SutterInk

DOUCHEBAGGERY IS THE GREATEST HUMBLER

noreply@blogger.com (Kurt Sutter) — Sun, 19 Feb 2012 04:25:00 +0000

Recently, Chuck Zito's lawsuit against FX was dismissed. We proved that there was absolutely no connection between SOA and the show that Chuck pitched four years prior.

My blog rant against Zito back in season two came at a time of heightened job stress and intense scrutiny. It was a vicious, arrogant response (I took down the blog, my reasons here). I can list all the pathetic reasons why I wrote it, but that doesn't matter. The fact is I said some incredibly inflammatory and hurtful shit about a guy I never met or even talked to. When I sat in the deposition for the case and watched Chuck's reaction to my testimony, I realized that this was a guy who sincerely thought he was wronged. He wasn't some dick trying to squeeze Fox or fuck me over. He truly believed he was owed recompense. I knew legally he had no case, but personally, I came out that depo feeling really shitty about myself.

I knew Chuck would have the option to appeal, so I had my lawyer arrange a lunch before that process began. What I wanted to say to Chuck couldn't happen with litigation pending. Chuck agreed. He actually showed up to lunch wearing an SOA cut (it was the one I gave Charlie Sheen. Chuck and Charlie are friends). When I saw the cut I knew it was either a really good thing or a really bad thing. It was good. He wore it to let me know that he was a huge fan of the show. With the eminent threat of death removed I was able to sit down with Chuck and apologize for the blog. Man to man. He was gracious and accepted. Turns out we have a lot of mutual friends in and around the outlaw world. He knows most of the guys in the 81 who I ride with and use as advisers. We shared a meal, he told me some amazing stories and we buried the hatchet. As I suspected, he's a very sweet guy.

I also told Chuck that it would be great to get him on Sons. I'd love for him to play a bad ass Nomad from NYC. Add a little Sinatra bling to the table. Details are still being worked out, but I think that's going to happen. I'll keep you posted.

The main point of this entry, as is all my blogs, is to document this journey. I'm sure I'll continue to say and do shit that almost gets me fired or killed; that's just part of my cuntish charm. But I'm also a guy who cleans up his shit. I have to. I'd drown in fecal swells.

SEASON 5 UPDATE

noreply@blogger.com (Kurt Sutter) — Fri, 17 Feb 2012 05:33:00 +0000

I've turned into such a lazy fucking blogger. Really, Twitter is like the fast food of social media. I never want to sit down and eat a good blog anymore. I'm turning into the rest of the loser hackycunts who write blogs about television.

Season 5... fuck me, season 5. Really? How did that happen? Wow. Seems like only yesterday that all the fucking critics were saying we were just The Soprano's on motorcycles and that we'd never last.

Anyway, writer's room is in full swing. Big arcs loosely broken. New characters loosely defined. 501 on the board. We'll finish beating it out tomorrow and I'll start writing this weekend. My hope is to have four scripts completed before we begin production. All my actors' options have been picked up, so everyone is scheduled to begin work mid-May. Right now we have four new major characters for season 5. One is Damon Pope, who's daughter Tig killed at the end of season 4. The other three characters... well, I'll tell you this much. One wears a patch we've never seen. One is hard, curvy and very sexy. One packs a platinum .45 with a walrus tusk handle, he's incredibly dangerous, but really, he just wants to be loved. Vague enough?

I'll gear up WTFsutter again next week. Hang in there, kids. More shit to keep you amused on the way.

PALEYFEST... I GOT TICKETS, BITCHES.

noreply@blogger.com (Kurt Sutter) — Wed, 25 Jan 2012 16:11:00 +0000

Sons of Anarchy has been invited to the Paleyfest this season. Normally, I avoid anything that contains the suffix, "fest", but this one is an exception. Here's some info from their website --

Mission

The Paley Center for Media, with locations in New York and Los Angeles, leads the discussion about the cultural, creative, and social significance of television, radio, and emerging platforms for the professional community and media-interested public. Drawing upon its curatorial expertise, an international collection, and close relationships with the leaders of the media community, the Paley Center examines the intersections between media and society. The general public can access the collection and participate in programs that explore and celebrate the creativity, the innovations, the personalities, and the leaders who are shaping media. Through the global programs of its Media Council and International Council, the Paley Center also serves as a neutral setting where media professionals can engage in discussion and debate about the evolving media landscape. Previously known as The Museum of Television & Radio, the Paley Center was founded in 1975 by William S. Paley, a pioneering innovator in the industry.

Events

Throughout the year, The Paley Center for Media hosts discussions with influential newsmakers, journalists, and world leaders on today's important issues. The Paley Center also celebrates excellence in drama, comedy, and documentary film with a range of events that examine the creative process behind great entertainment.

The William S. Paley Television Festival: PaleyFest

Named for William S. Paley, founder of CBS and the Paley Center, this annual Festival began in 1984 to celebrate the collaborative creativity behind making great entertainment content. In connecting media enthusiasts with individuals who bring to life outstanding programming, PaleyFest creates an extraordinary interactive pop culture event.

On Wednesday, March 7th, 7pm, at the Saban Theatre in Beverly Hills, myself and the cast will do a panel for the very reputable Paley Center. Why us? I haven't figured that out yet and I'm hoping they don't think on it too hard.

You can purchase tickets here -- SOA TIX

If you can't afford tickets, have no fear, I purchased 10 tickets on my own dime and I will give them to the first ten fans who tweet "Give me my ticket, bitch" on 2/22/12 at 2:22pm. Here's the qualification, you have to live in SoCal. I ain't flying anyone in for this, kids. So if you can drive here in under two hours, you qualify. You tweet, I check, you get the tickets. And yes, I know it's unfair for those of you who don't live in Southern California. But you know what... not my fucking problem, 'cause I'm the one with the tickets.

And yes, I love you.

Stop Online Piracy Act

noreply@blogger.com (Kurt Sutter) — Wed, 18 Jan 2012 18:31:00 +0000

It's a bad idea.

I'm all for protecting the rights of artists and intellectual property, but I believe it is the responsibility of the individual websites and owners to protect its users. And the burden is on the user/consumer to make intelligent, researched decisions. I know I'm oversimplifying, but you get the point. Leaving the policing up to Uncle Sam will just really fuck things up.

I do not trust laws that in any way, shape or form begin to infringe on free speech and artistic expression. There are too many dangerous agendas out there. Someone, something, some cunt always turns these laws upside down; they find loopholes and back doors to expedite agendas that ultimately do more damage than good.

Take a hard look at the Patriot Act.

No, I don't have the solution. I just know SOPA isn't it. So I support Wikipedia and the others who are blacking out today.

SEASON 5

noreply@blogger.com (Kurt Sutter) — Tue, 10 Jan 2012 20:46:00 +0000

I've returned to my office in the asshole of North Hollywood. Feels like only yesterday that season 4 ended (that's sarcasm). Taking meetings, hiring a couple new writers. Slowly slipping on the leathers. And the ball-gag.

I'm back with my writing team at the end of the month and we'll go back into production mid-May.

Here's what I know about season 5. No spoilers. Just thematics. I've always seen the show as the Prince's journey. Jax is a man, but he's been unsure of the kind of man he will be. He has yet to decide on his legacy. Season 5 will force him to make those decisions. This season will be a pivotal one in the arc of the series. Not that all the seasons haven't been essential in shaping the mythology, but this season will begin to lay track for how the series ends. In a feature film, season 5 would be the end of act two. Where the hero has been faced with the primary conflict and obstacles and is forced to make a decision that either ends well or not-so-well.

I see season 5 as being a more deliberate season. I'm not sure how to expand upon that other to say that the decisions our hero makes will be less impulsive and more permanent. The stakes will be ratcheted up while the pace will be slowed down. Not that we won't have all the pulpy goodness we have every season (we will still blow shit up), it'll just have a different rhythm.

I'm also working with the network, studio and home entertainment group to get something to the fans much earlier this season. Some kind of behind-the-scenes project that will plug folks back in as early as June. I know how long of a wait it is to September and I'm thinking of a weekly segment with the actors that teases the new season without spoiling. Basically bringing you into our world as we produce the show. We'll make it available on the app, the website and I'm hoping to actually get it on air (although that's me talking out of my ass right now). I'll keep you posted about that and anything else that falls out of my ass.

And I'll try to blog more. Twitter is really spoiling my blogging. Every time I think of something to blog, I'll say, "fuck it", and tweet the 140-character version. My father was right, I'm a fat, lazy fuck.

Happy new year, bitc...

Oh, yeah, one of my new year's resolutions is not to call my kids, "bitches". I'm lumping you into that as well.

Happy new year, kids.

CRITICS LAMENT...WHAT IS SONS OF ANARCHY?

noreply@blogger.com (Kurt Sutter) — Wed, 07 Dec 2011 20:51:00 +0000

It seems that SOA continues to delight and frustrate critics/reviewers/bloggers/guys-that-haven't-been-laid-since-911. As you can imagine, that fact also delights and frustrates me. Time after time, reviewers will complain that Sons always flirts with greatness, yet never achieves it. It lays the track to perfection, but always derails. Perhaps. In some ways, I guess it parallels it's creator. I'm a half-smart guy with a flare for the absurd, but I'm more than a few runways short of brilliant. But, self-deprecation aside, I think the bigger issue is a lack of understanding of what the show really is. And that isn't to say that critics are stupid. Some are. Most aren't. But a lot of critics don't seem to understand what I'm trying to do season after season. It's like going to see a Summer blockbuster movie and being disappointed because it's not as complex as the Godfather.

Some critics get it. Ken Tucker, Matt Zoller Seitz revel in the giddy truth. Sepinwall and others continue to bang their heads against a wall, applying a level of analysis that is best reserved for a David Simon show. The Wire, we ain't, nor do we aspire to be. For the record, SOA is an adrenalized soap opera, it's bloody pulp fiction with highly complex characters. Often, I think the depth of the characters, the emotionality of the writing and the amazing performances is what confuses critics. Those qualities put the show on par with other great dramas. But then I'll go and cut the balls off a clown or turn a plot point absurdly upside down and I will most certainly blow something the fuck up. It's those things that drive critics crazy. Why can't I just stay the course. Be what they want me to be -- measured and predictable.

So why don't I do that? Why lean so heavily on the pulp? Maybe this backstory will shed some light: When John Landgraf wanted to move ahead with SOA, he went to his then boss, Peter Chernin, and told him he was going to greenlight the show. Chernin told him it was a mistake. No one would watch a show about a bunch of dirtbag bikers. He thought it was a nasty, unpleasant world. But Landgraf knew the operatic Hamlet approach of my pitch might be able to avoid the ugly, meth-reality and deliver the thematic attractiveness of the subculture. Yes, the MC world can be a dark, brutal place. It doesn't have the glamor of the Mafia or the urban sway of street gangs. Chernin was right, a straight up drama, no matter how well done, wouldn't have lasted more than a season. I knew instinctively, as did John Landgraf, that dark humor and pulp operatic storytelling would be the best way to open up this world to viewers. That to balance the danger and brutality of the world, the show needed to be entertaining and, dare I say, fun. The truth is, I have a very healthy ego. I have no desire to run a show that only a few hundred thousand people watch. I'll go do theatre if I want an audience that size. My challenge as a showrunner, season after season, is to balance art and commerce. How do I keep the show rich, complex and authentic and yet entertain the fuck out of people? It sounds easy, but it's not. Trust me, it would be much easier to write a straight ahead drama to please the critics. You guys are easy. But I'm not writing the show to convince people how brilliant I am. I'm writing it to excite, thrill and engage an audience. And I can only hope that my talent as an artist and producer shine through.

Clearly, sometimes it doesn't. As I look at the WGA Award nominees this morning, I realize the thing that frustrates critics is probably the same thing that keeps us an arms-length away from awards. I'd confidently put the quality of our writing, acting and directing up against any other show. But the pulp, entertaining nature of Sons will always keep us a few rungs down the ladder from the obvious choices. Or maybe we just suck and I'm delusional. That's very possible.

Anyway, I'll keep writing the show the way I always have and hopefully the audience will continue to show up. And the critics will lament how imperfect and frustrating the show is to watch and yet they'll continue to watch it and write about it, week after week, after week, after week... it's almost as if they're being entertained.

I was going to tag this entry by calling them all cunts, but maybe that's a little harsh.

Half-cunts.

A LITTLE BIT OF MY SEMANTIC THEORY OF SLURS AND HOW THAT RELATES TO MY AFFECTION FOR THE USE OF "SEE YOU AND TEA"

noreply@blogger.com (Kurt Sutter) — Mon, 28 Nov 2011 23:44:00 +0000

http://www.flickr.com/photos/atrophyheart/3537533466/

WARNING: THIS BLOG POST CONTAINS POLITICALLY INCORRECT LANGUAGE. IT INCLUDES WORDS CONDEMNED FOR RACIAL, SEXIST AND HOMOPHOBIC OVERTONES. THEY ARE USED TO CONVEY A THEORETICAL POINT AND ARE NOT MEANT TO ENCOURAGE OR CONDONE HATE. PLEASE DO NOT BE A CUNT AND TAKE THEM OUT OF CONTEXT TO CREATE A TITILLATING HEADLINE ON YOUR BULLSHIT ENTERTAINMENT BLOG. THANK YOU.

My use of the C-word seems to be a very polarizing semantic choice. People either rally to the call of brashness or condemn me for rude literary ineptitude. Quite honestly it seems to baffle most folks who know me. Well. My wife included. She knows I don't move through the world with a boorish sexist swagger, so my liberal "cunting" rubs her confused.

Before I defend my "cunt point" I need to speak to a larger thematic issue -- my theory about how the media and social guilt increase the power of slurs. Not so much a theory, just a half-bright opinion.

And forgive me for doing a brief cursory explanation of this idea. It's a much larger, complex discussion, but this is a blog and I know if I post more than a page or two no one will read it. If anyone wants to discuss the issue in greater detail, I'd be happy to do so. Well, maybe not happy, but obligated.

There are some words in the English language that we continue to empower as evil. Not that their origins aren't sinister or meaningful, but society's obsession for public condemnation and censorship has given these words power beyond their negative roots. The word "nigger" began as a harsh, ignorant term used by white slave owners that over time became a racial slur with brutal weight. This is the quick historical from Wikipedia:

In the Colonial America of 1619, John Rolfe used "negars" in describing the African slaves shipped to the Virginia colony.[5] Later American English spellings, neger and neggar, prevailed in a northern colony, New York under the Dutch, and in metropolitan Philadelphia’s Moravian and Pennsylvania Dutch communities; the African Burial Ground in New York City originally was known by the Dutch name "Begraafplaats van de Neger" (Cemetery of the Negro); an early US occurrence of neger in Rhode Island, dates from 1625.[6] An alternative word for African Americans was the English word, "Black", used by Thomas Jefferson in his Notes on the State of Virginia. Among Anglophones, the word nigger was not always considered derogatory, because it then denoted “black-skinned”, a common Anglophone usage.[7] Nineteenth-century English (language) literature features usages of nigger without racist connotation, e.g. the Joseph Conrad novella The Nigger of the 'Narcissus' (1897). Moreover, Charles Dickens and Mark Twain created characters who used the word as contemporary usage. Twain, in the autobiographic book Life on the Mississippi (1883), used the term within quotes, indicating reported usage, but used the term "negro" when speaking in his own narrative persona.[8]

In the United Kingdom and the Anglophone world, nigger denoted the dark-skinned (non-white) African and Asian (i.e., from India or nearby) peoples colonized into the British Empire, and "dark-skinned foreigners" — in general.

By the 1900s, nigger had become a pejorative word. In its stead, the term colored became the mainstream alternative to negro and its derived terms. Abolitionists in Boston, Massachusetts, posted warnings to the Colored People of Boston and vicinity. Writing in 1904, journalist Clifton Johnson documented the "opprobrious" character of the word nigger, emphasizing that it was chosen in the South precisely because it was more offensive than "colored."[9] Established as mainstream American English usage, the word colored features in the organizational title of the National Association for the Advancement of Colored People, reflecting the members’ racial identity preference at the 1909 foundation. In the Southern United States, the local American English dialect changes the pronunciation of negro to nigra. Linguistically, in developing American English, in the early editions of A Compendious Dictionary of the English Language (1806), lexicographer Noah Webster suggested the neger new spelling in place of negro.[10]

By the 1980's the wave of political correctness began to taint every form of art and media. It wasn't just the black groups that were condemning the hateful n-word; it was white corporate America as well. That's what took it from a racial slur to a political and social pariah. I believe it was the "white guilt" of the men controlling the media machine that continued to give that word more power and hate. Follow me here -- it was like the white guys got together and said, "Let's really make it a point to condemn whitey for using racial slurs. If we do that, then maybe we can somehow wash away years of racial injustice to the black community." But I believe that heightened, righteous correctness just handed the racists more ammunition. Because the higher the crime for usage became, the more the ignorant used it. Our semantic judgment just loaded the hate canons.

Does that make sense? I don't know, maybe not. Always felt that way to me.

I think the answer to that increased hate and awareness came in the form of Hip Hop's bastardization -- "nigga". Suddenly there was a word that black people could liberally call other black people without pushing racial buttons. Yes, it also allowed annoying white dudes the same option (although not without impunity). I know there are black people who are as offended by the "ga" as the "ger", but I think consciously or unconsciously it was the African American community diffusing the hate. Basically saying, "we're taking this word back, making it our own so you motherfuckers can't hurt us with it." Maybe I'm wrong, maybe I'm a delusional white guy, but I feel like Hip Hop has diminished the racial weight of "nigger". I'm not saying it's not still a racist, painful slur, I'm just saying it's lost some of it's power. Which is a good thing.

The other word that's jumped into the "never use it in public" category is "fag". I'm not proud of this, but the truth is, where I grew up in Jersey, "fag" was a fucking noun, verb, adjective and adverb. We used it constantly and it had nothing to do with sexuality. A fag was a punk or a pussy. A fag was the guy who left the game in the fourth inning to go do homework. A fag was a guy who wouldn't steal his parent's smokes for his buddies. I was using the word fag long before I even knew what a homosexual was. I'm not saying that makes it okay, just saying the evolution of this semantic curve is more personal. I never used the word "nigger", now or as a kid, but "fag", man, it was everywhere. Wiki gives this quick historical glimpse.

The word meaning "bundle of sticks" is ultimately derived, via Old French, Italian and Vulgar Latin, from Latin fascis (also the origin of the word fascism).[4] The origins of the word as an offensive epithet for homosexuals are, however, rather obscure, although the word has been used in English since the late 16th century as an abusive term for women, particularly old women,[5] and reference to homosexuality may derive from this,[4][6] female terms being often used with reference to homosexual or effeminate men (cf. nancy, sissy, queen). The application of the term to old women is possibly a shortening of the term "faggot-gatherer", applied in the 19th century to people, especially older widows, who made a meagre living by gathering and selling firewood.[6] It may also derive from the sense of "something awkward to be carried" (compare the use of the word "baggage" as a pejorative term for old people in general).[4] Use of the word as a general insult, not necessarily implying homosexuality, is either a continuation or extension of this older usage[5] or of the homosexual usage.

