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The Creative Life of 'Saturday Night Live' Which Season Was the Most Original? and Does It Matter?
THE PAGES A sampling of the obsessive pop-culture coverage you’ll find at vulture.com ost snl viewers have no doubt THE CREATIVE LIFE OF ‘SATURDAY experienced Repetitive-Sketch Syndrome—that uncanny feeling NIGHT LIVE’ WHICH Mthat you’re watching a character or setup you’ve seen a zillion times SEASON WAS THE MOST ORIGINAL? before. As each new season unfolds, the AND DOES IT MATTER? sense of déjà vu progresses from being by john sellers 73.9% most percentage of inspired (A) original sketches season! (D) 06 (B) (G) 62.0% (F) (E) (H) (C) 01 1980–81 55.8% SEASON OF: Rocket Report, Vicki the Valley 51.9% (I) Girl. ANALYSIS: Enter 12 51.3% new producer Jean Doumanian, exit every 08 Conehead, Nerd, and 16 1975–76 sign of humor. The least- 1986–87 SEASON OF: Samurai, repetitive season ever, it SEASON OF: Church Killer Bees. ANALYSIS: taught us that if the only Lady, The Liar. Groundbreaking? breakout recurring ANALYSIS: Michaels Absolutely. Hilarious? returned in season 11, 1990–91 character is an unfunny 1982–83 Quite often. But man-child named Paulie dumped Billy Crystal SEASON OF: Wayne’s SEASON OF: Mr. Robinson’s unbridled nostalgia for Herman, you’ve got and Martin Short, and Neighborhood, The World, Hans and Franz. SNL’s debut season— problems that can only rebuilt with SNL’s ANALYSIS: Even though Whiners. ANALYSIS: Using the second-least- be fixed by, well, more broadest ensemble yet. seasons 4 and 6 as this is one of the most repetitive ever—must 32.0% Eddie Murphy. -
1Q 2017 Quarterly Commentary
1Q 2017 1/1/2017 to 3/31/2017 Dow Jones: 5.18% S&P 500: 6.07% NASDAQ: 10.13% Russell 2000: 2.47% MSCI EAFE: 7.25% QUARTERLY COMMENTARY April 2017 “Better to remain silent and be thought a fool than to speak out and remove all doubt.” — Abraham Lincoln Dear Friends and Clients, No, I am not referring to Donald Trump or his incessant tweets. As an aside, I am not certain “tweeting” is appropriate for the President of the United States, especially since they seem to go out unfiltered to the public, which could be a positive or negative depending on your point of view. I was thinking how it would be much more comfortable for those of us at Intrepid Capital to “remain silent” than offer our opinions on the state of the capital markets. I am also reminded of the peril in what I would call “The Boy Who Cried Wolf” syndrome. We have consistently expressed the view that stock prices in relation to the underlying business values are high and likely distorted by the interest rate suppression activity of central banks across the globe. Frankly, I am sure you are tired of hearing this refrain, but it is true, using almost any valuation method one chooses. Always remember the quote from the godfather of value investing, Warren Buffett: “Price is what you pay. Value is what you get.” My concern for our shareholders, after a long period of both low volatility and higher than normal annualized returns in the U.S. equity markets, is that it becomes expected that one will earn 15% with little risk. -
1Q 2017 1St Quarter 2017 Commentary March 31, 2017
INTREPID ENDURANCE FUND 1Q 2017 1ST QUARTER 2017 COMMENTARY MARCH 31, 2017 Average Annualized Total Returns PERFORMANCE Total Return as of March 31, 2017 Since Inception Date Qtr. YTD1 Year 3 Year 5 Year 10 Year Inception Intrepid Endurance Fund - Inv. 10/03/05 0.00%0.00%5.62%0.14%3.55% 7.84% 8.43% Intrepid Endurance Fund - Inst. 11/03/09 0.14%0.14%5.89%0.41%3.83% - 6.87% Russell 2000 Index 2.47%2.47%26.22% 7.22%12.35% 7.12% 7.99%^ ^Since Inception returns are as of the fund’s Investor Class inception date. Since the inception date of the Institutional Class, the annualized return of the Russell 2000 Index is 14.29%. Performance data quoted represents past performance and does not guarantee future results. Investment returns and principal value will fluctuate, and when sold, may be worth more or less than their original cost. Performance current to the most recent month-end may be lower or higher than the performance quoted and can be obtained by calling 866-996-FUND. The Fund imposes a 2% redemption fee on shares held for 30 days or less. Performance data does not reflect the redemption fee. If it had, returns would be reduced. Per the Prospectus dated January 31, 2017, the annual operating expense (gross) for the Intrepid Endurance Fund- Investor Share Class is 1.46% and for the Intrepid Endurance Fund-Institutional Share Class is 1.21%. The Fund’s Advisor has contractually agreed to waive a portion of its fees and/or reimburse expenses until January 31, 2018 such that the total operating expense for the Endurance Fund-Investor Share Class is 1.15% and for the Endurance Fund-Institutional Share Class is 1.15%. -
