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Television Academy Awards
2020 Primetime Emmy® Awards Nomination Press Release Outstanding Character Voice-Over Performance Big Mouth • How To Have An Orgasm • Netflix • Netflix Maya Rudolph as Connie the Hormone Monstress Central Park • Episode One • Apple TV+ • 20th Century Fox Television Leslie Odom, Jr. as Owen Crank Yankers • Bobby Brown, Wanda Sykes & Kathy Griffin • Comedy Central • Kimmelot, ITV, Central Productions, LLC Wanda Sykes as Gladys The Mandalorian • Chapter 8: Redemption • Disney+ • Lucasfilm Ltd. Taika Waititi as IG-11 The Simpsons • Better Off Ned • FOX • Gracie Films in association with 20th Century Fox Television Nancy Cartwright as Bart Simpson, Nelson, Ralph, Todd The Simpsons • Frinkcoin • FOX • Gracie Films in association with 20th Century Fox Television Hank Azaria as Professor Frink, Moe, Chief Wiggum, Carl, Cletus, Kirk, Sea Captain Outstanding Animated Program Big Mouth • Disclosure The Movie: The Musical! • Netflix • Netflix Nick Kroll, Executive Producer Andrew Goldberg, Executive Producer Mark Levin, Executive Producer Jennifer Flackett, Executive Producer Joe Wengert, Co-Executive Producer Kelly Galuska, Supervising Producer Gil Ozeri, Supervising Producer Ben Kalina, Supervising Producer Shannon Prynoski, Supervising Producer Chris Prynoski, Supervising Producer Anthony Lioi, Supervising Producer Mike L. Mayfield, Co-Supervising Director Nate Funaro, Produced by Emily Altman, Producer / Writer Victor Quinaz, Writer Bob Suarez, Director David Bastian, Animation Timer Edgar Larrazabal, Animation Timer Maureen Mlynarczyk, Animation -
ALEXIAD (!7+=3!G) $2.00 I Have Been Remiss in Staying Active and in Late January the 145Th Running of the Preakness Stakes Will Be at a Later Date
Vol. 19 No. 2 April 2020 ALEXIAD (!7+=3!G) $2.00 I have been remiss in staying active and in late January The 145th Running of the Preakness Stakes will be at a later date. resumed exercising because my clothes were starting to get The 151st Running of the Belmont Stakes will be June 6, 2020. tight. I have worked too hard to lose the weight just to gain it back again and so I have resumed walking. I started with four blocks and set myself the goal of adding four blocks every January 28, 2020 marked the anniversary of the Chal- month. It is March and I have just added a third lap of four lenger explosion and the death of all her crew. blocks each. This third lap is requiring no little discipline to keep putting one foot in front of the other. I have set myself April 4, 2020 marks the anniversary of the sinking of my the ultimate goal of walking the more than two mile pedes- father’s ship, U.S.S. Bush. trian bridge separating Louisville from Indiana. Truly — LTM ultimate crazy goal, the Appalachian Trail. I am also bent on losing fourteen pounds this year. It seems unlikely to me that Trivia: . 20 I will see the scales say 149. something on January 1, 2021 but then I never thought I could lose nearly fifty pounds Art: either. Sheryl Birkhead . 13 — Lisa Alexis A. Gilliland. 7 Trinlay Khadro . 2, 14 Table of Contents Marc Schirmeister . 15 Editorial. 1 Reviewer’s Notes . 1 Printed on April 10, 2020 Deadline is June 7, 2020 The Bulge Remembered . -
Vigilantes, Incorporated: an Ideological Economy of the Superhero Blockbuster
VIGILANTES, INCORPORATED: AN IDEOLOGICAL ECONOMY OF THE SUPERHERO BLOCKBUSTER BY EZRA CLAVERIE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor José B. Capino, Chair Associate Professor Jim Hansen Associate Professor Lilya Kaganovsky Associate Professor Robert A. Rushing Professor Frank Grady,Department of English, University of Missouri, Saint Louis ii ABSTRACT Since 2000, the comic-book superhero blockbuster has become Hollywood’s most salient genre. “Heroes, Incorporated: A Political Economy of the Superhero Blockbuster” examines these seemingly reactionary fantasies of American power, analyzing their role in transmedia storytelling for a conglomerated and world-spanning entertainment industry. This dissertation argues that for all their apparent investment in the status quo and the hegemony of white men, superhero blockbusters actually reveal