Unsubstantiated Associations

It is sometimes claimed that the modern slang meaning developed from the standard meaning of "faggot" as "bundle of sticks for burning," presumably with reference to burning at the stake.[4] This is, however, unlikely to be the case,[4] and there is no tradition of burning at the stake being used as a punishment for homosexuality in Britain,[6] However, the Theodosian Code, which was influential in the development of medieval law, does prescribe burning: "All persons who have the shameful custom of condemning a man's body, acting the part of a woman's to the sufferance of alien sex (for they appear not to be different from women), shall expiate a crime of this kind in avenging flames in the sight of the people."[7] Although supposed witches and heretics were burnt to death in other parts of Europe, and were often accused of deviant sexual behaviour.[8]

The Yiddish word faygele, lit. "little bird", is also claimed by some as an explanation for the modern use of "faggot." The similarity between the two words makes it a reasonable possibility that it might at least have had a reinforcing effect.[6]

An obsolete reference to faggot from 17th century Britain refers to a "man hired into military service simply to fill out the ranks at muster", but there is no known connection with the word's modern pejorative usage.[4]

Louie CK did a great episode on the evolution of the word "fag". Basically discussing my point above and the truth about why the word is so painful to the gay community. It was really smart and effective. As an adult, I embrace that concept and understand the hate behind the word. The fact that right wing Christian groups defend the use of it is reason enough not to ever use it again. But my theory of the media and social guilt increasing the hate holds true for the f-word as well. Every time someone gets caught using that word, we headline it, hold it up for persecution and give it more weight. Again, we load the hate canons. Instead of giving these assholes media coverage, we should be diffusing the power, mocking the ignorant, finding a way to take the sting out of the word. "Fag" needs a "nigga".

Basically, it's this -- when my four-year-old uses a bad word, I don't give it any weight. The experts say, you just calmly reply, "we don't use that word because it's rude", and move on. When she sees that the word gets no buzz, she moves off of it. If I yell at her, call attention to the behavior and make a fuss over the word, it reinforces her knowledge that the word has power. She will definitely use it again. Now I know that's an incredibly simplistic point of view that can hardly be applied to words that have social and historical weight, but there is truth in that basic concept -- that the media and our own social guilt continue to reinforce the negative by giving it so much fucking attention.

Which brings me back around to my "cunt". One of the few nasty words left in the English language that does not have a "league" condemning its use. Yes, women find it offensive and I'm sure at some point a feminist organization will adopt it as a cause. But until then, it's a word that makes people incredibly uncomfortable without sounding a social or media alarm. It's percussive, aggressive and just feels wrong. So why do I use it so freely? To make a point. It's my personal quest to diffuse the power of "cunt". If I use it frequently and in such absurd context, just maybe it will begin to lose its weight (I think it already has in this blog and on my Twitter feed). Fuck, fly, shit, eager, cunt, banana, sky, yo-yo. Just a bunch of words.

So that's why. We are the ones who turn letters into sounds, sounds into hate, hate into headlines. We create the cycle of animosity and violence.

Cunt. It's slang for vagina. It begins with a hard-c. It rhymes with punt, stunt and front. Use it lovingly, "that flower is opening up like a beautiful crimson cunt." Use it with edge, "that little fucking cunt just cut me off." Use it absurdly, "there's a certain oaky cuntiness to this Merlot." Use it frequently. And when someone balks or is morally offended, tell them it's just a fucking word, lifted from a whore street in Old London and first used in print by James Joyce. Then gaze at them with judgmental disdain and tell them perhaps they're the ones who need a morality check. Cunts.

THANKS GIVING

noreply@blogger.com (Kurt Sutter) — Wed, 23 Nov 2011 02:41:00 +0000

Today I give thanks for --

A god of my understanding.

A universe that bends towards love no matter how much evil pushes back.

A sober being.

The love of my family.

Especially Katey. She is a light.

Especially my kids. They force me out of the darkness.

My talent.

My job.

My friends.

My health.

All the people who tolerate my plethora of defects.

My enemies for keeping my edge sharp.

My disdain for injustice.

My love of the absurd.

Dogs.

Windows.

The music I hear.

Make a gratitude list, share it with someone you love. Or better yet, someone you fucking hate.

Enjoy your holiday. I love you.

IT'S THE PROCESS THAT'S CUNTY

noreply@blogger.com (Kurt Sutter) — Fri, 18 Nov 2011 18:04:00 +0000

I've shared my disdain for television bloggers in the past, but I thought I'd take a moment to explain in more detail the reason for my frustration.

To come clean, I didn't read any episodic reviews all season. Then FX sent me a few links about episode 410. I read them. I got seduced by the praise and began reading more. My personality is not inclined toward moderation, so I fucking binged. Soon I was overwhelmed and reminded of why I stopped reading them in first place. Hence, this blog post is more to remind me of why I need to detach.

As we know, most TV reviewers get paid or are sustained by the number of hits their site receives. It's all about numbers. Quantity, not quality. So they review hundreds of episodes of television a week. Literally. They are forced to power through these hours and give quick, reactive reviews that vary from godlike praise to utter disdain. Most are uneven, unthoughtful and completely miss the point. Even smart people like Mo Ryan are cranking out quick, mediocre reviews that are way beneath what she is capable of as a journalist. That's why I read Poniewozik and Goodman. If they don't have time for a thoughtful review, they pass. Now I realize the conditions of their jobs give them that luxury, but I guess that's my point. The conditions are cunty.

But the fault isn't with the reviewer, it's with the process. More, more, more, faster, faster, faster. Online journalism demands instant, catchy coverage. There is no time for in-depth, thought-provoking process. It's all flash, snark and a catchy headline. Alan Sepinwall and his uber-hokey, "A review of tonight's episode coming up as soon as I (insert contrived episodic joke at the expense of someone's performance)..." is testament to the fact that it's no longer about the art of critique, it's about being clever and memorable. It's incredibly frustrating for the artists who do put the thought, time and care into their work to be judged by such an inept process.

And I use this opportunity, when a majority of SOA reviews are good, to make the point -- so I don't look like a douchebag writer scorned. It's a fucked up process. The relationship between artist and critic is ancient. They need each other. But it only works if both parties are committed to the integrity of their jobs. If not, it's just a bullshit cuntfest.

AN OPEN LETTER TO LINDSAY LOHAN - RESENT

noreply@blogger.com (Kurt Sutter) — Mon, 07 Nov 2011 17:49:00 +0000

I wrote this blog some sixteen months ago. In light of her continuous spiral downward, I thought I'd post it again. To no end, I'm sure. Maybe it's just to relieve my guilt for not being more proactive in my own recovery. Mostly it's my innate sense that very soon, Lindsay Lohan will be dead. And that makes me sad.

Dear Lindsay,

I do not know you. I could never imagine what it's like being in your shoes. Your childhood, your career, your relationships, your alleged dysfunction -- I do not know the truth. All I have is the information reported to me by the media. The bulk of that media are despicable whores who prey on the indiscretions and weaknesses of celebrity vulnerability. If I could slice their fucking heads off and not be incarcerated, I'd be sharpening the blade right now. I have immense compassion for your plight. The scrutiny, the unrelenting exposé that has become your life is inconceivable. The readers of those rags have no idea who you are and the depth of your struggle. They soak up the hype, the sound bites and the titillating j-pegs like fat junkie cows. As Louis C.K. says in one of his routines -- I have to stop doing everything because I need my whole fucking body to hate them.

Slicing through the media fiction, I try to find the truth behind the noise. This is what I see -- a young woman who has perhaps lost sight of her gift and it's purpose. You are a very talented girl. As a child, you revealed a skill that few achieve at any age. It's no wonder that all those around you exploited that opportunity. You shined, you were/are a star. I'm not sure what happened. Maybe you never got an opportunity to be a child. The Hollywood landscape is littered with ex-child stars who have crashed and burned. I know that's why Katey and I have a very firm rule: None of our kids can work professionally until AFTER they finish college. Children need the real world to create real perspective. You need life to develop life skills.

If you are reading this, perhaps this is where you'll stop, because now I speak to your part in all of this. The truth is, it doesn't matter what happened in the past. Today, you are an adult. With that comes the responsibility of not only your personal life but of your career as well. Talent is a rare commodity. We are paid a lot of money to share that gift. Sometimes we lose perspective, I know I do. I become covetous of my gift, it spins me inward and I feel like everyone is trying to rip it out of my hands. I grow angry and discontent. I want them to just leave me the fuck alone. That usually means I need sleep and to share the noise in my head with like-minded folks. Ultimately, when my head clears, I am brought to a place of gratitude. I think it was Warren Beatty who said that success is when you get paid lots of money for something you would gladly do for free. That's how I feel. I'm guessing, there is a part of you that feels the same way. That in the moment, when you are connected in a scene with another actor, there is an indescribable joy that happens. It's called being an artist and with it comes responsibility.

It may not feel like it now, but the jail time you are about to serve is a blessing. It's concrete proof that you are a member of a real community, of something bigger than the insular fucked-up Hollywood bubble you've been living in. You have a chance to use this time for reflection and growth. When I see that you or members of your "team" are selling TV rights to your pre and post jail time, I fear that you have lost sight of the opportunity that lies before you.

If you do indeed have a compulsive relationship with drugs and alcohol, this is time to address it. This is the time to look at the potential of the wonderful life that lies ahead. There is only one thing I know for sure. I promise you that this is the truth -- if you stay on the path you are now, if you don't experience some kind of psychic shift, if you don't dig deep and tap into some humility, you will die. Very soon. That may sound dramatic and like a bad PSA, but sadly, it's the truth, darling. You will be dead before you turn 30. And it will be ugly and sordid and it will line the pockets of the sycophants that plague you.

I look at Robert Downey, whom many thought would never pull himself out of the bottomless crack he fell into. His incarceration became the event that allowed him to find his humility. Like you, his talent was immense and when he showed up to play, clean, sober, grateful, he was embraced and gladly given another chance. His star has been on an upward trajectory ever since.

I realize this post has turned into a bit of lecture and I apologize for that. I'm sure I'll get bitch-slapped by the blogosphere for my arrogance. But Lindsay, just know that I speak from experience. I'm very candid about my own sobriety. Not using drugs and alcohol a day at a time is the only fucking perfect thing I've done in the last 18 years. Every good thing in my life -- let me say that again -- every good thing in my life -- is a result of working a program of recovery.

I wish you well. I wish you life.

Sincerely,

Kurt Sutter

FOX VS. DIRECTV

noreply@blogger.com (Kurt Sutter) — Mon, 24 Oct 2011 22:03:00 +0000

I just did a promo that will air before Tuesday night's episode. It's aim is to mobilize fans against DirecTV. But they refused to let me speak honestly, I had to follow an FX legal script that felt like complete bullshit. I'm sure it will serve it's purpose, but I feel compelled to let SOA fans know what I WANTED to say.

First off, I am well aware that I am working for the right-handed smoking man. Truth is, every large entertainment company is an extension of some corporate behemoth. FX is no exception. The thing that keeps me there is that they care as much about the creative process as they do their bottom line. That's not only rare, it's pretty much nonexistent everywhere else in Hollywood. That bubble is floated by John Landgraf. If it weren't for that guy, I'd be selling star maps and handjobs in front of the Motherlode. I also have no delusions that Fox has a big horse in this DTV race. Like all big corporate deals, the Goliaths are fighting for bigger chunks of the pie and in the process, the Davids who feed off of the crumbs, are getting screwed. But if you look at the facts, you'll see that DirecTV is applying orange rules to an ever apple-ing world and using their large customer base as leverage. Basically, fucking over the customers that already pay a lot of money for their service.

Here is the script they wouldn't let me use --

SOA (:45)

HEY, I’M KURT SUTTER, CREATOR OF SONS OF ANARCHY.

STARTING NOVEMBER 1ST, DIRECTV IS PULLING FX FROM YOUR BOX.

THAT MEANS YOU'LL MISS THE LAST FIVE EPISODES OF SONS THIS SEASON. PERHAPS FIVE OF THE MOST CRITICAL EPISODES OF THE SERIES.

I KNOW FOX HAS A HORSE IN THIS RACE, BUT THEY'RE TRYING TO NEGOTIATE IN GOOD FAITH. DIRECTV IS SHUTTING DOWN ALL CONVERSATION AND USING THEIR CUSTOMERS AS LEVERAGE. IN THE PROCESS, YOU'RE GETTING FUCKED OVER. THEY'RE RUNNING ADS WITH THEIR CORPORATE SHILL TELLING YOU HOW MUCH "THEY CARE ABOUT YOUR BUSINESS"; THAT DUDE'S GOT ONE SINCERE HAND ON HIS HEART WHILE THE OTHER GREASES YOUR UNSUSPECTING BACKSIDE. BECAUSE THEY'RE ABOUT TO FLIP YOU OVER AND FUCK YOU UP THE ASS TILL YOU BLEED.

