Print Profile

Total Page：16

File Type：pdf, Size：1020Kb

A New Jersey native, Jon Stewart is considered one of America's top social and comedic voices. From the anchor chair of The Daily Show with Jon Stewart, he Jon Stewart "has breathed new life into a show that hadn't even seemed to need it," said The New York Times. Since taking over as the anchorman of The Daily Show in January 1999, Stewart's presence has seen higher ratings and awareness for himself and Speech Topics Comedy Central. Stewart and The Daily Show led the way to the White House as the new torchbearers of COMEDY CENTRAL's award-winning "Indecision 2000" election Entertainment coverage. "Indecision 2000" covered the elections, debates and candidates from Emcee the Iowa Caucus and New Hampshire primary straight through to the National Coaching Conventions and culminated on Election Night with a one-hour special. Celebrity Prior to taking over The Daily Show, Stewart's most recent television work was on HBO's critically acclaimed series-within-a-series, The Larry Sanders Show, playing a character he should know very well: himself. The final season saw, among other things, Stewart seemingly being groomed to take over the fictitious late-night throne from the perpetually paranoid Larry Sanders (Garry Shandling). Stewart also served as a creative consultant on the series. On the feature film front, Stewart starred with Adam Sandler in one of 1999's biggest hits Big Daddy. He also starred in the romantic drama Playing by Heart opposite Gillian Anderson which marked a departure for Stewart in that he was allowed to show more of a dramatic side of himself than people are accustomed to seeing. Stewart also starred in The Faculty, a horror-comedy directed by Robert Rodriguez. While it may be the conventional route for stand-up comedians to sign a book deal and expound on their earl... 901.754.9404 www.executivespeakers.com.

Copy Link

Recommended publications

Cast Biographies RILEY KEOUGH (Christine Reade) PAUL SPARKS
Cast Biographies RILEY KEOUGH (Christine Reade) Riley Keough, 26, is one of Hollywood’s rising stars. At the age of 12, she appeared in her first campaign for Tommy Hilfiger and at the age of 15 she ignited a media firestorm when she walked the runway for Christian Dior. From a young age, Riley wanted to explore her talents within the film industry, and by the age of 19 she dedicated herself to developing her acting craft for the camera. In 2010, she made her big-screen debut as Marie Currie in The Runaways starring opposite Kristen Stewart and Dakota Fanning. People took notice; shortly thereafter, she starred alongside Orlando Bloom in The Good Doctor, directed by Lance Daly. Riley’s memorable work in the film, which premiered at the Tribeca film festival in 2010, earned her a nomination for Best Supporting Actress at the Milan International Film Festival in 2012. Riley’s talents landed her a title-lead as Jack in Bradley Rust Gray’s werewolf flick Jack and Diane. She also appeared alongside Channing Tatum and Matthew McConaughey in Magic Mike, directed by Steven Soderbergh, which grossed nearly $167 million worldwide. Further in 2011, she completed work on director Nick Cassavetes’ film Yellow, starring alongside Sienna Miller, Melanie Griffith and Ray Liota, as well as the Xan Cassavetes film Kiss of the Damned. As her camera talent evolves alongside her creative growth, so do the roles she is meant to play. Recently, she was the lead in the highly-anticipated fourth installment of director George Miller’s cult- classic Mad Max - Mad Max: Fury Road alongside a distinguished cast comprising of Tom Hardy, Charlize Theron, Zoe Kravitz and Nick Hoult.
