By Ray Pride Pride@moviecitynews.com

Rotten Tomatoes Gets New Editor-in-Chief

Posted Tuesday, February 27th, 2018 - Comments Off on Rotten Tomatoes Gets New Editor-in-Chief
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[pr] ROTTEN TOMATOES NAMES JOEL MEARES AS NEW EDITOR-IN-CHIEF

Los Angeles, CA (February 27, 2018) – Rotten Tomatoes, entertainment fans’ go-to destination for movie and TV show reviews and information, today announced that it has named Joel Meares as Editor-in-Chief.

In his role, Meares will oversee editorial content and expansion as Rotten Tomatoes continues to build a multi-platform destination for opinion and debate. He will also shape new editorial ideas, approaches, events, franchises and opportunities inspired by analytical data and fandom. Meares will lead editorial and content efforts for international growth as the site continues to expand its influence globally.

“I am thrilled to begin working with the incredible team of film and television fanatics at Rotten Tomatoes,” Meares said. “I have been a fan of their engaging editorial content and the trusted Tomatometer for years and look forward to continuing to grow the brand across all of its platforms.”

Most recently, Meares served as the Global Editor-in-Chief of Time Out Digital where he oversaw content strategy for all Time Out owned-and-operated properties and franchises, including flagship titles in London and New York, and managed regional heads of content in Europe, North America, Australia and Asia. Before that, he headed up content for the brand in North America following his time as editor of Time Out Sydney.

“We are thrilled to further expand our breadth of content and continue our commitment to excellent film and television journalism,” said Jeff Voris, Vice President, Rotten Tomatoes. “The team at Rotten Tomatoes is excited to work with and learn from Joel Meares. I am immensely impressed by his passion and commitment to film and television and the impact his opinions have had within larger cultural conversations. His track record at Time Out and elsewhere speaks for itself and we look forward to seeing him grow our editorial offerings for our passionate fans.”

Prior to joining Time Out, Meares was the Arts Editor of The Sydney Morning Herald, a staff writer for the Herald’s the(sydney) magazine and wrote on politics and the media as associate editor for the Columbia Journalism Review. He has contributed to Wired, The Guardian, Travel + Leisure (Australia) and numerous other publications. In 2015, Black Inc. published Meares’ first book, We’re All Going to Die (Especially Me).

Meares graduated with honors from Columbia University’s Graduate School of Journalism with a MS in Journalism.

Rotten Tomatoes is used by millions of fans to help with their entertainment viewing decisions, offering useful tools, information and the world-famous Tomatometer rating. The Tomatometer is an easy-to-understand score that represents the collective opinion of thousands of critics. For those who want to dig deeper, the site provides a critics consensus, access to full reviews as well as an audience score all in one place.

 About Rotten Tomatoes

Rotten Tomatoes is the go-to platform for movie and TV show debate and discussion and home of the world-famous Tomatometer rating, visited frequently by millions of fans to help with their entertainment viewing decisions. An online aggregator of movie and TV reviews from professional critics, Rotten Tomatoes uses the Tomatometer to measure the percentage of reviews that are positive.  Movies and TV shows that receive a Tomatometer rating of 75% or higher, after enough reviews have been received, are deemed “Certified Fresh,” one of the industry’s most sought-after honors.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon