“Pilot” Written by Greg Berlanti & Sera Gamble Based on the Novel “YOU
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DAN HILAND Re-Recording Mixer
DAN HILAND Re-Recording Mixer RE-RECORDING MIXER | SELECT TELEVISION CREDITS & AWARDS CATCH-22 David Michod Paramount Television INSATIABLE Lauren Gussis CBS Television Studios BATWOMAN Caroline Dries WBTV Gary Dauberman/Mark SWAMP THING Verheiden DC Universe THE RED LINE Cairlin Parrish WBTV ALL AMERICAN April Blair WBTV LOVE IS Mara Brock Akil OWN SABRINA THE TEENAGE WITCH Jonathan Schmock Viacom Productions TITANS Greg Berlanti DC Entertainment THE LEFTOVERS Damon Lindelof HBO THE FLASH Greg Berlanti WBTV EMPIRE Lee Daniels Imagine Television CINNAMON GIRL (TV Movie) Gavin O'Connor Fox 21 WITCHES OF EAST END Maggie Friedman Lifetime ARROW Greg Berlanti WBTV RAY DONOVAN (Pilot) Ann Biderman Showtime Networks MOB CITY Frank Darabont TNT Originals POLITICAL ANIMALS Greg Berlanti WBTV HOUSE OF LIES Matthew Carnahan Showtime Networks HART OF DIXIE Leila Gerstein WBTV THE WALKING DEAD Frank Darabont (2010) (2012/2014/2015/2016) AMC DARK BLUE Danny Cannon/Doug Jung TNT Originals IN PLAIN SIGHT David Maples USA Network CHASE Jennifer Johnson WBTV NO ORDINARY FAMILY (Pilot) Greg Berlanti ABC Studios THE WHOLE TRUTH Tom Donaghy WBTV J.J. Abrams FRINGE (Pilot) (2009) WBTV Warner Bros. Post Production Creative Services | 4000 Warner Blvd. | Burbank, CA 91522 | 818.954.7825 Award Key: W for Win | N for Nominated OSCAR | BAFTA | EMMY | MPSE | CAS LIMELIGHT (Pilot) David Semel, WBTV HUMAN TARGET Jonathan E. Steinberg WBTV EASTWICK Maggie Friedman WBTV V (Pilot) Kenneth Johnson WBTV TERMINATOR: THE SARAH CONNER Josh Friedman CHRONICLES WBTV CAPTAIN -
Are You What You Watch?
Are You What You Watch? Tracking the Political Divide Through TV Preferences By Johanna Blakley, PhD; Erica Watson-Currie, PhD; Hee-Sung Shin, PhD; Laurie Trotta Valenti, PhD; Camille Saucier, MA; and Heidi Boisvert, PhD About The Norman Lear Center is a nonpartisan research and public policy center that studies the social, political, economic and cultural impact of entertainment on the world. The Lear Center translates its findings into action through testimony, journalism, strategic research and innovative public outreach campaigns. Through scholarship and research; through its conferences, public events and publications; and in its attempts to illuminate and repair the world, the Lear Center works to be at the forefront of discussion and practice in the field. futurePerfect Lab is a creative services agency and think tank exclusively for non-profits, cultural and educational institutions. We harness the power of pop culture for social good. We work in creative partnership with non-profits to engineer their social messages for mass appeal. Using integrated media strategies informed by neuroscience, we design playful experiences and participatory tools that provoke audiences and amplify our clients’ vision for a better future. At the Lear Center’s Media Impact Project, we study the impact of news and entertainment on viewers. Our goal is to prove that media matters, and to improve the quality of media to serve the public good. We partner with media makers and funders to create and conduct program evaluation, develop and test research hypotheses, and publish and promote thought leadership on the role of media in social change. Are You What You Watch? is made possible in part by support from the Pop Culture Collaborative, a philanthropic resource that uses grantmaking, convening, narrative strategy, and research to transform the narrative landscape around people of color, immigrants, refugees, Muslims and Native people – especially those who are women, queer, transgender and/or disabled. -
Armortech ® THREESOME ® Label