L-G-0013674002-0040444347.Pdf
SATURDAY NIGHT LIVE AND PHILOSOPHY ffirs_UK.indd 1 08-01-2020 21:06:50 The Blackwell Philosophy and Pop Culture Series Series editor William Irwin A spoonful of sugar helps the medicine go down, and a healthy helping of popular culture clears the cobwebs from Kant. Philosophy has had a public relations problem for a few centuries now. This series aims to change that, showing that philosophy is relevant to your life—and not just for answering the big questions like “To be or not to be?” but for answering the little questions: “To watch or not to watch South Park?” Thinking deeply about TV, movies, and music doesn’t make you a “complete idiot.” In fact it might make you a philosopher, someone who believes the unexamined life is not worth living and the unexamined cartoon is not worth watching. Already published in the series: 24 and Philosophy: The World According to Jack House and Philosophy: Everybody Lies Edited by Jennifer Hart Weed, Richard Brian Davis, and Edited by Henry Jacoby Ronald Weed House of Cards and Philosophy: Underwood’s Republic 30 Rock and Philosophy: We Want to Go to There Edited by J. Edward Hackett Edited by J. Jeremy Wisnewski The Hunger Games and Philosophy: A Critique of Pure Alice in Wonderland and Philosophy: Curiouser and Treason Curiouser Edited by George Dunn and Nicolas Michaud Edited by Richard Brian Davis Inception and Philosophy: Because It’s Never Just a Dream Alien and Philosophy: I Infest, Therefore I Am Edited by David Kyle Johnson Edited by Jeffery A. Ewing and Kevin S. -
Newsletter 08/12 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 08/12 DIGITAL EDITION Nr. 312 - Mai 2012 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 08/12 (Nr. 312) Mai 2012 editorial Hallo Laserdisc- und DVD-Fans, liebe Filmfreunde! Es war einfach wieder großartig! Und die Betonung liegt dabei definitiv auf “groß”. Denn nach einem ganzen Wo- chenende im Pictureville Cinema in Bradford sehen die Bilder in den Stutt- garter Kinos vergleichsweise klein da- gegen aus. Das sind eben die Risiken und Nebenwirkungen, die wir beson- ders dann zu spüren bekommen, wenn wir gerade frisch vom “Widescreen Weekend” heimgekehrt sind. Wie immer waren die Tage in einem der besten Kinos der Welt atemberaubend und haben großen Spaß gemacht. Vor weni- gen Wochen wurde dort auch die Tech- nik auf den neuesten Stand gebracht. So kann das “Pictureville” jetzt nicht nur digital mit einer Auflösung von 4K projizieren, sondern auch den neuen Dolby Surround 7.1 Sound nutzen. De- monstriert wurde die neue Technik mit der Aufführung von Ron Frickes spiri- tuellem Knock-Out SAMSARA. Gefilmt mit 65mm Negativfilm, gescannt mit einer Auflösung von 8K und gemastert sowie projiziert mit der maximal mögli- Gefühl von Cinerama erleben möchte, Wer glaubte, dass er mit der Ton- chen Auflösung von 4K dürfte für den hatten Dave Strohmaier und technik im eigenen Heimkino bereits am SAMSARA die neue Referenz in Sa- Randy Gitsch die passende Antwort. -
Doubt Int He Wilderness
Doubt in the Wilderness Preacher: Rev. Lauren Lorincz Date: September 21, 2014 13:54 “Doubt in the Wilderness” Pilgrim Church UCC, September 21, 2014 (Exodus 16:2-15) One of my favorite characters on Saturday Night Live was Debbie Downer played by Lexington native Rachel Dratch. Debbie would be present at parties and events and would always find a way to bring her friends and family down by changing the subject of conversations to something negative and often tragic. At Walt Disney World, one of the happiest places on earth, the whole family is eating breakfast and deciding how they will spend their day. Someone exclaims that they just love Mickey’s Steak and Eggs and Debbie responds, “Ever since they found mad cow disease in the US, I’m not taking any chances. They say it can live in your body for up to three years before it attacks and destroys your brain.” And every time Debbie Downer delivers one of these lines you hear the sad trombone sound. You see her poor family member about to happily eat his steak and eggs looking all crest-fallen that she had to go talking about mad cow disease. But then Pluto comes up and hugs Debbie, what a sweet moment. Debbie says, “Oh, hi Pluto. It must be really fun working at Disney. Although at any major theme park, you live in constant threat of terrorist attacks.” Naturally, poor Pluto gets dejected, hangs his head, and slowly walks away from all that negativity.[1] I appreciate Debbie Downer as a fictional character because I think we’ve all encountered real Debbie Downers in our lives. -
Breaking the Glass Ceiling
