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“Pilot” Written by Corinne Kingsbury Directed by Scott Ellis FINAL
FAM “Pilot” Written by Corinne Kingsbury Directed by Scott Ellis FINAL COLLATED – 04/24/18 This script is the property of CBS Studios Inc. and Kapital Productions, LLC, and may not be copied or distributed without the express written permission of CBS Studios Inc. and Kapital Productions, LLC. This copy of the script remains the property of CBS Studios Inc. and Kapital Productions, LLC. It may not be sold or transferred and it must be returned to CBS Studios Inc. and/or Kapital Productions, LLC promptly upon demand. THE WRITING CREDITS MAY NOT BE FINAL AND SHOULD NOT BE USED FOR PUBLICITY OR ADVERTISING PURPOSES WITHOUT FIRST CHECKING WITH THE TELEVISION LEGAL DEPARTMENT CONFIDENTIALITY NOTICE You are being given a copy of this document for a particular permitted purpose, and may only use it for that purpose. Except as may be directly necessary to your proposed or actual duties, you may not make physical or digital copies of this document or share a copy of it or the contents of it (or a summary of the contents) with others. This document is protected by the laws governing copyright and confidential information. Kapital Productions, LLC (“Producer”) has strict policies with respect to protecting our scripts, plot lines, plot twists and related Production materials and/or information (the “Confidential Information”). Producer and the applicable network or other exhibitor derive independent value from the Confidential Information not being leaked in advance to the public, the media or anyone not part of the core production team. A condition of your access to the Confidential Information is that you must keep it confidential. -
Intellectual Property Rights in Tattoos, Makeup, and Other Body Art
Written on the Body: Intellectual Property Rights in Tattoos, Makeup, and Other Body Art Thomas F. Cotter* Angela M. Mirabole TABLE OF CONTENTS I. Introduction ................................................................................ 98 II. C opyright Issues ........................................................................... 103 A . Ow nership ................................................................................. 104 B. UnauthorizedReproductions of CopyrightedBody Art ............ 108 C. UnauthorizedAdaptations and Violations of Moral Rights ...... 111 D . Body Art That Infringes............................................................. 117 E . R em edies .................................................................................... 118 III. Tradem ark Issues ......................................................................... 123 IV . Publicity Issues ........................................................................... 131 V . C onclusion .................................................................................... 138 * Professor of Law and Director of the Intellectual Property Program, University of Florida Fredric G. Levin College of Law. ** J.D. 2003, University of Florida Fredric G. Levin College of Law; Associate, Conroy, Simberg, Gannon, Krevans & Abel, West Palm Beach, Florida, beginning Fall 2003. We thank Gabriel Kotch and Elizabeth Scheffler for their insightful comments and criticism. Any errors that remain are ours. 98 UCLA ENTERTA[NMENT LAW REVIEW [Vol. 10:2 I. INTRODUCTION -
Jeremy Jordan
Jeremy Jordan Jeremy Jordan was born and raised in Corpus Christi, Texas. He was always a singer, but at the age of 17, he accidentally fell in love with acting when cast as The Mute in the musical, The Fantasticks. After high school, Jeremy went on to study drama at Ithaca College and moved to New York City after graduating in 2007. After about a year of catering and waiting tables, he began to book some regional theatre work, and in early 2009, landed his first Broadway show, Rock of Ages. He was a swing, understudying several roles including the lead. In December of 2009, he left Rock of Ages to play Tony in Broadway's West Side Story. After West Side Story, Jeremy traveled to Sarasota, Florida to play Clyde Barrow opposite Laura Osnes in Bonnie & Clyde. He then headed to Atlanta, Georgia to shoot his first feature film, “Joyful Noise,” opposite Dolly Parton and Queen Latifah. Todd Graff, who wrote and directed the film, decided to cast him in the movie after coincidentally attending Jeremy's very first performance as the lead in Rock of Ages. In the fall of 2011, Jeremy fulfilled a childhood dream when he was cast as Jack Kelly in Disney's world premiere production of Newsies at Paper Mill Playhouse in New Jersey. He played Jack at night, and during the day rehearsed Bonnie & Clyde, which was coming to Broadway shortly after Newsies finished its regional run. Bonnie & Clyde opened on Broadway in November, 2011 but sadly would close after only 69 performances. -
Nbc Smash & the Voice
NBC SMASH & THE VOICE Problem: How does a network drive viewership in a highly competitive time slot? Solution: Use digital OOH formats to blanket the market on the air date to keep the shows top of mind. BACKGROUND NBC wanted to ensure high viewer rates for the second season of The Voice and the debut of its new show Smash. OBJECTIVE The planning agency was tasked with creating an out of home campaign to publicize the second season of The Voice, and the premiere of newcomer Smash, which would both debut on the Monday following Super Bowl Sunday. STRATEGY To ensure NBC dominated the Monday after the Super Bowl, the planning agency blanketed the full day Monday February 6, with Smash and The Voice tune- in messaging across out of home, supplementing the print, broadcast, radio, and digital efforts from agency partners. The planning agency, working with the client and digital specialists, identified 300+ digital OOH screens across 12 markets to supplement the existing efforts across print, broadcast, radio, and digital. The result was NBC’s “Day of Digital,” a national campaign that gave the network share of voice domination across all me- dia. On Monday, February 6, digital OOH advertisements for Smash and The Voice went live across the selected markets. PLAN DETAILS Markets: Los Angeles, New York, Chicago, Philadelphia, Atlanta, Boston, Minneapolis, Sacramento, Detroit, Phoenix, Dallas, Seattle Flighting Dates: January - February 2012 Out of Home Formats: New York and Los Angeles were the markets of primary focus and where the traditional OOH mostly ran: taxi tops, station dominations, wrapped double- decker buses, and a Times Square Spectacular in New York, while engaging a media mix of bus shelters, bulletins, and wrapped double-decker buses in Los Angeles. -
Saratoga Drama Group Presents
Saratoga Drama Group presents May - June 2001 Saratoga Drama Group A Very Special Guest: Janis Paige presents As our opening-night guest we are extremely pleased to welcome Miss Janis Paige. Miss Paige starred in the original Broadway production of Mame, taking over the title role from its originator, Angela Lansbury. With an all-encompassing talent that embraces the worlds of stage, movies and television, Miss Paige is equally at home in dramatic, comic and musical roles. Prior to her stage career, she enjoyed wide acclaim Book by for her starring roles in motion pictures, Jerome Lawrence beginning with Hollywood Canteen and and continuing through a four-year tenure as a Robert E. Lee Warner Brothers star. Her introduction to Broadway came purely by accident, when producer Leland Hayward, desperately searching through some 200 applicants for Music and Lyrics by the role of Judy Revere in the Howard Lindsay-Russell Crouse comedy Remains To Jerry Herman Be Seen, was introduced to Miss Paige at the rehearsal hall and within the space of fifteen minutes she came away with the part. She went on to even greater success in Based on the novel by Patrick Dennis the smash hit musical Pajama Game, followed by another hit, Here’s Love. and the play “Auntie Mame” by Between shows she initiated a nightclub career, headlining across the country in major supper clubs including the famous Copacabana in New York. Miss Paige can Lawrence and Lee also claim numerous television appearances including a series, It’s Always Jan, and top variety and dramatic shows. -
Catalogue of Photographs of Performers at the Embassy Theatre
Catalogue of Photographs of Performers and Shows in the Archives of the Embassy Theatre Foundation The archives of the Embassy Theatre Foundation hold more than 3000 artifacts, including more than 600 photographs of vaudevillians inscribed to Bud Berger (long-time stage man- ager at the Embassy Theatre, known as the Emboyd until 1952); more than 300 posters, playbills, programs, stools, and even guitars signed by the stars and casts of shows that have played at the Embassy Theatre over the past forty years, rang- ing from classic and current Broadway shows to acrobatic groups, choral ensembles, dance shows, ballet, stand-up comedians, rock bands, country singers, travel films, silent films, theatre organists, and so on; and hundreds of publicity photographs of performers, shows, and events at the theatre, primarily from the period following the establishment of the Embassy Theatre Foundation and its rescue of the theatre from the wrecking ball in 1975; and a nearly complete run of the journal of the American Theatre Organ Society. The archive is now almost fully catalogued and preserved in archival housing. Earlier excerpts from the catalogue (available on the Archives page of the Embassy Theatre’s web site) cover the photographs inscribed to Bud Berger and the posters, playbills, programs, stools, and so on from later shows at the Embassy. This is the third excerpt, covering the public- ity photographs of the last forty-five years and a few photographs of earlier events, Bud Berger, and other members of the stage crew. The publicity photographs are primarily of individ- ual performers, but a few shows are presented as well, including Ain’t Misbehavin’, Annie, Barnum, Bubbling Brown Sugar, Cabaret, California Suite, Cats, A Christ- mas Carol, Dancin’, Evita, Gypsy, I'm Getting My Act Together And Taking It On The Road, Joseph and the Amazing Technicolor Dreamcoat, Peter Pan, Same Time Next Year, Side by Side by Sondheim, and Ziegfeld: A Night at the Follies. -
The Hamilcast's Transcribing Army
The Hamilcast: An American Podcast #21: What are the odds the gods would put us all in one spot? Hosts: Gillian Pennsavalle and Bianca Soto Description: This is a milestone episode! Seth Stewart (@IAMSethStewart) is the first Hamilton cast member to come on the podcast! Seth talks backstage at the Tonys, his responsibilities as the Green Captain of “Hamilton”, the moment he realized he’d be best friends with Lin-Manuel Miranda, and why we should all #StayWeird. He also speaks directly to the Hamilfans. Jam!!! Transcribed by: Autumn Clarke, Proofed by: Joan Crofton The Hamilcast’s Transcribing Army Ok, so we are doing this . ___________________________________________________ GILLIAN PENSAVALLE: Hey, everybody! BIANCA SOTO: Hey! G.PEN: Hi! B.SO: How are you? G.PEN: I’m awesome! B.SO: Yeah me too! G.PEN: How are you? B.SO: I’m great! G.PEN: I’m Gillian B.SO: I’m Bianca G.PEN: This is a big ep B.SO: Big ep! G.PEN: Milestone ep B.SO: For sure! We’re at Shetler Studios here in NYC. For those of you who don’t know, it’s a rehearsal studio space G.PEN: It’s not just a milestone because we’re not in my living room in my apartment, but we have an actual cast member of Hamilton in the flesh, Seth Stewart. SETH STEWART: Jam! G.PEN AND B.SO: [Excited noises] G.PEN: How are you? S.STEW: Good! G.PEN: Thank you so much for being here S.STEW: Of course G.PEN: It’s a really big deal S.STEW: Of course G.PEN: So, again, I’m apologizing for audio. -
Article Casting Call at Forest Lawn: the Digital Resurrection of Deceased Entertainers - a 21St Century Challenge for Intellectual Property La W Joseph J
ARTICLE CASTING CALL AT FOREST LAWN: THE DIGITAL RESURRECTION OF DECEASED ENTERTAINERS - A 21ST CENTURY CHALLENGE FOR INTELLECTUAL PROPERTY LA W JOSEPH J. BEARD Table of Contents I. IN TRO D U CTIO N .................................................................................. 102 II. CREATION OF THE SYNTHETIC REPLICA - THE COPYRIGHT ISSUE .............................................................................. 107 A . Scope of the Issue .......................................................................... 107 B. Reproduction Rights ...................................................................... 109 C. Derivative Work Rights ................................................................ 124 D . D istribution Rights ......................................................................... 125 E. Perform ance Rights ........................................................................ 125 F. D isplay Rights ................................................................................ 127 G . Fair U se ............................................................................................ 128 II. COPYRIGHT/TRADE SECRET PROTECTION FOR THE REANIMATED ACTOR ....................................................................... 135 A . Introduction ..................................................................................... 135 B. Copyright Protection ..................................................................... 135 C. Trade Secret Protection ................................................................. -
A Lucky Pilot Descriptive Verbs
Cambridge University Press 978-1-107-59935-2 — American Think Level 4 Teacher's Edition Brian Hart , Herbert Puchta , Jeff Stranks , Peter Lewis-Jones Excerpt More Information WELCOME A WHAT A STORY! A lucky pilot 1 1.02 Complete the conversation with the verbs in the correct tense. h en listen and check. crash | hit | i nd | add | end | pull | keep take | destroy | scream | manage | dive MIKE Did you see that story about the plane that 0 crashed in the Gulf of Mexico? ANDY No, I didn’t. What happened? MIKE Well, this guy 1 of from Miami in a single- engine plane and headed toward New Orleans. ANDY Wow. h at’s a long way. MIKE Exactly, and it’s normally too far for a plane like that, but he had 2 extra fuel tanks. At er he had begun his journey, however, he realized he didn’t have enough fuel to 3 on l ying, so he radioed New Orleans and told them that he was in trouble and had to land in the ocean. ANDY In the water? MIKE Yes, but luckily there was a i shing boat nearby that Descriptive verbs was able to pick him up. But here’s the incredible 1 Match the verbs with the de nitions. thing. h e plane had a parachute, so the pilot opened it, but this didn’t work, and the plane started 1 demolish a to hit very hard and break to 4 toward the water! h en, almost at 2 l e e b to run away quickly the last second, the parachute pulled the plane 3 grab c to destroy completely 5 horizontal, just before it the water. -
The Homes of 'Smash': Interiors That Steal the Show MARCH 26, 2012 | 6:47 PM
L.A. at Home DESIGN, ARCHITECTURE, GARDENS, SOUTHERN CALIFORNIA LIVING « Previous Post | L.A. at Home Home | Next Post » f t m The homes of 'Smash': Interiors that steal the show MARCH 26, 2012 | 6:47 PM Drama may have spilled off the TV screen last week as the creator of "Smash," playwright Theresa Rebeck, stepped down as the lead producer on the NBC series. Design fans, however, will be pleased to know that the show's eclectic and luxurious interiors for its Broadway-based characters will be back for a second season. Production designer Cabot McMullen and set decorator Andrew Baseman recently talked about the look of the homes on the show, which McMullen said the production had made a big commitment to make as realistic as possible. "The criteria from [executive producer] Steven Spielberg was to make it real," he said. "We were asked to demonstrate the lifestyle of Broadway people that was honest and true." McMullen credits Baseman for choosing furnishings that tell a story. "You can do more color and push the envelope with theater people," said Baseman, an interior designer who has clients in the theater world. "Some people in the business get very close to the characters they create and they want to live in that world." Both men admitted that the loft of Derek (Jack Davenport) -- filmed in a vast Flatiron District apartment with a gorgeous view of the Empire State Building -- is a bit of a stretch for a theater director. But what about the luxurious Upper East Side brownstone of writer Julia (Debra Messing), pictured below? "She's successful. -
THE BROADWAY PRINCESS PARTY The
THE BROADWAY PRINCESS PARTY The princesses are throwing a ball, and you’re invited! After five sold-out engagements in New York City, The Broadway Princess Party is coming to the Segerstorm Center for the Arts! Star of Broadway’s Cinderella, two time Tony nominee, Laura Osnes will bring her radiant leading lady friends to Orange County along with music director Benjamin Rauhala for a dazzling evening of musical magic. She will be joined by Broadway’s 'Princess Jasmine' in Aladdin Courtney Reed, and Tony nominee Adrienne Warren to sing the most beloved ‘Princess’ songs of stage and screen and reminisce about their favorite fairytales and most cherished characters. So get your ballgown out of the closet, dust off that tiara and make your way to the Segerstorm Center for the Arts for a Broadway Princess Party you will never forget! The concerts are presented by LML Music and produced by Integrated Arts, LLC. Laura Osnes will return to Broadway this spring in the new musical Bandstand after creating the role of Julia Trojan in the Paper Mill Playhouse production. Her other Broadway credits include the title role in Rodgers + Hammerstein’s Cinderella (Drama Desk Award; Tony, Outer Critics Circle, Drama League and Astaire Award nominations), Bonnie in Bonnie and Clyde (Tony Award nomination), Hope Harcourt in the Tony Award winning revival of Anything Goes (Drama Desk, Outer Critics Circle, and Astaire Award nominations), Nellie Forbush in Lincoln Center Theater’s production of South Pacific, and Sandy in the most recent revival of Grease. Other New York/regional credits include The Blueprint Specials, The Threepenny Opera (Drama Desk Award nomination) at the Atlantic Theater Company; City Center Encores! productions of The Band Wagon, Randy Newman's Faust, and Pipe Dream; The Sound of Music in concert at Carnegie Hall; Carousel opposite Steven Pasquale at the Lyric Opera of Chicago, and Broadway: Three Generations at the Kennedy Center. -
Scangate Document
Opuscula Historica Upsaliensia utges av Historiska institutionen vid Uppsala universitet och syftar till att sprida information om den forskning som bedrivs på institutionen. Huvudredaktör: Asa Karlsson. Redaktion: Gudrun Andersson, Håkan Gunneriusson och Karin Jansson. Löpande prenumeration tecknas genom skriftlig anmälan till Opuscula, Historiska institutionen, S:t Larsgatan 2, 753 10 Uppsala. Enstaka nummer kan beställas från Historiska institutionen. För ytterligare information kontakta på telefon 018-47115 42, telefax 018-47115 28 eller E-post: [email protected], Karin.J [email protected] Guises of Power Integration of society and legitimisation of power in Sweden and the Southern Low Countries ca 1500-1900 Maria Ågren, Asa Karlsson and Xavier Rousseaux (eds.) Distribution Department of History, S:t Larsgatan 2, SE-753 10 Uppsala, Sweden Cover: Håkan Belin © The Authors Graphics and layout: Chripa Fotograf & Reklam Printed in Sweden by: X-O Graf Tryckeri AB Uppsala 2001 ISSN 0284-8783 ISBN 91-506-1423-1 Contents Preface 5 Maria Ågren, Asa Karlsson and Xavier Rousseux A Modern Year for a Modern Mind. The replacement of holidays by dates in Swedish legal ordinances 11 Henrik Ågren Gender as Symbolic Capital? Women and property in the seven- teenth and eighteenth centuries 23 Gudrun Andersson Identity and Integration. Student unrest in early modern Uppsala Lars Geschwind. 33 Legitimisation of Resistance: The Argumentation of Rebellious Peasants, 1742-43 45 Karin Sennefelt Spatial Integration at the District Courts in Seventeenth