2,4-D • MECOPROP-p • DICAMBA Threesome® Herbicide Selective broadleaf weed control for turfgrass including use on sod farms. To control clover, dandelion, henbit, plantains, wild onion, and many other broadleaf weeds. Also for highways, rights-of-way and other similar non-crop areas as listed on this label. Contains 2,4-D, mecoprop-p, and dicamba. ACTIVE INGREDIENTS KEEP OUT OF REACH OF CHILDREN Dimethylamine Salt of 2,4-Dichlorophenoxyacetic Acid* .......30.56% Dimethylamine Salt of (+)-R-2-(2-Methyl-4-Chlorophenoxy) DANGER – PELIGRO propionic Acid**‡ .......................................................................8.17% Si usted no entiende la etiqueta, busque a alguien para que se la Dimethylamine Salt of Dicamba (3,6-Dichloro-o-anisic Acid)*** 2.77% explique a usted en detalle. (If you do not understand the label, find someone to explain it to you OTHER INGREDIENTS: ......................................................................58.5% in detail.) TOTAL: ....................................................................................100.00% Isomer Specific Method, Equivalent to: *2,4-Dichlorophenoxyacetic Acid ................................... 25.38%, 2.38 lbs/gal PRECAUTIONARY STATEMENTS **(+)-R-2-(2-Methyl-4-Chlorophenoxy)propionic Acid.... 6.75%, 0.63 lbs/gal HAZARDS TO HUMANS AND DOMESTIC ANIMALS ***3,6-Dichloro-o-anisic Acid .......................................... 2.30%, 0.22 lbs/gal Corrosive. Causes irreversible eye damage. Do not get in eyes, or on skin or clothing. ‡CONTAINS THE SINGLE ISOMER FORM OF MECOPROP-p Harmful if swallowed. FIRST AID IF • Call a poison control center or doctor immediately for treatment advice. HOT LINE NUMBER SWALLOWED: • Have person sip a glass of water if able to swallow. Have the product container or label with you when calling a poison control • Do not induce vomiting unless told to do so by the poison control center or doctor. -
Zach-Woodlee-Choreo
zach woodlee director / choreographer selected credits contact: (818) 509-0121 FILM The Boys in the Band (*to be released) Choreographer Netflix Productions, LLC. Love, Simon Choreographer Dir. Greg Berlanti / Fox 2000 Dumplin’ Choreographer Dir. Anne Fletcher / Netflix Productions LLC. Peter Rabbit Choreographer Dir. Will Gluck / Columbia Pictures Drive She Said (*to be released) Choreographer Dir. Joey Syracruse Annie Choreographer Dir. Will Gluck / Sony Pictures Hot Pursuit Choreographer Dir. Anne Fletcher/MGM Glee: The 3D Concert Movie Choreographer Dir. Kevin Tancharoen / 20th Century Fox Real Steel Choreographer Dir. Shawn Levy / Walt Disney Pictures Life as We Know It Choreographer Dir. Greg Berlanti / Josephson Entertainment Eat Pray Love Choreographer Dir. Ryan Murphy / Columbia Pictures Starstruck Choreographer Dir. Michael Grossman / Disney The Back- Up Plan Choreographer Dir. Alan Poul / CBS Films Bedtime Stories Choreographer Dir. Adam Shankman / Gunn Films The Proposal Assistant Choreographer Dir. Anne Fletcher / Touchstone Pictures Fired Up Choreographer Dir. Will Gluck / Screen Gems 17 Again Assistant Choreographer Dir. Burr Steers / New Line Cinema 27 Dresses Choreographer Dir. Anne Fletcher / Spy Glass Get Smart Choreographer Dir. Pete Segal / Warner Bros. Marc Pease Experience Choreographer Dir. Todd Louiso / Paramount Vantage Hairspray Assistant Choreographer Dir. Adam Shankman / New Line Step Up Assistant Choreographer Dir. Anne Fletcher / Buena Vista 40-Year-Old Virgin Assistant Choreographer Dir. Judd Apatow / Disney Stuck on You Assistant Choreographer Dir. Farrelly Bros. / 20th Century Fox TELEVISION High School Musical: The Musical Choreographer Disney + A Christmas Story Live Choreographer Dir. Scott Ellis / FOX The Flash Choreographer The CW Girl Boss Choreographer Netflix Grease: Live Co-Producer / Choreographer FOX / Paramount Television Glee (Season 6) Co-Producer / Choreographer FOX / Ryan Murphy Productions Bones Choreographer Dir. -
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. -
SCENE ONE (An Empty Stage. There Is a Podium and a Projector Screen
