001 yilgacha bo'lgan standart dastur formati bo'lib, dasturni efirga uzatishning ushbu usuli (jonli va sansürsüz) doimiy ravishda to'xtatilishiga olib keldi. Yolg'iz akula va uni ishlab chiqaruvchilar.
Sharki va Shon shousi – 1999
 | Ushbu bo'lim ehtimol o'z ichiga oladi original tadqiqotlar. (2015 yil yanvar) (Ushbu shablon xabarini qanday va qachon olib tashlashni bilib oling) |
WFAC-TV qoidalari ishlab chiqaruvchilardan har 13 seriyada - yoki dastur har hafta takroriy translyatsiyani o'tkazmoqchi bo'lsa, har etti seriyada ro'yxatdan o'tishni talab qildi. Ishlab chiqaruvchilar asosiy vaqt oralig'ini (o'zlarining dastlabki epizodlari efirga uzatilishini xohlaganlarida) va ikkilamchi vaqt oralig'ini (epizodning takrorlanishi efirga uzatilganda) so'rashadi. Ishlab chiqaruvchilar efirga uzatiladigan vaqt oralig'ini so'rashganda, ular studiya vaqti uchun ham so'rov yuborishlari kerak edi. Ko'plab dasturlar 30 dan 60 minutgacha bo'lgan vaqtga ega bo'lishiga qaramay, har bir dastur uchun studiya jihozlari va to'plamlarini sozlash va buzish uchun studiya vaqti uch soatlik bloklarda ajratilgan.
Dastlab, WFAC-TV ishlab chiqaruvchilarni joylashtirish va barcha dasturlarni bir xil vaqt oralig'ida ushlab turish uchun qo'lidan kelganicha harakat qildi, ammo yangi ishlab chiqaruvchilar ko'proq dasturlar yaratganligi sababli, stansiya rahbariyati oxir-oqibat efirga uzatiladigan vaqt oralig'i uchun "birinchi bo'lib kelgan" siyosatini boshladi. Ushbu yangi siyosat ishlab chiqaruvchilarni eng ko'p qidiriladigan vaqt oralig'ida jokeyga aylantirishga olib keldi .. WFAC-TV ba'zan bir xil translyatsiya kuni va vaqtida qolish uchun vaqt oralig'idagi so'rovlarni yangilash zarur bo'lganda ishlab chiqaruvchilarni xabardor qiladi, garchi bu asosan har bir ishlab chiqaruvchining o'z vaqt oralig'idagi so'rovlarini kuzatib borishi uchun mas'uliyati .. Belgilangan dasturlarni ishlab chiqaruvchilarning aksariyati bir-birlarining vaqt oralig'ini hurmat qilishadi, ammo yangi ishlab chiqaruvchilar stantsiyaning efir jadvalini "hamma uchun bepul" deb hisoblashadi. ”. Ko'p marta ushbu yangi prodyuserlar o'z dasturlarining besh yoki oltita qismlarini tayyorlaydilar, keyin dasturni ishlab chiqarishni davom ettirish uchun etarli miqdordagi shou-kontentni ishlab chiqa olmasliklarini tushunib etgach, ishlab chiqarishni to'xtatadilar.
Studiya vaqtini rejalashtirish haqida gap ketganda ham vaziyat xuddi shunday edi. O'rnatilgan ishlab chiqarish brigadalarining aksariyati bir nechta dasturlarda ishladilar. Ushbu tashkil etilgan ekipajlar studiyani ishlab chiqarishga tayyorlashda samarali bo'lishdi va shuningdek, studiya jihozlari va to'plamlarini tezda buzib tashlashlari mumkin edi. Ushbu belgilangan dasturlarning samaradorligi va ularning ekipajlari o'zlarining ishlab chiqaruvchilariga studiya vaqtining foydalanilmagan qismlarini boshqa prodyuserlarga ajratish imkoniyatini berdi. Ko'pincha, ba'zi yangi dasturlarning prodyuserlari va ekipajlari o'zlarining rejalashtirilgan studiya vaqtlarining uch soatlaridan foydalanadilar va hali ham 30 yoki 60 daqiqalik dasturlari uchun barcha segmentlarni yozib olishni tugatmadilar, shuning uchun ancha barqaror ishlab chiqaruvchilar yangi ishlab chiqaruvchilar o'zlarining dasturlarini tugatish uchun ba'zi bir studiya vaqtlaridan foydalanishlari.
1999 yil o'rtalariga kelib, Yolg'iz akula soat 9 da bo'lgan. Bir yildan ortiq vaqt davomida dushanba vaqt oralig'i. Jim Sharki va Shon Xaffner ushbu vaqt oralig'ini so'rashdan oldin, WFAC-TV-ning ko'plab ishlab chiqaruvchilari bu stantsiyani dasturlash jadvalidagi eng yomon vaqt oralig'idan biri deb hisoblashgan. Har yili, soat 21.00 da efirga uzatiladigan barcha dasturlar. Dushanba vaqti bilan raqobatdosh bo'lar edi Dushanba kuni kechqurun futbol, Dushanba kuni kechki beysbol va Roseanne (bu raqam 1 bo'lganida Nilsen reytinglari ), faqat bir nechta dasturlarni nomlash uchun. Bu WFAC-TV-da umumiy kelishuvga ko'ra, juda kam sonli tomoshabinlar mahalliy teleko'rsatuvni (yoki boshqa har qanday dasturni) tomosha qilish uchun tarmoq televideniesidagi juggernautlarning reytingini e'tiborsiz qoldiradilar. Sharki va Xafner soat 21.00ni afzal ko'rishdi. Dushanba vaqt oralig'i, chunki bu ular ishlab chiqarishi mumkinligini anglatardi Yolg'iz akula odatda ular ishtirok etadigan shaxsiy majburiyatlari bo'lmagan kechada. Dastur oldindan rejalashtirilgan haftaning oxiridagi vaqt oralig'idan farqli o'laroq, bu hafta qolganlarini ijtimoiy hayotlari uchun ochiq qoldirdi. Bu shuni anglatadiki, barcha tayyorgarlik Yolg'iz akula (ozgina narsa bor edi) dushanba kuni kechqurun efirga uzatilishidan oldin dam olish kunlari amalga oshirilishi mumkin.
Faqat bir necha hafta o'tgach, soat 9 da. Dushanba vaqti, Yolg'iz akula dastur boshqa vaqt oralig'ida bo'lgani kabi shuncha telefon qo'ng'iroqlarini qabul qilar edi - ko'p bo'lmasa. Yolg'iz akula Bu haqda mahalliy gazetalarda yozilgan, shuningdek, mahalliy radio shaxslari tomonidan efirda tilga olingan. Avvaliga yangi ishlab chiqaruvchilar uchun yomon vaqt oralig'i tuyuldi, endi WFAC-TV dasturlari jadvalining eng yaxshi vaqt oralig'idan biri bo'lib tuyuldi. Yangi ishlab chiqaruvchilar bu vaqtga kelib, Yolg'iz akula WFAC-TV-da besh yildan ko'proq vaqt davomida epizodlarni ishlab chiqaradigan uzoq muddatli dasturlardan biri edi. Shuningdek, ular dastur muxlislari juda sodiq ekanliklarini va buning o'rniga boshqa dasturlarni tomosha qilishdan voz kechishlarini o'ylamadilar Yolg'iz akula. Yangi ishlab chiqaruvchilar soat 21.00 ga ishonishdi. Dasturning ommabop bo'lishiga dushanba vaqt oralig'i sabab bo'ldi va ular o'z dasturlari uchun vaqt oralig'ini xohlashdi.
Mas'ul bo'lgan Yolg'iz akula besh yildan ortiq vaqt davomida hujjatlarni rasmiylashtirish (shu jumladan, studiya va efir vaqtlari uchun joylarni bron qilish), prodyuser Shon Xaffner har doim boshqa ishlab chiqaruvchilar buyurtma berishdan oldin dastur vaqtini yangilashga va shu bilan buzilishiga ishonch hosil qilgan. Yolg'iz akula ishlab chiqarish va translyatsiya jadvallari. Xafnerning ushbu vazifalarga ehtiyotkorlik bilan munosabati bilan, yangi ishlab chiqaruvchilar soat 9 da buyurtma berolmadilar. Dushanba vaqti, ular xohlagan va qaysi Yolg'iz akula egallab olingan. Yangi ishlab chiqaruvchilar WFAC-telekanali rahbariyatiga o'zlarining dasturlarini o'zlari xohlagan vaqt oralig'ida rejalashtira olmaganliklari to'g'risida shikoyat qilishganda, stansiya rahbariyati (avvalgi yillarda Sharki va Xafner bilan ko'p marta to'qnash kelgan) to'satdan o'zgarib ketdi uning dasturini rejalashtirish siyosati.
