DOCSLIB.ORG

Friends Pilot Script Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Friends Pilot Script Pdf Friends pilot script pdf Continue This site is best viewed 1024 x 768 screen resolution Last update: March 11, 2004 Download marydale font to view some fonts in the right format. Disclaimer: I didn't type in the entire script, but simply added footage to the original scripts that appeared on the Full Script Index of Friends and Friends movies. In addition, the pilot with the UN cut footage hails from the CFSI. Please give me credit for the uncircumcised scripts I deciphered. And that means that there are no uncircumcised frames. Season 1 Scripts Season 2 Scenarios Season 3 Scenarios Season 4 Scenarios Season 5 Scripts Season 6 Scenarios Season 7 Scenarios Season 8 Scenario 920: One with a soap opera party Here you can read the script of the pilot episode, Check it out! EPISODE 1 Monica gets a new roomate (Pilot) SCENE 1: CENTRAL PERK. (ALL, GREAT, RACHEL AND ROSS) Monica: Nothing to tell! He's just some guy I work with! Come on, you're having to deal with this guy! There must be something wrong with him! Does he have a hump? Hump and hair? Wait, does he eat chalk? Just because, I don't want her to go through what I went through with Karl- oh! Okay, everybody relax. It's not even a date. They're just two people who go to dinner and don't have sex. Chandler: Sounds like a date to me. Okay, so I'm back in high school, I'm standing in the middle of the cafeteria, and I realize I'm completely naked. Oh yes. If only it were a dream. CHANDLER: Then I look down and I realize there is a phone ... Over there. JOEY: Instead ...? Chandler: Right. Joey: Never had that dream. FIBI: No. Suddenly the phone starts ringing. And it turns out that this is my mother, which is very strange, because she never calls me! (CUT INTO THE SAME SET. ROSS HAS NOW ENTERED ROSS: (MORTIFIED) Hi. This guy says hello, I want to kill myself. Are you OK, sweetheart? ROSS: I just feel like someone stretched out my throat, grabbed my small gut, pulled it out of my mouth and tied it around my neck... Chandler: Biscuits? MONICA: (EXPLAINING TO OTHER) Carol moved her stuff today. I DON'T WANT TO. Give me a coffee. Phoebe: Oh! About! No, no! Stop cleaning my aura! No, just leave my aura alone, okay? I'll be fine, okay? Really, that's it. I hope she'll be very happy. Monica: No, you don't. NO, I don't know to hell with her, she dumped me! JOEY: And you never knew she was a lesbian... ROSS: No! Ok?! Why does everyone keep getting hung up on this? She didn't know how I knew? CHANDLER: Sometimes I wish I was a lesbian... I said it out loud? Okay Ross, look. You're feeling a lot of pain right now. You're angry. You're in pain. Can I tell you what the answer is? GESTURES HIS UP) JOEY: Strip Connection! Come on, you're lonely! There are hormones! I don't want to be alone, okay? I just... I just want to get married again! Chandler: And I just want a million dollars! (LOVE RUKU, HOPE) Monica: Rachel?! Oh my God, Monica hello! I just went to your building and you weren't there, and then this guy with the big hammer said you could be here, and you're here, you're here! Can I get you some coffee? MONICA: (POINTING AT RACHEL) De Cafe. All right, this is Rachel, another Lincoln High survivor. (RACHEL) That's it, it's Chandler, and Phoebe and Joey, and. ROSS: Hi. (THEY GO HUG, BUT ROSS'S UMBRELLA OPENS. (MINUTE, HOW RACHEL SIT; OTHER EXPECT HER TO EXPLAIN) MONICA: So, do you want to tell us now, or are we waiting for four wet bridesmaids? RACHEL: Oh my God... Well, it started about half an hour before the wedding. I was in the room where we kept all the presents, and I was looking at this gravy. It's a really gorgeous Lamauj sauce boat. When suddenly - (TO WAITRESS, WHO HAS BROUGHT HER COFFEE)Sweet 'N' Lo? - I realized that I was more turned on by this boat sauce than Barry! And then I