These are from July 2007 – could not find newer numbers but I’m guessing these are current ballpark as well:

The morale of this story?   Mamas, don’t let your babies grow up to be Production Assistants ….

NETWORK PRIME TIME (salary per episode)

William Petersen, CSI $500,000   Update:  600,000
Update: Keifer Sutherland makes about 500,000 now for “24″
Zach Braff, Scrubs $350,000

Mariska Hargitay, Law & Order: SVU $350,000
Chris Meloni, Law & Order: SVU $350,000
Charlie Sheen, Two and a Half Men $350,000
Hugh Laurie, House $300,000  Update: Hugh Laurie’s Salary is rising to $400,000 per episode next season.
Patrick Dempsey, Grey’s Anatomy $225,000
Julia Louis-Dreyfus, Old Christine $225,000
Eva Longoria, Desperate Housewives $200,000
Ellen Pompeo, Grey’s Anatomy $200,000
Jeff Foxworthy, Are You Smarter… $150,000
T.R. Knight, Grey’s Anatomy $125,000
Chandra Wilson, Grey’s Anatomy $125,000
Sally Field, Brothers & Sisters $100,000
Special guest stars per hour episode minimum $6,527
Stand-ins per day minimum $145
Background actors w/ special abilities per day $140
Background actors or “extras” per day $130

NEWS ANCHORS (salary per year)
Katie Couric, CBS Evening News $15 million
Matt Lauer, NBC Today coanchor $12 million
Diane Sawyer                                                              $12 million
Meredith Vieira, NBC Today coanchor $10 million
Brian Williams                                                               $8 million
Anderson Cooper                                                         $5 million
Keith Olbermann, MSNBC anchor $4 million
Harry Smith, CBS The Early Show coanchor $3 million
Ernie Anastos, New York City local news anchor $2 million
Lesley Stahl, CBS 60 Minutes correspondent $1.8 million
Sr producer for network newsmagazine $250,000-$400,000
Average local TV news anchor                                        $75,500
Broadcast news associate entry level $30,000

CABLE (salary per episode)
Kyra Sedgwick, The Closer $250,000
Julian McMahon, Nip/Tuck $125,000
Dylan Walsh, Nip/Tuck $125,000
Joely Richardson, Nip/Tuck $90,000
James Roday, Psych $60,000

DAYTIME
Oprah Winfrey, per year $260 million*
Judge Judy, per year $30 million
Bob Barker, per year $7 million
Ellen DeGeneres, per year $5 million
Jerry Springer, per year $3-4 million
Tyra Banks, per year $3.5 million
Star performer, daytime drama, per episode $7,500-$9,000
Writer, daily children’s show, per week $5,631
Freelance director, daytime drama, per program $3,726
Writer, daytime drama, per script $3,087
Question writer, quiz show, per week $1,324

* Includes earnings from Rachael Ray, Dr. Phil other TV shows in her empire.

BEHIND THE SCENES
Director, per hr episode min. $35,927
Writer, for story and script, per hr episode $30,823
Staff writer, per wk minimum $2,890
Executive story editor, per episode average $8,500
Crafts services (provides food to cast and crew), per hr $25.40
Film editor, per wk min. $2,575
Sound editor, per wk min. $1,887.94
Music editor, per wk min. $1,887.94
Head makeup artist, per wk $2,271
Head hairstylist, per wk $1,804
Costume designer, per wk min. $2,009.65
Scenic artist, per wk min. $1,840
Microphone boom operator, per day $309.78
Production assistant, per hr $8

Source:  TV Guide

The friendly big movie boxes are located at heavy traffic stores like Wal Mart, and offer popular titles (as well as a limited selection of older films) at only $1.    The combination of a very intuitive and simple touchscreen interface, credit card scan, networking and the “robotics” of the Redbox are impressive to me.  The entire system seems well designed to eliminate the challenges that face other touch systems – clunky navigation and printer problems.   No printer problems at RedBox because they don’t use one – instead you are emailed both when you rent and when you return.

Another innovative solution is to avoid the frustrating and usurous “late fees” by simply charging a dollar a day – the standard low rental rate – until 25 days after which you own the movie.   This is an approach likely to get some revenues from movie sales and avoid pissing off customers who forget or keep the film for a few extra days.   I’d guess the optimal “you’ve bought it” number is lower than this – probably about $12 or so – but to know that you’d have to have information such as the cost to replenish titles in the machines, cost of lost revenue before titles are replenished, etc.    I’m assuming that RedBox’ largest long term cost is the human interaction needed to maintain and load the machines.

———- Return receipts are emailed immediately ——-

Dear JHUNKINS@GMAIL.COM:

Your copy of “Cloverfield” was successfully returned on 7/11/2008 11:30 AM.
Your return was on time. You will receive a receipt via email when we process your account.

Thanks for using Redbox!

DVD rentals cost only $1.00 + tax until 9:00 PM the next evening, then $1.00 + tax for each night thereafter. After 25 days, rental charges will cease and the DVD is yours to keep.

I found Startup.com fascinating, touching, and tragic.    The true life documentary, condensed brilliantly from some 400 hours of footage, follows childhood pals Tom and Khalial as they conceptualize and build a site for government business interactions called GovWorks.com, raise 60 million dollars in Venture Capital, and then preside over the collapse of the company, friendly relationships, and more.    

A little more research reveals why this is so good.  It’s by Jhane Noujaim, one of the world’s most brilliant documentary filmmakers.  She made “Control Room” about spin before and as the Iraq War began, and she’s the winner of the prestigious TED Prize in 2006.    

I read Roger Ebert’s glowing review and still don’t see why he loved the film so much, but clearly I’m in something of a minority to suggest that a film like 3:10 to Yuma is a better movie in both style and treatment of the theme of morality, violence, and moral ambiguity.

The film does a fantastic job of transitioning almost seamlessly between two very different cultures, and offers insights into the deep history of Indian tradition and family values.   A great movie for anybody with an interest in other cultures.

Ironically the early misguided optimism about AI has led even some early AI pioneers to scoff at the notion we are near the brink of conscious computing.  Yet a lot of evidence now suggests we are near reaching the capability of creating consciousness in machines. 

First, the IBM Blue Brain project is within about 8 years of a good working model of the brain.  They are not claiming to seek “consciousness” with the model  – rather they are focusing on brain and disease research – but I see no reason to think they won’t soon attain a conscious computer as the machine approaches the number of connections we have in our own brains.  

Second, the computational power of computers is approaching that of a human brain.   Kurzweil discusses this at great length in “The Singularity is Near”, noting that exponentially improving processing and memory capacity will soon lead to plenty of power in computers to replicate human thinking patterns.

Third, the explosion in profitability for massively parallel computing power – such as that used by Google and Microsoft – will fuel innovation for many years to come.

The question of “Do you believe in a technological singularity” needs to be replaced with “what are we going to do when the singularity happens?”

Hey, I’ve written a lot more about the Singularity , because I think it’s the biggest thing to hit humanity since….ummmm…. the advent of humanity?

The poem Beowulf is one of the oldest surviving stories in the English language.    Unfortunately the film takes too many liberties with the actual story, though I suppose Zemeckis could argue that in some storytelling traditions it’s normal to embellish and change things with each telling.  

He appears to have embellished to bring more nude Angelina Jolie scenes into the film since in the real Beowulf poem Grendel’s mother is killed rather than … bedded.

Here’s a great summary of Beowulf, the epic poem.