801. the One After "I Do"
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LISA KUDROW Biography Emmy Award-Winning Actress Lisa Kudrow
LISA KUDROW Biography Emmy Award-winning actress Lisa Kudrow continues to bring her original sense of comedic timing and delivery to every role she takes on. Most recently audiences saw Lisa in the DreamWorks film Hotel for Dogs. Prior that she starred in P.S. I Love You with Hilary Swank and Gerard Butler and in the independent film Kabluey which premiered at the Los Angeles Film Festival and at the Hamptons Film Festival. Her upcoming projects include the recently completed independent films Paper Man opposite Jeff Daniels, 17 Photos of Isabel with Natalie Portman for director Don Roos, Powder Blue with Forrest Whitaker and Ray Liotta and Bandslam for writer/director Todd Graff. Lisa has received rave reviews for her previous feature film roles. She won the Best Supporting Actress Award from the New York Film Critics, an Independent Spirit Award nomination and a Chicago Film Critics Award nomination for her role in the Don Roos scripted and directed film The Opposite of Sex (1998). She won a Blockbuster Award and received a nomination for an American Comedy Award for her starring role opposite Billy Crystal and Robert DeNiro in the Warner Bros. boxoffice hit Analyze This (1999) for director Harold Ramis. Lisa’s additional film credits include starring roles in Happy Endings (2005) for writer/director Don Roos which premiered at the Sundance Film Festival; Wonderland (2004) with Val Kilmer, in which she portrayed Sharon Holmes, wife of porn star John Holmes, in the film based on the infamous Wonderland Avenue murders; the Warner Bros. film Analyze That (2002), the sequel to Analyze This (1999), the Columbia Pictures film Hanging Up (2000) opposite Meg Ryan and Diane Keaton, Paramount’s Lucky Numbers (2000) with John Travolta, in the critically acclaimed hit comedy Romy & Michele’s High School Reunion (1997) with Mira Sorvino, Clockwatchers (1997) in which she starred opposite Toni Collette and Parker Posey and the Albert Brooks’ comedy Mother (1996). -
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. -
The One with the Feminist Critique: Revisiting Millennial Postfeminism With
The One with the Feminist Critique: Revisiting Millennial Postfeminism with Friends In the years that followed the completion of its initial broadcast run, which came to an end on 6th (S10 E17 and 18), iconicMay millennial with USthe sitcom airing ofFriends the tenth (NBC season 1994-2004) finale The generated Last One only a moderate amount of scholarly writing. Most of it tended to deal with the series st- principally-- appointment in terms of its viewing institutional of the kindcontext, that and was to prevalent discuss it in as 1990s an example television of mu culture.see TV This, of course, was prior to the widespread normalization of time-shifted viewing practices to which the online era has since given rise (Lotz 2007, 261-274; Curtin and Shattuc 2009, 49; Gillan 2011, 181). Friends was also the subject of a small number of pieces of scholarship that entriesinterrogated that emerged the shows in thenegotiation mid-2000s of theincluded cultural politics of gender. Some noteworthy discussion of its liberal feminist individualism, and, for what example, she argued Naomi toRocklers be the postfeminist depoliticization of the hollow feminist rhetoric that intermittently rose to der, and in its treatment of prominence in the shows hierarchy of discourses of gen thatwomens interrogated issues . issues Theand sameproblems year arising also saw from the some publication of the limitationsof work by inherentKelly Kessler to ies (2006). The same year also sawthe shows acknowledgement depiction and in treatmenta piece by offeminist queer femininittelevision scholars Janet McCabe and Kim Akass of the significance of Friends as a key text of postfeminist television culture (2006). -
Read Ebook {PDF EPUB} Flirting with Forever by Molly Cannon Flirting with Forever by Molly Cannon
