The Blacklist Season 1 Episode 10 Imdb
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2015-16 Fresh Voices Screenplay Competition Quarter Finalists
2015-16 Fresh Voices Screenplay Competition Quarter Finalists Action 5,000 Feet (Lucy In The Sky) Francis Barel Action Across The Rainbow Bridge Richard Wilson Action Africa As You Like It KT Parker Action Ana's Orlov Bradford Walton Action Bang, Baby, Bang Gareth Bennett Action Big Fire Daniel Judson Action Black Ice Below Peter Fraser Action D.T. Ken Comer Action Do Or Die John Arvai Action Endure Zack Pesata Action Escape From Kobani John Cooker Action Generation Hero Robby Pitts Harlan Flynn and the Final Flight of Mao's Action Ark Adrian C Catarzi Action Hybrids Joey Ernand Action Insurance Philip Curry Action Ironclad J. Alan Hostetter Action M Aaron Yarber Action Manly Guys Club David Vendrell Action Mink Eyes Dan Flanigan Action My Dear Enemy Nono Tamura Action My Dear Enemy Tasha Hardy Action Nine Scars Kelly Crawford Action Old Boxer Steve Boergadine Action Pink Sean Joyce Action POTUS Anthony Moore Action Psychic Warriors John Alardi Action Robot Zombie Killers From Outer Space Carl Heron Action Robot Zombie Killers From Outer Space Jayne Collett Action Robyn Hood: Galaxy of Thieves Deidree Havrelock Action Saving Christmas Kent Eichbauer Action Shadow of the Needle Robert Shill Action Skilled to Kill Paul Myerberg Action Sky Thief Jamie Barthol Action Steamboat A Comin'! Matthew Zaal Action Stillwater Christopher Schultz Action The Aviatrix Stephen Kelly Action The Beautiful Game Mark Stogo Action The Bella-Donna Anthony Leone Action The Enemy Within Debbi Mack Action The Father, The Son, and the Holy Ghost Tim Bogg Action -
THE BLACKLIST Written by Jon Bokenkamp December 28, 2012
THE BLACKLIST Written by Jon Bokenkamp December 28, 2012 TEASER We hear RESTLESS VOICES. Screaming children. The swell of a hundred fighting languages tells us we’re stuck in line at... INT. U.S. CUSTOMS - DAY The place is packed. Smells like travel. Among this dizzy mob, one very composed American commands our attention. He approaches the window and opens his passport -- -- Meet RAYMOND “RED” REDDINGTON (55). Dignified. Worldly. He wears a perfectly tailored suit and carries himself with a sense of purpose. CUSTOMS AGENT Where you been, sir? RED Singapore. Business. CUSTOMS AGENT And where we headed? RED Home. Red smiles. His confidence is magnetic. As the agent STAMPS his passport, Mel Torme’s driving “Comin’ Home Baby” sends us hurtling through: EXT. WASHINGTON, D.C. - DAY We dance through the capitol city. The National Mall. The Lincoln Memorial. The pace is energetic and bright as -- -- Red is chauffeured through the city by A MAN IN A GREY FLANNEL SUIT. Passing monuments reflect in the glass of his limo as Red rolls down the window, drinks in his hometown. ON PENNSYLVANIA AVENUE... Red steps from the car. Finds himself standing in the shadow of a daunting concrete structure. He looks up, delighted to see the words etched in the facade: J. Edgar Hoover Building. INSIDE F.B.I. HEADQUARTERS... Red strides through the lobby with purpose. He’s been here before. Belongs here. Finds his way to a FEMALE GUARD at the security desk. RED Good afternoon. I’m here to see Assistant Director Harold Cooper. 2. GUARD Do you have an appointment? RED Tell him it’s Raymond Reddington. -
PDF Download a Skeleton Key to Twin Peaks
A SKELETON KEY TO TWIN PEAKS : ONE EXPERIENCE OF THE RETURN PDF, EPUB, EBOOK JB Minton | 422 pages | 28 Dec 2020 | Follow My Bliss Publishing | 9781732639119 | English | none A Skeleton Key To Twin Peaks : One Experience Of The Return PDF Book Powered by SailThru. Charlie 4 episodes, Carel Struycken Your country's customs office can offer more details, or visit eBay's page on international trade. Watch What Crappens. Opens image gallery Image not available Photos not available for this variation. Tommy 1 episode, Customer Reviews See All. Doctor Ben 1 episode, Thanks for telling us about the problem. Tom Paige 1 episode, Sophie 1 episode, When John and I sat down to start planning this new podcast, in which we will discuss themes of Twin Peaks The Return, he and I agreed on this theme for Episode 1 immediately. David Lynch has been accused for decades of sexism and even misogyny in his work, due largely to frequent depictions of violence against women. Farmer 1 episode, Travis Hammer Red's bodyguard uncredited unknown episodes. Trouble 1 episode, Alex Reyme Charlie 4 episodes, Keep Phoenix New Times Free However, I will not deny the author the right to have whatever theory he likes and I praise him for his excellent deductive skills, keen eye, and ability to forge connections I never thought of. Rebekah Del Rio 1 episode, The Red Room Podcast. The Veils 1 episode, This role is one she cannot escape, one with which she will forever be identified. You can help by participating in our "I Support" membership program, allowing us to keep covering Phoenix with no paywalls. -
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. -
Twin Peaks #1.003
TWIN PEAKS #1.003 by Harley Peyton FIRST DRAFT: September 26, 1989 REVISIONS: October 3, 1989 Converted to PDF by Andre for PDFSCREENPLAYS.NET ACT ONE FADE IN: EXT. GREAT NORTHERN HOTEL - DAY Morning breaks over the stately hotel. CUT TO: INT. GREAT NORTHERN DINING ROOM - DAY DALE COOPER, at the corner table, takes a sip of coffee and orders breakfast from waitress TRUDY. COOPER Shortstack of griddlecakes, maple syrup, lightly heated and a slice of ham. Nothing beats the taste of maple syrup when it collides with ham. TRUDY Griddlecakes, side a' ham. Warmup? Cooper nods appreciatively. Trudy refills his cup, exits. Cooper takes a sip, nearly hums with approval. Then looks up to find AUDREY HORNE standing before him. Audrey smiles, beautiful, rubs a little sleep out of her eyes. AUDREY Good morning, Colonel Cooper. COOPER Just Agent, Audrey. Special Agent. AUDREY (caressing the words) Special Agent. COOPER Please. Sit down. AUDREY (unsure) I'm in a hurry. COOPER For what? She doesn't know what to say or do. So she offers a nervous shrug instead. 2. COOPER (CONT'D) Audrey, that perfume you're wearing is incredible. AUDREY Do you really think so? Cooper takes a pen from his pocket, hands it to her with a napkin. COOPER Write your name down for me. AUDREY (eager) Okay. She takes the pen and writes carefully, hands it back to Cooper. He looks at it. COOPER Audrey, there's something you'd like to tell me. AUDREY (blushing) There is? Beat. All she wants is to be close to him. -
An Open Letter to President Biden and Vice President Harris
An Open Letter to President Biden and Vice President Harris Dear President Biden and Vice President Harris, We, the undersigned, are writing to urge your administration to reconsider the United States Army Corps of Engineers’ use of Nationwide Permit 12 (NWP12) to construct large fossil fuel pipelines. In Memphis, Tennessee, this “fast-tracked” permitting process has given the green light to the Byhalia pipeline, despite the process wholly ignoring significant environmental justice issues and the threat the project potentially poses to a local aquifer which provides drinking water to one million people. The pipeline route cuts through a resilient, low-wealth Black community, which has already been burdened by seventeen toxic release inventory facilities. The community suffers cancer rates four times higher than the national average. Subjecting this Black community to the possible health effects of more environmental degradation is wrong. Because your administration has prioritized the creation of environmental justice, we knew knowledge of this project would resonate with you. The pipeline would also cross through a municipal well field that provides the communities drinking water. To add insult to injury, this area poses the highest seismic hazard in the Southeastern United States. The Corps purports to have satisfied all public participation obligations for use of NWP 12 on the Byhalia pipeline in 2016 – years before the pipeline was proposed. We must provide forums where communities in the path of industrial projects across the country can be heard. Neighborhoods like Boxtown and Westwood in Memphis have a right to participate in the creation of their own destinies and should never be ignored. -
Serial Historiography: Literature, Narrative History, and the Anxiety of Truth