GO TO KEEPMYNETS.COM OR call 866-KEEPMYNETS TO GET THE REAL STORY.

DO IT NOW. LET 'EM KNOW THEY CAN'T FUCK WITH YOUR SONS OF ANARCHY.

THANKS FOR THE SUPPORT, BITCHES.

SOA (:15)

SOA FANS, LISTEN UP…

STARTING NOVEMBER 1ST, DIRECTV IS PULLING FX FROM YOUR BOX.

GO TO KEEPMYNETS.COM OR call 866-KEEPMYNETS TO GET THE REAL STORY.

DO IT NOW. LET 'EM KNOW THEY CAN'T FUCK WITH YOUR SONS OF ANARCHY.

THANKS FOR THE SUPPORT, BITCHES.

AWESOME.

noreply@blogger.com (Kurt Sutter) — Sat, 08 Oct 2011 17:39:00 +0000

From graphic designer, Jonathan Mak

SLIDE INTO FUCKITALL

noreply@blogger.com (Kurt Sutter) — Fri, 07 Oct 2011 08:13:00 +0000

I feel like the glass is half empty and the other half is filled with pus-soaked man shit. It usually happens this time of year -- I'm sleep-deprived, malnourished, overstimulated, under-exercised and hypersensitive. My plate is full and the more I devour, the more "do this" gets spiked onto my fork. I know, it's part of the job people would kill for and I'm comfortably rewarded for my efforts, but it still doesn't change the experience. I'm incredibly fragile. When I hear about interweb cunts complaining about episodes or actors grumbling about scripts or studio bottom-line woes, I can't process it. I want to load my fucking proverbial shotgun, put on my designer trench-coat and reduce every fucking living thing to sprinkles and confetti.

Then vacuum it up. My OCD.

But I don't. For the most part, I live in a constant state of restraint. Pen, tongue, fists. Twitter is most my most egregious outlet these days. And how much damage can a guy do in 140 characters?

Anyway, I tremendously hate everything and everyone in this moment. Except my wife and kids, I hate them a little less. I'm knuckling down, scrambling to finish a hundred other things so I can focus on prepping 413 -- which I start directing next week. Directing always seems like a good idea in March. October, not so much. I'm sure we will finish as strongly as we started. I'm smart enough to surround myself with people who wouldn't let me fuck it up even if I wanted to.

Which I don't.

Wow, the coyotes are howling like mad outside my home office. I think they just killed my neighbor's dog. That makes me feel a little better. I don't really like that dog.

LAST CALL

noreply@blogger.com (Kurt Sutter) — Sat, 01 Oct 2011 16:38:00 +0000

BLACK AND WHITE OF MC'S

noreply@blogger.com (Kurt Sutter) — Sun, 25 Sep 2011 06:58:00 +0000

IF YOU HAVEN'T WATCHED THE FIRST THREE EPISODES OF SEASON 4, SPOILERS TO FOLLOW.

There seems to be some confusion about Juice's discomfort and fear regarding the discovery of his black father. This is a racial reality in outlaw motorcycle clubs. We've touched on the issue lightly over the first three seasons of SOA. The fact is that most of the bigger MC's do not have African American members. There are black clubs and there are white (Caucasian, Latino, Asian) clubs. Most live in harmony. HA and the East Bay Dragons have been friends for decades. That relationship inspired the Grim Bastards in season 3. We delve into the delicate why's and how's of this racial bi-law later in the season, but it was one of those odd, historical barriers that I've wanted to explore. It's a throwback to a different era that is still in practice today. I can honestly say that none of the guys I know in the life are racist, yet they function within a structure that is built upon a form of segregation. To me, that's fascinating and fertile story turf. The depth and weight of this rule varies from club to club and this season we see how it's handled by the Sons of Anarchy.

WINNING

noreply@blogger.com (Kurt Sutter) — Sun, 11 Sep 2011 17:58:00 +0000

Keeping my word on the promise I made in my entry SEASON 4 PREMIER CHALLENGE/PROMISE, I have chosen the winners. My selection process was not arbitrary or random. It was not a raffle. It was an opportunity to give something back to the fans. Even though I'm choosing only two, I hope folks understand that this is my way of thanking you all. I went back to season one and looked at fan input, dedication and general enthusiasm. It was a tough choice, because SOA fans are all incredibly devoted. But here's where I landed --

Myra Lowe, Lowecat on Twitter and Sutterink Blog. Hails from Indianapolis, Indiana.
Why: Because she and her motorcycle, Tig, have been followers since day one. Myra is responsible for shutting down more pirate DVD sellers on e-Bay than Fox. Her upbeat, go-get-'em spirit has always felt like good energy to me.

Mark Mitteer, Twisted_Shadow on Facebook, Sutterink Blog and Twitter. Hails from Little Rock, Arkansas.
Why: Mark has also been a dedicated follower since day one. He is responsible for a good chunk of my followers on Facebook and Twitter. His near-harassment approach to alerting folks of the joys of SOA is something that amazes and frightens me. Part of me is curious just to see who this guy is.

Barring a vetting out by Fox security, Mark and Myra and one spouse/guest will be joining me for a screening of a season 4 episode. Still working out the details of when and where, but I will fly them out, put them up and entertain the fuck out of them. We'll document it and keep you all plugged in.

Our SWAG BASKETS for our overseas friends go to:

The ever-loyal, Tina Lou of the UK.
Why: She's been our biggest fan since day one. She created and runs Sons-Of-Anarchy.net

And Julen Cancerbero of Spain.
Why: Because I like saying his name.

I'll have someone in my office reach out to the winners this week. Thank you all for your dedication and you know if I was Rupert, I'd fly you all out for a screening.

Keep watching and I'll keep giving away free shit.

WHY I AM BACK ON TWITTER

noreply@blogger.com (Kurt Sutter) — Thu, 08 Sep 2011 16:30:00 +0000

I was grateful when my season 4 premier re-entry option of plus 20% over season three was met on Tuesday night. Clearly I was looking for some bullshit way to get back to the 140 characters. The truth is, I need Twitter. Not so much Kurt, but SutterInk. When I unplugged, it became very apparent to me that I was without a critical tool in the latest rules of social/marketing engagement. After dropping off FaceBook, which I don't miss, not having Twitter felt like I was missing a tether to the SOA community. Yes, it's a vehicle for my outrage and I know that's what has garnered most of the buzz, but it's also a direct pipeline to the fans and the television community. I know 50,000 followers isn't exactly the body of Sons fans, but it's a pretty good sampling. It made me feel like I had contact to likes, dislikes and a general feeling of connectedness. Without it, I felt out of touch. I also felt it was potentially an unwise thing for the show. I'm not saying that my social media exploits had anything to do with SOA's big numbers Tuesday night, but I know my efforts to keep fans up-to-date during our long hiatus couldn't have hurt us.