[Show full text]
The Garry Effect
MR. META Shandling in a press photo for his first groundbreaking sitcom, It’s Garry Shandling’s Show, which ran on Showtime from 1986 to 1990, and notably broke the fourth wall. now-familiar tropes of showing the studio audience and directly address- ing viewers. And then there’s that winking theme song: “This is the theme to Garry’s show/The theme to Garry’s show/Garry called me up and asked if I would write his theme song.” Incredibly, the show found a huge audience, powered in part by Shan- dling’s status as a stand-up comic whose nasal delivery, blown-out bouf- fant and sardonic observations (rou- tinely centered on his sexual prowess, or lack thereof) earned him frequent appearances on Johnny Carson’s Tonight Show and a spot as one of its regular guest hosts. It also turned TELEVISION him into a role model for multiple generations of comedians. “He’s like the Replacements,” says Judd Apatow. The Garry Effect “A rock band that inspired a lot of peo- Judd Apatow’s HBO documentary aims to capture ple to start their own bands.” Garry Shandling’s lifetime of influence—as a Apatow included. For 25 years, the comedian, yes, but also as a human being. At comedy guru counted Shandling— who died of a heart attack in 2016 at more than four hours, it feels too short age 66—as a close friend and mentor. Apatow’s first contact was as a high school student, interviewing Shan- Try To imagine Television comedy works. Fly-on-the-wall camera dling for his school’s radio station.
[Show full text]
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.
[Show full text]
Frank Farmer Dialogue and Critique: Bakhtin and the Cultural Studies Writing Classroom
4farmer.fm Page 186 Wednesday, April 8, 1998 8:12 AM Frank Farmer Dialogue and Critique: Bakhtin and the Cultural Studies Writing Classroom I repeated the line, “the idea was so simple, anyone could [have] thought of it, but it was so obvious that it never occurred to me.” I said that this was what a cultural critic needed to be able to do: to notice those simple-seeming, obvious things that usually go unnoticed. I said that this was what cultural theory was good for, helping us to see what is ordinarily invisible to the people who are actually members of the culture being studied. I said I thought this writer had understood that concept, and had become a cultural critic. —Kathleen Dixon (112) n the excerpt above, Kathleen Dixon re- peats what she obviously feels to be a crucial I line from one of her student’s papers, a line that expresses the kind of epiphany that would be pleasing to any writing teacher, but perhaps especially gratifying to those writing teachers who employ a cultural studies perspective in their classrooms. This is so be- cause insight for the cultural studies teacher is not simply a fortuitous, cur- sory moment in the process of rhetorical invention but is, indeed, the very heart of cultural critique. I would like to suggest further, that what Dixon reveals in this passage may well be the central dilemma faced by instructors who teach from a cultural studies perspective—namely, the difficulty in making a liberatory Frank Farmer is an associate professor of English at East Carolina University where he teaches writing and graduate courses in rhetorical theory and history.
[Show full text]
Jewish Self-Hatred and the Larry Sanders Show
“Y’ALL KILLED HIM, WE DIDN’T” Jewish Self-Hatred and The Larry Sanders Show Vincent Brook University of Southern California Did the Jews invent self-hatred? A case can be made—from the production and the reception end. Centuries before they were branded collective Christ killers in the Gospel of St. Matthew, a calumny that laid the groundwork for both anti-Semitism and Jewish self-hatred, Jews themselves had planted the seeds of self-hatred for all humanity in the Garden of Eden. The biblical God’s banishment of the ur-couple from Paradise inflicted a primordial self-loathing that would prove, at least for the faithful, all but inexpungable. Then there’s the Jewish Freud, whose non-denominational take on Original Sin postulated a phylogenic and an ontogenic source: the collective killing of the Primal Father and the individual Oedipal complex. Freud’s daughter Anna, meanwhile, gave self-hatred back to the Jews through her concept of “identification with the aggressor,” which, while applicable universally, derived specifically from the observations of Jewish children who had survived Hitler Germany and yet identified positively with their Nazi persecutors and negatively with themselves as Jewish victims. Last not least, the poet laureate of existential angst, Franz Kafka, historicized self- hatred, laying the theoretical and experiential groundwork for what Jewish filmmaker Henry Bean calls “the ambivalent, self-doubting, self-hating modern condition.”1 To ascribe a privileged role for Jews in the encoding and decoding of self-hatred is certainly not to deny other groups’ significant enmeshment in the process. Just as Jews have introjected anti-Semitism, people of color, women, gays, and lesbians have internalized the damaging social messages of racism, misogyny, and homophobia, directing against themselves the projected hatred of the normative society.
