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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; -
Z-Nation - EP 2XX - FULL PINK (10/10/15) 2
EPISODE 200 "PEACE OF MURPHY" Written by REDACTED Directed by REDACTED PRODUCTION DRAFT 08/01/15 FULL BLUE 08/05/15 The Asylum Los Angeles 45315 FADE IN: 1 EXT. COUNTRY ROAD - DAY 1 We open on a desolate stretch of back-road. The mid-day sun beats down. There’s no noise. No crickets chirping. Like most places in this world: dead and way too quiet. A RUSTED BILLBOARD casts a shadow across the sweltering tarmac. A cartoon bear warning visitors that “ONLY YOU CAN PREVENT FOREST FIRES”. Behind the billboard, in the distance - AN ATOMIC FIRE RAVAGES THE LANDSCAPE. SLOW FOOTSTEPS break the silence. A WOUNDED-MAN drags himself down the road. Blackened and burned: The clothes are literally falling from his back. He’s sick and desperate - A victim of radiation poisoning. The Wounded-Man reaches the shadow of the billboard before stumbling - And collapsing to his knees. He looks towards the sky. Coughs. WOUNDED-MAN Please. Somebody... Anybody? ANGLE ON: A VEHICLE APPROACHING FROM THE DISTANCE The man smiles, his prayers have been answered. WOUNDED-MAN (CONT’D) Oh God, stop. Please stop. He climbs to his feet with what strength he can muster and frantically waves his arms around. The Truck continues its approach - It’s not slowing down. He realizes - and DASHES to the side - just as the vehicle speeds past. SCREECH! - The Truck comes to a complete stop just past the billboard. Brake-lights shine. The truck reverses back towards the bewildered man. The driver side window rolls down, revealing the mans savior - MURPHY sitting at the wheel with ROBERTA riding shotgun. -
Zombies in Western Culture: a Twenty-First Century Crisis
JOHN VERVAEKE, CHRISTOPHER MASTROPIETRO AND FILIP MISCEVIC Zombies in Western Culture A Twenty-First Century Crisis To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/602 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Zombies in Western Culture A Twenty-First Century Crisis John Vervaeke, Christopher Mastropietro, and Filip Miscevic https://www.openbookpublishers.com © 2017 John Vervaeke, Christopher Mastropietro and Filip Miscevic. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: John Vervaeke, Christopher Mastropietro and Filip Miscevic, Zombies in Western Culture: A Twenty-First Century Crisis. Cambridge, UK: Open Book Publishers, 2017, http://dx.doi. org/10.11647/OBP.0113 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/602#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www. -
Grumbles from the Grave
GRUMBLES FROM THE GRAVE Robert A. Heinlein Edited by Virginia Heinlein A Del Rey Book BALLANTINE BOOKS • NEW YORK For Heinlein's Children A Del Rey Book Published by Ballantine Books Copyright © 1989 by the Robert A. and Virginia Heinlein Trust, UDT 20 June 1983 All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Ballantine Books, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Grateful acknowledgment is made to the following for permission to reprint the following material: Davis Publications, Inc. Excerpts from ten letters written by John W. Campbell as editor of Astounding Science Fiction. Copyright ® 1989 by Davis Publications, Inc. Putnam Publishing Group: Excerpt from the original manuscript of Podkayne of Mars by Robert A. Heinlein. Copyright ® 1963 by Robert A. Heinlein. Reprinted by permission of the Putnam Publishing Group. Library of Congress Catalog Card Number: 89-6859 ISBN 0-345-36941-6 Manufactured in the United States of America First Hardcover Edition: January 1990 First Mass Market Edition: December 1990 CONTENTS Foreword A Short Biography of Robert A. Heinlein by Virginia Heinlein CHAPTER I In the Beginning CHAPTER II Beginnings CHAPTER III The Slicks and the Scribner's Juveniles CHAPTER IV The Last of the Juveniles CHAPTER V The Best Laid Plans CHAPTER VI About Writing Methods and Cutting CHAPTER VII Building CHAPTER VIII Fan Mail and Other Time Wasters CHAPTER IX Miscellany CHAPTER X Sales and Rejections CHAPTER XI Adult Novels CHAPTER XII Travel CHAPTER XIII Potpourri CHAPTER XIV Stranger CHAPTER XV Echoes from Stranger AFTERWORD APPENDIX A Cuts in Red Planet APPENDIX B Postlude to Podkayne of Mars—Original Version APPENDIX C Heinlein Retrospective, October 6, 1988 Bibliography Index FOREWORD This book does not contain the polished prose one normally associates with the Heinlein stories and articles of later years. -
10. How Star Wars Became Museological
10. How Star Wars Became Museological Transmedia Storytelling in the Exhibition Space Beatriz Bartolomé Herrera and Philipp Dominik Keidl Star Wars’s production and reception histories—not to mention the millennia-long history of the storyworld itself—have been documented across books, television specials, DVD extras, interviews, articles, wikis, and fan-run websites. Another important site to encounter the franchise’s history is the museum. In fact, with the sale of Lucasfilm to Disney in 2012, George Lucas has turned his attention from filmmaking and producing to the Lucas Museum of Narrative Art, which is set to open in Los Angeles and will house his collection of paintings, illustrations, comics, props, films, and digital art.1 This museum project is not the first time that Lucas has appeared in the role of art collector, philanthropist, and museologist. Since the early 1990s, Lucasfilm has licensed and co-curated several themed exhibitions for muse- ums, science centers, and other exposition venues, offering visitors detailed insights into the production process through the display of various objects from Lucas’s cinematic oeuvre. Star Wars-themed exhibitions have been the most popular of Lucasfilm’s exhibitions by far, bringing large numbers of visitors into many different institutions. For instance, throughout its fifteen-month run from October 1997 to January 1999, The Magic of Myth drew more than 900,000 visitors to the Smithsonian’s National Air and Space Museum (NASM), becoming one of the most popular shows in the institution’s history.2 However, despite the franchise’s growing museum presence, the study of exhibitions has only played a minor role in Star Wars scholarship. -
Partner Brochure
PARTNER BROCHURE AN EXHIBITION BY IN COOPERATION WITH SC-EXHIBITIONS.COM/MARVEL SC EXHIBITIONS ON SOCIAL MEDIA: @SHOWBIZCULTURE © MARVEL 2020 IT SETS A NEW BAR FOR MUSEUM A NEW EXHIBITION SHOWS OF COMIC ART. CELEBRATING ICV2 80 YEARS OF The Museum of Pop Culture (MoPOP), SC Exhibitions and Marvel Entertainment SUPER HEROES, have teamed up to produce an inventive, exciting show celebrating the artistic FROM EYE- production of »The House of Ideas.« World Premiere Exhibition opened POPPING PRINT 21 April 2018 in Seattle. TO BIG-SCREEN 780,000+ VISITORS 376,000 visitors at the MoPOP, 300,000 at Spider-Man is one of Marvel's most BLOCKBUSTERS iconic characters, and occupies The Franklin Institute in Philadelphia and a central role in this exhibition. This friendly neighborhood hero 105,000 at TELUS World of Science in Edmonton. first appeared in print in 1962, and joined the Marvel Cinematic Uni- verse in 2016's Marvel Studios' AND BEYOND. Coming to Dearborn and Chicago in 2020/2021. Captain America: Civil War. 2 THE EXHIBITION BROADLY APPEALS TO PARENTS AND KIDS, FANS AND NEWBIES. IT IS SUPER FUN FOR COMICS NERDS AND NOVICES ALIKE. THE SEATTLE TIMES For people around the world, Marvel conjures up images of one thing: Super Heroes. Whether in the vibrant colors of comic books, or the all-consum- ing brilliance of the big screen, Marvel characters have captured imaginations for the past 80 years. Readers and viewers alike have been catapulted into a vibrant alternate universe of characters and stories that defy belief. The launch of Marvel’s am- bitious movie franchise has only heightened this fascination, and as comic books gain a firm foot- hold as a legitimate part of our visual culture and heritage, there’s a unique opportunity to look back on the publisher’s enduring, and incomparable, legacy. -
Paul Allen's EMP Museum Changes Name to Museum of Pop Culture
Online Articles Meet MoPOP: Paul Allen’s EMP Museum changes name to Museum of Pop Culture The Museum of Pop Culture, formerly EMP Museum, near Seattle’s Space Needle. (Kurt Schlosser / GeekWire) Update: The museum shared a news release about the name change late Tuesday. This story has been updated to reflect additional information. Department of Information Resources Promotion http://arit.npru.ac.th/ Page 1 The branding department responsible for putting the name of Seattle’s EMP Museum onto merchandise should just take a deep breath. They’re probably just as confused as the rest us who are tasked with remembering what to call the colorful blob at the base of the Space Needle. For the fifth time in its 16-year history, the museum founded by Microsoft billionaire Paul Allen has undergone a name change and will now be called the Museum of Pop Culture, or MoPOP. The change isn’t yet reflected in the website URL for the museum, but banners at the top of the site announce the change. And over on Twitter, @EMPMuseum has given way to @MoPOPSeattle. The museum was designed to incorporate Seattle’s monorail. (Kurt Schlosser / GeekWire) Department of Information Resources Promotion http://arit.npru.ac.th/ Page 2 “MoPOP reflects who we are today and the future of the museum,” Patty Isacson Sabee, CEO and director of MoPOP, said in a news release. “Pop culture is a platform that resonates with audiences in a powerful way. And at MoPOP we provide avenues through our exhibits and programs for people to explore, learn, create, and celebrate pop culture in all of its diversity.” Founded in 2000 as the Experience Music Project, the museum was originally christened as a home to celebrate rock ‘n’ roll. -
DGA's 2014-2015 Episodic Television Diversity Report Reveals
FOR IMMEDIATE RELEASE CONTACT: Lily Bedrossian August 25, 2015 (310) 289-5334 DGA’s 2014-2015 Episodic Television Diversity Report Reveals: Employer Hiring of Women Directors Shows Modest Improvement; Women and Minorities Continue to be Excluded In First-Time Hiring LOS ANGELES – The Directors Guild of America today released its annual report analyzing the ethnicity and gender of directors hired to direct primetime episodic television across broadcast, basic cable, premium cable, and high budget original content series made for the Internet. More than 3,900 episodes produced in the 2014- 2015 network television season and the 2014 cable television season from more than 270 scripted series were analyzed. The breakdown of those episodes by the gender and ethnicity of directors is as follows: Women directed 16% of all episodes, an increase from 14% the prior year. Minorities (male and female) directed 18% of all episodes, representing a 1% decrease over the prior year. Positive Trends The pie is getting bigger: There were 3,910 episodes in the 2014-2015 season -- a 10% increase in total episodes over the prior season’s 3,562 episodes. With that expansion came more directing jobs for women, who directed 620 total episodes representing a 22% year-over-year growth rate (women directed 509 episodes in the prior season), more than twice the 10% growth rate of total episodes. Additionally, the total number of individual women directors employed in episodic television grew 16% to 150 (up from 129 in the 2013-14 season). The DGA’s “Best Of” list – shows that hired women and minorities to direct at least 40% of episodes – increased 16% to 57 series (from 49 series in the 2013-14 season period). -
Vector 31 Peyton 1965-03
THE JOURNAL OF THE BRITISH SCIENCE FICTION ASSOCIATION Number 31 March 19&5 ******************************************************************** President * CONTENTS Page * * EDITORIAL . a . *................................................................ 2 * * * * ♦ Chairman * THE WORLD SAVER RETURNS — Edmona * Hamilton in focus by Terry Bull ... 3 Kenneth M P Cheslin 18 New Farm Road * * Stourbridgej Worcs* * BALLARD’S TERMINAL BEACH by Peter White 9 * * * * * Vice-Chairman * FOR TOUR INFORMATION by Jim Groves. • .11 Roy Kay * 91 Craven Street Birkenhead, Cheshire * GENERAL CHUNTERING by Ken Slater. .15 * * * * Secretary * IN MEMORIUM: H BEAM PIPER * by Pete Weston, ..................... »17 Graham J Bullock 14 Crompton Road * Tipton, Staffs. * BOOKS : REVIEWS AND NEWS............... 19 * * * * Treasurer * Art Credits Ken McIntyre (front and Charles Winstone * back covers); Phil Harbottle (pgs 3»6); 71 George Road * Dick Howett (pgs 9,18) ; Terry Jeeves (pg Erdington, Birmingham 23 * 11); Richard Gordon (pg 16); all other * lettering by the editor. * * * * * VECTOR is published eight times a year. Publications Officer * It is distributed free to members of the and Editor * British Science Fiction Association and Roger G Peyton * is not available to the general public, 77 Grayswood Park Road * All material, artwork, letters of comment Quinton, Birmingham 32 * etc. for or concerning VECTOR should be * * * * addressed to the Editor (address * opposite). Books and magazines for Librarian review should be sent c/o the Librarian Joe Navin -
The New Heinlein Opus List
Nhol.fm Page 253 Wednesday, March 22, 2000 7:21 PM Excerpted from the book Robert A. Heinlein: A Reader’s Companion. This excerpt is from the final press version of the book, and the numbering scheme herein can be considered final. Any updates or changes to this list will use the addendum numbering described on the second page. ©1996–2000 James Gifford. All Rights Reserved. May be duplicated and quoted from according to the terms described in “Reproduction & Use of the Hew Heinlein Opus List” within. The author may be contacted at: [email protected] www.nitrosyncretic.com Nitrosyncretic Press PO Box 4313, Citrus Heights, CA 95611 916-723-4765 voice & fax The New Heinlein Opus List This section presents a complete listing of every known work by Robert A. Heinlein, in