I'm also aware that jacking back in after my very public unplugging will make me look like a douchebag hypocrite and an attention whore. I guess that's the price I pay. And the truth is, if both of those things were completely untrue I'd probably still be unplugged. I've learned some lessons about how to use and not use Twitter, unfortunately I will most likely forget them. I will continue to say shit I regret. I will continue to be misquoted out of context by the hack cunt bloggers. And much to my wife's dismay, I will continue to use language that makes her toes curl.

My sensibilities are twisted. My humor is borderline psychotic. My desire to slap the shit out of the stupid and make the world just a little bit uncomfortable is at an all time high. It's who I am. It may be my undoing. But at least when I come undone, I'll be left with me. Free speech comes with a price. Hopefully my pockets will have enough coin to get me through seven seasons. I will not leave you again. Unless I'm dead or in jail... which unfortunately is a real possibility.

Love you.

TIM GOODMAN'S REVIEW OF SEASON 4

noreply@blogger.com (Kurt Sutter) — Wed, 07 Sep 2011 17:45:00 +0000

I haven't been reading reviews this season. Mainly because they fuck with me. I'm too invested, I'm too emotionally charged at this point in the season. My plan was to wait until I wrapped, then digest the wave of snarky, inaccurate opinions. But my wife insisted that I read Tim Goodman's review of season four. Really insisted. You have to fucking read it, were her exact words. My wife doesn't throw around the F-bomb as frequently as I do, so I heeded.

Tim's review was incredibly satisfying. It was really delightful to have someone not in my employ understand and appreciate the efforts we are making. Yes, it's a good review, so it was easy to digest, but more importantly it was a thoughtful review that looked at the series as a whole. Tim gave credence to my struggle and desire to effectuate a vision. Something most reviewers don't have the time, brains or desire to do.

Below is the review. or you can read it at

THE HOLLYWOOD REPORTER.

TIME FOR HAMLET TO MAKE HIS MOVE

Fourth seasons are especially difficult for really good, fan-favorite series. You’ve got the early adopters in Season 1. You’ve got the word-of-mouth-late-comers in Season 2. In Season 3, you have to do something completely different to keep everyone from saying you’re predictable, while also holding on to people who hate that you changed their world. In Season 4, everybody wants to see if you’re for real. If you can still do it. If your hour (or half hour) is still worth the precious time of each viewer. It’s a season of doubt.

The good news for Sons Of Anarchy fans is that series creator Kurt Sutter leaves no doubt that he’s put the series back on solid ground in Season 4 and, in turn, delivers all of the larger-than-life storytelling that viewers mop up. But here’s something that’s important to understand: No matter what you thought of Season 3 (there was some uncharacteristic fan grumbling about splitting time between Charming and Ireland) what Sutter did in that year was absolutely essential to the series as a whole, to his continued development as a showrunner and storyteller, and it laid the groundwork for Season 4.

Once you step into Season 4, you’ll see that. The stakes are higher than they’ve ever been, as much of the Sons upper level club get out of jail after 14 months. They come home to a changing Charming. There’s a new sheriff in town, literally (Rockmond Dunbar, who more than holds his own: “Next time I see anyone who got out today wearing cuts, well, they’ll belong to me.” His character is referred to as Wild Black Hickock). Charming is changing, literally. And the Feds are poised for a take down – a well-conceived plan to hurt the club and its allies, stretching all the way back to Ireland. (The character of Lincoln Potter, Assistant United States District Attorney is played with weird intensity by Ray McKinnon, who Deadwood fans will remember was the crazy preacher in Season 1).

What Sutter and his writers have done here in Season 4 is bring the story home, give it a reason for being – not just your run-of-the-mill set of challenges for the Sons. Season 4 is about evolution – and that’s what you can really get at with some authority in a pivotal season. The timing is perfect. Viewers know the club history, the alliances, the difficult past. There have been three seasons of letting it ride. But in Season 4, Sutter is going to delve deeply into the main conflict of Sons Of Anarchy – how Jax (Charlie Hunnam) wants to break free of the club and what that means to Clay (Ron Perlman), Gemma (Katey Sagal) and the future of Jax and Tara (Maggie Siff) and their two sons. Yep, No. 2 is here.

In any case, loyalty and freedom are key elements to Season 4. And they play out slowly amidst some typically thrilling chaos and mayhem that Sons Of Anarchy has proven adept at dishing out. (By the way, the opening scene of the first episode basically allows director Paris Barclay to make a fist-pumping music video as the boys get out of jail and walk in slow-mo, past the barbed-wire fences to get their cuts on and get their bikes moving. That's going to start the blood pumping among the faithful).

Sons Of Anarchy has always delved in high drama (and heightened drama), but makes it compelling enough to somehow be more artistic and intriguing. Now that the Hamlet element has moved to center stage, Sutter is going to be able to play with both interior and exterior drama. Look no further than this gem from the first episode, which highlights the central conceit of Season 4: “I’m done with SAMCRO,” Jax tells Tara “The bond that holds this club together isn’t about love or brotherhood anymore. We lost that a long time ago. It’s just fear and greed now.” (I originally thought Jax said "beer and greed now," which I think would have been more accurate...someone get rewrite.)

Anyway, that’s a great way to get into Season 4, because you know getting out – for Jax – is going to be a lot harder than just dreaming about it, like his father. “I’m not my father,” Jax says. “I’m not weak.”

Let’s get this started.

FIRST FOUR MINUTES OF SEASON 4

noreply@blogger.com (Kurt Sutter) — Sat, 03 Sep 2011 17:14:00 +0000

This is the preview of the opening we showed at Comicon.

HIT

noreply@blogger.com (Kurt Sutter) — Sat, 03 Sep 2011 17:10:00 +0000

This makes me so proud...

SEASON 4 PREMIER CHALLENGE/PROMISE (ANOTHER UPDATE)

noreply@blogger.com (Kurt Sutter) — Tue, 30 Aug 2011 20:38:00 +0000

8/30/11 UPDATE:

So I've intrigued the folks at the network with my offer and if we pull off the ten percent bump, we're thinking about turning the "fan challenge" into a DVD extra in the season four package. Record it like a "live commentary" of 410. Which could be a really cool way to say to the fans -- "all this shit is for you, bitches."

Also I realized that there are a lot of international followers on Twitter and the blog. They assume they are shit out of luck for the challenge. Well, they are. Not because of the cost to schlep them out here, but because season four is only airing in the states now (and I guess parts of Canada, too). And if I include you, I'm basically condoning illegal downloads; which is really the only way you could be watching it. Having said that, I will send two international fans a huge "swag basket" with a season 3 DVD, official Sons merch, an autographed script of the pilot and a list of all the tweets that will forever put me out of the Emmy race. Hopefully that will take the sting out of the exclusion.

Here's another confession. I'm also looking for a graceful re-entry into Twitter that doesn't make me look like a complete fucking douchebag for pulling the plug, then a month later, coming back. Truth is, I miss the fan interaction and since my Facebook hacking, unplugging from Twitter has been counter-intuitive to keeping an SOA presence in social media. Also, how else will those moronic, archaic cave dwellers at the Television Academy know what I'm thinking. I've tried the 1/4 million followers challenge, but that will NEVER happen, even by 2027.... I'm a fucking writer, not an actor. And the twenty percent bump in seasons will never happen either. So here's my dark, evil on-ramp... wait for it... 66666 followers. See ya then.

8/26/11 UPDATE:

If we blow up twenty percent or more... I'll TWEET about it.

ORIGINAL BLOG:

We noticed last season, actually with every passing season, that more and more fans are watching Sons off their DVR. Such is the future of television. There will be no programming, only content. SOA had a huge jump when the show caught fire between seasons one and two. We grew almost 90%, which was fucking crazy. It settled back down the next season; we only had a marginal bump between seasons two and three. I was actually thrilled to get back all the viewers we had picked up the previous season.

When it comes to season four, I'm trying to run the trend, but there's a wild card in the mix. I'm sure my friends at TV by the Number s will have some predictions, but the trend indicates that we will flatline or drop off in numbers -- as many returning shows have. Usually by season four of a series, the viewing audience is pretty much locked in. Not many new viewers showing up. So with that base viewing number purchasing more DVR's, it suggests that our numbers could drop a bit in the live viewing, then spike in the +7. But the wild card is Netflix. I've gotten so many tweets and Facebook messages from fans who just discovered the show when it was released on Netflix a few months back. Now I don't know if this will impact live viewing in any real way; perhaps it's a push more for the season three DVD than the season four premier, but it's something to at least consider.

Anyway. Here's my challenge/promise: If we can see at least a ten percent bump in the season four premier -- in both total viewers and the 18-49 key demo -- I will pick a loyal SutterInk Twitter follower (I'm not tweeting but my account is still active) and a SutterInk blog follower -- fly you and a guest out to Los Angeles, put you up in a non-shithole hotel and invite you to my house to watch episode 410 of Sons (After a thorough security check by Fox of course). I believe that is Thanksgiving week so I might even be able to convince a few cast members to join us. Perhaps we'll call it a party. My wife, not only is she beautiful and loving, she puts out a nice spread.

So pass it on to the cyber-universe and all orbiting bodies with Nielsen boxes -- watch September 6th. Let's blow this shit up.

LONGER SEASON 4 PROMO

noreply@blogger.com (Kurt Sutter) — Sat, 27 Aug 2011 21:22:00 +0000

HAMLET MAYBE

noreply@blogger.com (Kurt Sutter) — Thu, 25 Aug 2011 05:49:00 +0000

As I close in on writing the last three episodes of the season, I am beginning to clearly see the final act of Sons. This awareness took me back to the Hamlet archetype that inspired the show and I'm trying to envision how much of the series will eventually come back around to that homage.

Some. I think.

There are big character shifts in season four. We knock people off the fence and we make them choose. The finale for season four will feel like a series end in a lot of ways, but the truth is, it will create a new beginning. The beginning of the end. Season five and six, if I'm lucky enough to get, will explore that new dynamic. Season seven will be all about the fall of heroes and the rise of men.

As far as potential shit I may actually steal from the Bard, it comes down to themes. I will definitely continue to play out the ghost of Hamlet's father theme, the conflicted son theme and the plotting mother theme. As well as some others. And there may even be a few narrative lifts from the Shakespearean playbook as well. I won't spoil those. I can tell you this, the show doesn't end in a pool of blood with all players dead.

That will happen in season six... just kidding. I think.

And in light of my recent social media extraction, I thought I'd leave you with this from Act 1, scene 3:

"Give thy thoughts no tongue."

TWITTER PROMISE

noreply@blogger.com (Kurt Sutter) — Mon, 22 Aug 2011 18:49:00 +0000

I've stopped Twittering, as perhaps you've noticed. Some fans are disappointed, but most people who know me and care about me are relieved. Very relieved. So, I deactivated my account, then I logged on to open an anonymous account and realized that by logging on, I reactivated my account. So SUTTERINK is there, it's just dormant.

Which is kinda prophetic. You know?

I'm getting many requests to rejoin Twitter. People are calling me a quitter and a coward. I just heard that Damon Lindelof, Brent Lang and Ryan Murphy want me back on. But here's the curious thing. My Twitter account has gotten a lot of buzz over the past few months and yet the amount of my followers basically stays the same. You'd think my numbers would be blowing up. But they don't. Meaning that all the hype is kinda bullshit. Maybe here in LA it's buzzy, but to the rest of the world, no one gives a shit about a television writer. All they care about is the writer's work. This is a double edged sword for me. Part of me is relieved to know that most people don't pay attention to the ridiculous coverage and judge me by my talent. Then a part of me, let's call it my big ego, is pissed off that people don't pay attention to the ridiculous coverage. C'mon, man. I'm being smeared in tiger blood here, where are my numbers?

So here's the deal, at the rate of my added followers, I should hit the QUARTER MILLION mark in 2027. That's when I'll re-engage Twitter, 250,000 followers or 2027, whichever comes first. Either way, by then I'll be retired and won't give a shit. I'll be tweeting about colostomy bags and weed killer. So until then, the little bird on my computer remains silent. And the rest of the world could care less.

Adieu, ladies.

WTF SUTTER #16

noreply@blogger.com (Kurt Sutter) — Sat, 20 Aug 2011 18:27:00 +0000

Not quite sure what's going on with the hair. I look like an Hasidic Skaterboy. Enjoy.