Has Roseanne Been Renewed
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Does the Primetime Television Upfront Still Matter? by Steve Sternberg
May 2019 #62 __________________________________________________________________________________________ _____ Does the Primetime Television Upfront Still Matter? By Steve Sternberg For American television viewers, the start of the new primetime television season is still four months away. For insiders at media agencies, networks, and advertisers, however, the Upfront season is placing thoughts of September squarely into May. Of course, the very idea of a fall TV season in today’s video world seems old fashioned. The broadcast networks might still adhere to fall and mid-season schedules for debuting new shows, but their competitors do not. Ad-supported cable networks premiere many new series when the broadcast nets are airing repeats and some limited-run series (mostly non-sweeps months and the summer). Premium cable networks, such as HBO, Showtime, and Starz, air new shows throughout the year. Streaming services, such as Netflix and Amazon Prime, release full seasons of new series whenever they happen to be ready. CBS All Access does as well, although it releases new episodes on a weekly schedule, rather than all at once. In a television landscape of 10-episode cable series, and streaming services where you can binge- watch entire seasons, viewers don’t necessarily think in terms of TV seasons anymore. Nevertheless, the broadcast networks still hold onto a schedule that starts in the fall. Throughout April and May, cable and broadcast networks give presentations to the ad industry in which they unveil their fall schedules and discuss -
Snowschool Offered to Local Students Environment
6 TUESDAY, JANUARY 28, 2020 The Inyo Register SnowSchool offered to local students environment. The second with water. The food color- journey is unique. This Bishop, session allows students to ing and glitter represent game shows students how Mammoth review the first lesson and different, pollutants that water moves through the learn how to calculate snow might enter the watershed, earth, oceans, and atmo- Lakes fifth- water equivalent. The final and students can observe sphere, and gives them a grade students session takes students how the pollutants move better understanding of from the classroom to the and collect in different the water cycle. participate in mountains for a SnowSchool bodies of water. For the final in-class field day. Once firmly in For the second in-class activity, students learn SnowSchool snowshoes, the students activity, students focus on about winter ecology and learn about snow science the water cycle by taking how animals adapt for the By John Kelly hands-on and get a chance on the role of a water mol- winter. Using Play-Doh, Education Manager, ESIA to play in the snow. ecule and experiencing its they create fictional ani- During the in-class ses- journey firsthand. Students mals that have their own For the last five years, sion, students participate break up into different sta- winter adaptations. Some the Eastern Sierra in three activities relating tions. Each station repre- creations in past Interpretive Association to watersheds, the water sents a destination a water SnowSchools had skis for (ESIA) and Friends of the cycle, and winter ecology. molecule might end up, feet to move more easily Inyo have provided instruc- In the first activity, stu- such as a lake, river, cloud, on the snow and shovels tors who deliver the Winter dents create their own glacier, ocean, in the for hands for better bur- Wildlands Alliance’s watershed, using tables groundwater, on the soil rowing ability. -
Read More > Read More > Courtesy Read More > Read More >
Jump to Front Page Homepage Homeruns The Good Life EOY/SOY Courtesy Years of Service Way to Go Budget October 2012 volume 12, issue 10 Bringing Nebraska Department of Health and Human Services employees closer together DHHS Employees Celebrate Special Anniversaries with State Employees from the Norfolk This issue of Connections is dedicated to the employees of DHHS, the Regional Center got together for a people who have devoted their careers to serving Nebraskans and group photo to celebrate the many, making such a difference in the lives of so many people. many years of devoted service to the Department. That’s Division CEO Kerry Winterer and Division Directors attended ceremonies Director Scot Adams to the right. across the state recognizing employees for years of service. These are just Photo: Bonnie Engel a few examples. read more> read more > Here’s Kerry Winterer with On page 10 we’re introducing a new column