Super ACRONYM - Round 7
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B Y Suzanne Van Atten 71 Atlanta Authors Talk
SCRIBES OF SUMMER Atlanta authors talk about their latest books and invite us inside the writer’s life BY Suzanne Van Atten PHOTOGRAPHY BY Ben Rollins 7 1 Karin Joshilyn SLAUGHTER JACKSON YOU DON’T HAVE TO LOOK FAR to find the perfect page-turner for your beach read this year. The New York Times best-selling author The New York Times best-selling author of nine has penned 18 crime novels, and her novels serves on the board of Reforming Arts, a Seven authors with Atlanta ties have new novels 2018 standalone novel Pieces of Her is nonprofit that runs educational programs in prisons. coming out before the fall. Some are seasoned being turned into a Netflix series. pros who produce a book nearly every summer, NEW TITLE Never Have I Ever and one is a first-timer making her fiction de- NEW TITLE The Last Widow WHAT IT’S ABOUT Two women who are part of a WHAT IT’S ABOUT Sex, violence, OPENING LINE drinking game at a book club learn too much “You do a lot of but. All of them are women, and one thing their OPENING LINE OF kidnapping, and the CDC rolled about each other, and it turns into a war of thinking in jail.” books share in common is a strong, complicated THE LAST WIDOW together in a quickly paced thriller dark pasts that could destroy either one of female protagonist. Their characters may not “Michelle Spivey CENTRAL CHARACTERS Will Trent is them—especially the one we like most. jogged through the an agent with the GBI. -
Ep 3 (Completed 09/20/18) Transcript by Rev.Com Page 1 of 29
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Stranger Things 2 *
WONDER VIEW Episode #209 "Chapter Nine: The Gate" by The Duffer Brothers Directed by The Duffer Brothers PRODUCTION DRAFT April 17, 2017 (WHITE) April 30, 2017 (BLUE) Copyright © 2017 Storybuilders, LLC. All rights reserved. No portion of this script may be performed, published, reproduced, sold, or distributed by any means or quoted or published in any medium, including on any website, without the prior written consent of Storybuilders, LLC. Disposal of this script copy does not alter any of the restrictions set forth above. Episode #209 04/30/17 WONDER VIEW "Chapter Nine: The Gate" REVISION HISTORY DATE COLOR PAGES PUBLISHED 04/17/17 PRODUCTION DRAFT FULL SCRIPT 04/30/17 (BLUE) CAST, SETS, 9, 10, 13, 14, 15, 15A, 28, 30, 37, 44, 45, 48, 49, 49A, 51, 52, 53, 54, 55, 55A, 63, 64, 67, 70/71 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY Episode #209 04/30/17 WONDER VIEW "Chapter Nine: The Gate" CAST LIST JOYCE BYERS POLICE CHIEF JIM HOPPER MIKE WHEELER NANCY WHEELER JONATHAN BYERS ELEVEN LUCAS SINCLAIR DUSTIN HENDERSON KAREN WHEELER WILL BYERS STEVE HARRINGTON MAX MAYFIELD BILLY HARGROVE (fka BILLY MAYFIELD) * DR. SAM OWENS TED WHEELER MURRAY BAUMAN * * MR. CLARKE CLAUDIA HENDERSON ERICA SINCLAIR MRS. HOLLAND MR. HOLLAND SUSAN HARGROVE (fka SUSAN MAYFIELD) * * * * CUTE GIRL STACEY TV NEWS ANCHOR MIDDLE SCHOOL BOY #1 * * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY Episode #209 04/30/17 WONDER VIEW "Chapter Nine: The Gate" SET LIST INTERIORS EXTERIORS BYERS HOUSE BYERS HOUSE HALLWAY BACK YARD/SHED JONATHAN'S ROOM DRIVEWAY -
Stranger Things | Dialogue Transcript | S2:E8