the disruptive and inhuman logic of capital, which drives both technological and cultural change. Although focused on the superhero film from 2000 to 2015, this project also considers the print and electronic media across which conglomerates extend their franchises. It thereby contributes to the materialist study of popular culture and transmedia adaptation, showing how 21st century Hollywood adapts old media for new platforms, technologies, and audiences. The first chapter traces the ideology of these films to their commercial roots, arguing that screen superheroes function as allegories of intellectual property. The hero’s “brand” identity signifies stability, even as the character’s corporate owners continually revise him (rarely her). -
THE 63RD ANNUAL CSC AWARD NOMINEES and WINNERS and LINKS
1 PRESENTING THE 63RD ANNUAL CSC AWARD NOMINEES and WINNERS and LINKS THEATRICAL FEATURE CINEMATOGRAPHY Sponsored by Deluxe Nicolas Bolduc csc La Belle Epoque David Franco The Song of Names Douglas Koch csc Through Black Spruce Paul Sarossy csc, ASC, BSC Guest of Honour Bobby Shore csc Stuber WINNER: David Franco The Song of Names NON-THEATRICAL FEATURE CINEMATOGRAPHY Sponsored by Sim Arthur Cooper csc Claws of the Red Dragon Samy Inayeh csc I am Somebody's Child: The Regina Louise Story Daniel Villeneuve csc Radio Silence Craig Wrobleski csc In the Tall Grass WINNER: Arthur Cooper csc Claws of the Red Dragon DRAMATIC SERIES CINEMATOGRAPHY Sponsored by Technicolor David Greene csc ASC Impulse "The Moroi" Gregory Middleton csc ASC Watchmen "This Extraordinary Being" Boris Mojsovski csc Knightfall “Death Awaits” Brendan Steacy csc Titans "Bruce Wayne" Craig Wrobleski csc Umbrella Academy “I Heard a Rumor” WINNER: David Greene csc ASC Impulse "The Moroi" 2 DRAMATIC SHORT CINEMATOGRAPHY Matt Bendo A Dog Cried Wolf Adam Crosby Chubby Karim Hussain csc Please Speak Continuously and Describe Your Experiences as They Come to You Bobby Shore csc I Am in the World as Free and Slender as a Deer on a Plain Michael Wylam Where Darkness Lies WINNER: Matt Bendo A Dog Cried Wolf FRITZ SPIESS AWARD FOR COMMERCIAL CINEMATOGRAPHY Sponsored by William F. White International Kris Belchevski Jaguar “Inspired By Light” Stuart J. Cameron Gymnastics Canada “From Here, We Soar” Goh Iromoto Spirit of York “The Spirit” Jordan Kennington YMCA “A World Without Y” Mark Zibert & Eric Kaskens SickKids “SickKids VS: This is Why” WINNER: Goh Iromoto Spirit of York “The Spirit” BRANDED CONTENT CINEMATOGRAPHY Peter Hadfield Mark's Well Worn Collective “Troy Moth” Jason Han Hallmark “Memories” Goh Iromoto Sapporo “East Meets West Series - Indigo X Denim” WINNER: Goh Iromoto Sapporo “East Meets West Series - Indigo X Denim” CHILDREN’S / YOUTH PROGRAMMING CINEMATOGRAPHY Mitchell T. -
Heroes and Philosophy
ftoc.indd viii 6/23/09 10:11:32 AM HEROES AND PHILOSOPHY ffirs.indd i 6/23/09 10:11:11 AM The Blackwell Philosophy and Pop Culture Series Series Editor: William Irwin South Park and Philosophy Edited by Robert Arp Metallica and Philosophy Edited by William Irwin Family Guy and Philosophy Edited by J. Jeremy Wisnewski The Daily Show and Philosophy Edited by Jason Holt Lost and Philosophy Edited by Sharon Kaye 24 and Philosophy Edited by Richard Davis, Jennifer Hart Week, and Ronald Weed Battlestar Galactica and Philosophy Edited by Jason T. Eberl The Offi ce and Philosophy Edited by J. Jeremy Wisnewski Batman and Philosophy Edited by Mark D. White and Robert Arp House and Philosophy Edited by Henry Jacoby Watchmen and Philosophy Edited by Mark D. White X-Men and Philosophy Edited by Rebecca Housel and J. Jeremy Wisnewski Terminator and Philosophy Edited by Richard Brown and Kevin Decker ffirs.indd ii 6/23/09 10:11:12 AM HEROES AND PHILOSOPHY BUY THE BOOK, SAVE THE WORLD Edited by David Kyle Johnson John Wiley & Sons, Inc. ffirs.indd iii 6/23/09 10:11:12 AM This book is printed on acid-free paper. Copyright © 2009 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or autho- rization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750–8400, fax (978) 646–8600, or on the web at www.copyright.com. -
2020 Primetime Emmy® Awards Nomination Press Release
