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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; -
The Life and Afterlife of Photography in the Wire Paul M
Access Provided by University of Michigan @ Ann Arbor at 07/25/11 2:21PM GMT The LaST RITeS oF D’aNgeLo BaRkSDaLe: The LIFe aND aFTeRLIFe oF PhoTogRaPhy IN The Wire Paul M. Farber i can never see or see again in a film certain actors whom i know to be dead without a kind of melancholy: the melancholy of Photography itself. —roland Barthes, Camera Lucida1 Somebody snapping pictures, they got the whole damn thing. —D’Angelo Barksdale, The Wire2 I In a 2005 public forum celebrating The Wire hosted by the Museum of Television & Radio, major figures from the production team and cast gathered to discuss the series and its impact. Cocreators David Simon and ed Burns, among others, fielded questions from critick en Tucker before taking inquiries from the audience. one woman, who introduced herself as a criminal attorney, credited the show’s many on-screen and offscreen contributors for their “realistic” elaboration of the investigation process. In the world of The Wire, a criminal investigation offers the narrative frame for each season. But, as a caveat to her praise, she offered one tar- geted counterpoint, a moment in the series in which histrionics seemed to trump authenticity. She highlighted a scene occurring toward the end of the first season, a breakthrough in the series’ first sustained case involving the Barksdale drug ring. In this episode, police investigators and a state attorney attempt to turn D’angelo Barksdale, wayward nephew of king- pin avon Barksdale, toward testifying against his uncle’s syndicate. Throughout the season, as the Barksdales became wary of the case against Criticism, Summer & Fall 2010, Vol. -
Televisionweek Local Listing for the Week of August 29-September 4, 2015
PRESS & DAKOTAN n FRIDAY, AUGUST 28, 2015 PAGE 9B TelevisionWeek Local Listing For The Week Of August 29-September 4, 2015 SATURDAY PRIMETIME/LATE NIGHT AUGUST 29, 2015 3:00 3:30 4:00 4:30 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 12:00 12:30 1:00 1:30 BROADCAST STATIONS America’s Victory Prairie America’s Classic Gospel “At- The Lawrence Welk Doc Martin “The Keeping As Time Father Brown Violet No Cover, No Mini- Austin City Limits Front and Center Brit- Globe Trekker Influ- PBS Test Garden’s Yard and Heartlnd lanta Homecoming” Show “You’re Never Admirer” Louisa has a Up Goes hopes to prove her in- mum “Jami Lynn” The Avett Brothers and ish songwriter Richard ence of Sicilian cuisine. KUSD ^ 8 ^ Kitchen Garden Inspirational songs. Too Young” rival. Å By Å nocence. Å Nickel Creek. Thompson. (In Stereo) KTIV $ 4 $ Horse Racing Estate News News 4 Insider American Ninja Warrior “Military Finals” Hannibal (In Stereo) News 4 Saturday Night Live Å Extra (N) Å 1st Look House Horse Racing Travers Stakes and Sword Paid Pro- NBC KDLT The Big American Ninja Warrior “Military Finals” Hannibal Will hopes to KDLT Saturday Night Live Taraji P. The Simp- NBC Pri- KDLT (Off Air) NBC Dancer Invitational. From Saratoga Race gram Nightly News Bang Obstacles include Doorknob Arch. (In Stereo) slay Francis Dolarhyde. News Henson; Mumford & Sons. (In sons metime News Å KDLT % 5 % Course in Saratoga Springs, N.Y. -
Faculty Senate Newsletter, October 2015 Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons Newsletter Faculty Senate 10-2015 Faculty Senate Newsletter, October 2015 Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: http://digitalcommons.lsu.edu/senate-pubs Recommended Citation Louisiana State University and Agricultural & Mechanical College, "Faculty Senate Newsletter, October 2015" (2015). Newsletter. Paper 44. http://digitalcommons.lsu.edu/senate-pubs/44 This Article is brought to you for free and open access by the Faculty Senate at LSU Digital Commons. It has been accepted for inclusion in Newsletter by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. Volume 7, Issue 2 October 31, 2015 TABLE OF CONTENTS President’s Column………………………………………………………1 Unanimity or the appearance thereof is often a symptom of error. Unanimity or Higher Education Headliner ……………………………………………2 its various affiliates—commitment; team spirit; the embrace of a corporate culture— Retirement Lawsuit Progress: Group Benefits Drug Plan Warning usually emerge from uncertainty, as happens when players are asked to commit to Alarms Retirees; Ag Center Offers Retirement Incentive; Retirement a plan in order to win a hard game or when ambitious beginners avoid questioning Activists Moreland Releases Devastating Bar Graph…….