Marian DeBuhr, Social called “Making Courtesy Common in the Services Supervisor, Beatrice, Workplace.” Check it out for some good with her 45th anniversary ideas. clock. Photo: Bonnie Engel Making Making Courtesy read more> Common read more > in the Workplace Courtesy Common Recognition for Years of Service 2012 Employees /Supervisors of the Year 2012at the Workplace Many employees have been with DHHS for a number of years and are Pages 4-8 list the 2012 Employee and Supervisors of the Year, complete with celebrating special years of service awards this year. See pages 11-14 for a photos and a short write-up from their nominators about why they received complete listing of employees and their years of service (starting with 10 their honor. -
Rebooting Roseanne: Feminist Voice Across Decades
Home > Vol 21, No 5 (2018) > Ford Rebooting Roseanne: Feminist Voice across Decades Jessica Ford In recent years, the US television landscape has been flooded with reboots, remakes, and revivals of “classic” nineties television series, such as Full/er House (1987-1995, 2016- present), Will & Grace (1998-2006, 2017-present), Roseanne (1988-1977, 2018), and Charmed (1998-2006, 2018-present). The term “reboot” is often used as a catchall for different kinds of revivals and remakes. “Remakes” are derivations or reimaginings of known properties with new characters, cast, and stories (Loock; Lavigne). “Revivals” bring back an existing property in the form of a continuation with the same cast and/or setting. “Revivals” and “remakes” both seek to capitalise on nostalgia for a specific notion of the past and access the (presumed) existing audience of the earlier series (Mittell; Rebecca Williams; Johnson). Reboots operate around two key pleasures. First, there is the pleasure of revisiting and/or reimagining characters that are “known” to audiences. Whether continuations or remakes, reboots are invested in the audience’s desire to see familiar characters. Second, there is the desire to “fix” and/or recuperate an earlier series. Some reboots, such as the Charmed remake attempt to recuperate the whiteness of the original series, whereas others such as Gilmore Girls: A Life in the Year (2017) set out to fix the ending of the original series by giving audiences a new “official” conclusion. The Roseanne reboot is invested in both these pleasures. It reunites the original cast for a short-lived, but impactful nine-episode tenth season. -
Word Search 'Crisis on Infinite Earths'
Visit Our Showroom To Find The Perfect Lift Bed For You! December 6 - 12, 2019 2 x 2" ad 300 N Beaton St | Corsicana | 903-874-82852 x 2" ad M-F 9am-5:30pm | Sat 9am-4pm milesfurniturecompany.com FREE DELIVERY IN LOCAL AREA WA-00114341 V A H W Q A R C F E B M R A L Your Key 2 x 3" ad O R F E I G L F I M O E W L E N A B K N F Y R L E T A T N O To Buying S G Y E V I J I M A Y N E T X and Selling! 2 x 3.5" ad U I H T A N G E L E S G O B E P S Y T O L O N Y W A L F Z A T O B R P E S D A H L E S E R E N S G L Y U S H A N E T B O M X R T E R F H V I K T A F N Z A M O E N N I G L F M Y R I E J Y B L A V P H E L I E T S G F M O Y E V S E Y J C B Z T A R U N R O R E D V I A E A H U V O I L A T T R L O H Z R A A R F Y I M L E A B X I P O M “The L Word: Generation Q” on Showtime Bargain Box (Words in parentheses not in puzzle) Bette (Porter) (Jennifer) Beals Revival Place your classified ‘Crisis on Infinite Earths’ Classified Merchandise Specials Solution on page 13 Shane (McCutcheon) (Katherine) Moennig (Ten Years) Later ad in the Waxahachie Daily Light, Midlothian Mirror and Ellis Merchandise High-End 2 x 3" ad Alice (Pieszecki) (Leisha) Hailey (Los) Angeles 1 x 4" ad (Sarah) Finley (Jacqueline) Toboni Mayoral (Campaign) County Trading Post! brings back past versions of superheroes Deal Merchandise Word Search Micah (Lee) (Leo) Sheng Friendships Call (972) 937-3310 Run a single item Run a single item Brandon Routh stars in The CW’s crossover saga priced at $50-$300 priced at $301-$600 “Crisis on Infinite Earths,” which starts Sunday on “Supergirl.” for only $7.50 per week for only $15 per week 6 lines runs in The Waxahachie Daily2 x Light, 3.5" ad Midlothian Mirror and Ellis County Trading Post and online at waxahachietx.com All specials are pre-paid. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Sex and Difference in the Jewish American Family: Incest Narratives in 1990S Literary and Pop Culture
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses March 2018 Sex and Difference in the Jewish American Family: Incest Narratives in 1990s Literary and Pop Culture Eli W. Bromberg University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the American Studies Commons Recommended Citation Bromberg, Eli W., "Sex and Difference in the Jewish American Family: Incest Narratives in 1990s Literary and Pop Culture" (2018). Doctoral Dissertations. 1156. https://doi.org/10.7275/11176350.0 https://scholarworks.umass.edu/dissertations_2/1156 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. SEX AND DIFFERENCE IN THE JEWISH AMERICAN FAMILY: INCEST NARRATIVES IN 1990S LITERARY AND POP CULTURE A Dissertation Presented by ELI WOLF BROMBERG Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2018 Department of English Concentration: American Studies © Copyright by Eli Bromberg 2018 All Rights Reserved SEX AND DIFFERENCE IN THE JEWISH AMERICAN FAMILY: INCEST NARRATIVES IN 1990S LITERARY AND POP CULTURE A Dissertation Presented By ELI W. BROMBERG -
January 11, 2021 the Ledger News
FREE EVERY MONDAY VOL. 25 ISS. 13 • JANUARY 11 2021 THETACOMALEDGER.COM theUniversity of Washington ledger Tacoma HOW TO HAVE A QUARANTINE BIRTHDAY P7 2 JANUARY 11, 2021 THE LEDGER NEWS PHOTO BY NICKOLUS PATRASZEWSKI As temperatures drop and COVID cases rise, UWT remains as engaging as ever After three quarters of remote learning, UWT faculty and organizations are still finding new ways to keep students involved. BY GARRETT YAEN clubs don’t all have to be goofing off than just studying. water bottles, but t-shirts and water interesting for everybody. NEWS EDITOR and playing games. The Accounting “It wasn’t all just studying,” Hansen bottles aren’t the only rewards students Moreover, Hansen wants students Students Association helps its members said. “They started out with games and can win. Rewards can come through to know that COVID doesn’t have to In contrast to the silence of the gain knowledge on the accounting in- then they gave out some prizes. The non-tangible forms like new friends. spoil your college experience. physical campus, the community of dustry by contacting professionals. last hour or so was people just sitting In another recent development, “The biggest things we want people UW Tacoma roars through its virtual “The Accounting Students Asso- there studying and recreating that feel- Hansen said the upcoming Virtual to know are that programs are still club meetings, study sessions, volun- ciation brought people in from differ- ing of being with other people while Involvement Fair may face a video happening,” she said. “Yes, they look teering opportunities and food as- ent accounting firms who answered they were preparing for finals.” game-like makeover. -
Osu1199254932.Pdf (640.26
FROM MUSE TO MILITANT: FRANCOPHONE WOMEN NOVELISTS AND SURREALIST AESTHETICS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mary Anne Harsh, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Danielle Marx-Scouras, Advisor Professor Karlis Racevskis ______________________________ Advisor Professor Sabra Webber French and Italian Graduate Program ABSTRACT In 1924, André Breton launched the Surrealist movement in France with his publication of Manifeste du surréalisme. He and his group of mostly male disciples, prompted by the horrors of World War I, searched for fresh formulas for depicting the bizarre and inhumane events of the era and for reviving the arts in Europe, notably by experimenting with innovative practices which included probing the unconscious mind. Women, if they had a role, were viewed as muses or performed only ancillary responsibilities in the movement. Their participation was usually in the graphic arts rather than in literature. However, in later generations, francophone women writers such as Joyce Mansour and Suzanne Césaire began to develop Surrealist strategies for enacting their own subjectivity and promoting their political agendas. Aside from casual mention, no critic has formally investigated the surreal practices of this sizeable company of francophone women authors. I examine the literary production of seven women from three geographic regions in order to document the enduring capacity of surrealist practice to express human experience in the postcolonial and postmodern era. From the Maghreb I analyze La Grotte éclatée by Yamina Mechakra and L'amour, la fantasia by Assia Djebar, and from Lebanon, L'Excisée by Evelyne Accad. -
GLAAD Where We Are on TV (2020-2021)