Read Ebook {PDF EPUB} Flirting with Forever by Molly Cannon Flirting with Forever by Molly Cannon. Published: 19:11 BST, 19 May 2021 | Updated: 13:40 BST, 20 May 2021. Friends fans have expressed their concern after Matthew Perry appeared to slur his speech in a promo for the upcoming reunion special. It was hard to overlook Perry's awkward demeanor as he sat with co-stars Jennifer Aniston, Courteney Cox, Lisa Kudrow, David Schwimmer and Matt LeBlanc to tease the show, which was shot in April and will air on May 27 via HBO and HBO Max. The 51-year-old actor stammered and stared in the clip, even slurring together his words at one point. When asked if he ever took anything from set as a souvenir, he admitted: 'I stole the cookie jar that had the clock on it' with a heavy 'sh' sound at the start of 'stole.' Worrisome: Matthew Perry raised concerns after appearing to slur his speech in a teaser for the upcoming Friends reunion, which airs later this month. Off kilter: The 51-year-old actor stammered and stared while with co-stars Jennifer Aniston, Courteney Cox, Lisa Kudrow, David Schwimmer and Matt LeBlanc, even slurring together his words at one point. Though his speech was stilted, Matthew's physical appearance was on the healthier side. His castmates were able to hide any of their concerns, as David and Matt giggled and smiled at the TV star, who played Chandler Bing on the NBC hit. But fans were quick to voice their worries. -
Masculinities in the Television Series Friends
Masculinities in the television series ‘Friends’ A different kind of male friendship? A dissertation submitted to the University of Manchester for the degree of MA (Econ) in the Faculty of Economic and Social Studies Manchester, September 2000 by Vegard Iglebæk Women’s Studies Centre Department of Sociology Abstract This dissertation discusses friendships between men in the Northern American television series Friends and focuses upon two of the male characters, Joey Tribbiani and Chandler Bing. Friends shows six twenty-something men and women, sharing two flats in the middle of New York's Manhattan. Even though the series can be interpreted as conveying heterosexual values aimed towards a younger, mainstream audience, I argue that the relation between two of the men, being flatmates, is possibly representing different models of male friendships than usually seen in these kind of series. Personal disclosure and intimacy among heterosexual, Northern-European and American men tend to be restricted to specific arenas and situations, such as blissful moments at the football pitch or in situations of external crisis. Joey and Chandler's constant negotiating of degrees of intimacy is among the plots in the series. However, their relation stands out from the crowd compared to other series' narratives of relations between men. Joey and Chandler can be interpreted as widening the degree of acceptable personal disclosure, rather than being threatened by it. One might claim that they are opening up spaces for new ways of doing heterosexual masculinities, struggling to define modes of acceptable communication in their strictly heterosexual context. I am scrutinising a few scenes from selected episodes, discussing these issues from a sociological point of view, informed by cultural theory. -
22Nd NFF Announces Screenwriters Tribute
FOR IMMEDIATE RELEASE NANTUCKET FILM FESTIVAL ANNOUNCES TOM MCCARTHY TO RECEIVE 2017 SCREENWRITERS TRIBUTE AWARD NICK BROOMFIELD TO BE RECOGNIZED WITH SPECIAL ACHIEVEMENT IN DOCUMENTARY STORYTELLING NFF WILL ALSO HONOR LEGENDARY TV CREATORS/WRITERS DAVID CRANE AND JEFFREY KLARIK WITH THE CREATIVE IMPACT IN TELEVISION WRITING AWARD New York, NY (April 6, 2017) – The Nantucket Film Festival announced today the honorees who will be celebrated at this year’s Screenwriters Tribute—including Oscar®-winning writer/director Tom McCarthy, legendary documentary filmmaker Nick Broomfield, and ground-breaking television creators and Emmy-nominated writing team David Crane and Jeffrey Klarik. The 22nd Nantucket Film Festival (NFF) will take place June 21-26, 2017, and celebrates the art of screenwriting and storytelling in cinema and television. The 2017 Screenwriters Tribute Award will be presented to screenwriter/director Tom McCarthy. McCarthy's most recent film Spotlight was awarded the Oscar for Best Picture and won him (and his co-writer Josh Singer) an Oscar for Best Original Screenplay. McCarthy began his career as a working actor until he burst onto the filmmaking scene with his critically acclaimed first feature The Station Agent, starring Peter Dinklage, Patricia Clarkson, Bobby Cannavale, and Michelle Williams. McCarthy followed this with the equally acclaimed film The Visitor, for which he won the Spirit Award for Best Director. He also shared story credit with Pete Docter and Bob Peterson on the award-winning animated feature Up. Previous recipients of the Screenwriters Tribute Award include Oliver Stone, David O. Russell, Judd Apatow, Paul Haggis, Aaron Sorkin, Nancy Meyers and Steve Martin, among others. -
Socioeconomic Class Representation in Sitcoms Awroa:&~
