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'Live from New York'
Thursday, October 11, 2018 • APG News B5 5 2 0 part of the cast for _______ years. 9. He served as the original anchor for the “Weekend Update” segment of “Saturday - + ( 19. She was the first woman to host Night Live.” % “Saturday Night Live.” 11. Colin Jost and _________ currently serve as 20. “The Unfrozen Caveman __________,” was a co-anchors on the recurring “SNL” sketch # recurring character created by Jack Handey “Weekend Update.” " 5! and played by Phil Hartman on “Saturday 55 Night Live” from 1991 through 1996. 13. Actor Alec Baldwin has hosted “Saturday Night Live” more than anyone else, _________ 52 50 21. This original “SNL” cast member played a times between 1990 and 2017. 5- samurai in several sketches. 16. “Saturday TV________” was the title of a 5+ 23. Enid Strict, better known as “The recurring skit on “Saturday Night Live” 5( 5% _________Lady”, is a recurring character from featuring cartoons created by “SNL” writer aseries of sketches on “Saturday Night Live,” Robert Smigel. that was created and played by cast 5# 5" member Dana Carvey. 17. This comedian was the first to host 2! “Saturday Night Live,” in the debut October 25 24. An “SNL” episode normally begins with a 1975 episode. ________ open sketch that ends with 22 20 someone breaking character and 18. This co-creator and writer of the hit NBC 2- proclaiming, “Live from New Yo rk, it’s show “Seinfeld” briefly wrote for “SNL.” Saturday Night!” 2+ 19. This current “SNL” cast member has 2( 25. “The Boston __________” are fictional impersonated celebrities like Roseanne Barr, characters featured on “Saturday Night Live,” Meghan Trainor, Rebel Wilson and Adele. -
Breaking Kayfabe & Other Stories by Andy Geels a Thesis Submitted To
Breaking Kayfabe & Other Stories by Andy Geels A thesis submitted to the faculty of Radford University in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English Thesis Advisor: Dr. Tim Poland April 2018 Copyright 2018, Andy Geels 2 Acknowledgements Thank you, Mom, for transcribing my very first stories, and Dad, for placing an eight- year-old on stage at a Sioux City karaoke bar to sing “Folsom Prison Blues.” You’ve raised an aspiring journalist, knife salesman, professional wrestler, high school algebra teacher, musician, college professor, and, now, a writer. I am blessed beyond belief that you’ve done so. Thank you, Dr. Amanda Kellogg and Dr. Rick Van Noy, for serving on my thesis committee, for your critical input and expertise, and for your support throughout my time at Radford University. Thank you also, Stephan and Jackson, for acting as my readers, for suffering through endless do you think this works, and for taking time out of your own busy lives to give heartfelt and honest feedback at critical moments. Your own creative pursuits inspire me endlessly. Thank you, Emma, not only for reading all these stories a dozen times, but for talking me off the ledge of my own self-doubt, for affirming me in my moments of existential dread, and for motivating me to create something I can be proud of. I am incalculably lucky, my dearest partner of greatness. Finally, the completion of this collection would not have been possible without the patience and dedication of Dr. Tim Poland, whose guidance and mentorship were paramount to the project, as well as to my own personal growth as a writer, scholar, and man. -
He's Your Officemate, Your Favorite Virgin—And Now He's Talking to God
ID #31 ID #32 He’s your officeMAte, your fAvorite virgin—And now He’s tAlking to god. inside tHe restless Mind of Steve Carell, Hollywood’s new king of coMedy. by brooke hauser pHotogrApHs by martin scHoeller 54 Premiere July/august 2006 ID #33 ID #34 thecomeDyIssue i. “HAI-GOO-BA!” In person, nothing about Steve Carell screams, “Look at me!” He wears his short hair combed, with a side part—a style often found in men’s catalogs. He is neither tall nor short, and though he is broad-shouldered and hairy- chested, he doesn’t seem burly. With the ex- ception of his thumbs, which are cartoonishly wide and flat and appear to have been blud- geoned by a large rock (think Fred Flintstone, after an incident at the quarry), he is entirely inconspicuous. He could be your dentist, your waiter, your next-door neighbor. What Steve Carell is not is the kind of guy who is used to doing nude scenes in multimillion-dollar productions such as Evan Almighty, a spin-off from 2003’s Bruce Almighty. Sitting fully dressed in a director’s chair on a soundstage in Waynesboro, Virginia, the 42-year-old actor relives the moment a few days ago when his character, Evan Baxter, discovers the first sign that God (Morgan Freeman) has chosen him to become a modern-day Noah. Baxter embraces his new image by walking into his yard in noth- ing but his birthday suit and a long beard. “I had to wear a pouch held together by a string, not unlike the string that holds on a party mask,” Carell says, his hands folded like a second-grader’s above his lap. -
Faking the Fight | Nouse