2020 Primetime Emmy® Awards Nomination Press Release Outstanding Character Voice-Over Performance Big Mouth • How To Have An Orgasm • Netflix • Netflix Maya Rudolph as Connie the Hormone Monstress Central Park • Episode One • Apple TV+ • 20th Century Fox Television Leslie Odom Jr. as Owen Crank Yankers • Bobby Brown, Wanda Sykes & Kathy Griffin • Comedy Central • Kimmelot, ITV, Central Productions, LLC Wanda Sykes as Gladys The Mandalorian • Chapter 8: Redemption • Disney+ • Lucasfilm Ltd. Taika Waititi as IG-11 The Simpsons • Better Off Ned • FOX • Gracie Films in association with 20th Century Fox Television Nancy Cartwright as Bart Simpson, Nelson, Ralph, Todd The Simpsons • Frinkcoin • FOX • Gracie Films in association with 20th Century Fox Television Hank Azaria as Professor Frink, Moe, Chief Wiggum, Carl, Cletus, Kirk, Sea Captain Outstanding Animated Program Big Mouth • Disclosure The Movie: The Musical! • Netflix • Netflix Bob's Burgers • Pig Trouble In Little Tina • FOX • 20th Century Fox Television BoJack Horseman • The View From Halfway Down • Netflix • Tornante Productions, LLC Rick And Morty • The Vat Of Acid Episode • Adult Swim • Rick and Morty, LLC The Simpsons • Thanksgiving Of Horror • FOX • Gracie Films in association with 20th Century Fox Television Outstanding Short Form Animated Program Forky Asks A Question: What Is Love? • Disney+ • Pixar Animation Studios Robot Chicken • Santa's Dead (Spoiler Alert) Holiday Murder Thing Special • Adult Swim • Stoopid Buddy Stoodios Steven Universe Future • Fragments • Cartoon Network • Cartoon Network Studios Page 1 Outstanding Production Design For A Narrative Contemporary Program (One Hour Or More) Big Little Lies • What Have They Done? • The Bad Mother • I Want To Know • HBO • HBO Entertainment in association with Blossom Films, Hello Sunshine, David E. -
Third Night of 2020 Creative Arts Emmy® Winners Announced
FOR IMMEDIATE RELEASE THIRD NIGHT OF 2020 CREATIVE ARTS EMMY® WINNERS ANNOUNCED (LOS ANGELES – Sept. 16, 2020) — The Television Academy tonight hosted the third of its five 2020 Creative Arts Emmy® Awards ceremonies honoring outstanding artistic and technical achievement in television at Emmys.com. The ceremony awarded many talented artists and craftspeople in the categories of Scripted Programming. The ceremony was hosted by Emmy-nominated host Nicole Byer and featured presenters from some of the season’s most popular shows including Rose Byrne (Mrs. America), Hilarie Burton Morgan (Friday Night In With The Morgans), Bobby Cannavale (Homecoming), Laverne Cox (Orange Is the New Black; Disclosure), Brandee Evans (P-Valley), Giancarlo Esposito (The Mandalorian; Better Call Saul), John Hodgman (Dicktown from Cake), Justin H. Min (The Umbrella Academy), Jeffrey Dean Morgan (Friday Night In With The Morgans; The Walking Dead) and Monica Raymund (Hightown). The 2020 Creative Arts Emmy Awards are being streamed on Emmys.com for four consecutive nights, Monday, Sept. 14, through Thursday, Sept. 17, at 8:00 p.m. EDT/5:00 p.m. PDT with a fifth broadcast ceremony on Saturday, Sept. 19, at 8:00 p.m. EDT/5:00 p.m. PDT on FXX. Winners' names are known only by Ernst & Young LLP until they are revealed to the director of the Emmys ceremony as the show is airing. All five shows are produced by Bob Bain Productions. # # # Press Contact: Stephanie Goodell breakwhitelight (for the Television Academy) [email protected] 818-462-1150 For more information, -
PRESENTING the 63RD ANNUAL CSC AWARD NOMINEES and WINNERS and Links
PRESENTING THE 63RD ANNUAL CSC AWARD NOMINEES and WINNERS and links THEATRICAL FEATURE CINEMATOGRAPHY Sponsored by Deluxe Nicolas Bolduc csc La Belle Epoque David Franco The Song of Names Douglas Koch csc Through Black Spruce Paul Sarossy csc, ASC, BSC Guest of Honour Bobby Shore csc Stuber WINNER: DAVID FRANCO THE SONG OF NAMES NON-THEATRICAL FEATURE CINEMATOGRAPHY Sponsored by Sim Arthur Cooper csc Claws of the Red Dragon Samy Inayeh csc I am Somebody's Child: The Regina Louise Story Daniel Villeneuve csc Radio Silence Craig Wrobleski csc In the Tall Grass WINNER: ARTHUR COOPER csc CLAWS OF THE RED DRAGON DRAMATIC SERIES CINEMATOGRAPHY Sponsored by Technicolor David Greene csc, ASC Impulse "The Moroi" Gregory Middleton csc, ASC Watchmen "This Extraordinary Being" Boris Mojsovski csc Kni g htfall “Death A wai ts” Brendan Steacy csc Titans "Bruce Wayne" Craig Wrobleski csc U m brel l a A cademy “I H eard a Rumor” WINNER: DAVID GREENE csc, ASC IMPULSE "THE MOROI" DRAMATIC SHORT CINEMATOGRAPHY Matt Bendo A Dog Cried Wolf Adam Crosby Chubby Karim Hussain csc Please Speak Continuously and Describe Your Experiences as They Come to You Bobby Shore csc I Am in the World as Free and Slender as a Deer on a Plain Michael Wylam Where Darkness Lies WINNER: MATT BENDO A DOG CRIED WOLF FRITZ SPIESS AWARD FOR COMMERCIAL CINEMATOGRAPHY Sponsored by William F. White International Kris Belchevski J ag uar “I nspi red By Lig h t” Stuart J. Cameron Gym nasti cs C anada “From H ere, We Soar” Goh Iromoto Spi ri t of York “ The Spi ri t” Jordan Kennington YMC A “A Worl d Wi thout Y” Mark Zibert & Eric Kaskens Si ckKi ds “Si ckKi ds VS: Thi s i s Why” WINNER: GOH IROMOTO SPIRIT OF YORK “THE SPIRIT” BRANDED CONTENT CINEMATOGRAPHY Peter Hadfield Mark's Wel l Worn C oll ecti v e “Troy Moth” Jason Han H al lm ark “Mem ories” Goh Iromoto Sapporo “E ast Meets West Seri es - I ndi g o X Deni m ” WINNER: GOH IROMOTO SAPPORO “EAST MEETS WEST SERIES - INDIGO X DENIM” CHILDREN’S / YOUTH PROGRAMMING CINEMATOGRAPHY Mitchell T. -
Complicit Vs. Interrogative Spectatorship: Ideology and Closure in Snyder’S 300 and HBO’S Watchmen
Complicit vs. Interrogative Spectatorship: Ideology and Closure in Snyder’s 300 and HBO’s Watchmen Jaedyn A. Baker Hudson Luthringshausen Mattie K. Norman Loyola Marymount University, Los Angeles We examine 300 (2007) and HBO’s Watchmen (2019) in order to discuss the contrasting strategies through which 300 perpetuates and Watchmen challenges Western ideologies. Both are contemporary rewritings of a historical reality and originated as comic books, the rhetorical effectiveness of which relies on “the audience [being] a willing and conscious collaborator” in narrative closure (McCloud 65). Closure, in this context, refers to the way in which audiences both consciously and unconsciously fill the “gutters” between comic panels (66); gaps that “fracture both time and space,” concealing the work’s intended effect within “a jagged, staccato rhythm of unconnected moments that let [readers] connect and mentally construct a continuous, unified reality” (65-7). Cuts between scenes in a film or within an episode of a television show operate in a manner similar to those empty spaces between the panels of a comic book; film and television require audiences to make quick interpretive leaps about what happens “off screen.” In other words, the cognitive process of closure (and, consequently, the collaborative nature of the media-audience relationship) necessarily takes place in the minds of both readers of comics and watchers of movies. In 300, successful narrative closure depends on the viewer’s rejection of the Eastern Other in favor of their own Western hegemonic norms; on the other hand, Watchmen’s sixth episode, “This Extraordinary Being,” upends these very norms with the intended effect of leading the viewer to interrogate their hegemonic indoctrination. -
Fractured Jaw Plan for Tactical Nuclear Weapons Use in Vietnam
Fractured Jaw Plan for Tactical Nuclear Weapons Use in Vietnam In their critically acclaimed comic book series, Watchmen, Alan Moore and Dave Gibbons render an alternate, dystopian 1985 America in which the United States won the Vietnam War after obliterating North Vietnamese forces through the deployment of Dr. Manhattan, a one-time nuclear physicist transformed into a supernatural being by a radiation experiment gone awry. Within weeks of unleashing Dr. Manhattan’s destructive powers on the battlefield, North Vietnamese soldiers laid down their arms in defeat. “Often they surrender to me personally,” Dr. Manhattan recalls, “their terror of me balanced by an almost religious awe. I am reminded of how the Japanese were reported to have viewed the atomic bomb, after Hiroshima.” In an eerie twist on life imitating art, recent news coverage suggests just such a reality could have come to pass. The publication of Michael Beschloss’ new book, Presidents of War, shined light on declassified documents describing the efforts that President Lyndon Johnson’s senior military officers undertook without presidential authorization in early 1968 to prepare for the use of tactical nuclear weapons in Vietnam. How close did the United States actually get to deploying nuclear weapons in Vietnam in 1968? Who initiated this plan, codenamed “Fracture Jaw,” and when did the president become aware of it? What can today’s leaders learn from this incident, and what implications does this episode have for command and control of nuclear weapons during wartime and the so-called “nuclear taboo” that purportedly dissuades their use? Drawing on declassified “eyes only” materials housed at the Lyndon Johnson Presidential Library in Austin, Texas, Theo Milonopoulos sought to situate the revelations in Beschloss’ book in the broader historical context to provide a more detailed account of the military’s planning for Fracture Jaw and just how far Pentagon and White House officials allowed these preparations to progress without the president’s full knowledge. -
2020 Hugo, Lodestar and Astounding Awards
2020 Hugo, Lodestar and Astounding Awards 1584 votes were cast at nominations stage, and 2221 for the final ballot. The closest result was for Best Fanzine, where the winner had a margin of 4 votes on the final count. Best Graphic Story or Comic was decided by 11 votes. The following also received enough nominating votes to reach the final ballot: Raven Tower, by Ann Leckie (Best Novel – declined nomination) Watchmen (Best Dramatic Presentation, Long Form – two episodes, with more nominating votes, had also qualified for the Best Dramatic Presentation, Short Form category) Good Omens: “Hard Times” (Best Dramatic Presentation, Short Form – the entire series, with more nominating votes, had also qualified for the Best Dramatic Presentation, Long Form category) Navah Wolfe (Best Professional Editor, Short Form – not eligible) Tamsyn Muir (Astounding Award for Best New Writer – not eligible) The winners of Best Graphic Story or Comic and of Best Professional Editor, Short Form were the last to qualify for the final ballot in their categories. Results Best Novel A Memory Called Empire, by Arkady Martine (Tor; Tor UK) 2. Middlegame, by Seanan McGuire (Tor.com Publishing) 3. Gideon the Ninth, by Tamsyn Muir (Tor.com Publishing) 4. The Light Brigade, by Kameron Hurley (Saga; Angry Robot UK) 5. The City in the Middle of the Night, by Charlie Jane Anders (Tor; Titan) 6. The Ten Thousand Doors of January, by Alix E. Harrow (Redhook; Orbit UK) Best Novella This Is How You Lose the Time War, by Amal El-Mohtar and Max Gladstone (Saga Press; Jo Fletcher Books) 2. -
A Bio-Political Reading of 20Th Century Latin American and Anglo-Saxon Science Fiction Juan David Cruz University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2018 Through the Spaceship’s Window: A Bio-political Reading of 20th Century Latin American and Anglo-Saxon Science Fiction Juan David Cruz University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Comparative Literature Commons Recommended Citation Cruz, J. D.(2018). Through the Spaceship’s Window: A Bio-political Reading of 20th Century Latin American and Anglo-Saxon Science Fiction. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4735 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Through the Spaceship’s Window: A Bio-political Reading of 20th Century Latin American and Anglo-Saxon Science Fiction by Juan David Cruz Bachelor of Arts Univeridad de los Andes, 2009 Master of Arts University of South Carolina, 2012 Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Comparative Literature College of Arts and Sciences University of South Carolina 2018 Accepted by: Jorge Camacho, Major Professor Héctor D. Fernández L’Hoeste, Committee Member Meili Steele, Committee Member Alexander J. Beecroft, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Juan David Cruz, 2018 All Rights Reserved. ii Dedication To my parents, Julio César Cruz and Claudia Patricia Duarte. And to Ruth, who has supported me at every step of this long process. I love you all.