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Junior Friends Groton Public Library
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. -
Sometimes I Wonder… If My Family Was a Tv Show… What Would Be the Ratings, and What Would People See?
Homily | Year A | Holy Family | 12/29/2019 Sometimes I wonder… if my family was a tv show… what would be the ratings, and what would people see? Most of the most memorable TV shows I’ve watched have all revolve around family dynamics. As a child I remember watching The Wonder Years , Family Matters , Full house and Home Improvement . Then in the Early 200’s it was Malcolm in the Middle , Everybody Loves Raymond , and most recently Parenthood , Modern Family and The Middle . Now, all these TV shows showcased very different families; different cultural backgrounds, different economic status, even different values than those of my own family experiences growing up as a Mexican-American; yet, somehow, they were all relatable. The same can be said about the many families we encounter in scripture; from the Old Testament families of Adam and Eve, Noah, Abraham, Lot, and Jacob… to the New Testament family stories like that of the prodigal son, Martha and Mary, Zachariah and Elizabeth, and the Holy Family… these are all families very different form our own, yet they are somehow still relatable. That is because family values, although they might be lived differently generation to generation, culture to culture, family to family; they all emerge from universal values that all people can relate to. These values are mutuality, respect, and service, and we encounter them in scripture today. We see these universal values in Old Testament Wisdom through the example of parent-child relationship. In the Jewish tradition, parents had a God- pg. 1 Homily | Year A | Holy Family | 12/29/2019 given responsibility over their children and vice versa, children once adults had a God-given responsibility over their parents, especially when the caretaker role was reversed… First parents had the responsibility to care, feed, clothe, and bathe their children… but there would come a time when the parent would grow old and frail and this responsibility would flip… the adult child would now have the responsibility to care, feed, clothe and bathe the aged parent. -
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. -
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). -
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. -
Cheers, Friends! the Story of Our Beer Zlatý Bažant 12° Tank
The story of our beer Zlatý Bažant 12° tank beer artfully brewed Superior ingredients are not enough when it comes to beer brewing. The thing that really counts is the craftsmanship of beer masters who keep an eye on the whole brewing process. They are experts who love their job and whose passion for beer and experience can’t be replaced by any modern machine. They brew Zlatý Bažant 12 artfully for you. Stored with care Zlatý Bažant is delivered to Klubovňa in a temperature stable tank right from the brewery. Afterwards it is pumped into smaller beer bags in our beautiful and modern stainless steel tanks. These beer bags are changed after each such filling in order to keep the beer in the best conditions. We keep beer chilled to ideal temperature of 7-10°C all the way. When your Bažant is draught from the tank, it is being pushed up by a compressor which pushes the air on the beer bag inside the tank. Doing it this way ensures that our artfully brewed Zlatý Bažant 12° tank beer will never get in touch with air, which guarantees the best beer quality on its way from brewery right into your glass. Artfully draught, served and enjoyed Brewing beer is a science. And drawing beer correctly is an art. Enjoy this premium lager beer of Pilsner type produced by traditional technology. It has a prominent well-balanced full taste, strong hops aroma and a pleasant bitter aftertaste. The malt from own malt plant provides it with the deep yellow color. -
Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions
Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 5-2010 Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions Stephanie Savage Salve Regina University, [email protected] Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the Advertising and Promotion Management Commons, and the Marketing Commons Savage, Stephanie, "Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions" (2010). Pell Scholars and Senior Theses. 54. https://digitalcommons.salve.edu/pell_theses/54 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Savage 1 “Who’s gonna turn down a Junior Mint? It’s chocolate, it’s peppermint ─it’s delicious!” While this may sound like your typical television commercial, you can thank Jerry Seinfeld and his butter fingers for what is actually one of the most renowned lines in television history. As part of a 1993 episode of Seinfeld , subsequently known as “The Junior Mint,” these infamous words have certainly gained a bit more attention than the show’s writers had originally bargained for. In fact, those of you who were annoyed by last year’s focus on a McDonald’s McFlurry on NBC’s 30 Rock may want to take up your beef with Seinfeld’s producers for supposedly showing marketers the way to the future ("Brand Practice: Product Integration Is as Old as Hollywood Itself"). -
IT's NOT FUNNY AFTER ALL THEY EARNED THEIR WINGS This Issue
ISSUE 3 S p r i n g This Issue 2 0 2 0 It’s Not Funny Afterall P.1 College Men & Residence Life P.2 You Earned Your Wings P.3 THEY EARNED Making the Grade Went Viral P.4 THEIR WINGS Blue Devil in Orange Tiger Country P.5 The following Differences Between Men and Women P.6 registered participants 5th Annual Dads Matter Too Conference P.7 of the Brotherhood Ropes to Courage P.8 Initiative earned a 3.0 In the Spotlight P.10 or better for the fall Bassett Update P.13 2019 semester (p. 3) Bassett Humanitarian Award Recipient P.14 Mr. Anas Alomari IT’S NOT FUNNY AFTER ALL and/or disparaging them for their gender Miss. Edith Anger by William Fothergill was accepted and seen as humorous. We all Miss. Tara Brooks Over the course of the COVID-19 pandemic, I laughed, and probably never really thought Mr. Cameron Clark had the opportunity to catch up on my about the power of the hidden message. We Mr. Eric Desmarais television viewing. I am not sure if this was a laughed when Edith Bunker (Jean Stapleton) good or bad thing, but it provided me with was called a “dingbat” by her tv husband Dr. Byron Dickens the opportunity to do what social scientist Archie on the sitcom All in the Family. We all Mr. Mahmoud Elassy loves to do – observe. It only took a few days laughed at Chrissy (Suzanne Somers), on the Mr. Joseph Gohar to remind myself about the biases that exist show Three is Company, when she was depicted as the embodiment of a “dumb in the media. -
By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible. -
Sitcom Spec Script Survey
Sitcom Spec Script Survey 1. How would you rank yourself in terms of your sitcom writing experience? Response Response Percent Count No experience 20.5% 30 Beginner - understand the basics, but are still fairly 55.5% 81 inexperienced Advanced - written several scripts, but have not yet made any money 21.2% 31 from writing Professional - been paid to write 2.7% 4 answered question 146 skipped question 1 2. How many sitcom spec scripts have you written within the last year? Please only count COMPLETED drafts. Response Response Percent Count 0 - 2 93.8% 136 3 - 5 6.2% 9 6 - 10 0.7% 1 More than 10 0.0% 0 answered question 145 skipped question 2 1 of 18 3. Please list the sitcoms that you've specced within the last year: Response Count 95 answered question 95 skipped question 52 4. How many sitcom spec scripts are you currently writing or plan to begin writing during 2011? Response Response Percent Count 0 - 2 64.5% 91 3 - 4 30.5% 43 5 - 6 5.0% 7 answered question 141 skipped question 6 5. Please list the sitcoms in which you are either currently speccing or plan to spec in 2011: Response Count 116 answered question 116 skipped question 31 2 of 18 6. List any sitcoms that you believe to be BAD shows to spec (i.e. over-specced, too old, no longevity, etc.): Response Count 93 answered question 93 skipped question 54 7. In your opinion, what show is the "hottest" sitcom to spec right now? Response Count 103 answered question 103 skipped question 44 8. -
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 -
Will & Grace Data Report
SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 1 WILL & GRACE DATA REPORT HISTORICAL UNIT COST ANALYSIS SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 2 [pronounced skwäd] For more than 4 decades, SQAD has provided dynamic research & planning data intelligence for advertisers, agencies, and brands to review, analyze, plan, manage, and visualize their media strategies around the world. ADVERTISING RESEARCH ANALYTICS & PLANNING SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 3 ABOUT THIS REPORT WILL & GRACE REPORT: HISTORICAL UNIT COST ANALYSIS DATA SOURCE: SQAD MediaCosts: National (NetCosts) Our Data SQAD Team has pulled historical cost data (2004-2006 season) for the NBC juggernaut, Will & Grace to see where the show was sitting for ad values compared to the competition; and to see how those same numbers would compete in the current TV landscape. The data in this report is showing the AVERAGE :30sec AD COST for each of the programs listed, averaged across the date range indicated. When comparing ad costs for shows across different years, ad costs for those programs have been adjusted for inflation to reflect 2017 rates in order to create parity and consistency. IN THIS REPORT: 2004-2005 Comedy Programming Season Comparison 4 2005-2006 Comedy Programming Season Comparison 5 2004-2006 Comedy Programming Trend Report 6 Comedy Finale Episode Comparison 7 Will & Grace -vs- 2016 Dramas & Comedies 8-9 Will & Grace -vs- 2017 Dramas & Comedies 10-11 SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 4 WILL & GRACE V.S. TOP SITCOMS ON MAJOR NETWORKS - 04/05 SEASON Reviewing data from the second to last season of Will & Grace, we see that among highest rated sitcoms on broadcast TV of the time, Will & Grace came out on top for average unit costs for a 30 second ad during the Fall 2004 season.