Nouse Web Archives Faking the Fight Page 1 of 5 News Comment MUSE. Politics Business Science Sport Roses Freshers Muse › Features Columns Arts Fashion Film & TV Music Travel Food & Drink Gaming Faking the Fight Talking to the people behind World Wrestling Entertainment Camilla Apcar finds out why watching fake fights is better than the real deal Wednesday 22 June 2011 The Wrestling stars perform to the crowds at events across the United States Watched on pay-per-view television and at live arena shows around the globe by hundreds of thousands, there is often a fine discrepancy between what is real and what is fake in professional wrestling. Among the numerous rosters, World Wrestling Entertainment (WWE) is perhaps the most well known league, having made the popularity of pay-per-view soar in recent decades. Attempting to categorise professional wrestling, particularly the WWE franchise, appears problematic. With brutally executed manoeuvres in each match, there’s no disputing that athletic prowess is required. Yet as violent as the wrestlers’ moves look, the majority of matches are scripted and the winner decided beforehand. That the outcomes of matches were predetermined was once a well-guarded secret, but now an openly discussed reality. In WWE, ‘plotlines’ between characters can unfold over a number of years like a drawn out soap opera. But even ‘worked’ sequences can present real danger to the wrestlers. So is it heavily constructed entertainment, or is it a sport? As with many of the ‘answers’ to questions surrounding professional wrestling, it is an inextricably woven combination of both. WWE Commentator, Scott Stanford, illustrates that it’s “run for both sporting and television entertainment: you’re combining a live in-arena show with a television show week after week, no reruns.” Staunch supporters might be expected to aggressively argue its validity as a ‘real sport’. -
The Self-Reflexive Tebletop Role-Playing Game
Issue 05 – 2016 Journal –Peer Reviewed EVAN TORNER University of Cincinnati [email protected] The Self-Refexive Tebletop Role-Playing Game ABSTRACT Tabletop role-playing games combine performance, procedures, and improvi- sation to both tell stories and refect on the nature of storytelling. This article discusses the three games 1,001 Nights by Meguey Baker, What Is a Role-Playing Game? by Epidiah Ravachol, and World Wide Wrestling by Nathan D. Paoletta in terms of how their procedures of play and framing devices comment on the tabletop role-playing game medium. Taken together, these three “games on games” demonstrate the inherent tensions of player motivation, collective fction creation, and selling a “performance” to one’s fellow players, and how RPG theory helps us to understand them. KEYWORDS: Analog games, Role-playing games, self-refexivity, 1,001 Nights, World Wide Wrestling INTRODUCTION Contemporary game studies frequently ignores analog (i.e., board, card, social, dice, tabletop and live-action role-playing) games in favor of video games (Torner, Trammell, Waldron, 2014). Yet the feld does so at its own peril. TRPGs are formidable “simulation engines” in their own right (Dor- mans, 2006) and form the substratum of most modern video games (Barton, 2008; Peterson, 2012), including blockbuster titles such as Mass Efect (2007) and Fallout 4 (2015). Afordances and constraints of video games have con- versely impacted tabletop role-playing game (TRPG) design, such as World of Warcraf’s (2004) infuence on 4th Edition Dungeons and Dragons (2008). Design principles and their ideological propositions cut across boundaries of game- play. The below discussion of self-refexivity in TRPGs thus has ramifcations beyond just the small role-playing game theory community, ofering a means of evaluating and interpreting the meaning of games as texts within broader social frameworks of reference. -
The British War Film, 1939-1980: Culture, History, and Genre
The British War Film, 1939-1980: Culture, History, and Genre by Kevin M. Flanagan B.A., College of William and Mary, 2006 M.A., North Carolina State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kevin M. Flanagan It was defended on April 15, 2015 and approved by Colin MacCabe, Distinguished Professor, Department of English Adam Lowenstein, Associate Professor, Department of English David Pettersen, Assistant Professor, Department of French and Italian Dissertation Advisor: Lucy Fischer, Distinguished Professor, Department of English ii Copyright © by Kevin M. Flanagan 2015 iii THE BRITISH WAR FILM, 1939-1980: CULTURE, HISTORY, AND GENRE Kevin M. Flanagan, Ph.D. University of Pittsburgh, 2015 This dissertation argues that discussions of war representation that privilege the nationalistic, heroic, and redemptively sacrificial strand of storytelling that dominate popular memory in Britain ignore a whole counter-history of movies that view war as an occasion to critique through devices like humor, irony, and existential alienation. Instead of selling audiences on what Graham Dawson has called “the pleasure culture of war” (a nationally self-serving mode of talking about and profiting from war memory), many texts about war are motivated by other intellectual and ideological factors. Each chapter includes historical context and periodizing arguments about different moments in British cultural history, explores genre trends, and ends with a comparative analysis of representative examples. -