CREATED BY Matt Duffer | Ross Duffer EPISODE 2.08 “Chapter Eight: The Mind Flayer” An unlikely hero steps forward when a deadly development puts the Hawkins Lab on lockdown, trapping Will and several others inside. WRITTEN BY: Matt Duffer | Ross Duffer DIRECTED BY: Matt Duffer | Ross Duffer ORIGINAL BROADCAST: October 27, 2017 NOTE: This is a transcription of the spoken dialogue and audio, with time-code reference, provided without cost by 8FLiX.com for your entertainment, convenience, and study. This version may not be exactly as written in the original script; however, the intellectual property is still reserved by the original source and may be subject to copyright. MAIN EPISODE CAST Winona Ryder ... Joyce Byers David Harbour ... Jim Hopper Finn Wolfhard ... Mike Wheeler Millie Bobby Brown ... Eleven Gaten Matarazzo ... Dustin Henderson Caleb McLaughlin ... Lucas Sinclair Noah Schnapp ... Will Byers Sadie Sink ... Max Mayfield Natalia Dyer ... Nancy Wheeler Charlie Heaton ... Jonathan Byers Joe Keery ... Steve Harrington Dacre Montgomery ... Billy Hargrove Cara Buono ... Karen Wheeler Sean Astin ... Bob Newby Paul Reiser ... Sam Owens Will Chase ... Neil Hargrove Helen Abell ... Radar Tech Brian Brightman ... M.P. Guard #1 Kristopher Charles ... M.P. Guard #2 Joe Davison ... Nerdy Tech Jennifer Marshall ... Susan Hargrove 1 00:00:06,798 --> 00:00:08,675 [low growling] 2 00:00:26,568 --> 00:00:28,570 [growling] 3 00:00:32,866 --> 00:00:33,950 Mother of God. 4 00:00:37,037 --> 00:00:38,496 [growling softly] 5 00:00:45,211 --> 00:00:47,130 [snarling] 6 00:00:51,176 --> 00:00:53,720 It's.. -
GLAAD Where We Are on TV (2020-2021)
WHERE WE ARE ON TV 2020 – 2021 WHERE WE ARE ON TV 2020 – 2021 Where We Are on TV 2020 – 2021 2 WHERE WE ARE ON TV 2020 – 2021 CONTENTS 4 From the office of Sarah Kate Ellis 7 Methodology 8 Executive Summary 10 Summary of Broadcast Findings 14 Summary of Cable Findings 17 Summary of Streaming Findings 20 Gender Representation 22 Race & Ethnicity 24 Representation of Black Characters 26 Representation of Latinx Characters 28 Representation of Asian-Pacific Islander Characters 30 Representation of Characters With Disabilities 32 Representation of Bisexual+ Characters 34 Representation of Transgender Characters 37 Representation in Alternative Programming 38 Representation in Spanish-Language Programming 40 Representation on Daytime, Kids and Family 41 Representation on Other SVOD Streaming Services 43 Glossary of Terms 44 About GLAAD 45 Acknowledgements 3 WHERE WE ARE ON TV 2020 – 2021 From the Office of the President & CEO, Sarah Kate Ellis For 25 years, GLAAD has tracked the presence of lesbian, of our work every day. GLAAD and Proctor & Gamble gay, bisexual, transgender, and queer (LGBTQ) characters released the results of the first LGBTQ Inclusion in on television. This year marks the sixteenth study since Advertising and Media survey last summer. Our findings expanding that focus into what is now our Where We Are prove that seeing LGBTQ characters in media drives on TV (WWATV) report. Much has changed for the LGBTQ greater acceptance of the community, respondents who community in that time, when our first edition counted only had been exposed to LGBTQ images in media within 12 series regular LGBTQ characters across both broadcast the previous three months reported significantly higher and cable, a small fraction of what that number is today. -
Stranger Things Season One Episode One Study Booklet
STRANGER THINGS SEASON ONE EPISODE ONE STUDY BOOKLET __________________________________________________________________ Stranger Things Study Booklet © Jon Meier 1 STRANGER THINGS S1 E1 SUMMARY & KEY ALLUSIONS THE VANISHING OF WILL BYERS For more details, see http://strangerthings.wikia.com/wiki/The_Vanishing_of_Will_Byers http://strangerthings.wikia.com/wiki/Influences_%26_references See page 11 for a quiz on Episode 1 Opening echoes 1 A caption informs us that it's November 6th 1983, Hawkins Indiana. Hawkins National Spielberg's ET; Laboratory, a government Energy Laboratory. An alarm is ringing, lights flickering, A white-coated there are many lab worker is running down a corridor in panic. He gets in a lift, but animal noises and sound other references effects continue even more intensely. He is pulled upwards by a mysterious force. in this episode The boys gave been 2 Cut to Mike's house, via a shot of the sprinkler system at night. The four young protagonists, playing for 10 Will, Dustin, Mike and Lucas, are playing Dungeons and Dragons. They encounter the terrifying hours! Demogorgon when Mike's mum insists it's time for the others to go home. D&D features in ET 3 It's night time. Will and Dustin race each other home on their bikes. If the Will wins, Dustin promises him his X-men comic. Will's lights flicker and cut out, he is scared by a mysterious figure in the road, veers off the road and falls. 4 Accompanied by the same eerie animal noises, Will runs home, which is empty apart from a shed is another barking dog. -