got really scared, and that's when he hit me: how much Barry looks like Mr. Potato Head. I know, I mean, it always looked familiar, but ... Anyway, I just had to get out of there and I started to wonder: Why am I doing this and who am I doing it for?. (MONICA) Anyway, I just didn't know where to go, and I know you and I split up a little bit, but you're the only person I knew who lived here in town. Who wasn't invited to the wedding. RACHEL: Oh, I was kinda hoping that wouldn't be a problem... SCENE 2: MONICA'S APARTMENT (ALL AND WATCHING A SPANISH SOAP ON TV) MONICA: Now I guess he bought her a big trumpet organ and she's really not happy about it. RACHEL: (ON PHONE) Dad, I just... I can't marry him! I am sorry. I just don't like him. Well, that's important to me! CHANDLER: (RE TV) Oh, she shouldn't be wearing those pants. I say push her down the stairs. PHOEBE-ROSS-CHANDLER-JOEY: Push it down the stairs! Push her down the stairs! Push her down the stairs! (SHE'S BEING PUSHED DOWN THE STAIRS. RACHEL: Come on Daddy, listen to me! All my life everyone has always said to me: You're a shoe! You're a shoe, you're a shoe, you're a shoe!. And today I just stopped and said, What if I don't want to be a shoe? What if I want to be a handbag, you know? Either- or a hat! No, I'm not saying I want you to buy me a hat, I'm saying I'm a metaphor, Dad! You can see where he's going to have problems. Look, Dad, this is my life. Well, maybe I'm just here with Monica. MONICA: Well, I think we've established who's staying here with Monica... Well, maybe that's my decision. Well, maybe I don't want your money. Hold on!! Wait, I said maybe! (CUT INTO THE SAME SET. RACHEL IS BREATH IN PAPER BAG) MONICA: Just breathe, breathe. That's it. Just try to come up with good calm things... PHOEBE: (SINGS) Raindrops on roses and rabbits and kittens, (RACHEL AND MONICA TURN TO LOOK AT HER). bells and sleds and - something with mittens... La la la la la la i'm better. PHOEBE: (GREENS AND WALKS INTO THE KITCHEN. TO CHANDLER AND JOEY) I HELPED! Okay, look, this is probably for the best, you know? Independence. Taking control of his life. JOEY: (SITTING BESIDE HER) And hey, you need something, you can always come to Joey. Chandler and I live across the hall. And he's not here much. Joey, stop hitting her! It's her wedding day! What, like, is there a rule or something? (SOUNDS THE DOOR BUZZER. CHANDLER GETS IT) CHANDLER: Please don't do it again, it's a horrible sound. PAUL: (O INTERCOM) It's Paul. MONICA: Buzz it! Who's You: Who's Yo? Paul Wine Guy, Paul? Monica: Maybe. Please wait. Your not real date today with Paul Wine Guy? Ross: Did he finally invite you to the exit? Monica: Yes! Oh, this is the moment of the Dear Diary. MONICA: Rah, wait, I can cancel... Please, no, go, that would be fine! MONICA: (TO ROSS) Is you okay? I mean, do you want me to stay? ROSS: (CHOKED VOICE) That would be nice... MONICA: (HORRIFIED) Right? ROSS: (NORMAL VOICE) No, come on! This is Paul Wine Guy! (KNOCK IN THE DOOR. Monica GETS IT; IT'S PAUL) MONICA: Hi, come! Paul, this is. (THEY ALL LINED UP NEXT TO THE DOOR)... That's it, everything, it's Paul. Hey! Floor! Hello! The wine guy! Hey! I'm sorry, I didn't get your name. Paul, isn't it? MONICA: (SHOWS PAUL IN) Two seconds. Oh, I just pulled out four eyelashes. That can't be good. Ross: So, Rachel, who are you, uh. What are you doing tonight? I was kind of on my way to Aruba on my honeymoon, so nothing! Yes, you don't even have a honeymoon, God. No, no, though, Aruba, this time of year... talk about your -- (THINKS) -big lizards... Anyway, if you don't feel like being alone tonight, Joey and Chandler are coming to help me collect my new furniture. CHANDLER: (DEADPAN) Yes, and we're really excited about it. Well actually thank you, but I think I'm just going to hang out here tonight. ROSS: Okay, of course. Hey, Phoebe, do you want to help? Oh, I