[Show full text]
ACOUSTIC ALCHEMY and JESSE COOK
SEASON CERRITOS CENTER FOR THE PERFORMING ARTS 2011–2012 SEASON SPONSORS The City of Cerritos gratefully thanks our 2011–2012 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. SEASON YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at 562-916-8510. SEASON CERRITOS CENTER FOR THE PERFORMING ARTS THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following CCPA Associates who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue in which patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. ENCORE Beth Anderson Rodolfo Chavez Bryan A. Stirrat & Associates Hedy Harrison-Anduha and Liming Chen Jose Iturbi Foundation Larry Anduha Wanda Chen National Endowment for the Susan and Clifford Asai Margie and Ned Cherry Arts Larry Baggs Frances and Philip Chinn Eleanor and David St. Clair Marilyn Baker Nancy and Lance Chontos Terry Bales Patricia Christie HEADLINER Sallie Barnett Richard Christy The Capital Group Companies Alan Barry Rozanne and James Churchill Charitable Foundation Cynthia Bates Neal Clyde Chamber Music Society of Dennis Becker Mark Cochrane Detroit Barbara S. Behrens Michael Cohn The Gettys Family Aldenise Belcer Claire Coleman Los Cerritos Center Yvette Belcher Mr.
[Show full text]
This Is the End and Parafictional Persona
“Give Me the Seth Rogen Laugh”: This Is the End and Parafictional Persona BRADLEY J. DIXON In the opening scene of This Is the End (2013), Seth Rogen walks through an airport concourse to pick up his old friend, Jay Baruchel, who has just flown in from Canada for a short stay in Los Angeles. After they meet, share a hug, and walk through the airport to begin what Rogen has planned to be “the best weekend ever,” a paparazzo ambushes the pair with a video camera and a spotlight: PAPARAZZO: Hey Seth Rogen, how’s it going man? So, you, like, always play the same guy in every movie. When are you going to do some real acting, man? ROGEN: OK, thank you… PAPARAZZO: Give me something, give me the Seth Rogen laugh. Rogen gives his signature throaty laugh. PAPARAZZO: Seth Rogen, everybody. (Goldberg and Rogen 00:01:40– 00:01:55) From the very first scene, This Is the End wants its audience to know one thing: Rogen and Baruchel are playing themselves. In the film, as in life, the two actors were childhood friends in Canada, came up in television comedy together in the early 2000s, and moved to Los Angeles shortly after finding fame. Baruchel disliked the decadent Hollywood lifestyle and moved back to the comparatively less glamorous life of a working actor in Canada, while Rogen stayed in Los Angeles and became one of the most recognizable faces in comedy. The opening scenes of This Is the End show the pair reconnecting for the first time in over a year.
[Show full text]
March 2021 Productive Ways
5 Steps to Defuse Defensiveness Defensiveness is an understandable response, but, writes Arianne Cohen on Bloomberg Businessweek, it deflects blame in ways that can send negative effects rippling through the workplace. She outlines the findings of a study in the British Journal of Social Psychology that examined how people in conflict can approach each other in more March 2021 productive ways. The study authors illustrate with an example of a colleague who goes into defensive mode to 5 Must-Have Skills to Get Ahead hide a minor on-the-job gaffe. To defuse the situation, you should make it clear to him that Want to move up the ladder at work? Hard work, timing, and even luck all can play roles. he’s part of the team—respected, included, But one ingredient is essential if you’re going to advance and succeed — effective valued— and then address the issue. management leadership skills. People aren’t born with these skills, writes Kate Ashford on Monster.com; they must be learned. To boost your odds of finding success on the job, she Step 1: Share excitement about a future suggests brushing up the following: collaboration. People are more likely to confess their wrongdoing when they feel like 1. Self Awareness an accepted member of the group. This can eliminate fear of rejection or ostracization. Know your strengths and weaknesses. Researchers have found that that the one skill up- and-coming leaders regret not working on more is knowing themselves. It’s critical to Step 2: State the positive values that might recognize your blind spots, how you’re built, how you communicate, and what satisfies have driven the colleague’s defensiveness.
