Revenge Season 4 Episode 3 Recap
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Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama
e Interdisciplinary Journal of Popular Culture and Pedagogy Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama Courtney Watson, Ph.D. Radford University Roanoke, Virginia, United States [email protected] ABSTRACT Cultural movements including #TimesUp and #MeToo have contributed momentum to the demand for and development of smart, justified female criminal characters in contemporary television drama. These women are representations of shifting power dynamics, and they possess agency as they channel their desires and fury into success, redemption, and revenge. Building on works including Gillian Flynn’s Gone Girl and Netflix’s Orange is the New Black, dramas produced since 2016—including The Handmaid’s Tale, Ozark, and Killing Eve—have featured the rise of women who use rule-breaking, rebellion, and crime to enact positive change. Keywords: #TimesUp, #MeToo, crime, television, drama, power, Margaret Atwood, revenge, Gone Girl, Orange is the New Black, The Handmaid’s Tale, Ozark, Killing Eve Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy 37 Watson From the recent popularity of the anti-heroine in novels and films like Gone Girl to the treatment of complicit women and crime-as-rebellion in Hulu’s adaptation of The Handmaid’s Tale to the cultural watershed moments of the #TimesUp and #MeToo movements, there has been a groundswell of support for women seeking justice both within and outside the law. Behavior that once may have been dismissed as madness or instability—Beyoncé laughing wildly while swinging a baseball bat in her revenge-fantasy music video “Hold Up” in the wake of Jay-Z’s indiscretions comes to mind—can be examined with new understanding. -
Master Thesis Betekenis Van Gender in De TV Serie Revenge
Master Thesis Betekenis van gender in de TV serie Revenge Naam: Nadia Benhaddou Studentnummer: 384488 Begeleider: Jacco van Sterkenburg Tweede lezer: Bernadette Kester Master Media Studies: Media en Cultuur Erasmus School of History, Culture and Communication Erasmus Universiteit Rotterdam Rotterdam, 9 Juli 2015 Voorwoord Toen ik een onderwerp moest bedenken voor mijn Master Thesis, wist ik meteen al dat ik iets met boeken of TV series wilde doen. Ik ben ook meteen afgegaan op de begeleiders die daar iets mee wilden doen. Helaas kon ik niet terecht bij mijn top 3 begeleiders met deze onderwerpen. Maar de grote optimist die ik ben, had ik er het volste vertrouwen in dat ik nog op tijd een begeleider zou krijgen, wat na een gesprek met Erik Hitters ook is gebeurd. Helaas kreeg ik drie dagen voor mijn eerste afspraak met mijn nieuwe begeleider te horen dat het niet meer zou lukken om mij te begeleiden, omdat hij onverwachts niet meer werkzaam was op de universiteit. Na weer een gesprek met Erik Hitters, had ik er nog steeds het volste vertrouwen in dat het goed zou komen. Helaas kwam de kerstvakantie steeds dichterbij en begon ik me toch enigszins zorgen te maken. En net in de week voor de vakantie had Erik Hitters een begeleider voor me gevonden; Jacco van Sterkenburg. Vanaf dat moment ging alles heel snel en moest ik meteen met een plan van aanpak komen. Daar heb ik heel mijn kerstvakantie aan besteed en het ergste dat je als student kan gebeuren overkomt me; mijn usb gaat kapot met daarop mijn gehele plan van aanpak. -
The Pathologising Effect of TV Revengendas
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2015 The bitter taste of payback: the pathologising effect of TV revengendas Cassandra E. Sharp University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Sharp, Cassandra E., "The bitter taste of payback: the pathologising effect of TV revengendas" (2015). Faculty of Law, Humanities and the Arts - Papers. 2422. https://ro.uow.edu.au/lhapapers/2422 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The bitter taste of payback: the pathologising effect of TV revengendas Abstract The thirst for vengeance is a timeless subject in popular entertainment. One need only think of Old Testament scripture; Shakespeare's Hamlet; Quentin Tarantino's Kill Bill or the TV series Revenge, and we immediately conjure up images of a protagonist striving to seek justice to avenge a heinous wrong committed against them. These texts, and others like it, speak to that which is ingrained in our human spirit about not only holding others responsible for their actions, but also about retaliation as payback. This article seeks to problematise the way the popular revenge narrative effectively constructs the vendetta as a guilty pleasure through which the audience can vicariously gain satisfaction, while at the same time perpetuates law's rhetoric that personal desires for vengeance are to be repressed and denied. -
