Desk of Amy Suto

TV writer who eats danger for breakfast

A Writers’ Life in 2018: Novel Writing, Freelancing, First Episode of Television

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It’s December! You know what that means: a lengthy reflection on the year that’s passed, with all the ups and downs and status on my impending carpal tunnel!

Amy’s Best Posts of 2018

Before I dive into the shape of this year and what I’ve been up to, here are some of my top posts of 2018. You can always look in my Most Popular Posts section for an overview of the content I care about.

I didn’t blog a ton this year, because it’s been a crazy year of beginnings, endings, and adapting to new jobs and writing projects.

It was a year of learning new skills (like how to make money as a freelance writer on Upwork) and engaging with my creativity and self-reflection on a deeper level than I’ve done in the past.

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The Bourne Trilogy (Spy Month, Day 3)

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First of all, I never said that spy month was going to be a CONSECUTIVE 31 days. Right? *checks with lawyer, who nods solemnly* Right. Cool. Okay, if you want to read the other blog posts you can do so here. 

Yes, It’s JUST a Trilogy

In this weird shadow universe where tyrannical television hosts now run nations, I refuse to let one more injustice tip the scales. So, we’re not going to acknowledge any of the Bourne films beyond Ultimatum. You know that a series has really given up when they give up their title schemes (Bourne Identity/Supremacy/Ultimatum/Legacy) and just go “ah, well I guess we could just call it JASON Bourne.” Seriously? You couldn’t even do “Bourne: Jason” as a clever call out to Bond? 

Anyways, I know I tell you guys to fight me a lot when you’re holding opinions that are different than mine, but you can fight me if you think Legacy and Jason Bourne were actually good movies.*

*By the end of spy month, I’m just going to be fending off strangers with my jiu jitsu skills 24/7 as I get tackled in the streets by the populous of Los Angeles with terrible taste. 

Why Bourne Beats Bond

Look at this poster. I would stand in line for this poster.**

**Get it? It’s a Moby joke. If you don’t get this great joke, stop everything and go re-listen to Extreme Ways, aka the greatest theme song in spy movie history, and its 27 remixes come back an enlightened human being with good music taste. I’ll wait. 

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La Femme Nikita (1990) and the Nikita TV Series: Spy Month, Day 2

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For those of you playing along at home, the answer is yes, I am posting three blog posts for this series today because I didn’t post any yesterday and I’m already behind for spy month. Feel free to judge me, I also blog professionally so really I have no excuse other than “I’m busy playing pretend for a living and this blog truly exists just so I can craft my piecemeal dissertation about why I’m never going to watch The Wire.” 

Also, I’m aware that “I blog professionally” is both a great standup joke and sometimes a line I use at bars when I want to scare men away. (Which, to be honest, is always.) 

If you missed day 1 (which is day 1 only in name) go check it out. You can also read my little introduction (which is written with much less snark since it was written pre-coffee) here. 

Day 2 is a double feature of both the Luc Besson film La Femme Nikita and the CW television series Nikita from a few years ago. Also, if you’re wondering why I’m capitalizing some television names and then also italicizing them in other posts, it’s because I don’t believe in proofreading these blog posts and the all-caps thing is a holdover from my agency days. (Sadly, by “agency days” I mean my days working at a talent agency and not in the CIA.) 

Enough one-sided banter, let’s get to it: 

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The Third Man (1949): Spy Month, Day 1

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Welcome to day 1 of my new blog series about my all-time favorite spy films and television shows, in which I reveal the inordinate portion of my life I’ve spent re-watching the Bourne Identity.

(This is also my go-to excuse whenever someone persecutes me for not having seen The Wire in its entirety. Seriously, I would rather just have a dance party to the opening credits of the Bourne Films for all of eternity rather than be forced to sit down and watch a series in which I have seen the pilot ten times and have yet to get past it. “Not Having Seen The Wire” also apparently constitutes as a war crime every conversation I have with people who’ve seen The Wire, which makes me want to watch it even less just out of principle, but that’s for my next blog series: 31 Days of Not Watching The Wire)

If you missed it, here’s my little introduction post about the series. If you didn’t, good job. You’re caught up.

I’m not really going to summarize plot in these series because A) I’m not in film school anymore and no longer have to write papers analyzing storylines for six pages to pad my wordcount B) you just have to trust my taste and go watch these movies, and C) I think it’s more fun to just jump in and talk about the fun parts. It’s my blog, I can dance if I want to.

I will link to the trailer, though, so you’ll have some idea what I’m talking about even though I mostly just want you to go see these damn films and tv shows because they’re amazing.

I also won’t be talking about the directors as much because this is a writing blog, so if you want to fight me on this, just do it on Twitter. @AmyMSuto

Today’s film is none other than the classic 1949 film, THE THIRD MAN. It’s not squarely in the spy genre as it’s set in post-war Vienna and pre-Cold War, but the noir style and general sense of intrigue place it in my definition of the “spy” genre:

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31 Days of Spy Films and Television

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In honor of starting in a new writers’ room for a spy show, I’m writing 31 blog posts about some of my favorite movies and TV shows within the genre. That’s 31 days filled with intrigue and conspiracy and white men angrily hanging up the phone as Jason Bourne gets away yet again.

At the end of the month, I’ll tell you which show I’m starting on (hint: it’ll be in one of these blog posts!)

Part of the reason I’m writing these is to dig in and analyze the reasons why I love this genre so much. As a kid, I blew through five seasons of ALIAS in a week and religiously re-watched La Femme Nikita until I memorized the words. I used to hop on Twitter and Tweet at writers of my favorite spy shows and share what I loved about their episodes — some of whom were nice enough to humor 15-year-old me and respond.

What I love about this genre in part is how female characters get their due. Women can be strong and unstoppable and morally complex in a way that I didn’t see in the action movies I grew up with, wielding feminine wiles and trickery just as effortlessly as their guns. 

While men grow up with plenty of tough on-screen heroes, it’s harder for women to point to our equivalent of John McClane: women were either the victims or the wives or the over-sexualized villains. However, spy films helped to change that.

As I talked about extensively in episode #10 of writer Jorge Molina’s podcast Blind Spots, Yvonne Strahovski’s character Sarah in the NBC show CHUCK shaped my love for television. It’s one of the first female characters I remember who could kill a man with her bare hands, but also had complex storylines where she grappled with internal conflicts about her duty to her country versus her love for Chuck, and her own happiness versus her commitment to her job. Some of the best episodes delved into her troubled backstory, watching her go from the scrappy daughter of a con artist to falling into the ranks of the CIA and facing challenging ethical decisions. 

It’s not just about representation on screen: this month is about celebrating the cinematic perfection of some good ol’ fashioned spycraft. You’ll definitely be reading dissertations from me on the masterpiece that is the original Bourne trilogy before this month is over.

Ready to look down the barrel of a gun with me? Let’s do this. Read all the posts here.

Tweeting Into the Void

Because I’m a Millennial

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