[Show full text]
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Directing For A Comedy Series A.P. Bio Handcuffed May 16, 2019 Jack agrees to help Mary dump her boyfriend and finds the task much harder than expected, meanwhile Principal Durbin enlists Anthony to do his dirty work. Jennifer Arnold, Directed by A.P. Bio Nuns March 14, 2019 As the newly-minted Driver's Ed teacher, Jack sets out to get revenge on his mother's church when he discovers the last of her money was used to buy a statue of the Virgin Mary. Lynn Shelton, Directed by A.P. Bio Spectacle May 30, 2019 After his computer breaks, Jack rallies his class to win the annual Whitlock's Got Talent competition so the prize money can go towards a new laptop. Helen and Durbin put on their best tuxes to host while Mary, Stef and Michelle prepare a hand-bell routine. Carrie Brownstein, Directed by Abby's The Fish May 31, 2019 When Bill admits to the group that he has Padres season tickets behind home plate that he lost in his divorce, the gang forces him to invite his ex-wife to the bar to reclaim the tickets. Betsy Thomas, Directed by After Life Episode 2 March 08, 2019 Thinking he has nothing to lose, Tony contemplates trying heroin. He babysits his nephew and starts to bond -- just a bit -- with Sandy. Ricky Gervais, Directed by Alexa & Katie The Ghost Of Cancer Past December 26, 2018 Alexa's working overtime to keep Christmas on track. But finding her old hospital bag stirs up memories that throw her off her holiday game.
[Show full text]
No Es Televisión, Es
No es televisión, es HBO: La búsqueda de la diferencia como indicador de calidad en los dramas del canal HBO (It’s not television, it’s HBO: The search for difference as quality in the drama series of the HBO Channel) Concepción Carmen Cascajosa Virino1 Recibido el 17 de enero de 2006, aprobado el 12 de junio de 2006. Resumen En este artículo analizaremos la producción de series dramáticas del canal de cable norteamericano HBO y cómo a través de ellas el canal ha logrado establecer una identidad de marca que individualiza sus productos en un mercado cada vez más fragmentado. El punto de partida serán los factores que llevaron a HBO a comenzar a producir series dramáticas como forma de lograr la fidelidad de sus suscriptores, desplazando así a los índices de audiencia como criterio principal para evaluar el éxito de un programa. Las series dramáticas Oz, Los Soprano, A dos metros bajo tierra, The wire (Bajo escucha), Carnivàle, Deadwood y Roma han puesto en prác- tica el eslogan del canal “No es televisión, es HBO” a través de tres características básicas: la colaboración con autores consagrados, la inclusión de contenidos tabú y la renovación de fórmulas narrativas y genéricas. Palabras clave: Televisión en Estados Unidos, televisión por cable, drama de cali- dad, HBO, violencia en televisión. Abstract In this article we analyse the production of drama series of the North American cable channel HBO and how, through these series, the channel has managed to establish a brand identity that individualises its products on an increasingly fragmented market. Our starting point is the factors that led HBO to start producing drama series as a way of securing the loyalty of its subscribers, thus displacing audience ratings as the main criterion for measuring the success of a programme.