KEEPING UP WITH THE JONESES: SOCIOECONOMIC CLASS REPRESENTATION IN SITCOMS by ALEXANDRA HICKS A THESIS Presented to the School of Journalism and Communication and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2014 A• Abstracto( the Thesis of Alexandra Hicks for 1he degree ofBachelor of Arts in the School of Journalism and Communication to be talcen June, 2014 Title: Keeping Up With the Jonescs: Socioeconomic Class Representation in Sitcoms Awroa:&~ This thesis examines the representation of socioeconomic class in situation comedies. Through the influence of the advertising industiy, situation comedies (sitcoms) have developed a pattem throughout history of misrepresenting ~ial class, which is made evident by their portrayals ofdifferent races, genders, and professions. To rectify the IKk ofprevious studies on modem comedies, this study analyzes socioeconomic class representation on sitcoms that have aired in the last JS years by taking a sample ofseven shows and comparing the estimated cost of characters' residences to the amount of money they would likely earn in their given profession. 1be study showed that modem situation comedies misrepresent socioeconomic class by portraying characters living in residences well beyond what they could afford in real life. Accurate demonstration ofsocioeconomic class on television is imperative be<:ause images presented on television genuinely influence viewers• perceptions of reality. Inaccurate portrayals ofclass could cause audiences to develop distorted views ofmember.; of socioeconomic classes and themselves. u Acknowledgements I would like to thank Professor Debra Merskin for inspiring me to examine television in an in-depth and critical manner. -
James Griffiths Director
James Griffiths Director Television 2020 MIGHTY DUCKS Series director, executive producer Writer: Steven Brill, John Goldsmith, Cathy Yuspa Producer: Disney Plus TX TBC 2020 DELILAH Director (TV Movie) Writer: Aisling Bea, Kirker Butler, Sharon Horgan Producers: Kapital Ent. and Merman TX TBC 2019 STUMPTOWN Pilot director (picked up for series), executive producer Writer: Jason Richman Producer: Elias Gertler for ABC Studios Cast: Cobie Smulders TX 25 September 2019 A MILLION LITTLE THINGS Eps 11, 13, 15, 17, executive producer Writer: DJ Nash Producer: Aaron Kaplan, Dana Honor for ABC Studios TX 17 January 2019 2018 WRECKED Ep 310 The Island Family Creators: Jordan and Justin Shipley Producer: Jesse Hara and Ken Topolsky for TBS TX October 2018 A MILLION LITTLE THINGS Pilot, Ep 2, Ep 5, Ep 7, executive producer Writer: DJ Nash Producer: Aaron Kaplan, Dana Honor for ABC Studios TX 26 September 2018 WRECKED Ep 210 Nerd Speak Creators: Jordan and Justin Shipley Producer: Jesse Hara and Ken Topolsky for TBS TX 22 August 2018 2017 THE MAYOR Pilot and Eps 103, 104, 106 and 110, executive producer Writer: Jeremy Bronson EP: Jamie Tarses, Scott Stuber, Dylan Clark for ABC Studios Cast: Lea Michele, Brandon Micheal Hall TX 3 October 2017 BLACK-ISH Ep 323 Liberal Arts Writers: Larry Wilmore and Kenya Barris Cast: Anthony Anderson TX 3 May 2017 2016 CHARITY CASE Pilot, Writer: Robert Padnick Producer: Scott Printz for Twentieth Century Fox Cast: Courteney Cox Produced 2015 COOPER BARRETT’S GUIDE TO SURVIVING LIFE Pilot and series director, executive -
Paris, New York, and Post-National Romance
Sex and the Series: Paris, New York, and Post-National Romance Dana Heller / love Paris every moment, Every moment of the year I love Paris, why oh why do I love Paris? Because my love is here. —Cole Porter, / Love Paris This essay will examine and contrast two recent popular situation comedies, NBC's Friends and HBO's Sex and the City, as narratives that participate in the long-standing utilization of Paris as trope, or as an instrumental figure within the perennially deformed and reformed landscape of the American national imaginary. My argument is that Paris re-emerges in post-9/11 popular culture as a complex, multi-accentual figure within the imagined mise-en-scene of the world Americans desire. The reasons for this are to a large degree historical: in literature, cinema, television, popular music, and other forms of U.S. cultural production, from the late nineteenth century through the twentieth century and into the twenty first, Paris has remained that city where one ventures, literally and/or imaginatively, to dismember history, or to perform a disarticulation of the national subject that suggests possibilities for the interrogation of national myths and for 0026-3079/2005/4602-145$2.50/0 American Studies, 46:1 (Summer 2005): 145-169 145 146 Dana Heller the articulation of possible new forms of national unity and allegiance. These forms frequently find expression in the romantic transformation of a national citizen-subject into a citizen-subject of the world, a critique of the imperialist aspirations of the nation-state that antithetically masks those same aspirations under the sign of the disillusioned American cosmopolitan abroad. -
Kids Adults How Many Legs Does a Spider Have? Which Is the Largest Continent?