The New Manila Sound: Music and Mass Culture, 1990S and Beyond James Gabrillo
The New Manila Sound: Music and Mass Culture, 1990s and Beyond A dissertation submitted for the degree of Doctor of Philosophy in Music James Gabrillo Peterhouse, University of Cambridge November 2018 This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other quali- fication at the University of Cambridge or any other University or similar institution. It does not exceed the word limit prescribed by the Degree Committee. "2 of 293" The New Manila Sound: Music and Mass Culture, 1990s and Beyond James Gabrillo Abstract This dissertation provides the first detailed account of the mass musical culture of the Philippines that originated in the 1990s and continues to be the most popular style of musical entertainment in the country — a scene I dub the New Manila Sound. Through a combination of archival research, musical analysis, and ethnographic fieldwork, my ex- amination focuses on its two major pioneers: the musical television programme Eat Bula- ga! (Lunchtime Surprise) and the pop-rock band Aegis. I document the scene’s rise and development as it attracted mostly consumers from the lower classes and influenced oth- er programmes and musicians to adapt its content and aesthetics. The scene’s trademark kitsch qualities of parody, humour, and exaggeration served as forms of diversion to au- diences recovering from the turbulent dictatorship of Ferdinand Marcos from 1965 to 1986, when musical works primarily comprised of state-commissioned nationalist an- thems, Western art music, and protest songs. -
The Grizzly, April 23, 2009
Ursinus College Digital Commons @ Ursinus College Ursinus College Grizzly Newspaper Newspapers 4-23-2009 The Grizzly, April 23, 2009 Kristi Blust Gabrielle Poretta Gianna Paone Caitlin Dalik Lisa Jobe See next page for additional authors Follow this and additional works at: https://digitalcommons.ursinus.edu/grizzlynews Part of the Cultural History Commons, Higher Education Commons, Liberal Studies Commons, Social History Commons, and the United States History Commons Click here to let us know how access to this document benefits ou.y Authors Kristi Blust, Gabrielle Poretta, Gianna Paone, Caitlin Dalik, Lisa Jobe, Serena Mithboakar, Liz Kilmer, Roger Lee, Laurel Salvo, Zach Shamberg, Chris Capone, Christopher Schaeffer, Jonathan Edward Barber, and Karin Swartz '"(p Thursday, April 23 , 2009 Tile student news er of Ursin us Colle e Red in the face? Blushing may indicate more than sheer embarrassment Gianna Paone Grizzly Staff Writer Have you ever noticed a crimson glow on a friend's face that seems to only appear when he or she drinks alcohol? While it might seem funny to watch their-cheeks more closely resemble shades of fire engines with each shot they down, the person 's body might be forewarning more than a bad hangover. A recent study published in PLoS Medicine reveals that flushing from alcohol consumption suggests an increased risk of esophageal cancer. The cheek-reddening symptom is often accompanied by nausea and tachycardia, an increased heart rate, and occurs in roughly 36 percent of those of East Asian descent (Chinese, Japanese, Korean, or Vietnamese). It typically results from a hereditary deficiency in aldehyde dehydrogenase 2 (ALDH2), an enzyme that catalyzes aldehyde oxidation. -
Wrestling with Stereotypes in Kristoffer Díaz's the Elaborate Entrance Of
Label Me Latina/o Fall 2013 Volume III 1 Let’s Get Ready to Rumba: Wrestling with Stereotypes in Kristoffer Díaz’s The Elaborate Entrance of Chad Deity by Kimberly Ramírez The views and opinions expressed in the following do not represent the views of THE Wrestling. In fact, on behalf of THE Wrestling, I would like to condemn the comments to which you are, unfortunately, about to be subjected (Díaz 28).* -from The Elaborate Entrance of Chad Deity Drawing millions of live and television spectators each week, televised professional wrestling supplies one of the widest arenas for the production of cultural stereotypes.1 This popular sports genre has been epitomized as "THE Wrestling" (avoiding direct citation of any trademark organization) in Kristoffer Díaz‘s play, The Elaborate Entrance of Chad Deity—a finalist for the 2010 Pulitzer Prize for Drama, now widely produced around the country and published by Samuel French. Chad Deity‘s action accommodates a few matches in the ring, but the plot‘s essential structure depends on a series of presentational and revelatory monologues delivered by a former childhood wrestling fanatic turned professional wrestler, Macedonio Guerra. It is immediately evident from the play‘s prologue, which offers an informal history and analysis of wrestling action figure toys, that wrestling—from the minds of impressionable children to the bodies of trained athletic adults—is intensely and fundamentally theatrical. Wrestling's transplantation from the ring to the formal theatrical stage underscores that this internationally broadcast U.S. pseudo-sport is already a performance. As Roland Barthes declares in his 1957 essay The World of Wrestling, ―Wrestling is not a sport, it is a spectacle‖ (15). -