[Show full text]
Supplementary Information to the Categories
SUPPLEMENTARY INFORMATION TO THE CATEGORIES (In the category order as announced July 16, 2015.) 67th PRIMETIME EMMY AWARDS 1 = past winner OUTSTANDING LEAD ACTOR IN A DRAMA SERIES KYLE CHANDLER, BLOODLINE, NETFLIX 2015 - Outstanding Lead Actor In A Drama Series, Bloodline 2011 - Outstanding Lead Actor In A Drama Series, Friday Night Lights 2010 - Outstanding Lead Actor In A Drama Series, Friday Night Lights 2006 - Outstanding Guest Actor In A Drama Series, Grey's Anatomy Total: 4 nominations, 1 win JEFF DANIELS, THE NEWSROOM, HBO 2015 - Outstanding Lead Actor In A Drama Series, The Newsroom 2014 - Outstanding Lead Actor In A Drama Series, The Newsroom 2013 - Outstanding Lead Actor In A Drama Series, The Newsroom Total: 3 nominations, 1 win JON HAMM, MAD MEN, AMC 2015 - Outstanding Lead Actor In A Drama Series, Mad Men 2015 - Outstanding Guest Actor In A Comedy Series, Unbreakable Kimmy Schmidt 2014 - Outstanding Drama Series, Mad Men 2014 - Outstanding Lead Actor In A Drama Series, Mad Men 2013 - Outstanding Drama Series, Mad Men 2013 - Outstanding Lead Actor In A Drama Series, Mad Men 2012 - Outstanding Drama Series, Mad Men 2012 - Outstanding Lead Actor In A Drama Series, Mad Men 2012 - Outstanding Guest Actor In A Comedy Series, 30 Rock 2011 - Outstanding Lead Actor In A Drama Series, Mad Men 2010 - Outstanding Lead Actor In A Drama Series, Mad Men 2010 - Outstanding Guest Actor In A Comedy Series, 30 Rock 2009 - Outstanding Lead Actor In A Drama Series, Mad Men 2009 - Outstanding Guest Actor In A Comedy Series, 30 Rock 2008 - Outstanding Lead Actor In A Drama Series, Mad Men Total: 15 nominations, 0 wins BOB ODENKIRK, BETTER CALL SAUL, AMC 2015 - Outstanding Lead Actor In A Drama Series, Better Call Saul 1999 – Outstanding Writing For A Variety or Music Program, Mr.
[Show full text]
TELEVISION PARADIGM SHIFTS: BROADCAST to CABLE
PARADIGM SHIFTS in FILM and TELEVISION From Broadcast to Cable/Satellite TV MAJOR TRANSFORMATIONS in Film & Television Update • Exam #1: Thurs 2/28 • No make ups! • Review guide 2/21 • Review session: 2/26 + packets • Today: Major Transformations in Film - TV - Video BROADCAST TV DOMINANCE 1950-1985 •The DOMINANT TV BROADCASTERS! 1. CBS - Columbia Broadcasting System • 20 YEARSTHE DOMINANT NETWORK 1950-1970s • “Eye Network • Ed Sullivan show, The Andy Griffith show, The Beverly Hillbillies. • 60 Minutes • The Late Show -David Letterman • Provides more than 200 programs to its affiliates across the globe • Syndicates and SYNDICATION - 5 SEASONS of a TV Show (package deal) 2. NBC 3. ABC (Wide World of Sports) 1961 4. PBS (1969, Boston Public Broadcasting ACT-- Sesame Street) 5. FOX (1986) Rupert Murdoch (Australian) The Simpsons, The X-Files, Cops, Fox News Leading new network TV series in the United States in the 2016-17 season, by number of viewers (in millions) Most watched new network TV series in the U.S. 2016 20 18 17.64 16 14.41 14.21 14 12 10.83 10.44 9.99 9.8 10 9.39 8.56 8.16 8 Number of viewers in millions inviewers Number of 6 4 2 0 Bull (CBS) Designated This is Us (NBC) Kevin Can Wait Macgyver (CBS) Timeless (NBC) Lethal Weapon The Great Indoors Pure Genius (CBS) Speechless (ABC) Survivor (ABC) (CBS) (FOX) (CBS) Series (network) Note: United States; September 19, 2016 to November 13, 2016; 2 years and older; live and 7-day DVR-delayed viewing Further information regarding this statistic can be found on page 8.
[Show full text]