………….3 their superiors lest they seem out of sync with purportedly shared strategies or LSUA Faculty Senate Considers Call for Raise; Attention Admin- istrations: Honesty Has a Cash Value; -
The One Who Knocks: the Hero As Villain in Contemporary Televised Narra�Ves
The One Who Knocks: The Hero as Villain in Contemporary Televised Narra�ves Maria João Brasão Marques The One Who Knocks: The Hero as Villain in Contemporary Televised Narratives Maria João Brasão Marques 3 Editora online em acesso aberto ESTC edições, criada em dezembro de 2016, é a editora académica da Escola Superior de Teatro e Cinema, destinada a publicar, a convite, textos e outros trabalhos produzidos, em primeiro lugar, pelos seus professores, investigadores e alunos, mas também por autores próximos da Escola. A editora promove a edição online de ensaio e ficção. Editor responsável: João Maria Mendes Conselho Editorial: Álvaro Correia, David Antunes, Eugénia Vasques, José Bogalheiro, Luca Aprea, Manuela Viegas, Marta Mendes e Vítor Gonçalves Articulação com as edições da Biblioteca da ESTC: Luísa Marques, bibliotecária. Editor executivo: Roger Madureira, Gabinete de Comunicação e Imagem da ESTC. Secretariado executivo: Rute Fialho. Avenida Marquês de Pombal, 22-B 2700-571 Amadora PORTUGAL Tel.: (+351) 214 989 400 Telm.: (+351) 965 912 370 · (+351) 910 510 304 Fax: (+351) 214 989 401 Endereço eletrónico: [email protected] Título: The One Who Knocks: The Hero as Villain in Contemporary Televised Narratives Autor: Maria João Brasão Marques Série: Ensaio ISBN: 978-972-9370-27-4 Citações do texto: MARQUES, Maria João Brasão (2016), The one who knocks: the hero as villain in contemporary televised narratives, Amadora, ESTC Edições, disponível em <www.estc.ipl.pt>. This work is licensed under a Creative Commons Attribution-NonCommercial-No Derivatives 4.0 International License. https://wiki.creativecommons.org/wiki/CC_Affiliate_Network O conteúdo desta obra está protegido por Lei. -
Why Every Show Needs to Be More Like the Wire (“Not Just the Facts, Ma’Am”)
DIALOGUE WHY EVERY SHOW NEEDS TO BE MORE LIKE THE WIRE (“NOT JUST THE FACTS, MA’AM”) NEIL LANDAU University of California, Los Angeles (UCLA) The Wire (HBO, 2002-2008) upends the traditional po- ed the cop-drama universe. It was a pioneering season-long lice procedural by moving past basic plot points and “twists” procedural. Here are my top 10 reasons why Every Show in the case, diving deep into the lives of both the cops and Needs to Be More Like The Wire. the criminals they pursue. It comments on today’s America, employing characters who defy stereotype. In the words of — creator David Simon: 1. “THIS AMERICA, MAN” The grand theme here is nothing less than a nation- al existentialism: It is a police story set amid the As David Simon explains: dysfunction and indifference of an urban depart- ment—one that has failed to come to terms with In the first story arc, the episodes begin what the permanent nature of urban drug culture, one would seem to be the straightforward, albeit pro- in which thinking cops, and thinking street players, tracted, pursuit of a violent drug crew that controls must make their way independent of simple expla- a high-rise housing project. But within a brief span nations (Simon 2000: 2). of time, the officers who undertake the pursuit are forced to acknowledge truths about their de- Given the current political climate in the US and interna- partment, their role, the drug war and the city as tionally, it is timely to revisit the The Wire and how it expand- a whole. -
Accepted Manuscript Version
Research Archive Citation for published version: Kim Akass, and Janet McCabe, ‘HBO and the Aristocracy of Contemporary TV Culture: affiliations and legitimatising television culture, post-2007’, Mise au Point, Vol. 10, 2018. DOI: Link to published article in journal's website Document Version: This is the Accepted Manuscript version. The version in the University of Hertfordshire Research Archive may differ from the final published version. Copyright and Reuse: This manuscript version is made available under the terms of the Creative Commons Attribution-NonCommercial- NoDerivatives License CC BY NC-ND 4.0 ( http://creativecommons.org/licenses/by-nc-nd/4.0/ ), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. Enquiries If you believe this document infringes copyright, please contact Research & Scholarly Communications at [email protected] 1 HBO and the Aristocracy of TV Culture : affiliations and legitimatising television culture, post-2007 Kim Akass and Janet McCabe In its institutional pledge, as Jeff Bewkes, former-CEO of HBO put it, to ‘produce bold, really distinctive television’ (quoted in LaBarre 90), the premiere US, pay- TV cable company HBO has done more than most to define what ‘original programming’ might mean and look like in the contemporary TV age of international television flow, global media trends and filiations. In this article we will explore how HBO came to legitimatise a contemporary television culture through producing distinct divisions ad infinitum, framed as being rooted outside mainstream commercial television production. In creating incessant divisions in genre, authorship and aesthetics, HBO incorporates artistic norms and principles of evaluation and puts them into circulation as a succession of oppositions— oppositions that we will explore throughout this paper. -
As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
THE WIRE & the MYTHOLOGY of the WESTERN a Thesis Submitted
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive THE WIRE & THE MYTHOLOGY OF THE WESTERN A Thesis submitted to the College of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts In the Department of English University of Saskatchewan Saskatoon By KELSEY TOPOLA © Copyright Kelsey Topola, December, 2013. All rights reserved. PERMISSION TO USE In presenting this thesis/dissertation in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis/ dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis/dissertation work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis/dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis/dissertation. DISCLAIMER Reference in this thesis/dissertation to any specific commercial products, process, or service by trade name, trademark, manufacturer, or otherwise, does not constitute or imply its endorsement, recommendation, or favoring by the University of Saskatchewan. -
OSLO Casting Announcement
MICHAEL ARONOV, ADAM DANNHEISSER, JENNIFER EHLE, DANIEL JENKINS, DARIUSH KASHANI, JEFFERSON MAYS, DANIEL ORESKES, HENNY RUSSELL, JOSEPH SIRAVO, T. RYDER SMITH TO BE FEATURED IN THE LINCOLN CENTER THEATER PRODUCTION OF “OSLO” a new play by J.T. ROGERS directed by BARTLETT SHER PREVIEWS BEGIN THURSDAY, JUNE 16 OPENING NIGHT IS MONDAY, JULY 11 AT THE MITZI E. NEWHOUSE THEATER Lincoln Center Theater (under the direction of André Bishop) has announced that Michael Aronov, Adam Dannheisser, Jennifer Ehle, Daniel Jenkins, Dariush Kashani, Jefferson Mays, Daniel Oreskes, Henny Russell, Joseph Siravo, and T. Ryder Smith will be featured in the cast of its upcoming production of OSLO, a new play by J.T. Rogers, directed by Bartlett Sher. Commissioned by Lincoln Center Theater, OSLO begins performances Thursday, June 16 and will open Monday, July 11 at the Mitzi E. Newhouse Theater (150 West 65 Street). Additional casting will be announced at a later date. It’s 1993. The world watches the impossible: Israeli Prime Minister Yitzhak Rabin and Palestinian Liberation Organization Chairman Yasser Arafat, standing together in the White House Rose Garden, signing the first ever peace agreement between Israel and the PLO. How were the negotiations kept secret? Why were they held in a castle in the middle of Norway? And who are these mysterious negotiators? A darkly comic epic, OSLO tells the true, but until now, untold story of how one young couple, Norwegian diplomat Mona Juul (to be played by Jennifer Ehle) and her husband social scientist Terje Rød-Larsen (to be played by Jefferson Mays), planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organization, which culminated in the signing of the historic 1993 Oslo Accords. -