13 qismdan iborat studiya va efir vaqtlarini rejalashtirishning o'rniga, endi dasturlarga bir vaqtning o'zida faqat etti qismni rejalashtirishga ruxsat beriladi. Dasturlarining ettita qismi translyatsiya qilinmaguncha, prodyuserlarga rejalashtirilgan vaqt oralig'ini yangilashga ruxsat berilmaydi. Siyosatdagi ushbu o'zgarishlar yangi ishlab chiqaruvchilarga o'z dasturlarini rejalashtirishga harakat qilishlari uchun imkoniyat yaratdi Yolg'iz akula 21:00 Dushanba vaqti uyasi.
Sharki va Xafnerning echimi yangi dastur yaratish edi. Ushbu yangi dastur o'zgaruvchan haftalarda efirga uzatilishi kerak edi Yolg'iz akula yangi dastur efirga uzatilishi rejalashtirilmagan vaqtdagi efir kunlarini to'ldirish. Bitta dastur o'zining ettita qismini efirga uzatishni tugatgandan so'ng, muqobil dastur har qanday ishlab chiqaruvchilar uchun vaqt oralig'ida o'z dasturlarini rejalashtirishga umid qilib, jadvalni buzadi. Yangi prodyuserlar o'zlarining dasturlarini ketma-ket haftalar davomida efirga uzatishni xohlashdi, shuning uchun Sharki va Xafnerning ikkala dasturining navbatdagi haftalik rejasi nafaqat endi 14 haftalik epizodlarni (asl 13 hafta o'rniga) rejalashtirishga imkon berdi. vaqti-vaqti bilan rejadan tashqari soat 21.00 Dushanba vaqti boshqa ishlab chiqaruvchilar uchun yoqimsiz uyalar.
Bu haqda WFAC-TV stantsiyasi rahbariyati xabar berdi Yolg'iz akula ular ishlab chiqarolmaydigan ishlab chiqaruvchilar Yolg'iz akula, keyin unga boshqa nom bering va yangi dastur deb nomlang. The station management assumed that Sharky and Haffner were a “one-trick pony” who would not be able to produce a program which had a different format from The Lone Shark. The station management believed that this stipulation would prevent Sharky and Haffner from producing their “new program”. However, Executive Producer Jim Sharky figured out how to create a new program that would be familiar enough to The Lone Shark’s viewers so as not to alienate them, while being different enough in format from The Lone Shark so as to appease WFAC-TV's station management.
The new program, called The Sharky & Sean Show, was in reality just another version of The Lone Shark. On this new live program, Jim Sharky was still the host and sat in the same chair taking phone calls. The only noticeable differences from The Lone Shark were that Sean Haffner was now in front of the cameras, and while Sharky took phone calls from viewers, Haffner communicated with multiple viewers in an America Online suhbat xonasi which he had created specifically for The Sharky & Sean Show. The chat room component of the program allowed many viewers to add their input to the program at once – compared to the callers, who could only be spoken with one-at-a-time.
The other difference between The Lone Shark va The Sharky & Sean Show was the new program's opening credits. Dave Warner had moved to New York State and therefore could not create credits for the new program. Instead, Sharky and Haffner opted to create the new credits themselves. Foydalanish Power Point, they designed the different pages for each credit and then printed the pages onto sheets of paper. These pages were then videotaped in the WFAC-TV studio, creating the new opening and closing credits for The Sharky & Sean Show.
The Sharky & Sean Show was broadcast for only 14 episodes. Sharky and Haffner's “alternating programs” schedule defeated WFAC-TV's attempt to allow the new producers to take the 9 p.m. Monday time slot, so the station management quickly rescinded the new scheduling policy. When they were once again allowed to schedule The Lone Shark for 13 consecutive weeks in the same time slot, Sharky and Haffner no longer had any use for The Sharky & Sean Show and production of the program ended.
WFAC-TV (River Street Studios) — 1995-2000
In 1995, Cablevision was receiving complaints from the administration of Fairfield University regarding the content of some of the programs being produced at the Xavier Hall facilities. The administration believed that the adult language and themes featured on The Lone Shark and a few other programs might give the university a bad public image, because most of the programs stated (either in conversation or in their credits) that they were produced at Fairfield University. The university administration informed Cablevision that they no longer wanted to host the studio and broadcast facilities on their campus if Cablevision could not control the content of the programming. Federal regulations forbade Cablevision from censoring the content of the programs produced in their local-cable studios.