WHERE WE ARE ON TV 2020 – 2021 WHERE WE ARE ON TV 2020 – 2021 Where We Are on TV 2020 – 2021 2 WHERE WE ARE ON TV 2020 – 2021 CONTENTS 4 From the office of Sarah Kate Ellis 7 Methodology 8 Executive Summary 10 Summary of Broadcast Findings 14 Summary of Cable Findings 17 Summary of Streaming Findings 20 Gender Representation 22 Race & Ethnicity 24 Representation of Black Characters 26 Representation of Latinx Characters 28 Representation of Asian-Pacific Islander Characters 30 Representation of Characters With Disabilities 32 Representation of Bisexual+ Characters 34 Representation of Transgender Characters 37 Representation in Alternative Programming 38 Representation in Spanish-Language Programming 40 Representation on Daytime, Kids and Family 41 Representation on Other SVOD Streaming Services 43 Glossary of Terms 44 About GLAAD 45 Acknowledgements 3 WHERE WE ARE ON TV 2020 – 2021 From the Office of the President & CEO, Sarah Kate Ellis For 25 years, GLAAD has tracked the presence of lesbian, of our work every day. GLAAD and Proctor & Gamble gay, bisexual, transgender, and queer (LGBTQ) characters released the results of the first LGBTQ Inclusion in on television. This year marks the sixteenth study since Advertising and Media survey last summer. Our findings expanding that focus into what is now our Where We Are prove that seeing LGBTQ characters in media drives on TV (WWATV) report. Much has changed for the LGBTQ greater acceptance of the community, respondents who community in that time, when our first edition counted only had been exposed to LGBTQ images in media within 12 series regular LGBTQ characters across both broadcast the previous three months reported significantly higher and cable, a small fraction of what that number is today. -
Department of English and American Studies Queer
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Katerina Hasalova Queer American Television: The Development of Lesbian Characters Master’s Diploma Thesis Supervisor: Jeffrey Alan Vanderziel, B.A. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank the thesis supervisor Jeffrey Alan Vanderziel, B.A., for his support and inspiration Table of Contents Introduction ................................................................................................... 1 Historical Overview ......................................................................................... 4 The Early Years: Pre-Stonewall to the 1970s .................................................. 4 The 1980s ................................................................................................... 5 The 1990s ................................................................................................... 8 The 2000s ................................................................................................. 12 The 2010s ................................................................................................. 17 Meet the Creators, Shows and Characters ....................................................... 21 Criteria ...................................................................................................... 21 -
Control Issues: Binge-Watching, Channel-Surfing and Cultural Value
. Volume 16, Issue 2 November 2019 Control Issues: Binge-watching, channel-surfing and cultural value Mareike Jenner, Anglia Ruskin University, UK Abstract: This article explores binge-watching as part of neoliberal discourses surrounding control, class and ‘good’ television, which leads to an overall discourse concerning the legitimation and de-legitimation of the medium. Binge-watching is understood here as part of a continuum of viewing practices that help us to understand and discuss the medium in popular discourse. As historical precedent, the emphasis lies on channel-surfing to illustrate the intersection of technology, control and ‘good’ television. This article outlines some of the discourses at stake in channel-surfing and its relationship with remote controls as these ancillary technologies move from being devices associated with avoiding ‘bad’ television to devices that subjugate viewers. Such a discursive de-legitimation of a viewing practice interlinks with an overall de-legitimation of the medium. This precedent is indicative of the way binge-watching’s cultural positioning has been negotiated throughout its history and may be re-negotiated now, especially in relation to Netflix. The dynamics of this negotiation take place at the intersection of class, technology, viewing practices and ‘good’ or ‘quality’ television. In the course of promoting The Innocents (Netflix, 2018- ) in 2018, Guy Pearce stated that he was instructed by Netflix not to use the term binge-watching. This led to an immense amount of press coverage and speculation over company policy. Particularly telling is a Yahoo! Finance piece written by Andy Meek (2018) that speculates that the practice of binge-watching has become ‘low-brow’ and Netflix is seeking to extricate itself from these associations, possibly in advance of launching a more ‘elite’ version of its service in the US.