wish I could, but I don't want to. (AD BREAK) SCENE 3: ROSS' APARTMENT (THE GUYS ARE ASSEMBLING FURNITURE) ROSS: (SQUAMING AND READING INSTRUCTIONS) I have to attach brackets thing to the side of things using a bunch of these little whim guys. I don't have a brace thing, I don't see guys whatever it is, and I don't feel my legs. (CHANDLER AND JOEY, APPARENTLY, THE BOOK BOOK, BUT THERE'S A LITTLE BIT) Joey: What's it? I have no idea. (JOEY CHECK ROSS NOT WINNER AND DUMP IN THE POT) Joey: Made with a bookcase! CHANDLER: It's over! ROSS: (CLUTCHING A BEER CAN AND SNIFFING) It was Carol's favorite beer.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 8 TV Power Games: Friends and Law & Order
    8 TV Power Games: Friends and Law & Order There is no such thing as a one-man show | at least not in television: one feature that all TV shows have in common is the combination of a large number of diverse contributors: producers, scriptwriters, actors, and so on. This is illustrated in Exhibit 8.1, which depicts the links between key contributors to the making and selling of a TV show. Solid lines repre- sent some form of contractual relationship, whereas dashed lines represent non-contractual relationships of relevance for value creation and value distribution. As is the case with movies, pharmaceutical drugs, and other products, the distribution of TV show values is very skewed: many TV shows are worth relatively little, whereas a few shows generate a very high value: For example, at its peak Emmy Award-winning drama ER fetched $13 million per episode.1 How does the value created by successful shows get divided among its various contrib- utors, in particular actors, producers and networks? Who gets the biggest slice of the big pie? In this chapter, I address this question by looking at two opposite extreme cases in terms of relative negotiation power: Law & Order and Friends. Law & Order | and profits The legal drama series Law & Order was first broadcast on NBC on September 13, 1990. (The pilot episode, produced in 1988, was intended for CBS, but the network rejected it, just as Fox did later, in both cases because the show did not feature any \breakout" characters.) By the time the last show aired on May 24, 2010, it was the longest-running crime drama on American prime time TV.
    [Show full text]
  • The War Against the Kitchen Sink Pilot
    The War Against the Kitchen Sink Pilot Another way to describe “The War Against the Kitchen Sink Pilot” would be: “How to Overcome the Premise Pilot Blues.” A premise pilot literally establishes the premise of the show. Often they’re expository—it’s Maia’s first day at Diane’s law firm; the first time Mulder and Scully are working together; the day Cookie gets out of prison; when Walt decides he’s going to cook meth and potentially deal drugs. Premise pilots generally reset everything. When they work well, the creators take their time establishing the introduction into the world. We get the launch of the series in a nuanced, layered, slow burn way. I’m more satisfied by a pilot that has depth; there’s time for me to get to know the characters before throwing me into a huge amount of plotting. For me, character is always more important than plot. Once the characters are established, I’ll follow them anywhere. In 1996, when John Guare, the smart, prolific, outside-the-box playwright and screenwriter, published his first volume of collected works, he wrote a preface for the book The War Against the Kitchen Sink. One of the things Guare was rallying against was that desperate perceived need for realism, such as of drab objects in plays, when they could only ever be a construct. More interested in inner realities, !1 he grew curious in musicals, because there is no fourth wall. The actors interact with the audience, and Guare was intrigued by the connection between the audience and the actors on stage.