SERIAL HISTORIOGRAPHY: LITERATURE, NARRATIVE HISTORY, AND THE ANXIETY OF TRUTH James Benjamin Bolling A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2016 Approved by: Minrose Gwin Jennifer Ho Megan Matchinske John McGowan Timothy Marr ©2016 James Benjamin Bolling ALL RIGHTS RESERVED ii ABSTRACT Ben Bolling: Serial Historiography: Literature, Narrative History, and the Anxiety of Truth (Under the direction of Megan Matchinske) Dismissing history’s truths, Hayden White provocatively asserts that there is an “inexpugnable relativity” in every representation of the past. In the current dialogue between literary scholars and historical empiricists, postmodern theorists assert that narrative is enclosed, moribund, and impermeable to the fluid demands of history. My critical intervention frames history as a recursive, performative process through historical and critical analysis of the narrative function of seriality. Seriality, through the material distribution of texts in discrete components, gives rise to a constellation of entimed narrative strategies that provide a template for human experience. I argue that serial form is both fundamental to the project of history and intrinsically subjective. Rather than foreclosing the historiographic relevance of storytelling, my reading of serials from comic books to the fiction of William Faulkner foregrounds the possibilities of narrative to remain open, contingent, and responsive to the potential fortuities of historiography. In the post-9/11 literary and historical landscape, conceiving historiography as a serialized, performative enterprise controverts prevailing models of hermeneutic suspicion that dominate both literary and historiographic skepticism of narrative truth claims and revives an ethics responsive to the raucous demands of the past. -
Twin Peaks’ New Mode of Storytelling
ARTICLES PROPHETIC VISIONS, QUALITY SERIALS: TWIN PEAKS’ NEW MODE OF STORYTELLING MIKHAIL L. SKOPTSOV ABSTRACT Following the April 1990 debut of Twin Peaks on ABC, the TV’, while disguising instances of authorial manipulation evi- vision - a sequence of images that relates information of the dent within the texts as products of divine internal causality. narrative future or past – has become a staple of numerous As a result, all narrative events, no matter how coincidental or network, basic cable and premium cable serials, including inconsequential, become part of a grand design. Close exam- Buffy the Vampire Slayer(WB) , Battlestar Galactica (SyFy) and ination of Twin Peaks and Carnivàle will demonstrate how the Game of Thrones (HBO). This paper argues that Peaks in effect mode operates, why it is popular among modern storytellers had introduced a mode of storytelling called “visio-narrative,” and how it can elevate a show’s cultural status. which draws on ancient epic poetry by focusing on main char- acters that receive knowledge from enigmatic, god-like figures that control his world. Their visions disrupt linear storytelling, KEYWORDS allowing a series to embrace the formal aspects of the me- dium and create the impression that its disparate episodes Quality television; Carnivale; Twin Peaks; vision; coincidence, constitute a singular whole. This helps them qualify as ‘quality destiny. 39 SERIES VOLUME I, SPRING 2015: 39-50 DOI 10.6092/issn.2421-454X/5113 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X ARTICLES > MIKHAIL L. SKOPTSOV PROPHETIC VISIONS, QUALITY SERIALS: TWIN PEAKS’ NEW MODE OF STORYTELLING By the standards of traditional detective fiction, which ne- herself and possibly The Log Lady, are visionaries as well. -
Episode 9 - Transcript
Episode 9 - Transcript I’m Gustav Söderström. I head up product, engineering, data and design for Spotify. And this is the season finale of Spotify: A Product Story. On this show, we’ve brought you the untold stories behind Spotify’s biggest product launches -- from building a full-stack solution that let us stream audio faster than ever before: Daniel Ek: Already from day one, the ambition was always to revolutionize the music industry. It was never about being a so, so start up. To inventing, and then re-inventing, our entire business model just in time for the smartphone revolution: Petra Hansson: The access model and subscription, I think that scared the music rights holders a little bit. To entering the realm of hardware, and upending some conventions along the way: Nicole Burrow: You have to just stay focused on the end user. Like, for them it's about getting what they're playing from their device to their speaker. It's just important that the experience remains consistent for them. To pioneering the machine-learning that helps you find your next favorite song: Ajay Kalia: We were seeing like a 100 percent increase, like 2x increase. Like I've never seen numbers that high in a first test in Spotify and probably never will again. In retrospect, these decisions often look obvious. But that’s only because they worked -- you might know this as “survivor bias”. But in the moment, they are absolutely not obvious -- at all. And that’s really what this episode is about. Because on today’s show, we’re going to talk about what we’re up to right now. -
