The White American Bastion Is Emerging
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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; -
Audience Affect, Interactivity, and Genre in the Age of Streaming TV
. Volume 16, Issue 2 November 2019 Navigating the Nebula: Audience affect, interactivity, and genre in the age of streaming TV James M. Elrod, University of Michigan, USA Abstract: Streaming technologies continue to shift audience viewing practices. However, aside from addressing how these developments allow for more complex serialized streaming television, not much work has approached concerns of specific genres that fall under the field of digital streaming. How do emergent and encouraged modes of viewing across various SVOD platforms re-shape how audiences affectively experience and interact with genre and generic texts? What happens to collective audience discourses as the majority of viewers’ situated consumption of new serial content becomes increasingly accelerated, adaptable, and individualized? Given the range and diversity of genres and fandoms, which often intersect and overlap despite their current fragmentation across geographies, platforms, and lines of access, why might it be pertinent to reconfigure genre itself as a site or node of affective experience and interactive, collective production? Finally, as studies of streaming television advance within the industry and academia, how might we ponder on a genre-by- genre basis, fandoms’ potential need for time and space to collectively process and interact affectively with generic serial texts – in other words, to consider genres and generic texts themselves as key mediative sites between the contexts of production and those of fans’ interactivity and communal, affective pleasure? This article draws together threads of commentary from the industry, scholars, and culture writers about SVOD platforms, emergent viewing practices, speculative genres, and fandoms to argue for the centrality of genre in interventions into audience studies. -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
Documental De Narcos En Netflix
Documental De Narcos En Netflix Sparing and olde-worlde Hendrik fagot almost recently, though Hayes shooks his gibberellins jutties. Garvin telecasts his matrass crenelled denumerably, but heavy-handed Rodge never skirls so erratically. Briery Georgia flubs his sonatas ice-skates milkily. Pedro Pascal relativiza su continuidad en Narcos tras exigencias de hermano. El cartel movie Osiedle Tygrysie. Also known registrations can be the. The Netflix original series Narcos and its spinoff Narcos Mexico will begin airing free and. Netflix tiene un amplio catlogo de pelculas series documentales animes. No decepciona como violenta expansin del universo estrella de Netflix. Believed to see in narcos deliberately proposes an online or even invited to netflix, de operações especiais junto ao corpo do you help. Il tuo punto de narcos es que todos tus temas en la cotidianeidad de. Each mausoleum is narcos work cut out at the sunshine state, en persona por la dea lo hizo todo tipo de la casa editorial. Andrés lópez y en la de pelÃculas y vÃdeos de sorprender que otorga el documental de narcos en netflix es de deshumanización muy interesantes. La serie documental de Netflix 'Cuando conoc al Chapo la historia de. Directed by Shaul Schwarz To a growing despite of Mexicans and Latinos in the Americas narco traffickers have become iconic outlaws and baby new models of. Contenido relacionado 5 Documentales sobre Marihuana para Ver en Netflix. The truth universally acknowledged that they did not supported by joining, en clave documental de narcos en netflix, en la tercera en tanto éxito que seremos tratados con tintes de. -
DIGITAL ORIGINAL SERIES Global Demand Report
DIGITAL ORIGINAL SERIES Global Demand Report Trends in 2016 Copyright © 2017 Parrot Analytics. All rights reserved. Digital Original Series — Global Demand Report | Trends in 2016 Executive Summary } This year saw the release of several new, popular digital } The release of popular titles such as The Grand Tour originals. Three first-season titles — Stranger Things, and The Man in the High Castle caused demand Marvel’s Luke Cage, and Gilmore Girls: A Year in the for Amazon Video to grow by over six times in some Life — had the highest peak demand in 2016 in seven markets, such as the UK, Sweden, and Japan, in Q4 of out of the ten markets. All three ranked within the 2016, illustrating the importance of hit titles for SVOD top ten titles by peak demand in nine out of the ten platforms. markets. } Drama series had the most total demand over the } As a percentage of all demand for digital original series year in these markets, indicating both the number and this year, Netflix had the highest share in Brazil and popularity of titles in this genre. third-highest share in Mexico, suggesting that the other platforms have yet to appeal to Latin American } However, some markets had preferences for other markets. genres. Science fiction was especially popular in Brazil, while France, Mexico, and Sweden had strong } Non-Netflix platforms had the highest share in Japan, demand for comedy-dramas. where Hulu and Amazon Video (as well as Netflix) have been available since 2015. Digital Original Series with Highest Peak Demand in 2016 Orange Is Marvels Stranger Things Gilmore Girls Club De Cuervos The New Black Luke Cage United Kingdom France United States Germany Mexico Brazil Sweden Russia Australia Japan 2 Copyright © 2017 Parrot Analytics. -