Jastics Delays' Rsveüge
Jastics Delays’ Rsveüge- . ■ C il 1X1 a i - . : . "Г / с;. Justice Delays Revenge- The Spanish Tragedy and Revenge Tradition A Thesis Submitted to the Faculty of Letters and the Institute of Economics and Social Sciences of Bilkent University in Partial Fulfilment of the Requirements for the Degree of Master of Arts in English Language and Literature ta «4^^ by Erhan Kukner September, 1991 PR. Л.65'4 ' S63 è- 3079 We certify that we have read this thesis and that in our combined opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. Asst.Prof.Dr. Hamit Çalışkan (A d v i s o r ) L y ■'· Prof.Dr. Bülent Bozkurt (Committee Member) ' ^ 1 Dr. Laurence A. Raw Approved for the Institute of Economics and Social Sciences 1 1 Abstract Justice Delays Revenge- The Spanish Tragedy and Revenge Tradition Erhan Kükner M.A. In English Literature Advisor: Asst.Prof-Dr. Hamit Çalışkan September, 1991 The Spanish Tragedv. one of the best examples of English Renaissance drama, contributed towards the establishment of the revenge tragedy genre, which gained popularity in the years to come. Kyd in this play not only indicates that when the law is unjust, man will resort to revenge; but also demonstrates that a citizen should obey the ruler and regard revenge as a revolt against the state. Tl-is play tells the story of Hieronimo, who expects the murderer^ of his son to be punished. However, Hieronimo gradually discovers that the institutions of justice are useless and therefore takes revenge. -
The Understandings of Revenge Through Discussions with University Students
The understandings of revenge through discussions with University students Elise McKenna Honours Thesis in Legal Studies Murdoch University, 2016 Declaration: “I declare this thesis is my own account of my research and contains as its main content work which has not been previously submitted for a degree at any tertiary education institution” (Elise May McKenna) Abstract: The goal of this study was to examine how revenge is understood by a sample of university students using a grounded theory approach. Desires and acts of revenge were found to be more prevalent in interpersonal relationships than stranger to stranger. Revenge was also shown to be a behaviour made through a costs benefit analysis to the victim rather than an act of irrationality. In addition to this, the understanding and concepts of revenge by the students were at times to be influenced by how the media had portrayed it to them. Lastly, it was shown that acts of revenge were used in all different groups of victims and types of harms through indirect and direct behaviours. Acknowledgments: This research was initially supported by Dr Courtney Field and I would like to thank him for initiating my interest in the topic of revenge and providing me with his insight. I would also, however, like to express my sincere gratitude to my Supervisor- Associate Professor Guy Hall. Supervision for this thesis has been complicated and when I needed someone to step in he did not hesitate to take on this role. I am very grateful for the time, effort and encouragement Guy has provided me over this year and previous years. -
Russia and Turkey: a Cure for Schizophrenia
RUSSIA AND TURKEY: A CURE FOR SCHIZOPHRENIA DMITRI TRENIN Dmitri Trenin is a senior specialist at the Carnegie Moscow Centre. Russia’s present relations with Turkey can be best described as schizophrenic. On the one hand, the Turks and the Russians have never had such amicable contacts—and on such an order of magnitude— as since the collapse of the Soviet Union. Shuttling small-retail Russian traders have turned Istanbul into a major hub of their commercial operations, whose volume rivals the official commercial turnover between the two countries. Antalya, along with other seaside resorts on the Turkish Mediterranean, has replaced the Crimea as the favourite vacation address for those Russians who can afford to go on holiday. Turkish construction workers are literally giving a new look to Moscow by building new dazzling business headquarters for Russia’s new rich—or rebuilding the seats of political power, such as the State Duma or the once-shelled White House of the government. Thousands of Russian military officers who have returned from Germany and their family members are lucky to reside in modern living quarters built for them by Turkish workers—with Bonn’s money. In a word, the Russians and the Turks have never been intermingling and co-operating so closely, and for so much mutual advantage, in the economic sphere as in the last five or six years. The opposite side of the ledger is almost as disturbing as the first one is encouraging. With the end of the Cold War, the scene appears to be set for a revival of the 400-year-old competition, and even for an advent of something which heretofore had been a marginal factor, namely, a clash of civilisations, Christian Orthodox and Moslem, with Russia and Turkey more or less assigned the mission of chefs de file for the respective sides. -
A Family. Murder. Revenge. the Mob. Bad Blood Was a Canadian Mafia Tale Waiting to Be Told
A Family. Murder. Revenge. The Mob. Bad Blood was a Canadian mafia tale waiting to be told. How writers Michael Konyves and Simon Barry turned the epic true crime story into a hit series. By Matthew Hays It’s not every day that a writer wakes up to learn that Snoop Dogg has tweeted high praise for their show. Bad Blood scribe Michael Konyves says he’ll never forget it. “I couldn’t quite believe it,” he recalls, sounding like he might still be in shock. “We were certainly glad for the additional attention it brought the show.” That social media hit led to more attention for Bad Blood, the series about Montreal’s legendary Rizzuto Family and the evolution of the city’s 1990s mob scene, with all its associated assassinations and incarcerations. The show, currently in its second season, has proven to be a slow burn, launching in 2017 on Citytv in Canada and FX in the U.S. to solid reviews and respectable numbers. The Toronto Star’s Tony Wong even went as far as to liken it to Cardinal and The Sopranos. That’s definitely not shabby company to keep, but it wasn’t until Netflix began streaming it last December that Bad Blood started gaining real momentum — the aforementioned Snoop Dogg-attracting momentum, to be exact. Simon Barry knew the Rizzuto Family story was meant for the screen when production company New Metric Media approached him with the idea. It had purchased the rights to the acclaimed book Business or Blood: Mafia Boss Vito Rizzuto’s Last War, penned by journalists Antonio Nicaso and Peter Edwards. -
Shakespeare and Poetry Pre-1900: Candidate Style Answers
AS LEVEL Candidate Style Answers with commentary H072 ENGLISH LITERATURE H072/01 Shakespeare and poetry pre-1900 December 2015 AS LEVEL ENGLISH LITERATURE CANDIDATE STYLE ANSWERS WITH COMMENTARY CONTENTS INTRODUCTION 3 SECTION 1 QUESTION 1(A) 4 QUESTION 1(B) 6 QUESTION 2(A) 8 QUESTION 2(B) 11 QUESTION 3(A) 14 QUESTION 3(B) 17 QUESTION 4(A) 19 QUESTION 4(B) 21 QUESTION 5(A) 23 QUESTION 5(B) 25 QUESTION 6(A) 28 QUESTION 6(B) 32 SECTION 2 QUESTION 7 36 QUESTION 8 39 QUESTION 9 43 QUESTION 10 46 QUESTION 11 48 We’d like to know your view on the resources we produce. By clicking on the ‘Like’ or ‘Dislike’ button you can help us to ensure that our resources work for you. When the email template pops up please add additional comments if you wish and then just click ‘Send’. Thank you. If you do not currently offer this OCR qualification but would like to do so, please complete the Expression of Interest Form which can be found here: www.ocr.org.uk/expression-of-interest OCR Resources: the small print OCR’s resources are provided to support the teaching of OCR specifications, but in no way constitute an endorsed teaching method that is required by the Board and the decision to use them lies with the individual teacher. Whilst every effort is made to ensure the accuracy of the content, OCR cannot be held responsible for any errors or omissions within these resources. © OCR 2015 – This resource may be freely copied and distributed, as long as the OCR logo and this message remain intact and OCR is acknowledged as the originator of this work. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Living Small Is the Best Revenge
