Favorite TV Shows

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TV Shows MacGyver Smart Guy Thundercats Munsters Parker Lewis Muppet Babies Smallville Home Improvement Sister, Sister The Muppets Will & Grace Friends Suddenly Susan Garfield and Friends Pushing Daisies The Cosby Show Veronica’s Closet Pee-Wee’s Playhouse Two and a Half Men A Different World Wayans Brothers The Smurfs The New Adventures of Old In Living Color Wings Care Bears Christine Fresh Prince of Bel Air Benson Hey Dude Ugly Betty 21 Jump Street Mr. Belvedere Family Matters Brothers & Sisters A-Team CHiP’s Heathcliff Dirty Jobs Airwolf Different Strokes Transformers Dancing with the Stars Booker The Facts of Life He-man and the Masters of the How I met your Mother Charles In Charge One Day at a Time Universe Private Practice Magnum P.I. Mork & Mindy Reading Rainbow Grey’s Anatomy Hunter M*A*S*H She-ra America’s Best Dance Crew Highway to Heaven Little House on the Prairie The Wuzzles Big Bang Theory The Brady Bunch Kojak My Little Poney What I like about you Gilligan’s Island The Jefferson’s Voltron – Defender of the CSI Miami Growing Pains 227 Universe CSI NY Punky Brewster Happy Days Double Dare Everybody Hates Chris Alf What’s Happening Rainbow Brite Are you smarter then a 5 th grader Family Ties WKRP In Cincinnati The Woody Woodpecker Show The Game Full House Wonder women Dennis the Menace Super Nanny Out of this World The Incredible Hulk Romper Room & Friends Desperate Housewives Perfect Strangers Bionic Women Popeye 106 and Park Small Wonder 8 Simple Rules Unsolved Mysteries Scrubs TJ Hooker NY Undercover Matlock The Cleaner Knight Rider Yes, Dear Life Goes On Reba Three’s Company The Flintstones Just the Ten of Us How to Look Good Naked Who’s the Boss I love Lucy The Hogan Family MTV’s Cribs Young Riders The Jetsons Tom & Jerry Dog the Bounty Hunter Night Court I dream of Jeannie Tweety Bird & Slyvester House of Payne Carol Burnett Show The Golden Girls The Captain Kangaroo Bizarre Foods Blossom The Head of the Class Headbanger’s Ball Girls Next Door Boy Meets World Miami Vice Our House Ace of Cakes Brotherly Love My Two Dads Sister Kate That 70’s Show California Dreams Webster What Not to Wear Caroline in the City Doogie Howser M.D. Game Shows: Girlfriends Dawson’s Creek Herman’s Head Family Feud According to Jim Drew Carey Leave it to Beaver Cash Cab Men in Trees My So-Called Life Married with Children Jeopardy? Favorite TV Shows from the Mad About You Charlie’s Angels The Price is Right (Old Verson) Past: Lois & Clark and The new DuckTales Win, Lose or Draw Adventures in Superman Scooby doo Love Connection Dukes of Hazzard Just Shoot Me Inspector Gadget Pictionary Roseanne Hanging with Mr. Cooper Fat Albert Saved by the Bell (all the years) .

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February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN;
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The Musical Number and the Sitcom
ECHO: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) It May Look Like a Living Room…: The Musical Number and the Sitcom By Robin Stilwell Georgetown University 1. They are images firmly established in the common television consciousness of most Americans: Lucy and Ethel stuffing chocolates in their mouths and clothing as they fall hopelessly behind at a confectionary conveyor belt, a sunburned Lucy trying to model a tweed suit, Lucy getting soused on Vitameatavegemin on live television—classic slapstick moments. But what was I Love Lucy about? It was about Lucy trying to “get in the show,” meaning her husband’s nightclub act in the first instance, and, in a pinch, anything else even remotely resembling show business. In The Dick Van Dyke Show, Rob Petrie is also in show business, and though his wife, Laura, shows no real desire to “get in the show,” Mary Tyler Moore is given ample opportunity to display her not-insignificant talent for singing and dancing—as are the other cast members—usually in the Petries’ living room. The idealized family home is transformed into, or rather revealed to be, a space of display and performance. 2. These shows, two of the most enduring situation comedies (“sitcoms”) in American television history, feature musical numbers in many episodes. The musical number in television situation comedy is a perhaps surprisingly prevalent phenomenon. In her introduction to genre studies, Jane Feuer uses the example of Indians in Westerns as the sort of surface element that might belong to a genre, even though not every example of the genre might exhibit that element: not every Western has Indians, but Indians are still paradigmatic of the genre (Feuer, “Genre Study” 139).
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An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season.
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On Our Short List
et al.: On Our Short List ~~~ ~ - - ~ ·. ij ·~ .l.tist AARON SORKIN ' 83 Broadway Brat rticles about the Broadway courtroom drama, A Few Good Men, tend to focus on its playwright, newcomer Aaron Sor Akin. But he's only half the story. Ina year when producers are playing it safe by mounting revivals like Gypsy, the eagerness to produce Sorkin's 21-character piece and the speed with which Hollywood snapped up the story were, well, dramatic. Broadway patrons flocked to Sorkin's 63- scene play. No less than six powerful produc ers brought Sorkin's show to Broadway for a price tag of more than three-quarters of a mil lion dollars. Among them are film producer David Brown (Jaws) and members of the Shubert Organization. Critics have showered the show with praise. "The greatest courtroom drama since The Caine Mutiny Court Martial," said one. Another pronounced it the best American play of the year. Masterful performances by Tom Hulce, Stephen Lang, and an ensemble cast guarantee recognition when the Tony Awards are announced this spring. Sorkin makes his job sound simple. He told James Servin of the New York weekly Seven Days, explaining his blueprint for the ideal script: "Somebody wants something. Something stands in their way of getting it, and somehow the obstacle must be over come. It's the Aristotelian principle." Sorkin's own Aristotelian ascent was by no means instantaneous. He came to New York in 1983, fresh from Syracuse with an under graduate degree in drama. At first he was a runner for the TKTS booth on Times Square, then a theater bartender.
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It's Garfield's World, We Just Live in It
Bard College Bard Digital Commons Senior Projects Fall 2019 Bard Undergraduate Senior Projects Fall 2019 It’s Garfield’s World, We Just Live in It: An Exploration of Garfield the Cat as Icon, Money Maker, and Beast Iris B. Engel Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2019 Part of the American Art and Architecture Commons, Animal Studies Commons, Arts Management Commons, Business Intelligence Commons, Commercial Law Commons, Contemporary Art Commons, Economics Commons, Finance and Financial Management Commons, Folklore Commons, Historic Preservation and Conservation Commons, Modern Art and Architecture Commons, Operations and Supply Chain Management Commons, Social Influence and oliticalP Communication Commons, Social Media Commons, Strategic Management Policy Commons, and the Theory and Criticism Commons This work is licensed under a Creative Commons Attribution-Share Alike 4.0 License. Recommended Citation Engel, Iris B., "It’s Garfield’s World, We Just Live in It: An Exploration of Garfield the Cat as Icon, Money Maker, and Beast" (2019). Senior Projects Fall 2019. 3. https://digitalcommons.bard.edu/senproj_f2019/3 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected].
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Blacks Reveal TV Loyalty
Page 1 1 of 1 DOCUMENT Advertising Age November 18, 1991 Blacks reveal TV loyalty SECTION: MEDIA; Media Works; Tracking Shares; Pg. 28 LENGTH: 537 words While overall ratings for the Big 3 networks continue to decline, a BBDO Worldwide analysis of data from Nielsen Media Research shows that blacks in the U.S. are watching network TV in record numbers. "Television Viewing Among Blacks" shows that TV viewing within black households is 48% higher than all other households. In 1990, black households viewed an average 69.8 hours of TV a week. Non-black households watched an average 47.1 hours. The three highest-rated prime-time series among black audiences are "A Different World," "The Cosby Show" and "Fresh Prince of Bel Air," Nielsen said. All are on NBC and all feature blacks. "Advertisers and marketers are mainly concerned with age and income, and not race," said Doug Alligood, VP-special markets at BBDO, New York. "Advertisers and marketers target shows that have a broader appeal and can generate a large viewing audience." Mr. Alligood said this can have significant implications for general-market advertisers that also need to reach blacks. "If you are running a general ad campaign, you will underdeliver black consumers," he said. "If you can offset that delivery with those shows that they watch heavily, you will get a small composition vs. the overall audience." Hit shows -- such as ABC's "Roseanne" and CBS' "Murphy Brown" and "Designing Women" -- had lower ratings with black audiences than with the general population because "there is very little recognition that blacks exist" in those shows.
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By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible.
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Spring 2003 Vancouver Prime Time TV Schedules 7 P.M
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A Guide for Educators to Support the Weekend Morning TV Series
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Superperforming Ceo
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WHAM Buys Local Channel
Report Information from ProQuest March 01 2014 11:31 Table of contents 1. WHAM buys local channel Bibliography Document 1 of 1 WHAM buys local channel Author: Chao, Mary ProQuest document link Abstract: Mary Chao Staff writer The parent company of WHAM-TV (Channel 13) has acquired the local CW affiliate, which airs shows such as Girlfriends, Everybody Hates Chris, Smallville and Gilmore Girls. Full text: Mary Chao Staff writer The parent company of WHAM-TV (Channel 13) has acquired the local CW affiliate, which airs shows such as Girlfriends, Everybody Hates Chris, Smallville and Gilmore Girls. The CW affiliate, WRWB (cable Channel 16), had been a joint venture of Time Warner Cable and Warner Brothers. Now it will be operated by Clear Channel Television's WHAM and will be renamed CW-WHAM, said Chuck Samuels, vice president and general manager of Channel 13, who will head both stations. Terms of the deal were not disclosed. The CW was created when Warner Brothers merged with UPN, taking the "C" from CBS, which owned UPN, and the "W" from Warner. The Rochester station will remain on cable Channel 16 and will also be available as WHAM-DT on digital channel 13.2. Samuels said the station will complement Channel 13. "The CW has a very different target audience," he said. "While most networks such as ABC target (ages) 18 to 49, the CW targets 18 to 34, even 12 to 34." The CW will help WHAM's already established news brand by reaching out to younger audiences, Samuels said. WRWB's operations in downtown Rochester will be consolidated into WHAM's facilities in Henrietta.
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Writing & Journalism
140 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971 Reg# 375735 Fee: $399 Writers’ Program No refund after 10 Nov. WRITING & ❖ Remote Instruction 6 mtgs Tuesday, 7-10pm, Oct. 27-Dec. 1 Creative Writing Enrollment limited to 15 students. c For help in choosing a course or determining if a Rachel Kann, MFA, author of the collection 10 for course fulfills certificate requirements, contact the Everything. Ms. Kann is an award-winning poet whose Writers’ Program at (310) 825-9415. work has appeared in various anthologies, including JOURNALISM Word Warriors: 35 Women Leaders in the Spoken Word Revolution. She is the recipient of the UCLA Extension Basics of Writing Outstanding Instructor Award for Creative Writing. These basic creative writing courses are for WRITING X 403 students with no prior writing experience. Finding Your Story Instruction is exercise-driven; the process of 2.0 units workshopping—in which students are asked to The scariest part of writing is staring at that blank page! share and offer feedback on each other’s work This workshop is for anyone who has wanted to write but with guidance from the instructor—is introduced. doesn’t know where to start or for writers who feel stuck Please call an advisor at (310) 825-9415 to deter- and need a new form or jumping off point for unique mine which course will best help you reach your story ideas. The course provides a safe, playful atmo- writing goals. sphere to experiment with different resources for stories, such as life experiences, news articles, interviews, his- WRITING X 400 tory, and mythology.
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