Cablevision's solution was to remove the studio and broadcast equipment from the Fairfield University campus and build a new studio and broadcast facility with the equipment from the Xavier Hall facilities. The new facilities (located on River Street in Bridgeport, Connecticut) were built in a building which already housed Cablevision's Customer Service Call Center as well as the supply warehouse for Cablevision's service technicians. A section of the warehouse was walled-off, and the new studio and broadcast facilities were constructed in that section.
With the new facilities came new obstacles for the Producers of The Lone Shark va boshqa dasturlar. The Station Manager from the Fairfield University facility was replaced by one of Cablevision's vice-presidents, thus giving Cablevision's management direct control over the facility. That vice-president began attempting to make new rules and regulations governing the content of the programs produced at WFAC (usually after she had viewed – or only heard of – what she considered “offensive” material on The Lone Shark).
These new regulations became a regular occurrence at WFAC. The Lone Shark’s Producers often found themselves at-odds with Cablevision over these new regulations, because they were usually created to tone-down (or completely remove) segments on The Lone Shark. Eventually, Sharky and Haffner became adept at getting Cablevision to back away from their new regulations, or finding a way to skirt around the regulations that Cablevision would insist on enforcing. Shu tarzda, The Lone Shark still included material and themes that the regulations forbade on WFAC, but without actually violating the written word of the regulations. This battle between The Lone Shark’s Producers and Cablevision continued for five years, until control of the studio and broadcast facilities was awarded to the SoundView group.
SoundView Television Studios — 2000-2001
From the time that Cablevision of Southern Connecticut first created their local-cable television production facilities in the 1980s, the corporation had total control over the facilities. Cablevision leased properties for the production and broadcast facilities, at first on the campus of the University of Bridgeport and later on the campus of Fairfield University. Cablevision also hired the facilities’ management staff, owned all of the equipment in the studios and broadcast facilities and wrote all of the rules and regulations governing program content. During the late-1990s, Cablevision began ignoring requests to repair the equipment at WFAC, instead diverting some of the funds designated for WFAC to Cablevision's Norvalk, Connecticut facility (which was also used to produce programming for Cablevision's Yangiliklar 12 ).
In 1999, due to concerns about Cablevision's total control over (and lack of maintenance to) the WFAC production facilities, an independent group which called themselves SoundView Television was organized. Soundview was composed of people from the local broadcast area who were involved in many different fields of expertise in broadcasting and production, including some former Producers of programs at WFAC. The group also had the assistance of The Discovery Museum in Bridgeport, Connecticut as well as AT & T va Kon Edison. SoundView planned to petition the Connecticut DPUC (the state's governing body which oversees the cable television companies) and wrest control of the local-cable television facilities from Cablevision.
The SoundView group was concerned that, if Cablevision learned of their plans to petition the DPUC, then Cablevision would attempt to repair and revamp the WFAC facilities, to win favor from the DPUC. This would have hindered or halted the petition process, as the DPUC would be more likely to rule in favor of the group which already had an operational facility (Cablevision) over the group which only had plans to build a new facility (SoundView). Because of these concerns, the SoundView group began meeting in secret to discuss their plans for the petition, as well as plans for the new studio and broadcast facilities. The Lone Shark’s Producer, Sean Haffner, was asked to sit in on some of the group's meetings and provide ideas and input from the point of view of an active Producer. After a few months of meetings, SoundView filed their petition with the DPUC, and after a few more months of DPUC hearings, the SoundView group was awarded control of the production and broadcast facilities.
SoundView built their new facilities in the newly revitalized McClevy Green area in downtown Bridgeport, Connecticut, and in July 2000, SoundView Television Studios opened. The Grand Opening ceremony was attended by over 350 people, including local and state government officials, along with the members of local news media and the general public. The ceremony was also broadcast live on the three television stations that the SoundView Television facilities would serve in Cablevision's broadcast area. During the Grand Opening ceremony, statements were made by Bridgeport Mayor Joseph Ganim, Connecticut Governor Jon G. Roulend ’s representative, as well as representatives from The Discovery Museum, AT&T and Con Edison. Sean Haffner also made a statement to the audience and viewers, speaking on behalf of all of the Producers who would be using the new studio and broadcast facilities.