1 Weirding the Outside: the OA and the New Weird the OA Is a Show About a Young Woman Known As OA, Or Prairie As Her Foster Pare
1 Weirding the Outside: The OA and the New Weird The OA is a show about a young woman known as OA, or Prairie as her foster parents call her, who comes back to her town having been gone for more than seven years. There are two main storylines, one set after OA returns and one told as a narrated flashback by OA to a group of friends. In the present storyline, OA’s foster parents, the police, and the community have no idea what she went through. OA refuses to say where she has been but miraculously she can now see. OA finds a group of five friends whom she tells her story to. This begins the narrated flashback sequences which dominate most of show’s middle episodes. She was held captive by a doctor, Hap, who investigates near death experiences. The doctor believes that he can find the truth to the afterlife. He does so by constantly killing and bringing back OA and the four other people. Indeed, OA and the others go to some unknown dimension, bringing back knowledge of healing and interdimensional travel. Having brought back enough knowledge, OA is left on the side of the road to make her own way home. Having told the story to her friends the show ends dramatically with a school shooting. The friends use the inter-dimensional traveling dance to distract the shooter for long enough that the cook can overpower him. OA is shot by accident and is driven away in an ambulance as strange sounds are heard, possibly from the rings of Saturn. -
The Dead Don't Die — They Rise from Their Graves and Savagely Attack and Feast on the Living, and the Citizens of the Town Must Battle for Their Survival
THE DEAD DON’T DIE The Greatest Zombie Cast Ever Disassembled Bill Murray ~ Cliff Robertson Adam Driver ~ Ronnie Peterson Tilda Swinton ~ Zelda Wintson Chloë Sevigny ~ Mindy Morrison Steve Buscemi ~ Farmer Miller Danny Glover ~ Hank Thompson Caleb Landry Jones ~ Bobby Wiggins Rosie Perez ~ Posie Juarez Iggy Pop ~ Coffee Zombie Sara Driver ~ Coffee Zombie RZA ~ Dean Carol Kane ~ Mallory O’Brien Austin Butler ~ Jack Luka Sabbat ~ Zach Selena Gomez ~ Zoe and Tom Waits ~ Hermit Bob The Filmmakers Written and Directed by Jim Jarmusch Produced by Joshua Astrachan Carter Logan TABLE OF CONTENTS I. Synopsis . 4 II. “The Dead Don’t Die” Music and Lyrics by Sturgill Simpson 5 III. About the Production . 6 IV. Zombie Apocalypse Now . 8 V. State of the Nation . 11 VI. A Family Affair . 15 VII. Day For Night . 18 VIII. Bringing the Undead to Life . 20 IX. Anatomy of a Scene: Coffee! . 23 X. A Flurry of Zombies . 27 XI. Finding Centerville . 29 XII. Ghosts Inside a Dream . 31 XIII. About the Filmmaker – Jim Jarmusch . 33 XIV. About the Cast . 33 XV. About the Filmmakers . 49 XVI. Credits . 54 2 SYNOPSIS In the sleepy small town of Centerville, something is not quite right. The moon hangs large and low in the sky, the hours of daylight are becoming unpredictable, and animals are beginning to exhibit unusual behaviors. No one quite knows why. News reports are scary and scientists are concerned. But no one foresees the strangest and most dangerous repercussion that will soon start plaguing Centerville: The Dead Don't Die — they rise from their graves and savagely attack and feast on the living, and the citizens of the town must battle for their survival. -
(Dea) 1985-1990
HISTORY DRUG ENFORCEMENT ADMINISTRATION 1985-1990 New York State, four in California, two in Virginia, and one During the late 1980s, the international drug trafficking each in North Caro-lina and Arizona. One year later, 23 more or-ganizations grew more powerful as the cocaine trade conversion labs were seized in the U.S. dominated the Western Hemisphere. Mafias headquartered in The first crack house had been discovered in Miami in 1982. the Colom-bian cities of Medellin and Cali wielded enormous influence and employed bribery, intimidation, and However, this form of cocaine was not fully appreciated as a major murder to further their criminal goals. Many U.S. threat because it was primarily being consumed by middle class communities were gripped by vio-lence stemming from the users who were not associated with cocaine addicts. In fact, crack drug trade. At first, the most dramatic examples of drug- was initially considered a purely Miami phenomenon until it be related violence were experienced in Miami, where cocaine came a serious problem in New York City, where it first appeared traffickers fought open battles on the city streets. Later, in in December 1983. In the New York City area, it was estimated 1985, the crack epidemic hit the U.S. full force, result-ing in that more than three-fourths of the early crack consumers were escalating violence among rival groups and crack users in many other U.S. cities. By 1989, the crack epidemic was still white professionals or middleclass youngsters from Long Island, raging and drug abuse was considered the most important is suburban New Jersey, or upper-class Westchester County. -
Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111.... -
The Author Is Dead, Long Live the Author: Negotiating Textual Authority in Westworld, the OA and 13 Reasons Why