Family Quiz Night – Adults vs Kids – Trivia Kids Adults How many legs does a spider have? Which is the largest continent? What is a baby cow called? Which Prime Minister saw the UK through the second world war? How many players are there on a football Lisa Kudrow played which character in the team? sitcom Friends? Who is the current Prime Minister of the UK? Who is the owner of Facebook? Which planet in our solar system is known In which year did Princess Diana die? for having a ring? What type of fish is Nemo? How many states are there in the USA? How many hours are there in one day? Which BBC music programme was broadcast weekly from 1964 to 2006? True or false? Jellyfish have no heart and Emerald is the birthstone for which month? no brain. Which four countries make up the UK? Which author wrote The Lord of the Rings? Who is Batman’s sidekick? On a computer keyboard, which letter comes between S and F? Which colour is made by mixing red and What is the capital city of New Zealand? blue? How many sides does a pentagon have? Oneirophobia is the fear of what? Which is the fastest land animal? How many UK number ones did The Beatles have? How many days are there in a year? Which mammal has the longest gestation period? In which country would you find the Eiffel The song ‘My Heart Will Go On’ was made Tower? famous by which movie? Kids Adults How many legs does a spider have? Which is the largest continent? 8 Asia What is a baby cow called? Which Prime Minister saw the UK through the A calf second world war? Sir Winston Churchill How many -
8 TV Power Games: Friends and Law & Order
8 TV Power Games: Friends and Law & Order There is no such thing as a one-man show | at least not in television: one feature that all TV shows have in common is the combination of a large number of diverse contributors: producers, scriptwriters, actors, and so on. This is illustrated in Exhibit 8.1, which depicts the links between key contributors to the making and selling of a TV show. Solid lines repre- sent some form of contractual relationship, whereas dashed lines represent non-contractual relationships of relevance for value creation and value distribution. As is the case with movies, pharmaceutical drugs, and other products, the distribution of TV show values is very skewed: many TV shows are worth relatively little, whereas a few shows generate a very high value: For example, at its peak Emmy Award-winning drama ER fetched $13 million per episode.1 How does the value created by successful shows get divided among its various contrib- utors, in particular actors, producers and networks? Who gets the biggest slice of the big pie? In this chapter, I address this question by looking at two opposite extreme cases in terms of relative negotiation power: Law & Order and Friends. Law & Order | and profits The legal drama series Law & Order was first broadcast on NBC on September 13, 1990. (The pilot episode, produced in 1988, was intended for CBS, but the network rejected it, just as Fox did later, in both cases because the show did not feature any \breakout" characters.) By the time the last show aired on May 24, 2010, it was the longest-running crime drama on American prime time TV. -
Representação Feminina Em Friends: Uma Análise Da Representação De Monica Geller Isadora Severo TEIXEIRA Flavi Ferrei
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 41º Congresso Brasileiro de Ciências da Comunicação – Joinville - SC – 2 a 8/09/2018 Representação Feminina Em Friends: Uma Análise Da Representação De Monica 1 Geller 2 Isadora Severo TEIXEIRA 3 Flavi Ferreira Lisbôa FILHO Universidade Federal de Santa Maria, Santa Maria, RS RESUMO Os Estudos Culturais são um campo que visa investigar as minorias, e essa área surgiu com a intenção de priorizar as classes “de baixo” da sociedade. Ao longo do seu desenvolvimento, o campo adquiriu uma marcante característica em relação à interdisciplinaridade, fato este que colaborou com as discussões acerca das questões de gênero dentro da área. Dessa forma, esse trabalho pretende entender de que forma é feita a representação da personagem do sitcom americano Friends, Monica Geller, ao longo da primeira temporada do seriado. PALAVRAS CHAVE: Estudos Culturais; Friends; Representação Feminina; Sitcom; INTRODUÇÃO Com base no entendimento do cenário no qual estamos inseridos atualmente em que a mulher é apresentada sempre de forma secundária em relação à presença masculina, estando geralmente conectada às responsabilidades da casa e da família, com pouca ênfase para a construção de uma carreira ou de seus desejos pessoais, é necessário ressaltar que entender a maneira que a mídia hegemônica atinge os indivíduos em nossa sociedade é fundamental para que possamos compreender os processos de formação da identidade dos sujeitos. Com isso, o presente trabalho tem como objetivo estudar como é feita a representação da personagem do sitcom americano Friends, Monica Geller, em relação ao seu empoderamento como mulher durante a primeira temporada do seriado.