A History of Television News Parody and Its Entry Into the Journalistic Field
Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication Summer 8-13-2013 Nothing But the Truthiness: A History of Television News Parody and its Entry into the Journalistic Field Curt W. Hersey Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Hersey, Curt W., "Nothing But the Truthiness: A History of Television News Parody and its Entry into the Journalistic Field." Dissertation, Georgia State University, 2013. https://scholarworks.gsu.edu/communication_diss/46 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. NOTHING BUT THE TRUTHINESS: A HISTORY OF TELEVISION NEWS PARODY AND ITS ENTRY INTO THE JOURNALISTIC FIELD by CURT HERSEY Under the Direction of Ted Friedman ABSTRACT The relationship between humor and politics has been a frequently discussed issue for communication researchers in the new millennium. The rise and success of shows like The Daily Show and The Colbert Report force a reevaluation of the relationship between journalism and politics. Through archival research of scripts, programs, and surrounding discourses this dissertation looks to the past and historicizes news parody as a distinct genre on American television. Since the 1960s several programs on network and cable parodied mainstream newscasts and newsmakers. More recent eXamples of this genre circulate within the same discursive field as traditional television news, thereby functioning both as news in their own right and as a corrective to traditional journalism grounded in practices of objectivity. -
Stephen Colbert and the Evolution of Recursive Parody
The Dissent of Man: Stephen Colbert and the Evolution of Recursive Parody Jacob Alfredo Hutchison A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Odai Johnson, Chair Christine Harold Stefka Mihaylova Program Authorized to Offer Degree: Drama ©Copyright 2018 Jacob Alfredo Hutchison University of Washington Abstract The Dissent of Man: Stephen Colbert and the Evolution of Recursive Parody Jacob Alfredo Hutchison Chair of the Supervisory Committee: Odai Johnson School of Drama The interactive character-driven television performances of late night political parodist Stephen Colbert, and the similarly interactive, similarly character-based performances of alt-right provocateur Milo Yiannopoulos have much in common stylistically, but are worlds apart in their goals and effects. Colbert deployed his parodic character to interrogate and reveal the ways those in power use public performance to distract and deceive the citizenry, while Yiannopoulos and others have adopted and adapted Colbert’s tactics, using them to perpetuate those deceptions and to weaken public trust in any political claims. Through an examination of these two figures, this dissertation tracks the evolution of a discursive tactic it terms “recursive parody”: a satire that results from the sustained interactions between a parodic character and a non-fictional person. As a rhetorical and theatrical tool, recursive parody is simultaneously a response to and an accelerant of a widespread social anxiety over the legibility of political intentions. Twenty-first century American citizens, constantly surrounded by performative speech acts, regularly experience this sociopolitical anxiety, which manifests as a grave uncertainty about the reliability of any claimed or perceived intention from any public figure. -
The Factors and Contexts That Inform Relations Between Wrestling Stars and Their Audiences
i Wrestling With Stardom: The Factors and Contexts that Inform Relations Between Wrestling Stars and their Audiences Thomas Huw Alcott Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy at Aberystwyth University Department of Theatre, Film and Television 23. January 2018 ii Acknowledgments Anyone who has undertaken a large research project will know that the end result is never the work of just one person. It is built upon a much needed support network of people, who for the most part remain anonymous in the body of the text. This is my chance to acknowledge those people, without whom this work would never have been possible. To the best supervisors I could have asked for, Kate Egan and Sarah Thomas, for their dedication, support, help and most of all, friendship. I am greatly indebted to the many questionnaire respondents and focus group participants who took the time to help me in this project and made it possible. Thank you for sharing your thoughts and words. I will be forever grateful. To those members of the Theatre, Film and Television department at Aberystwyth University who showed such enthusiasm for, and interest in, my project. To Heike Roms for her help and support through the application process, and Rebecca Edwards for her constant encouragement and help in organising my symposium. I also want to acknowledge the role played by the Alumni Association without whose funding this research would not have been possible. To all the friends, flatmates and fellow PhD researchers with whom I shared this experience.