the order of creation. Each work is prefaced by a unique identify- ing number, the New Heinlein Opus Number. These numbers, in the format ‘G.nnn,’ have been used throughout this book to identify the work in ques- tion. These numbers have not been used previously for Heinlein’s works. Those readers who are familiar with Heinlein’s opus list may wonder why I did not use Heinlein’s own numbers for these works. The answer is simple: Heinlein’s list was developed and maintained as the core of a filing system for the business management of his works. It was not created until about 1948, with the number of existing works approaching three digits. It is neither complete nor completely accurate in its numbering: there are minor works that do not appear on it, as well as some works that appear out of sequence. -
Rd., Urbana, Ill. 61801 (Stock 37882; $1.50, Non-Member; $1.35, Member) JOURNAL CIT Arizona English Bulletin; V15 N1 Entire Issue October 1972
DOCUMENT RESUME ED 091 691 CS 201 266 AUTHOR Donelson, Ken, Ed. TITLE Science Fiction in the English Class. INSTITUTION Arizona English Teachers Association, Tempe. PUB DATE Oct 72 NOTE 124p. AVAILABLE FROMKen Donelson, Ed., Arizona English Bulletin, English Dept., Ariz. State Univ., Tempe, Ariz. 85281 ($1.50); National Council of Teachers of English, 1111 Kenyon Rd., Urbana, Ill. 61801 (Stock 37882; $1.50, non-member; $1.35, member) JOURNAL CIT Arizona English Bulletin; v15 n1 Entire Issue October 1972 EDRS PRICE MF-$0.75 HC-$5.40 PLUS POSTAGE DESCRIPTORS Booklists; Class Activities; *English Instruction; *Instructional Materials; Junior High Schools; Reading Materials; *Science Fiction; Secondary Education; Teaching Guides; *Teaching Techniques IDENTIFIERS Heinlein (Robert) ABSTRACT This volume contains suggestions, reading lists, and instructional materials designed for the classroom teacher planning a unit or course on science fiction. Topics covered include "The Study of Science Fiction: Is 'Future' Worth the Time?" "Yesterday and Tomorrow: A Study of the Utopian and Dystopian Vision," "Shaping Tomorrow, Today--A Rationale for the Teaching of Science Fiction," "Personalized Playmaking: A Contribution of Television to the Classroom," "Science Fiction Selection for Jr. High," "The Possible Gods: Religion in Science Fiction," "Science Fiction for Fun and Profit," "The Sexual Politics of Robert A. Heinlein," "Short Films and Science Fiction," "Of What Use: Science Fiction in the Junior High School," "Science Fiction and Films about the Future," "Three Monthly Escapes," "The Science Fiction Film," "Sociology in Adolescent Science Fiction," "Using Old Radio Programs to Teach Science Fiction," "'What's a Heaven for ?' or; Science Fiction in the Junior High School," "A Sampler of Science Fiction for Junior High," "Popular Literature: Matrix of Science Fiction," and "Out in Third Field with Robert A. -
Seattle's Mopop
Exciting and inspiring: Seattle’s MoPOP Xenomorph from the movie Alien. Source: Carissa Goudey John Cleese’s helmet from the movie Monty Python and the Holy Grail. Source: Carissa Goudey Every holiday offers exciting new opportunities to learn a little more history, whether you’re long-hauling it overseas or going regional for the weekend. There is, of course, the possibility that you’ll also have a lot of fun along the way. Over the New Year break, I was incredibly fortunate enough to travel to Seattle (USA) – a city which prides itself on being inclusive, progressive and shamelessly geeky. It is therefore no surprise that one of the city’s biggest attractions is the Museum of Pop Culture (MoPOP). MoPOP was founded as the Experience Music Project in 2000 and has since expanded its collection to encompass the worlds of literature, music, television, cinema, video games and everything in between. To simplify, MoPOP collects and exhibits: storyboards, concept art, props and costumes from history’s most iconic television shows and films (think Star Trek and Lord of the Rings); hand-written lyrics, photographs and instruments associated with celebrated Seattle-native musicians (MoPOP has the world’s largest Jimi Hendrix collection), and independent arcade-style video games. And one of the best things about collecting games and instruments is that visitors can play them!* Each year, MoPOP creates a keynote exhibition which goes on to tour the USA; at the time of our visit, this was Marvel: Universe of Superheroes. Starting with Marvel’s origins as Timely Comics in 1939, the exhibition is a 1 heart-rending testimony of how escapism and optimism have lingered in the American consciousness, and the need for new heroes at times of political and social upheaval.