TODD BECKETT Re-Recording Mixer
TODD BECKETT Re-Recording Mixer RE-RECORDING MIXER | SELECT TELEVISION CREDITS & AWARDS ARROW Greg Berlanti WBTV BATWOMAN Caroline Dries WBTV CATCH 22 Luke Davies/David Michod Paramount Television INSATIABLE Lauren Gussis CBS Television Studios Gary Dauberman/Mark SWAMP THING DC Universe Verheiden THE RED LINE Caitlin Parrish/Erica Weiss WBTV Alec Berg/Bill Hader HBO BARRY (2018) (2019) SILICON VALLEY John Altschuler/Dave HBO Krinsky (2015-18) (2018) (2016, 17, 19) Bryan Cranston/David SNEAKY PETE Amazon Studios Shore ELECTRIC DREAMS Ronald D. Moore Amazon Studios THE BLACKLIST Jon Bokenkamp Universal Television THE BLACKLIST: REDEMPTION Jon Bokenkamp Universal Television MANHATTAN Sam Shaw WGN America THE BRINK Kim & Roberto Benabib HBO Karl Gajdusek/Shawn LAST RESORT Sony Pictures Television Ryan PAN AM Nancy Hult Ganis Sony Pictures Television NO ORDINARY FAMILY Greg Berlanti ABC Studios Todd Slavkin/Darren MELROSE PLACE CBS Television Studios Swimmer FRIDAY NIGHT LIGHTS Peter Berg NBC Universal Television RE-RECORDING MIXER | SELECT FEATURE FILM CREDITS & AWARDS Dario Piana Thunder Road Pictures LOST BOYS: THE THIRST MOTHER'S DAY Darren Lynn Bousman Sierra / Affinity PIRAHNA 3D Alexandre Aja Dimension Films CRAZY HEART Scott Cooper Fox Searchlight Pictures Warner Bros. Post Production Creative Services | 4000 Warner Blvd. | Burbank, CA 91522 | 818.954.5305 Award Key: W for Win | N for Nominated OSCAR | BAFTA | EMMY | MPSE | CAS JENNIFER'S BODY Karyn Kusama Fox Atomic THE ROAD John Hillcoat Dimension Films PUSH Paul McGuigan Summit Entertainment THE LODGER David Ondaatje Stage 6 Films BANGKOK DANGEROUS The Pang Brothers Initial Entertainment Group OUTLANDER Howard McCain The Weinstein Company ELEGY Isabel Coixet Lakeshore Entertainment Brian De Palma HDNet Films REDACTED THE BLACK DAHLIA Brian De Palma Universal Pictures SILENT HILL Christophe Gans TriStar Pictures LUCKY NUMBER SLEVIN Paul McGuigan The Weinstein Company LAND OF THE DEAD George A. -
Observations
Part I: Observations IFS DOCUMENTATION – Cy41r1 Operational implementation 12 May 2015 PART I: OBSERVATIONS Table of contents Chapter 1 Observation operators Chapter 2 Observation processing Chapter 3 Observation screening References c Copyright 2015 European Centre for Medium-Range Weather Forecasts Shinfield Park, Reading, RG2 9AX, England Literary and scientific copyrights belong to ECMWF and are reserved in all countries. This publication is not to be reprinted or translated in whole or in part without the written permission of the Director. Appropriate non-commercial use will normally be granted under the condition that reference is made to ECMWF. The information within this publication is given in good faith and considered to be true, but ECMWF accepts no liability for error, omission and for loss or damage arising from its use. IFS Documentation – Cy41r1 1 Part I: Observations Chapter 1 Observation operators Table of contents 1.1 Introduction 1.1.1 Data selection controls, and the interface to the blacklist 1.1.2 Variable numbers and association with observation operators 1.1.3 Organization in observation sets 1.1.4 Generic parts of the observation operator 1.2 Observation operators – general 1.3 The observation operator for conventional data 1.3.1 Geopotential height 1.3.2 Wind 1.3.3 Humidity 1.3.4 Temperature 1.4 Satellite radiance operators 1.4.1 Common aspects for the setup of nadir radiance assimilation 1.4.2 Clear-sky nadir radiances and overcast infrared nadir radiances 1.4.3 All-sky nadir radiances 1.4.4 Cloud affected infrared radiances 1.4.5 Clear-sky limb radiances 1.5 Other satellite observation operators 1.5.1 Atmospheric Motion Vectors 1.5.2 Thicknesses 1.5.3 Gas retrievals 1.5.4 Scatterometer winds 1.5.5 GPS Radio Occultation bending angles 1.6 Surface observation operators 1.6.1 Vertical interpolation 1.6.2 Surface values of dry static energy 1.6.3 Transfer coefficients 1.6.4 Two-metre relative humidity 1.1 INTRODUCTION The observation operators provide the link between the analysis variables and the observations (Lorenc, 1986; Pailleux, 1990). -
MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe.