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Duplicity: Exploring the Many Faces of Gotham
Duplicity: Exploring the many faces of Gotham “And man shall be just that for the overman: a laughing stock or a painful embarrassment.” - Friedrich Nietzsche, Also Sprach Zarathustra The Dark Knight, Christopher Nolan’s follow up to 2005’s convention- busting Batman Begins, has just broken the earlier box office record set by Spiderman 3 with a massive opening weekend haul of $158 million. While the figures say much about this franchise’s impact on the popular imagination, critical reception has also been in a rare instance overwhelmingly concurrent. What is even more telling is that the old and new opening records were both set by superhero movies. Much has already been discussed in the media about the late Heath Ledger’s brave performance and how The Dark Knight is a gritty new template for all future comic-to-movie adaptations, so we won’t go into much more of that here. Instead, let’s take a hard and fast look at absolutes and motives: old, new, black, white and a few in between. The brutality of The Dark Knight is also the brutality of America post-9/11: the inevitable conflict of idealism and reality, a frustrating political comedy of errors, and a rueful Wodehouseian reconciliation of the improbable with the impossible. Even as the film’s convoluted and always engaging plot breaks down some preconceptions about the psychology of the powerful, others are renewed (at times without logical basis) – that politicians are corruptible, that heroes are intrinsically flawed, that what you cannot readily comprehend is evil incarnate – and it isn’t always clear if this is an attempt at subtle irony or a weary concession to formula. -
For Immediate Release Second Night of 2017 Creative Arts
FOR IMMEDIATE RELEASE SECOND NIGHT OF 2017 CREATIVE ARTS EMMY® WINNERS ANNOUNCED (Los Angeles, Calif. – September 10, 2017) The Television Academy tonight presented the second of its two 2017 Creative Arts Emmy® Awards Ceremonies honoring outstanding artistic and technical achievement in television at the Microsoft Theater in Los Angeles. The ceremony honored performers, artists and craftspeople for excellence in scripted programming including comedy, drama and limited series. Executive produced by Bob Bain, the Creative Arts Emmy Awards featured presenters from the season’s most popular show including Hank Azaria (Brockmire and Ray Donovan), Angela Bassett (911 and Black Panther), Alexis Bledel (The Handmaid’s Tale), Laverne Cox (Orange Is the New Black), Joseph Gordon-Levitt (Are You There Democracy? It's Me, The Internet) and Tom Hanks (Saturday Night Live). Press Contacts: Stephanie Goodell breakwhitelight (for the Television Academy) [email protected], (818) 462-1150 Laura Puig breakwhitelight (for the Television Academy) [email protected], (956) 235-8723 For more information please visit emmys.com. TELEVISION ACADEMY 2017 CREATIVE ARTS EMMY AWARDS – SUNDAY The awards for both ceremonies, as tabulated by the independent accounting firm of Ernst & Young LLP, were distributed as follows: Program Individual Total HBO 3 16 19 Netflix 1 15 16 NBC - 9 9 ABC 2 5 7 FOX 1 4 5 Hulu - 5 5 Adult Swim - 4 4 CBS 2 2 4 FX Networks - 4 4 A&E 1 2 3 VH1 - 3 3 Amazon - 2 2 BBC America 1 1 2 ESPN - 2 2 National Geographic 1 1 2 AMC 1 - 1 Cartoon Network 1 - 1 CNN 1 - 1 Comedy Central 1 - 1 Disney XD - 1 1 Samsung / Oculus 1 - 1 Showtime - 1 1 TBS - 1 1 Viceland 1 - 1 Vimeo - 1 1 A complete list of all awards presented tonight is attached. -
Gotham Episode 3 Review: Penguin Returns, Catwoman Eludes Gordon
Gotham Episode 3 Review: Penguin Returns, Catwoman Eludes Gordon Author : Robert D. Cobb This episode could have been a filler episode. It has a non-descript villain. I got the feeling that it was building to the next part of the story. Fortunately, there were some awesome scenes and a cool twist at the end that created some intriguing possibilities. Bruce Wayne gets files related to his parents’ murder. It was just another part of his evolution into Batman. The Penguin also made his return. Penguin came back to Gotham was back to his old tricks. He managed to get inside the rival crime family that is opposing Carmine Falcone. There is no doubt that he will cross paths with Fish Mooney again. Robin Lord-Taylor was the standout performer in the episode once again. Another great scene was the “Cat” and Jim Gordon scene. The Catwoman and Gordon scene was interesting. It was odd that he went down into a sewer and didn’t have her get the wallet. She made him look foolish by escaping. It was another reminder of what she will become and it was appropriate for the character. It was one of the best scenes in the episode. Speaking of Fish Mooney, she was scheming again. She told the two cops about Gordon’s “murder” of the Penguin. It set up a confrontation between the two parties. They clearly don’t like each other and will eventually come to blows. It was clever to plant those seeds of doubt about Gordon. Mooney remains an interesting character to watch as the series evolves because she is proving to be unpredictable. -
Cinematography for a Single-Camera Series (Half-Hour)
2018 Primetime Emmy® Awards Ballot Outstanding Cinematography For A Multi-Camera Series Alexa & Katie Ungroundable March 23, 2018 Alexa goes out of her way to prove she can't be punished. Jennifer surprises Jack with a backyard campout, but has a hard time getting him to unplug. Christian La Fountaine, ASC, Director of Photography The Big Bang Theory The Explosion Implosion October 16, 2017 Howard and Sheldon bond when they drive to the desert to shoot off a model rocket; When Leonard’s Mom finds a new best friend in Penny, it rubs Leonard the wrong way. Steven V. Silver, ASC, Director of Photography The Carmichael Show Support The Troops June 01, 2017 Jerrod gets into a fight with a soldier in front of Joe and Bobby. Joe tries to make it up to the soldier, but complications result. George Mooradian, ASC, Director of Photography Disjointed 4/20 Fantasy January 12, 2018 While the gang celebrates 4/20, Ruth helps Olivia with a contract, Pete loses confidence in his growing abilities, and Jenny and Carter share a secret. Peter Smokler, Director of Photography Fuller House My Best Friend's Japanese Wedding December 22, 2017 In Japan, Steve and CJ's wedding dishes up one disaster after another - from a maid of honor who's MIA to a talking toilet with an alarming appetite. Gregg Heschong, Director of Photography K.C. Undercover Coopers On The Run, Parts 1 & 2 July 15, 2017 - July 15, 2017 K.C. and the Cooper family of spies, along with K.C.'s Best Friend for Life, Marisa, are on the run from their arch enemy Zane in Rio de Janeiro, when they must take on - the fierce and slightly bizarre enemy agent Sheena, after capturing Passaro Grande, an exotic bird smuggler. -
ARKHAM ASYLUM 1 Empathizing with Enemies
Running head: ARKHAM ASYLUM 1 Empathizing with Enemies: Establishing Good Practices for Patient-Provider Communication at Arkham Asylum © Randy Sabourin, Ottawa, Canada, 2016 Key Words: Mental health, popular culture, narrative inquiry, interviews, patient-provider communication ARKHAM ASYLUM 2 Abstract Arkham Asylum is the home of some of popular culture's most notorious super villains. The neglect and inadequate care these villains receive mirrors a real world context in which mental illness is surrounded by stigma, misunderstanding, and poor rehabilitation rates. Patients like the Joker present complex mental health narratives. These extreme characters would likely be high profile subjects for real-world researchers. This study explores the niches between the usual action-packed escapades on the surface of Batman stories. By pulling back the curtain over the routine treatment of Arkham Asylum’s patients (also known as inmates), the researcher presents a set of good practices for improving their care through more effective communication. A rich data set of recorded audio interviews from the video game Batman: Arkham Asylum serves as the foundation for this set of good practices tailored to the needs of the fictional facility. Narrative inquiry is used to pull these recommendations from the data. Current real world mental health policies and good practices for patient-provider communication, grounded in existing literature, provide the framework within which the researcher compares the fictional world. Based on the narrative elements found in the data, this study recommends an empathy- driven and preventative approach to treating Gotham’s criminally insane population. ARKHAM ASYLUM 3 Table of Contents 1. Introduction 4 a. -
California TV 3X20.25 11-22.Indd
WEDNESDAY EVENING NOVEMBER 22, 2017 6 PM 6:30 7 PM 7:30 8 PM 8:30 9 PM 9:30 10 PM 10:30 11 PM 11:30 6 PBS PBS NewsHour (N) Nature Nova Frontline "Poor Kids" Wicked World News Charlie Rose (N) 8 NBC News Wheel The Wall "Ruben and Sandy" Sat. Night "A Saturday Night Live Thanksgiving Special" KOMU 8 The Tonight Show (N) Late Night ` 9 CW Fam.Guy Fam.Guy iHeartRadio Music Festival Pt. 1 of 2 cont'd Nov 24 News Sein. Sein. Rules Rules Queens 13 CBS KRCG Live Ent. Tonight Survivor SEAL Team "The Exchange" Criminal Mind "Neon Terror" KRCG Live The Late Show (N) J.Corden ` 17 ABC ABC 17 News ABC 17 News Charlie Thanksgiving Modern Am.Wife Lights,Camera,C'mas! (N) ABC 17 News Jimmy Kimmel Live Nightline ` 19 WGN Cops Cops Cops Cops Cops Cops Cops Cops Cops Cops Cops Cops 22 FOX BBang BBang Empire "Noble Memory" Star ABC 17 News at 9 (N) Mike&M. Mike&M. 2 Broke 2 Broke 25 KNLJ Walk in Word The Great Awakening VFN TV Gospel Truth All the World St. Theatre MusicCount Awakening Awakening You & Me ` 10 A&E S. Wars S. Wars S. Wars S. Wars Storage S. Wars OzzyandJack'sDetour OzzyJack "Speed Demons" S. Wars S. Wars ` 10 BRAV <++ Maid in Manhattan ('02) Ralph Fiennes, Jennifer Lopez. <++ Maid in Manhattan ('02) Ralph Fiennes, Jennifer Lopez. <+++ Ocean's Eleven ('01,Cri) Brad Pitt, George Clooney. ` 11 SPIKE Friends Friends Friends Friends Shannara Chronic "Wildrun" Shannara Chronic "Blood" <++ X-Men: The Last Stand ('06) Patrick Stewart. -
English Idioms from American Television Series Gotham and Their Equivalents in German and Croatian
English idioms from American television series Gotham and their equivalents in German and Croatian Milos, Ivona Undergraduate thesis / Završni rad 2017 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:982435 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-03 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Preddiplomski studij engleskog jezika i književnosti i njemačkog jezika i književnosti Ivona Milos English idioms from the American television series Gotham and their equivalents in German and Croatian Završni rad Mentor: doc. dr. sc. Goran Schmidt Osijek, 2017. Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Odsjek za engleski jezik i književnost Preddiplomski studij engleskog jezika i književnosti i njemačkog jezika i književnosti Ivona Milos English idioms from the American television series Gotham and their equivalents in German and Croatian Završni rad Znanstveno područje: humanističke znanosti Znanstveno polje: filologija Znanstvena grana: anglistika Mentor: doc. dr. sc. Goran Schmidt Osijek, 2017. Abstract This research is based on the analysis of idioms from American television series Gotham in three languages: English as the source language and German and Croatian as two target languages. The corpus of this research consists of 15 randomly extracted idioms from the series. The research is divided in three major parts. The first part contains a theoretical background on what is phraseology and phraseological units, as idiom is one of the types of phraseological units, and how are they defined. -
Superheroes in Gotham,” the Exhibition of Comic Book New York… Gotham City… Metropolis… at the New-York
By James D. Balestrieri NEW YORK CITY — Disclosure: I still have my comic book collection, books from the early 1970s for the most part, from what is referred to as the Silver Age of Comics, silver calling to mind the silver bullets that plagued the Werewolf By Night, calling to mind the Silver Surfer, that most cerebral and cosmic of the superheroes, calling to mind the Fantastic Four and the silver temples of their leader, Reed Richards (mine are silver, too, though my ability to stretch, as opposed to his, seems to be on the wane). My children marvel at my Marvel Comics and Classics Illustrated — now bagged and boarded in acid-free Mylar. Batman (No.1, Spring 1940), Bob Kane and Bill Finger. Published by Detective Comics, Inc, New York. Serial and Government Publications Division, Library of Congress, Washington D.C. Full disclosure: you may well see, somewhere in this essay, a photo of attendees at the 2012 Comic Con in New York. I was there, with my family, and was in a kind of makeshift getup as the Shadow, that 1930s pulp hero — “Who knows what evil lurks in the hearts of men…” — who was the inspiration for Batman. Deep disclosure: the brief bio that closes my writing in Antiques and The Arts Weekly alludes to the plays, screenplays and stories I write. It doesn’t mention the graphic novel I’ve been composing for the past three years. So I come at “Superheroes in Gotham,” the exhibition of comic book New York… Gotham City… Metropolis… at the New-York Ms. -
"GOTHAM" Written by Bruno Heller 2Nd Network Draft
GOTHAM 2nd Revised Network Draft (013114) CLEAN Written by Bruno Heller "GOTHAM" Written by Bruno Heller 2nd Network Draft © 2014 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment, Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc. TEASER FADE IN: EXT. GOTHAM CITY - DUSK (D/1) We’re ten stories above the street, perched on the edge of an old office building. A stone GARGOYLE gazes blindly at a majestic mountain range of Gothic stone spires and sleek glass towers under a darkening blue sky, bathed in the golden light of the setting sun. SELINA KYLE (14) - an elfin girl dressed in street Goth style, the future CATWOMAN - appears alongside the gargoyle and scans the streets below, a hunter searching for prey. Without any hesitation, she launches herself from the edge of the roof onto a fire escape one floor below and - using drainpipes, window ledges, and light fixtures - descends to street level with amazing nerve and agility. EXT. THEATER DISTRICT STREET. GOTHAM Imagine New York City’s Times Square in the 1970s and then turn the dial to eleven - squalid but sexy, dangerous but glamorous. Colorful GOTHAMITES and gawking TOURISTS watch TWO GANG MEMBERS brawling violently in the middle of the road. One gangster wears crude HOME MADE BODY ARMOR and wields a machete, the other wears a garish ZOOT SUIT and is armed with a hammer. Nobody notices Selina slide from a store awning onto the sidewalk. -
Bat Gotham Final
William Uricchio The Batman’s Gotham City™: Story, Ideology, Performance The trademark affixed to Batman’s Gotham City™ suggests something of its special status. Plastered across games, amusement park rides, toys, and other collectables, Gotham City as brand is a highly valued asset not only of the Batman franchise, but of the larger corporate entities of DC Comics and Warner Bros. As a place marker and invocation of urban space, Gotham City’s protected legal status in fact extends to little more than a ten-letter sequence. It lacks borders, elected officials, citizens – none of which is surprising given its fictional status. But it does have a history and a raison d’être, and with them an accretion of representational strategies, icons, and of course, characters. This essay will side-step the value of Gotham City as intellectual property and generator of profits, looking at it instead as a generative element in the production of Batman narratives and related ideological value systems, both of which offer an opportunity to rethink urban cartographies as enacted rather than objective spaces. As the Riddler once put it, “When is a man a city?” “When it’s Batman or when it’s Gotham…. It’s huge and contradictory and dark and funny and threatening.” (Gaiman 1989) It is difficult to argue with this broad spectrum of descriptors. And yet the Riddler’s remarks regarding the mutual definition of the character and the city bring with them a crucial implication. The interdependence of the Batman and Gotham City is as William Uricchio ! 4/2/09 8:03 PM Deleted: mutual essential to sustaining the logic behind the endless iterations of the narrative as the William Uricchio ! 4/2/09 8:03 PM Deleted: are Batman’s oft-invoked origin story. -
"GOTHAM KNIGHTS" SERIES WRITER's BIBLE Developed by Robert Garlen BATMAN Created by BOB KANE and BILL FINGER BATMAN
"GOTHAM KNIGHTS" SERIES WRITER’S BIBLE Developed by Robert Garlen BATMAN Created by BOB KANE and BILL FINGER BATMAN published by DC COMICS This is a work of Fan Fiction and is not to be confused with any official BATMAN products or media adaptation. I do not own nor claim to own any character appearing in this work. All Rights Reserved WARNER BROS. DC COMICS. GOTHAM KNIGHTS INTRODUCTION In the darkest area of Gotham, where the monsters prey on the fearful! Where the monsters prowl the streets and the victims of evil grow minute by minute hour by hour! The night sky of Gotham city where the only light is the faint rays of the moon and broken street lights stacked blocks apart. The shadows move with the darkest intent as villains rise and let loose on the city with no remorse, no content, and no mercy! Yet at night, preys one who uses fear against those who prey on the fearful. There is an existing element in Gotham. A wild, animalistic force that cannot be bought, bullied, or reasoned with. This force has become the new heart of Gotham and is no longer lone on its journey for justice. As criminals who were once only afraid will forever be petrified as there is an unstoppable force in Gotham. A force the world calls... BATMAN AND ROBIN! 2. MISSION STATEMENT "GOTHAM KNIGHTS" is an hour long DRAMA centered around the Dark Knight and the Boy Wonder! The long term goal of this series is to not only entertain fans of Batman, but also teach life lessons to a new generation of audiences. -
The Batman's Gotham City(Tm)
The Botmon's Gothom CityTM: Story, ldeology, Performonce WILLIAM URI((l.|IO Hr TnADtillAR( ArnxED I0 BATtItAN's Gotham City in this chapter's title suggests something of its special status. Plastered across games' amusement park rides, toys, and other collectables, Gotham City as a brand is a highly valued asse t not only of the Batman franchise, but of the larger corporate entities of DC Comics and \{arner Bros. As a place marker and invocation of urban space, Gotham City's protected legal status in fact extends to little more than a ten-letter sequence. It lacks borders, elected officials, citizens - none of which is surprising given its fictional status. But it does have a history and a ra'ison d'Atre, and,wilh them an accretion of representational strategies, icons and, of course, characters. This chapter will side-step the value of Gotham City as intellectual property and generator of profits, looking at it instead as a generative element in the production of Batman narratives and related ideological value systems, both of which offer an opportunity to rethink urban cartographies as enacted rather than objective spaces. As the Riddler once put it, '"When is a man a city?" '\rVhen it's Batman or when it's Gotham . It's hugeand contradictory and darkand funny and threatening" (Gaiman 1989). It is difficult to argue with this broad spectrum of descriptors. And yet the Riddler's remarks regarding the mutual definition of the character and the city bring with them a crucial implication. The interdependence of the Batman and Gotham City is il9 The Batman's Gotharn CityaM l2l 120 Cornics und th* Cily to address underlying social inequities and urban as essential to sustaining the logic behincl the endless iterations of the of Batman narratives as the unity of the Wayn e figure as both narrative as the Batman's oft-invoked origin storv.