Living Small Is the Best Revenge Despite less-than-rhapsodic memories of miniaturized apartment living, the married ar- chitects Mimi Hoang and Eric Bunge designed the winner of the adAPT micro-unit com- petition sponsored by the New York City Housing and Preservation Department and endorsed by Mayor Michael R. Bloomberg. Their entry, “My Micro NY,” features 55 prefabricated apartments, of 360 square feet or less, stacked in a 10-story building on East 27th Street in Kips Bay. The building does not stint on amenities, providing a common terrace, a laundry room and a bike room. The couple’s firm, nArchitects, is based in a Dumbo loft, and they live in a Carroll Gar- dens town house, but for the competition they drew on their cohabitation in a tenement in Lower Manhattan. The mission was to seize an opportunity to render a tight space habitable and, if possi- ble, aesthetically pleasing. “At first blush we weren’t so sure about entering,” Mr. Bunge said, “because we felt people should have more space than this. But that was before we understood that the alternatives out there are far worse. There are people living together in substandard apartments all over the city who would prefer to live alone but can’t afford to. So we said, ‘Wait a minute, let’s make a humane small space where people would want to live.’ ” The architects say the design is flexible and transferable to virtually any neighborhood or borough. “This is a pilot program, and it doesn’t mean micro-units are going to be sprouting everywhere,” Ms. -
Poison and Revenge in Seventeenth Century English Drama
"Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Woodring, Catherine. 2015. "Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463987 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama A dissertation presented by Catherine L. Reedy Woodring to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of English Harvard University Cambridge, Massachusetts May 2015 © 2015 – Catherine L. Reedy Woodring All rights reserved. Professor Stephen Greenblatt Catherine L. Reedy Woodring “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama Abstract The revenge- and poison- filled tragedies of seventeenth century England astound audiences with their language of contagion and disease. Understanding poison as the force behind epidemic disease, this dissertation considers the often-overlooked connections between stage revenge and poison. Poison was not only a material substance bought from a foreign market. It was the subject of countless revisions and debates in early modern England. Above all, writers argued about poison’s role in the most harrowing epidemic disease of the period, the pestilence, as both the cause and possible cure of this seemingly contagious disease. -
Predictors of Faculty Trust in Flfmfntary Schools: Enabling Bureaucracy, Teacher Professionalism, and Academic Press
PREDICTORS OF FACULTY TRUST IN FLFMFNTARY SCHOOLS: ENABLING BUREAUCRACY, TEACHER PROFESSIONALISM, AND ACADEMIC PRESS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jeffrey R. Geist, M.A. ***** The Ohio State University 2002 Approved by Dissertation Committee: Professor Wayne K. Hoy, Adviser Adviser College of Education Professor John Blackburn Professor Scott R. Sweetland Professor Franklin B. Walter UMI Number: 3081919 Copyright 2002 by Geist, Jeffrey Robert All rights reserved. UMI UMI Microform 3081919 Copyright 2003 by ProQuest information and Learning Company. Aii rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright by Jejfrey R. Geist 2002 ABSTRACT Previous research has suggested that trust in schools facilitates collaboration, school health, elementary student achievement, and school effectiveness. The purpose of this study was to investigate predictors of faculty trust in the principal, in colleagues, and in clients (students and parents). Moreover, it was hypothesized that because of a "trust spillover" phenomenon, each of the aspects of faculty trust would be moderately correlated with one another. The sample was composed 146 elementary schools in Ohio. Although data were collected from 4,069 teachers, the unit of analysis was the school. First, factor analysis confirmed the factor structure and construct validity of the trust scales. Then all of the hypotheses were confirmed. Enabling bureaucracy (structure) was positively related with and the best predictor of faculty trust in the principal; teacher professional behavior was positively related with and the best predictor of faculty trust in colleagues; and academic emphasis was positively associated with and the best predictor of faculty trust in clients.