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JUNIOR FRIENDS GROTON PUBLIC LIBRARY 52 Newtown Road Groton, CT 06340 860.441.6750 [email protected] grotonpl.org Who We Are How to be a Friend Join Today The Junior Friends of the Groton Becoming a member of the Junior Public Library is a group of young to the Library Friends is easy! Complete the form people who organize service projects Show Respect — take good care of below, detach and return it to the and fundraisers that benefit the the books, computers and toys in Groton Public Library. Library and the community. the Library Once you become a Junior Friend, Becoming a Junior Friend is a great Keep It Down — use a quiet voice in you will receive a membership card way to show your appreciation for the the Library and regular emails listing Junior Library and give something back to Say Thanks — show your Friends’ meetings and events. the community. appreciation for the Library staff and volunteers Name What We Do Spread the Word — tell your friends that the Groton Public Address The Junior Friends actively support Library is a great place to visit the Library through volunteering, fundraising and sponsoring events that involve and inspire young people. The Junior Friends: City / State / Zip Code Help clean and decorate the Library and outside play area Sponsor fundraisers that support Phone the purchase of supplies and special events Host movie and craft programs Email Take on projects that benefit charitable groups within the I give the Groton Public Library, its community r e p resentatives and employees permission to take photographs or videos of me at Junior Friends Events. I allow the Groton Public Library to copyright, use and publish the same in print and/or electronically. I agree that the Groton Public Library may use such photographs or videos of me with or without my name and for any lawful purpose, including such purposes as publicity, illustration, advertising, and Web content. Signature .

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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.
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The One with the Feminist Critique: Revisiting Millennial Postfeminism With
The One with the Feminist Critique: Revisiting Millennial Postfeminism with Friends In the years that followed the completion of its initial broadcast run, which came to an end on 6th (S10 E17 and 18), iconicMay millennial with USthe sitcom airing ofFriends the tenth (NBC season 1994-2004) finale The generated Last One only a moderate amount of scholarly writing. Most of it tended to deal with the series st- principally-- appointment in terms of its viewing institutional of the kindcontext, that and was to prevalent discuss it in as 1990s an example television of mu culture.see TV This, of course, was prior to the widespread normalization of time-shifted viewing practices to which the online era has since given rise (Lotz 2007, 261-274; Curtin and Shattuc 2009, 49; Gillan 2011, 181). Friends was also the subject of a small number of pieces of scholarship that entriesinterrogated that emerged the shows in thenegotiation mid-2000s of theincluded cultural politics of gender. Some noteworthy discussion of its liberal feminist individualism, and, for what example, she argued Naomi toRocklers be the postfeminist depoliticization of the hollow feminist rhetoric that intermittently rose to der, and in its treatment of prominence in the shows hierarchy of discourses of gen thatwomens interrogated issues . issues Theand sameproblems year arising also saw from the some publication of the limitationsof work by inherentKelly Kessler to ies (2006). The same year also sawthe shows acknowledgement depiction and in treatmenta piece by offeminist queer femininittelevision scholars Janet McCabe and Kim Akass of the significance of Friends as a key text of postfeminist television culture (2006).
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30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock ﬁrst aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network.
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Cheers, Friends!