SCENE ONE (An empty stage. There is a podium and a projector screen emblazoned with the logo “WELLSTONE PROJECT.” A spotlight comes up on STEPHEN, who stands at the podium, dressed in formal attire. He carries a drink in his hand.) STEPHEN Thank you all for being here tonight – for your support – for honoring my brother’s life and legacy. (as HE speaks, the screen behind him flashes a portrait of Paul Wellstone) It would mean the world to them – Paul, and Sheila (the screen flashes a photo of Paul and Sheila together) – to see you all here tonight. (he sips his drink liberally and shakes himself out) I just want to apologize in advance – I never had my brother’s knack for public speaking. (HE chuckles nervously) But I always said… I always said my brother had a way of bringing people together… Sometimes in ways we might not expect. But – (the screen flashes a photo of a beach in Maryland) One way or another, it all leads back… to this. (without looking backward, the screen raises out of view, and the set changes to the beach seen in the photo, complete with a sunbathing SHEILA, reclining on a beach chair, reading a book) The beaches our parents took us to as kids… I haven’t set foot here in years, but I can still see it all like it was yesterday. (HE mimes to various parts of the set) The stand where they used to sell popsicles on hot days. (another) And over there, see? That’s where I built the biggest sandcastle you’d ever seen… Until Paul stepped in it. -
Le Harcèlement Sexuel : Clarification
Université de Montréal L’évolution des représentations des crimes sexuels et du harcèlement sexuel dans les téléséries américaines de fiction post #Metoo. Par Françoise Goulet-Pelletier Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures et postdoctorales en vue de l’obtention du grade de M.A. en études cinématographiques, option recherche. Décembre 2019 © Françoise Goulet-Pelletier, 2019 ii Université de Montréal Unité académique : Département d’histoire de l’art et d’études cinématographiques Ce mémoire intitulé L’évolution des représentations des crimes sexuels et du harcèlement sexuel dans les téléséries américaines post #Metoo. Présenté par Françoise Goulet-Pelletier A été évalué par un jury composé des personnes suivantes Isabelle Raynauld Directrice de recherche Marta Boni Membre du jury Stéfany Boisvert Membre du jury iii Résumé Le mouvement social #Metoo a bouleversé les mœurs et les façons de penser quant aux enjeux liés au harcèlement sexuel et aux abus sexuels. En effet, en automne 2017, une vague de dénonciations déferle sur la place publique et peu à peu, les frontières de ce qui est acceptable ou pas semblent se redéfinir au sein de plusieurs sociétés. En partant de cette constatation sociétale, nous avons cru remarquer une reprise des enjeux entourant le mouvement social #Metoo dans les séries télévisées américaines de fiction. Ce mémoire souhaite illustrer et analyser l’évolution des représentations des crimes sexuels et du harcèlement sexuel inspirée par le mouvement #Metoo. En reprenant les grandes lignes de ce mouvement, cette étude s’attarde sur son impact sur la société nord-américaine. -
The Storyworld Dynamics of Supernatural
PRODUCTIONS / MARKETS / STRATEGIES ANGELS, DEMONS AND WHATEVER COMES NEXT: THE STORYWORLD DYNAMICS OF SUPERNATURAL FLORENT FAVARD Name Florent Favard the series with an analysis of its writing, production and Academic centre IECA, Université de Lorraine reception contexts, and divides the long-running series into E-mail address [email protected] four eras, each defined by a specific showrunner. It starts by exploring the context of the series’ creation, before KEYWORDS cataloguing the shifting dynamics of the storyworld during Storyworld; narratology; writing; ethos; showrunner. the four eras: the ‘stealth teleological’ approach of series creator Eric Kripke; the complex reconfigurations of the Sera Gamble era; the ‘mythology reboot’ of the Jeremy ABSTRACT Carver era; and the ever-increasing stakes and expansionist This paper explores the narrative dynamics of the fantasy dynamics of the Andrew Dabb era. The aim of this paper television series Supernatural (2005-) in order to better is to show how ‘periodising’ a long-running series by using understand how this particular program has become a close-reading and studying the dynamics of a storyworld backbone of The CW network. Combining formal and can expand and complete analysis focused on audiences contextual narratologies, it blends a close-reading of and the genesis of the text. 19 SERIES VOLUME IV, Nº 2, WINTER 2018: 19-26 DOI https://doi.org/10.6092/issn.2421-454X/8164 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X INVESTIGATING THE CW PRODUCTIONS / MARKETS / STRATEGIES > FLORENT FAVARD ANGELS, DEMONS AND WHATEVER COMES NEXT: THE STORYWORLD DYNAMICS OF SUPERNATURAL The Apocalypse has just been averted. -
MICHAEL BONVILLAIN, ASC Director of Photography
MICHAEL BONVILLAIN, ASC Director of Photography official website FEATURES (partial list) OUTSIDE THE WIRE Netflix Dir: Mikael Håfström AMERICAN ULTRA Lionsgate Dir: Nima Nourizadeh Trailer MARVEL ONE-SHOT: ALL HAIL THE KING Marvel Entertainment Dir: Drew Pearce ONE NIGHT SURPRISE Cathay Audiovisual Global Dir: Eva Jin HANSEL & GRETEL: WITCH HUNTERS Paramount Pictures Dir: Tommy Wirkola Trailer WANDERLUST Universal Pictures Dir: David Wain ZOMBIELAND Columbia Pictures Dir: Ruben Fleischer Trailer CLOVERFIELD Paramount Pictures Dir: Matt Reeves A TEXAS FUNERAL New City Releasing Dir: W. Blake Herron THE LAST MARSHAL Filmtown Entertainment Dir: Mike Kirton FROM DUSK TILL DAWN 3 Dimension Films Dir: P.J. Pesce AMONGST FRIENDS Fine Line Features Dir: Rob Weiss TELEVISION (partial list) PEACEMAKER (Season 1) HBO Max DIR: James Gunn WAYS & MEANS (Season 1) CBS EP: Mike Murphy, Ed Redlich HAP AND LEONARD (Season 3) Sundance TV, Netflix EP: Jim Mickle, Nick Damici, Jeremy Platt Trailer WESTWORLD (Utah; Season 1, 4 Episodes.) Bad Robot, HBO EP: Lisa Joy, Jonathan Nolan CHANCE (Pilot) Fox 21, Hulu EP: Michael London, Kem Nunn, Brian Grazer Trailer THE SHANNARA CHRONICLES MTV EP: Al Gough, Miles Millar, Jon Favreau (Pilot & Episode 102) FROM DUSK TIL DAWN (Season 1) Entertainment One EP: Juan Carlos Coto, Robert Rodriguez COMPANY TOWN (Pilot) CBS EP: Taylor Hackford, Bill Haber, Sera Gamble DIR: Taylor Hackford REVOLUTION (Pilot) NBC EP: Jon Favreau, Eric Kripke, Bryan Burk, J.J. Abrams DIR: Jon Favreau UNDERCOVERS (Pilot) NBC EP: J.J. Abrams, Bryan Burk, Josh Reims DIR: J.J. Abrams OUTLAW (Pilot) NBC EP: Richard Schwartz, Amanda Green, Lukas Reiter DIR: Terry George *FRINGE (Pilot) Fox Dir: J.J. -
Still Competition : the Listeners Guide to Cheap Trick Kindle
STILL COMPETITION : THE LISTENERS GUIDE TO CHEAP TRICK PDF, EPUB, EBOOK Professor of Psychology Robert Lawson | 282 pages | 20 Nov 2017 | Friesenpress | 9781525512261 | English | none Still Competition : The Listeners Guide to Cheap Trick PDF Book Nice book of different licks alot of what Rick uses in his music. Refresh and try again. View Product. The Joe Budden Network. Questlove Supreme. A must read for hardcore Cheap Trick fans and even for the casual fan or, especially any new, first-time fans. About this product Product Information Guitar Educational. Although, the author doesn't pull any punches about some of CT's failings in the mid thru late '80s. Short and sweet, about 25 minutes per. Fresh new killer format for a rock book - I learned a ton about Cheap Trick from this book. Barstool Sports. Pepper Live. Surrender Outtake Carlton Duff. Highly recommend this publication. Return to Book Page. Apparently the co. Obviously, the song makes the story sound like it's about a young woman. Rush: The Illustrated History 4. Lawson, but the Cheap Trick fan community, too. June 9 Ken can I buy you a beer?! Since the s, Cheap Trick has entertained countless audiences across the world with their unique brand of rock 'n' roll, featuring the eccentric stylings of guitarist Rick Nielsen. Mind you, I understand personal opinions will vary tremendously when it comes to music. December 8, Format: Paperback This book is a must buy! Still Competition : The Listeners Guide to Cheap Trick Writer Cheeeek that out dude. Warner Bros. Add Comment. Help Learn to edit Community portal Recent changes Upload file. -
SAFER at HOME in Select Theaters, VOD & Digital on February 26, 2021
SAFER AT HOME In Select Theaters, VOD & Digital on February 26, 2021 DIRECTED BY Will Wernick WRITTEN BY Will Wernick, Lia Bozonelis PRODUCED BY Will Wernick, John Ierardi, Bo Youngblood, Lia Bozonelis (Co-Producer), Jason Phillips (Co-Producer) STARRING Jocelyn Hudon, Emma Lahana, Alisa Allapach, Adwin Brown, Dan J. Johnson, Michael Kupisk, Daniel Robaire RUN TIME: 82 mins DISTRIBUTED BY: Vertical Entertainment For additional information please contact: LA Daniel Coffey – [email protected] Emily Maroon – [email protected] NY Susan Engel – [email protected] Danielle Borelli – [email protected] ABOUT THE FILM Synopsis Two years into the pandemic, a group of friends throw an online party with a night of games, drinking and drugs. After taking an ecstasy pill, things go terribly wrong and the safety of their home becomes more terrifying than the raging chaos outside. Director’s Statement Making Safer at Home was challenging. Not just because of the technical hurdles the pandemic mandated, but because of the strange new features life had taken on in those early months of the pandemic. I found myself having unusual conversations, and realizations about myself and friends — things that only this type of stress could bring out. I noticed people making major, sometimes life changing decisions, quickly. Brake-ups, pregnancies, divorces, fights-- this instigated them all. Almost everyone I knew was caught in an indefinite cycle of every day feeling the same. And then we started working on this film. Safer at Home plays out essentially in real time, and shows what a long period of lockdown could do to a group of friends. -
Gender and Bodies in the Netflix Series "YOU" Morgan Bates Longwood University
Longwood University Digital Commons @ Longwood University Spring Showcase for Research and Creative Inquiry Research & Publications Spring 2019 From Desire to Obsession: Gender and Bodies in the Netflix Series "YOU" Morgan Bates Longwood University Follow this and additional works at: https://digitalcommons.longwood.edu/rci_spring Part of the English Language and Literature Commons Recommended Citation Bates, Morgan, "From Desire to Obsession: Gender and Bodies in the Netflix Series "YOU"" (2019). Spring Showcase for Research and Creative Inquiry. 10. https://digitalcommons.longwood.edu/rci_spring/10 This Poster is brought to you for free and open access by the Research & Publications at Digital Commons @ Longwood University. It has been accepted for inclusion in Spring Showcase for Research and Creative Inquiry by an authorized administrator of Digital Commons @ Longwood University. For more information, please contact [email protected], [email protected]. From Desire to Obsession: Gender & Bodies in the Netflix Series “YOU” Morgan Bates Longwood University Thesis Abstract The show YOU exhibits how stalking is gendered and how it The intention of this poster presentation is to display a Supporting Point 3: further exemplifies the ceaseless male necessity to control personal interpretation of the show as well as the themes, • Connection to Gender and Bodies: women particularly once romantically involved. The series issues, and a connection to gender and bodies allows for the audience to see how easy stalking can be in our throughout the series. The show exemplifies how stalking is a gendered obsession modern age and how it generally involves toxic masculinity for male control over women. Joe believes, as a male, his intertwined with femininity.