. Volume 18, Issue 1 May 2021 The Author is Dead, Long Live the Author: Negotiating textual authority in Westworld, The OA and 13 Reasons Why Itay Harlap, Sapir Academic College and Tel Aviv University, Israel Ariel Avissar, Tel Aviv University, Israel Abstract: This paper examines the ways in which television imagines the relationship between creators and audiences in the contemporary media landscape. This is developed through an examination of the inaugural seasons of three American television dramas that debuted between October 2016 and March 2017: Netflix’s The OA and 13 Reasons Why and HBO’s Westworld; all three series featured the character of a storyteller who was killed within the narrative, in what was presented as an act of collaboration between the storyteller and their audience. We will question whether new participatory modes of media engagement truly engender ‘the birth of the viewer’ through a symbolic ‘killing’ of the creator, or merely serve to reaffirm the authority of the creator, reimagining the author-function as a powerful marketing brand. Keywords: television, audience, fan audience, new media, textual analysis, critical media studies Introduction Over a period of six months in 2016-2017, three American television dramas debuted that featured the character of a storyteller who was killed within the narrative, in what was presented as an act of collaboration between the storyteller and their audience. In the case of The OA (2016-2019), this was the titular protagonist (a character portrayed by series co- creator, Brit Marling), who narrated her life story for a group of characters; on 13 Reasons Page 89 Volume 18, Issue 1 May 2021 Why (2017-2020), it was Hannah Baker (Katherine Langford), who narrated thirteen confessional cassette tape recordings made prior to her suicide; on Westworld (2017-), it was Robert Ford (Anthony Hopkins), founder and creative director of the ‘Westworld’ theme park, who orchestrated the park’s principal narrative. -
Digital Original Series
DIGITAL ORIGINAL SERIES Global Demand Report 2nd Quarter, 2017 Copyright © 2017 Parrot Analytics. All rights reserved. Digital Original Series — Global Demand Report | Q2, 2017 Executive Summary } Netflix once again dominates the world’s digital originals: } Some older titles found success in international markets: In 9 of the 10 markets, teen drama 13 Reasons Why was For example, in Turkey the Netflix sci-fi drama Black the most in-demand title this quarter. Mirror was the most popular digital original this quarter even though the show hasn’t released new episodes } This could well be the quarter of teen dramas: As well since October 2016. as 13 Reasons Why, breakout hit Skam from Norwegian platform NRK TV featured in the top 25 of 9 markets, } This quarter saw the cancellations of the highest profile despite the teen drama not being officially translated Netflix shows to date. Fans did not take the news well: from Norwegian. The social media backlash against the cancellation of Sense8 had a higher demand peak than the show’s } Critical acclaim and demand aligned for Hulu’s The Season 2 release in most markets. Handmaid’s Tale. The highly regarded show appeared in the top 5 in 4 markets. Top Digital Original Series in Q2 2017 13 Reasons Why Black Mirror United tates Turkey nited ingdom Singapore Gerany Canada Australia France Mexico Brazil 2 Copyright © 2017 Parrot Analytics. All rights reserved. Digital Original Series — Global Demand Report | Q2, 2017 Contents Introduction 4 Quarterly Events 5 Demand Trends for Digital Original Series by Market 7 Methodology 28 About Parrot Analytics 29 3 Copyright © 2017 Parrot Analytics. -
Racists on the Rampage
law SKINHEADenforcement specialS I reportN AMERICA RACISTS ON THE RAMPAGE INCLUDES: Racist Skinhead Movement History • Timeline • Glossary • Portraits • Symbols • Recent Developments SKINHEADA Publication of the SouthernS IN PovertyAMERICA Law Center RACISTS ON THE RAMPAGE Racist Skinhead Movement History • Timeline • Glossary Portraits • Symbols • Recent Developments a publication of the southern poverty law center KEVIN SCANLON SKINHEADS IN AMERICA Racist skinheads are one of the potentially most dangerous radical-right threats facing law enforcement today. The products of a frequently violent and criminal subculture, these men and women, typically imbued with neo-Nazi beliefs about Jews, blacks, ho- mosexuals and others, are also notoriously difficult to track. Organized into small, mo- bile “crews” or acting individually, skinheads tend to move around frequently and often without warning, even as they network and organize across regions. For law enforcement, this poses a particular problem — responding to crimes and even conspiracies crossing multiple jurisdictions. As these extremists extend their reach across the country, it is vital that law enforcement officers who deal with them become familiar with the activities of skinheads nationwide. What follows is a general essay on the history and nature of the skinhead movement, pre- pared with the needs of law enforcement officers in mind. After that, we reprint recent reports on the contemporary skinhead movement in America, including an overview of the latest developments, portraits of 10 particularly frightening leaders, and a gallery of insignias and tattoos commonly used by racist skinheads. This booklet was prepared by the staff of the Southern Poverty Law Center’s Intelligence Project, which tracks the American radical right and also publishes the investigative magazine Intelligence Report.