Trouble At Soundview Television
Sharky and Haffner’s initial relationship with the Station Manager had been excellent (as demonstrated when he asked Haffner to speak at the SoundView Grand Opening ceremony). Just minutes before the very first episode of The Lone Shark began broadcasting from the new SoundView studio, the Station Manager entered the studio and personally cleaned the top of Jim Sharky’s desk, in preparation for the evening’s broadcast. He would also regularly watch the production of The Lone Shark from inside the studio’s control room. However by July 2001, as the anniversary of the first year of broadcasting from SoundView Television passed, Sharky and Haffner had begun butting heads with the Station Manager of the year-old SoundView Television Studios.
The Station Manager began making phone calls to Haffner, saying that he ”… wanted to express (his) concern” over the strong language, adult themes and content of The Lone Shark. Haffner’s response was to confront the Station Manager and question whether he was attempting to influence or censor the content of the program (something which was not allowed by the Federal regulations governing local-cable television stations). The Station Manager denied that was the motive for his phone calls. Haffner told the Station Manager that he understood his concerns, but that he and Sharky would not make any attempts to change the content of The Lone Shark. Haffner was informed that programs containing adult content and themes were supposed to broadcast after 11 p.m., but SoundView’s studio facilities closed down at 10 p.m., making it impossible to broadcast a live program after that hour (The Lone Shark broadcast live from 9-9:30 p.m. EST). Haffner rebutted that changing The Lone Shark's broadcast time slot to 11 p.m. or later would mean the program would no longer be live and therefore the interactive viewer phone calls would not be possible. Also, the SoundView Television station management could not affect the program’s content, so he questioned the Station Manager’s motives. Haffner asked the Station Manager why these recent phone calls were even being made to him, as they were unnecessary and would not result in any changes to the content of The Lone Shark. The Station Manager’s only response was to reiterate to Haffner that he was ”… only expressing (his) concern”, so Haffner decided to end the phone call. Haffner relayed the Station Manager’s concerns to Sharky, but both Sharky and Haffner considered the phone calls nothing more than the Station Manager attempting to tamper with the production of The Lone Shark.
Permanent Suspension Of Production (Cancellation)
Tensions between SoundView Television's station management and The Lone Shark’s producers built up, aggravated by Jim Sharky's inferences about the Station Manager's personal life during the ″Semenex Taste Test ″ episode. Finally, in August 2001, during the live broadcast of ″The Morpheus Episode″,a three-second clip of an adult video portraying anal sex was shown during a demonstration of the capabilities of the Morpheus file sharing application. A week later, just a few hours before the next live episode of The Lone Shark was to be televised, Producer Sean Haffner received a phone call from the SoundView Television Station Manager informing Haffner that (in response to the airing of the adult video clip) the program was suspended from production. A few days later, Sharky and Haffner each received formal notices of suspension of production. The suspension stated that The Lone Shark would not be televised for a period of four weeks. After four weeks, the program could resume production, but only pre-taped episodes were to be televised for a period of six months. Once the six-month penalty period had ended, The Lone Shark was to resume the production of live episodes. The letters also stated that the producers could appeal the suspension. Sharky and Haffner decided not to appeal, because (coincidentally) both producers had more pressing personal issues that would have curbed production of The Lone Shark for at least the next six months, anyway.
In September 2001, after the initial four-week production suspension period had ended, Executive Producer Jim Sharky contacted the SoundView Television Station Manager to inquire about resuming the in-studio production of The Lone Shark. Sharky was informed that, because no appeal of the suspension had been made by himself or Haffner, a little-known clause in the Producers’ Contract with SoundView allowed the Station Manager to permanently suspend the program from production.
In May 2002, Producer Sean Haffner (speaking on behalf of himself and Jim Sharky) appealed to a meeting of the local Cable Advisory Council, which he had been told could possibly aid in restoring the production of The Lone Shark. Although only two of the Council members had actually viewed a recording of the offending episode, the remaining Council members decided that they did not need to view the recording before making a judgement on Haffner's appeal. The Council voted 4-2 against recommending restoration of The Lone Shark’s production (the two council members who bor edi viewed the recording actually voted foydasiga of Haffner's appeal).
When their appeal failed, Sharky and Haffner were prodded by supporters of The Lone Shark to file a lawsuit against SoundView Television demanding that the program be allowed to resume production. After mulling over the possibility of legal action, Sharky and Haffner decided that their personal lives (which, at times over the previous ten years, had suffered because of their dedication to The Lone Shark) would take precedence. They took no further actions to resume production of the program and in June 2002, production of The Lone Shark television program was permanently dismantled.
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- The Lone Shark kuni IMDb