Hour 2: Breaking the Glass Ceiling Part I: Breaking New York's hottest club is... Identify the name of each of Stefon's club attractions 1. That thing of when you put a midget on a skateboard and it slides around on your floor eating garbage. 2. That thing of like when midgets have dreadlocks and they lay facedown on the floor. 3. That thing of when you carry a midget over your shoulder while he sings gangsta rap. 4. That thing of when your friend is having a heart attack, so you take two midgets and you rub them on the carpet for static electricity and then they yell, 'Clear!' 5. That thing of when a midget hangs around your waist and holds your passport in his mouth. 6. That thing of when a thin midget paints himself red and then chews alka seltzer until foam shoots out his mouth. 7. That thing of when high-waisted midgets have, like, the red pants and the big ass. 8. That thing where you tie a string to a midget in a windbreaker and then run through a field. 9. That thing of when you ask a question, so you shake a midget until he says 'ask again later.' 10. That thing where two jacked midgets paint themselves orange, and you have to parallel park between them. 11. That thing of when a midget on rollerskates dials a speaker phone and you put a garbage can over their head. 12. That thing when a midget on rollerskates wears all of your clothes, and you pull them through an airport. -
Taking Back the Laugh: Comedic Alibis, Funny Fails
Taking Back the Laugh: Comedic Alibis, Funny Fails William Cheng Eighteen days after 11 September 2001, a new season of Saturday Night Live premiered on schedule, making big headlines given how most other television programs were getting replaced by round-the-clock news coverage. The NFL and MLB called off games, the Emmys were doubly postponed, Rockstar delayed the release of Grand Theft Auto III (set in a fictionalized New York City), and Disney’s parks closed their doors.1 Entertainment across the United States—sitcoms, sports, rollercoasters— screeched to a halt, ground to zero. For SNL producer Lorne Michaels to reboot his laugh factory was saying something.2 Specifically, Michaels wanted the host Reese Witherspoon to say “fuck- ing.”3 He told her to work the word into the opening monologue’s punch- line, declaring he would happily pay whatever Federal Communications I’m grateful for thoughtful feedback from Lauren Berlant, Judith Farquhar, Roger Mathew Grant, Sianne Ngai, Anca Parvulescu, and additional participants in the Comedy: An Issue workshop (10–11 Dec. 2015) at the University of Chicago. 1. See Scott Weems, Ha! The Science of When We Laugh and Why (New York, 2014), p. 52; Chris A. Kramer, “An Existentialist Account of the Role of Humor against Oppression,” Humor 26 (Oct. 2013): 629–51; Trevor J. Blank, The Last Laugh: Folk Humor, Celebrity Culture, and Mass- Mediated Disasters in the Digital Age (Madison, Wis., 2013), pp. 38–56; and Bill Ellis, “Making a Big Apple Crumble: The Role of Humor in Constructing a Global Response to Disaster,” in Of Corpse: Death and Humor in Folklore and Popular Culture, ed. -
SNL's Broadway Video Charts the Evolution of Branded Content
SNL's Broadway Video Charts the Evolution of Branded Content 06.08.2017 Branded content is the present and future of marketing, but its origins might take you by surprise. It all began with The Bass-O-Matic '76 on Saturday Night Live. The ad parody starring Dan Aykroyd was an instant success, and planted the seeds for what would be the branded content we know today -- funded content to communicate with customers in a fun and engaging way. Megan Callahan, Writer, "Saturday Night Live," Elaine Cantwell, CCO, Broadway Video Enterprises and Britta von Schoeler, President, Broadway Video Enterprises, charted the origins and evolution of branded content, revealing the formula that Saturday Night Live has used to perfection over 42 seasons. While von Schoeler was initially worried about using real products for their parody ads, that is routinely dispelled, as was the case with the recent Lincoln car parody starring Jim Carrey. After the parody, there was a 25% increase in car sales for the Lincoln MKC, which the company directly attributed to the SNL commercial. At the time, two million people had seen the actual commercial, and 13 million had viewed the SNL parody. That led Pete VonDerLinn, executive creative director, Partners & Napier, to say the following: "The social currency a campaign can get from an SNL parody is marketing gold." Callahan outlined Broadway Video's creative process to achieve marketing gold with their branded content. She recommends a large writing team that boasts diverse voices and experiences for a wide range of ideas. But before that happens, it all starts with considering and maximizing the demographic. -
Exploring Access to Justice in the Legal Profession