CHEERS, FRIENDS! 7042 E. INDIAN SCHOOL RD. • SCOTTSDALE, AZ BLUECLOVERDISTILLERY.COM /BLUECLOVERDISTILLERY ENTRÉES ALWAYS HUNGRY SANDWICHES & BURGERS ALL SANDWICHES COME WITH YOUR CHOICE OF: SOUP • REGULAR FRIES • SWEET POTATO TOTS TACOS* $17 Served with 3 flour tortillas, creamed corn and black beans WE TAKE DIY LITERALLY. FISH — Grilled fish, cabbage, pineapple pico, From in-house distilled spirits to locally-sourced food salsa verde, green chili crema and cotija cheese, in our scratch kitchen, we are 100% hands-on. FARM EGG AND BACON GREEN CHILE GRILLED CHEESE* $14 CHEESEBURGER* $15 STEAK — Grilled steak, cabbage, tomato pico, salsa (V) 2 fried farm eggs with strips of bacon served 7-ounce chuck and brisket blend served on a verde, cilantro and queso blanco HOUSE VEGETARIAN on sourdough with melted pepper jack cheese, potato bun with green chile, pepper jack cheese, SPECIALTY ITEM arugula and truffle aioli mayonnaise, lettuce, onions and tomatoes CHICKEN — Grilled chicken, cabbage, cilantro, + BACON* $2 salsa verde and queso blanco BC PASTRAMI $14 STARTERS SOUPS Carnegie deli New York pastrami served on CLASSIC BURGER* $14 CLASSIC CHICKEN STRIPS* $14 sourdough with Havarti cheese, sauerkraut and 7-ounce chuck and brisket blend served on a 4 country-fried chicken strips, accompanied with a house Russian dressing potato bun with cheddar cheese, lettuce, onions, fries; with chorizo gravy and BBQ dipping sauce tomatoes and mayo HOUSE CHIPS AND SALSA $7 CHICKEN TORTILLA $5 BLUE CLOVER KICKER $15 + BACON* $2 SMOKED SALMON* $18 House-made
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“You're the Worst Gay Husband Ever!” Progress and Concession in Gay
Title P “You’re the Worst Gay Husband ever!” Progress and Concession in Gay Sitcom Representation A thesis presented by Alex Assaf To The Department of Communications Studies at the University of Michigan in partial fulfillment of the requirements for the degree of Bachelor of Arts (Honors) April 2012 Advisors: Prof. Shazia Iftkhar Prof. Nicholas Valentino ii Copyright ©Alex Assaf 2012 All Rights Reserved iii Dedication This thesis is dedicated to my Nana who has always motivated me to pursue my interests, and has served as one of the most inspirational figures in my life both personally and academically. iv Acknowledgments First of all, I would like to thank my incredible advisors Professor Shazia Iftkhar and Professor Nicholas Valentino for reading numerous drafts and keeping me on track (or better yet avoiding a nervous breakdown) over the past eight months. Additionally, I’d like to thank my parents and my friends for putting up with my incessant mentioning of how much work I always had to do when writing this thesis. Their patience and understanding was tremendous and helped motivate me to continue on at times when I felt uninspired. And lastly, I’d like to thank my brother for always calling me back whenever I needed help eloquently naming all the concepts and patterns that I could only describe in my head. Having a trusted ally to bounce ideas off and to help better express my observations was invaluable. Thanks, bro! v Abstract This research analyzes the implicit and explicit messages viewers receive about the LGBT community in primetime sitcoms.
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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.
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For Family and Friends
For family and friends 1 First edition © Sands 2014 No part of this booklet may be reproduced in whole or part, in any form or by any electronic or mechanical means without the prior written permission of Sands. All rights reserved. Whilst every care is taken in providing information, please note that it is of a general nature and that readers should seek professional or expert advice as appropriate to their specific circumstance. Sands does not accept any liability, including liability for any errors or omissions. All information is correct at the time of going to print: March 2014. Sands 3rd Floor 28 Portland Place London, W1B 1LY t: 020 7436 7940 e: [email protected] w: www.uk-sands.org Helpline 020 7436 5881 [email protected] Sands message boards www.sandsforum.org Sands publications 0845 6520 445 or order online at shop-sands.org/shop Registered as a charity in England and Wales (299679) and in Scotland (SC042789) Text written by Judith Schott and Alix Henley, 2014 We are grateful to the many parents, family members and friends who have contributed to this booklet. 2 “When I can talk about my daughter, say her name, talk about the agony and ecstasy of her little life, I feel a deep relief. Those people who want to hear, who don’t flinch when I say her name, who smile and look me in the eyes and ask me how I am and really care about the answer, those are my true friends.” Mum 3 4 Contents Introduction 06 Getting the news – how you might feel 07 Understanding grief 08 When a baby dies 08 The experience of grief 09 Grief and partners
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Free Online Friends Season 9
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30 Rock and Philosophy: We Want to Go to There (The Blackwell
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Modern Family"
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Hilliard Davidson 2021 Mini Cats Cheer Camp
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