    [Show full text]
  • Friends TV Show Trivia - Play from Home Edition
    Okanagan Regional Library Trivia Friends TV Show Trivia - Play from Home Edition Round 1 Category: The Main Cast 1.What Friend admitted to having very small feet for an adult? A. Ross B. Rachel C. Joey D. Chandler 2. What Friend stars in “Analyze This” with Robert DeNiro and Billy Crystal? A. Lisa Kudrow B. Jennifer Aniston C. Courteney Cox D. Matt le Blanc 3. Which Friend has a fear of swings? A. Monica B. Rachel C. Ross D. Chandler 4. Which two Friends sang “Endless Love” together? A. Ross & Rachel B. Monica & Chandler C. Joey & Ross D. Phoebe & Chandler 5. Which Friend has been married the most amount of time? A. Phoebe B. Joey C. Ross D. Rachel 6. What two Friends get together in London? A. Ross & Rachel B. Rachel & Joey C. Joey & Monica D. Chandler & Monica 7. Which Friend got hit by a tranquilizer dart? A. Chandler B. Rachel C. Phoebe D. Joey 8. Which Friend is revealed to be Monica’s first kiss? A. Ross B. Chandler C. Joey D. Rachel 9. Which Friend had an on and off addiction to smoking? A. Monica B. Rachel C. Ross D. Chandler 10. Which Friend directed the “Since You’ve Been gone episode” A. Matt le Blanc B. David Schwimmer C. Lisa Kudrow D. Matthew Perry Round 2 Category: Obscure Friends Knowledge 1.Actually, that sounds interesting. I think you should drink the ____. A. Cider B. Breast Milk C. Lemon Juice D. Fat Hint: Rachel is speaking to Ross. 2. Which is the episode where Joey gets the role of Dr.
    [Show full text]
  • 'Seinfeld' Credo
    DOW JONES, A NEWS CORP COMPANY Nikkei 23249.95 0.00% ▲ Hang Seng 25182.15 0.19% ▼ U.S. 10 Yr 1/32 Yield 0.713% ▲ Crude Oil 42.31 0.17% ▲ Yen 106.96 0.03% ▲ DJIA 27896.72 0.29% ▼ The Wall Street Journal John Kosner English Edition Print Edition Video Podcasts Latest Headlines Home World U.S. Politics Economy Business Tech Markets Opinion Life & Arts Real Estate WSJ. Magazine Search 15-Year Fixed 2.25% 2.46% APR Refinance Rates the Lowest in History 30-Year Fixed 2.50% 2.71% APR 2.46% 5/1 ARM 2.63% 2.90% APR APR $225,000 (5/1 ARM) $904/mo 2.90% APR Calculate Payment $350,000 (5/1 ARM) $1,409/mo 2.79% APR Terms & Conditions apply. NMLS#1136 BOOKS | BOOKSHELF SHARE FACEBOOKNo Hugging, No Learning: The ‘Seinfeld’ Credo TWITTERThe show was assigned to an NBC executive who had never overseen a sitcom. Left alone, Larry David sought inspiration from the only available source: memories of misbegotten moments in his own past. EMAIL PERMALINK PHOTO: NBC/GETTY IMAGES By Edward Kosner Updated Aug. 12, 2016 4:30 pm ET SAVE PRINT TEXT 82 Everyone has a favorite episode or moment from the “Seinfeld” show—Jerry’s puffy pirate shirt and his suede jacket or his encounters with the close-talker and the woman with man hands; the impermeable maitre d’ at the Chinese restaurant; Elaine’s spastic dancing or deciding whether a potential beau was worth the investment of a precious, discontinued birth-control sponge; Kramer’s at-home talk-show set; George’s mortifying “shrinkage” after a dip in a chilly pool or the time he quit his job with a tirade, then showed up for work the next day as if nothing had happened.
    [Show full text]
  • Pilot Production Report
    2016 PILOT PRODUCTION REPORT 6255 W. Sunset Blvd. CREDITS: 12th Floor Research Analysts: Hollywood, CA 90028 Adrian McDonald Corina Sandru Graphic Design: http://www.filmla.com/ Shane Hirschman @FilmLA Photography: FilmLA Shutterstock FilmLAinc TABLE OF CONTENTS WHAT’S A PILOT? 3 GROWTH OF DIGITAL PILOTS 4 DRAMA PILOTS 5 COMEDY PILOTS 6 TOP PILOT PRODUCTION LOCATIONS 7 THE MAINSTREAMING OF “STRAIGHT-TO-SERIES” PRODUCTION 8 PILOTS’ ECONOMIC IMPORTANCE 10 THE CURRENT DRAMA LANDSCAPE IN CALIFORNIA 11 CONCLUSION 13 Each year between January and April, Los Angeles residents observe a marked increase in local on-location filming. New television pilots, produced in anticipation of May screenings for television advertisers, join continuing TV series, feature films and commercial projects in competition for talent, crews, stage space and sought-after locations. However, Los Angeles isn’t the only place in North America hosting pilot production. Other jurisdictions, most notably New York and the Canadian city of Vancouver have established themselves as strong competitors for this lucrative part of Hollywood’s business tradition. Below these top competitors is a second-tier of somewhat smaller players in Georgia and Ontario, Canada—home to Toronto. FilmL.A.’s official count shows that 201 broadcast, cable and digital pilots (123 Dramas, 78 Comedies) were produced during the 2015-16 development cycle, one less than the prior year and the third straight year in which more than 200 pilots were produced. Out of those 201 pilots, 79 projects (25 Dramas, 54 Comedies) were filmed in the Los Angeles region. This represents a 13 percent drop from last year, when 91 pilot projects filmed here and it is also the lowest number of pilots in the last six years that were produced in the region.
    [Show full text]
  • Headhunter Headlines Com- Ing My Way
    80th FIGHTER SQUADRON 905 Arapaho Court; Columbus, GA 31904-1242 Phone or Fax: (706) 324-7360 E-Mail: [email protected] Web Site: www.mindspring.com/~jaybirdone/headhunters Vol. XV, No. 59 "AUDENTES FORTUNA JUVAT" _ August 1, 2005 Greetings, Fellow HEADHUNTERS! Bonnie & I hope this newsletter finds all of you in the very best of health and happiness—see you all at the reunion! LAST CHANCE REUNION REGISTRATION INFORMATION!! Here it is—your last chance to register for our reunion 6-9 October!!! Reunion Registration made easy!! Carefully fill out and mail in the Reunion Registration Form on page 11. Please be sure to include your check for the full amount for all the activities you have picked. SUSPENSE: 5 September Please call the Alexis Park Resort hotel now at (800) 453-8000 to make your reservations. Be sure to tell them you’re with the 80th Fighter Squadron Reunion 6-9 October to receive the group rate of only $129 per night, plus tax, which is WELL below their going rate. (Rate good +/- 3 days of reunion, based on availability) SUSPENSE: 5 September Hotel reservations may be cancelled without penalty up to 3 October, so don’t delay—make yours now!! Free parking is provided at the hotel for us. Also, there is a free shuttle to and from the Strip! Other hotel information is available from their web site: http://www.alexispark.com Please note the change in our golf tee time—it is now a shotgun start at 0800, which will allow the golfers to meet the Nellis tour group at the O-Club for lunch!! Call your friends and come to the reunion as a group—see you there! DID YOU KNOW? id you know that, except for the first 16 days (10-26 January 1942) after our Squadron was born at Mitchell Field, NY, we have always been located in the Pacific Theater.
    [Show full text]
  • Friends Reconsidered: Cultural Politics, Intergenerationality, and Afterlives
    This is an Open Access document downloaded from ORCA, Cardiff University's institutional repository: http://orca.cf.ac.uk/116810/ This is the author’s version of a work that was submitted to / accepted for publication. Citation for final published version: Cobb, Shelley, Ewen, Neil and Hamad, Hannah 2018. Friends reconsidered: Cultural politics, intergenerationality, and afterlives. Television and New Media 19 (8) , p. 683. 10.1177/1527476418778426 file Publishers page: http://dx.doi.org/10.1177/1527476418778426 <http://dx.doi.org/10.1177/1527476418778426> Please note: Changes made as a result of publishing processes such as copy-editing, formatting and page numbers may not be reflected in this version. For the definitive version of this publication, please refer to the published source. You are advised to consult the publisher’s version if you wish to cite this paper. This version is being made available in accordance with publisher policies. See http://orca.cf.ac.uk/policies.html for usage policies. Copyright and moral rights for publications made available in ORCA are retained by the copyright holders. Friends Reconsidered: Cultural Politics, Intergenerationality, and Afterlives Shelley Cobb, Neil Ewen, and Hannah Hamad Abstract With the passing in 2014 of the twentieth anniversary of its debut episode, the iconic millennial sitcom Friends retains a rare cultural currency and remains a crucial reference point for understanding the concerns of Generation X. This special issue, therefore, interrogates the contemporary and historical significance of Friends as a popular sitcom that reflected and obfuscated American fin de siècle anxieties at the time, and considers the lasting resonance of its cultural afterlife.
    [Show full text]
  • The One Where We Talk About Friends
    ! THE ONE WHERE WE TALK ABOUT FRIENDS HEY EVERYONE! WELCOME TO A VERY SPECIAL EPISODE OF BURST YOUR BUBBLE FOR INTERNATIONAL PODCAST MONTH! IF YOU’RE NEW TO THE SHOW, HI! WE’RE EXCITED TO HAVE YOU. EACH EPISODE OF BURST YOUR BUBBLE LOOKS AT -ISMS AND -PHOBIAS IN POP CULTURE, FROM RACISM IN A TV SHOW TO HOMOPHOBIA IN A MOVIE TO SEXISM IN A SONG. AND AS YOU’LL SEE - ON DAYS LIKE TODAY - EPISODES CAN ALSO FOCUS ON ALL THE -ISMS AND -PHOBIAS HIDING IN ONE PIECE OF POP CULTURE. SO THANKS FOR LISTENING TO BURST YOUR BUBBLE, AND I’M EXCITED YOU’RE HERE FOR INTERNATIONAL PODCAST MONTH. IF YOU WANT TO FIND OUT MORE, VISIT US AT BURSTYOURBUBBLEPODCAST.COM AND AWAY WE GO... AIRING FROM 1994 TO 2004, FRIENDS WAS AN INTERNATIONAL TV SENSATION. IT EVEN INSPIRED A HAIRCUT CALLED THE RACHEL, WITH ITS SHORT, BOUNCY LAYERS. YES, I TOO ROCKED THE RACHEL HAIRCUT - AND SO DID MY SISTERS - IN 1999 OR SO. THE SHOW FOLLOWED SIX FRIENDS: CHANDLER BING, PHOEBE BUFFAY, MONICA GELLAR, ROSS GELLAR, RACHEL GREEN, AND JOEY TRIBIANI. THEY WERE ALL 20 SOMETHINGS LIVING IN NYC, HANGING OUT, GOING ON DATES, AND DRINKING LOTS AND LOTS OF COFFEE ON A BIG ORANGE COUCH IN THEIR FAVORITE SPOT. FOR MANY, FRIENDS FELT LIKE VERY RELATABLE TV. THESE WERE JUST A GROUP OF PEOPLE LIVING THEIR EVERYDAY LIVES. BUT LOOK CLOSER, AND FRIENDS IS A TIME CAPSULE, SHOWING HOW CASUAL HOMOPHOBIA, GENDER STEREOTYPES, SEXISM, TRANSPHOBIA, AND RACISM ALL SNEAK INTO SOCIETY. I’M MORGAN JAFFE AND THIS IS BURST YOUR BUBBLE.
    [Show full text]
  • Applying Insights from Cultural Studies to Adult Education: What Seinfeld Says About the AERC
    Kansas State University Libraries New Prairie Press Adult Education Research Conference 1999 Conference Proceedings (DeKalb, IL) Applying Insights from Cultural Studies to Adult Education: What Seinfeld Says About the AERC Nod Miller University of East London, UK Follow this and additional works at: https://newprairiepress.org/aerc Part of the Adult and Continuing Education Administration Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License Recommended Citation Miller, Nod (1999). "Applying Insights from Cultural Studies to Adult Education: What Seinfeld Says About the AERC," Adult Education Research Conference. https://newprairiepress.org/aerc/1999/papers/30 This is brought to you for free and open access by the Conferences at New Prairie Press. It has been accepted for inclusion in Adult Education Research Conference by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Applying Insights from Cultural Studies to Adult Education: What Seinfeld Says About the AERC Nod Miller University of East London, UK Abstract: The zany adventures of a glamorous British professor who goes to an important international conference but spends most of her time searching for a TV in order to watch her favourite sitcom. Despite her commitment to "no hugging, no learning", she gains some profound insights into mass culture, adult education, friendship and postmodernity as a result. Parental guidance suggested. Prologue: The Convergence This paper has grown out of a critical incident in my own learning biography, where a convergence of two cultural events brought together several discrete elements of my personal and professional identity and led me to reflect on aspects of relationships between the mass media and adult education.
    [Show full text]
  • Friends: an Investigation of Television in Modern Capitalism
    Global Humanities HIB-F-2016 Autumn Semester Roskilde University 2017 Number of Characters: 97795 Friends: An Investigation of Television in Modern Capitalism Authors: 61157 Adam Bahloul 60180 Aileen Wrobble 60203 Lavinia-Georgiana Chifan 61302 Lucas Cordeiro Yoshida 60169 Galatea Bellugi Abstract This paper explores the pilot episode of the sitcom ‘Friends’. It investigates the images, narratives and underlying messages and puts them in relation to the critical theory of popular culture, which entails that art in modern capitalism is commodified. In this mode, art and culture start to resemble and reproduce society and the current social regime instead of exposing alternative realities and worldviews. The investigation concludes that the show, through humor, clichés, stereotypes, symbols and other features, imposes the various ideals and messages of reality and society, which perpetuates and reinforces the familiar worldview of the audience. I dette projekt udforskes den første episode af sitcom-serien 'Venner'. Den undersøger billeder, fortællinger og underliggende meddelelser og sætter dem i forhold til den kritiske teori om populærkultur, hvilket indebærer, at kunst i moderne kapitalisme er en vare som skal sælges. I denne tilstand begynder kunst og kultur at efterligne og reproducere samfundet og den nuværende sociale ordning frem for at fremstille alternative realiteter og verdensbilleder. Undersøgelsen konkluderer, at showet gennem humor, klichéer, stereotyper, symboler og andre træk formidler de forskellige idealer og budskaber
    [Show full text]
  • Kenan Report #3 (April 2021 Updated)
    Miracle Messages South Florida Pilot Kenan Charitable Trust Grant Report #3 January 2021 Zoran celebrating the holidays at home, after being reconnected by Miracle Messages 1 Table of Contents Introduction 3 Overview of our third report 3 Report structure and contents 3 Section 1: Updated budget 4 Budget Narrative 4 Budget Amendments 5 Section 2: Demographics of our participant population 5 What we included 5 Age of Unhoused Participants 6 Gender of Unhoused Participants 7 Years disconnected from loved ones 8 Years on and off the streets 9 Shelter/Housing status 10 Section 3: Status of strategic objectives 11 Objective 1: Reconnect and Reunite 11 Objective 2: Fine-tune our model 11 Updates to our outreach and volunteering model 11 Updates to our partnership model 12 Additions to our Model: Miracle Friends and Miracle Money 14 Objective 3: Demonstrate impact 15 Key metrics to date 15 Reconnection outcomes and post-reunion data 15 Section 4: Stories 16 Featured Reunion Stories 16 Section 5: Responses to Kenan Prompts 18 Kenan prompt 1: gains made by population 18 Kenan prompt 2: bright spots and lessons learned 18 Kenan prompt 3: broader impact and knowledge sharing 19 Kenan prompt 4: challenges and learnings 20 Kenan prompt 5: project sustainability 20 2 Introduction Overview of our third report In the 18 months that Miracle Messages has offered our services in South Florida, we have recorded 239 messages from people experiencing homelessness to their loved ones, delivered 129 of those messages, and reconnected 68 individuals with their loved ones. 19 of those individuals have gotten off the streets as a result.
    [Show full text]