The Wire the Complete Guide
The Wire The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Tue, 29 Jan 2013 02:03:03 UTC Contents Articles Overview 1 The Wire 1 David Simon 24 Writers and directors 36 Awards and nominations 38 Seasons and episodes 42 List of The Wire episodes 42 Season 1 46 Season 2 54 Season 3 61 Season 4 70 Season 5 79 Characters 86 List of The Wire characters 86 Police 95 Police of The Wire 95 Jimmy McNulty 118 Kima Greggs 124 Bunk Moreland 128 Lester Freamon 131 Herc Hauk 135 Roland Pryzbylewski 138 Ellis Carver 141 Leander Sydnor 145 Beadie Russell 147 Cedric Daniels 150 William Rawls 156 Ervin Burrell 160 Stanislaus Valchek 165 Jay Landsman 168 Law enforcement 172 Law enforcement characters of The Wire 172 Rhonda Pearlman 178 Maurice Levy 181 Street-level characters 184 Street-level characters of The Wire 184 Omar Little 190 Bubbles 196 Dennis "Cutty" Wise 199 Stringer Bell 202 Avon Barksdale 206 Marlo Stanfield 212 Proposition Joe 218 Spiros Vondas 222 The Greek 224 Chris Partlow 226 Snoop (The Wire) 230 Wee-Bey Brice 232 Bodie Broadus 235 Poot Carr 239 D'Angelo Barksdale 242 Cheese Wagstaff 245 Wallace 247 Docks 249 Characters from the docks of The Wire 249 Frank Sobotka 254 Nick Sobotka 256 Ziggy Sobotka 258 Sergei Malatov 261 Politicians 263 Politicians of The Wire 263 Tommy Carcetti 271 Clarence Royce 275 Clay Davis 279 Norman Wilson 282 School 284 School system of The Wire 284 Howard "Bunny" Colvin 290 Michael Lee 293 Duquan "Dukie" Weems 296 Namond Brice 298 Randy Wagstaff 301 Journalists 304 Journalists of The Wire 304 Augustus Haynes 309 Scott Templeton 312 Alma Gutierrez 315 Miscellany 317 And All the Pieces Matter — Five Years of Music from The Wire 317 References Article Sources and Contributors 320 Image Sources, Licenses and Contributors 324 Article Licenses License 325 1 Overview The Wire The Wire Second season intertitle Genre Crime drama Format Serial drama Created by David Simon Starring Dominic West John Doman Idris Elba Frankie Faison Larry Gilliard, Jr. -
Why Hollywood Isn't As Liberal As We Think and Why It Matters
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2019 Why Hollywood Isn't As Liberal As We Think nda Why It Matters Amanda Daily Claremont McKenna College Recommended Citation Daily, Amanda, "Why Hollywood Isn't As Liberal As We Think nda Why It Matters" (2019). CMC Senior Theses. 2230. https://scholarship.claremont.edu/cmc_theses/2230 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. 1 Claremont McKenna College Why Hollywood Isn’t As Liberal As We Think And Why It Matters Submitted to Professor Jon Shields by Amanda Daily for Senior Thesis Fall 2018 and Spring 2019 April 29, 2019 2 3 Abstract Hollywood has long had a reputation as a liberal institution. Especially in 2019, it is viewed as a highly polarized sector of society sometimes hostile to those on the right side of the aisle. But just because the majority of those who work in Hollywood are liberal, that doesn’t necessarily mean our entertainment follows suit. I argue in my thesis that entertainment in Hollywood is far less partisan than people think it is and moreover, that our entertainment represents plenty of conservative themes and ideas. In doing so, I look at a combination of markets and artistic demands that restrain the politics of those in the entertainment industry and even create space for more conservative productions. Although normally art and markets are thought to be in tension with one another, in this case, they conspire to make our entertainment less one-sided politically.