Breaking Through Bias and Barriers: Exploring Access to Justice in the Legal Profession Friday, September 7, 2018 8:30 a.m.–11:45 a.m. 3 Access to Justice Introductory credits BREAKING THROUGH BIAS AND BARRIERS: EXPLORING ACCESS TO JUSTICE IN THE LEGAL PROFESSION The materials and forms in this manual are published by the Oregon State Bar exclusively for the use of attorneys. Neither the Oregon State Bar nor the contributors make either express or implied warranties in regard to the use of the materials and/or forms. Each attorney must depend on his or her own knowledge of the law and expertise in the use or modification of these materials. Copyright © 2018 OREGON STATE BAR 16037 SW Upper Boones Ferry Road P.O. Box 231935 Tigard, OR 97281-1935 Breaking Through Bias and Barriers: Exploring Access to Justice in the Legal Profession ii TABLE OF CONTENTS Schedule . v Faculty . v 1. Access to Justice . 1 2. Rule 4.3: Dealing with Unrepresented Person . 4 3. Misconduct and Discrimination . 8 4. The Rules Tell Us to Improve the Quality of Justice . .19 5. The Rules Tell Us to Help the Disadvantaged . And That’s About Access to Justice. .20 6. An Individual Strategy for Eliminating Bias in the Legal Profession . .28 10. Get the Right Mindset . .29 9. Hope Without Action Is Futile . 31 8. Communicate Effectively and Responsibly . .32 7. Do What You Say . .33 6. Be Yourself . .34 5. Don’t Be a Debbie Downer . 35 4. Take Risks. .36 3. Be the Leader of Your Space . -
The Blues Brothers (Film) - Wikipedia, the Free Encyclopedia 21/05/2014
The Blues Brothers (film) - Wikipedia, the free encyclopedia 21/05/2014 Create account Log in Article Talk Read Edit View history Search The Blues Brothers (film) From Wikipedia, the free encyclopedia Navigation The Blues Brothers is a 1980 American musical Technicolor comedy The Blues Brothers Main page film directed by John Landis and starring John Belushi and Dan Aykroyd Contents as "Joliet" Jake and Elwood Blues, characters developed from "The Featured content Blues Brothers" musical sketch on the NBC variety series Saturday Current events Night Live. Random article Donate to Wikipedia It features musical numbers by rhythm and blues (R&B), soul, and blues Wikimedia Shop singers James Brown, Cab Calloway, Aretha Franklin, Ray Charles, and Interaction John Lee Hooker. The film is set in and around Chicago, Illinois, and Help features non-musical supporting performances by John Candy, Carrie About Wikipedia Fisher, Charles Napier, and Henry Gibson. Community portal Recent changes The story is a tale of redemption for paroled convict Jake and his Contact page brother Elwood, who take on "a mission from God" to save the Catholic orphanage in which they grew up from foreclosure. To do so, they must Tools What links here reunite their R&B band and organize a performance to earn $5,000 to Related changes pay the tax assessor. Along the way, they are targeted by a destructive Upload file "mystery woman", Neo-Nazis, and a country and western band—all Theatrical release poster Special pages while being relentlessly pursued by the police. Permanent link Directed by John Landis Page information Universal Studios, which had won the bidding war for the film, was Produced by Bernie Brillstein Data item hoping to take advantage of Belushi's popularity in the wake of George Folsey, Jr. -
5Th Sunday of Ordinary Time
Fifth Sunday in Ordinary Time Year B Job 7: 1-4, 6-7 Ps 147:1-2, 3-4, 5-6 I Cor 9:16-19, 22-23 Mk 1:29-39 Kevin M. DePrinzio, O.S.A. One of my weekly rituals (apart from liturgy) is staying up to watch at least the first half of Saturday Night Live. I must admit, it’s getting harder and harder to stay awake! One of my favorite skits in recent years is “Debbie Downer,” which, I think, all SNL fans remember very well. Rachel Dratch plays the character Debbie, who, along with other cast members, are in Disney World. No matter how wonderful a time everyone is having, Debbie finds something to say – a story, a remark – that brings the level of excitement down and depresses everyone, with the sound of a horn in the background reflecting the downward direction of the conversation. It’s hysterical. And what adds to the humor is that the cast members, Rachel Dratch included, cannot keep a straight face throughout the entire skit, and, by the scene’s end, they cannot control their own laughter. I wonder if we may see Debbie Downer in the person of Job. Many of us resist Job, or try to overlook him, maybe because he is the “Debbie Downer” of our tradition – and we don’t want to be brought down. Instead, we’re more attracted to Paul, who is often much more positive in his outlook. For instance, he admits in the letter to the Corinthians that while the gospel is an obligation that has been imposed on him, he wants to preach it fully – to the best of his ability.