An Analysis and Expansion of Queerbaiting in Video Games
Wilfrid Laurier University Scholars Commons @ Laurier Cultural Analysis and Social Theory Major Research Papers Cultural Analysis and Social Theory 8-2018 Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games Jessica Kathryn Needham Wilfrid Laurier University Follow this and additional works at: https://scholars.wlu.ca/cast_mrp Part of the Communication Technology and New Media Commons, Gender and Sexuality Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Needham, Jessica Kathryn, "Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games" (2018). Cultural Analysis and Social Theory Major Research Papers. 6. https://scholars.wlu.ca/cast_mrp/6 This Article is brought to you for free and open access by the Cultural Analysis and Social Theory at Scholars Commons @ Laurier. It has been accepted for inclusion in Cultural Analysis and Social Theory Major Research Papers by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. Queering player agency and paratexts: An analysis and expansion of queerbaiting in video games by Jessica Kathryn Needham Honours Rhetoric and Professional Writing, Arts and Business, University of Waterloo, 2016 Major Research Paper Submitted to the M.A. in Cultural Analysis and Social Theory in partial fulfillment of the requirements for Master of Arts Wilfrid Laurier University 2018 © Jessica Kathryn Needham 2018 1 Abstract Queerbaiting refers to the way that consumers are lured in with a queer storyline only to have it taken away, collapse into tragic cliché, or fail to offer affirmative representation. Recent queerbaiting research has focused almost exclusively on television, leaving gaps in the ways queer representation is negotiated in other media forms. -
The Trendera Files
THE TRENDERA FILES Trendera ALL ABOUT GEN Z Volume 8, Issue 3, Summer 2017 Paramount THE TRENDERA FILES: ALL ABOUT GEN Z CONTENTS GEN Z SOCIETAL SHIFTS 39 40 Media Magic Exposed 42 The Female Gaze INTRO 4 44 Algorithm Activism 46 Going Gradeless GEN Z DEEP DIVE 6 MARKETING TO GEN Z 49 07 Meet Gen Z 50 What’s Working Now 12 Their Identities 51 Campaigns We Love 16 Their Goals and Values 20 Their Social Habits NOW TRENDING 22 Their Media Consumption Trendera54 27 Their Expectations of Brands 55 Lifestyle 60 Wellness DECODING GEN Z 63 Entertainment COMMUNICATION 31 66 Fashion/Retail 69 Tech/Digital 34 Meme Culture 37 Know the Slang Paramount2 TABLE OF CONTENTS WHAT’S HOT 73 74 Kids 75 Teens 76 Gen Z Icons 78 New & Noteworthy: Gen Z Influencers 82 New & Noteworthy: Actors 84 New & Noteworthy: Actresses 86 Gen Z Digital Download 87 New & Noteworthy: Apps STATISTICS 91 94 Gen Z Stats Trendera 157 Multigenerational Stats Paramount3 THE TRENDERA FILES: ALL ABOUT GEN Z Have we finally reached peak Millennial? Our forecast says yes. While we’ll always hold a special place in our hearts for this entitled and empowered group, it’s time to direct our focus to the rising class of culture creators: Gen Z. This group, currently around 6-21 years old, is claiming their influence on the world sooner than any generation before, wielding their power to effect change, drive new trends, and hand up their ideas to the rest of us. For crying out loud, they can barely drive and are already a force to be reckoned with! Parented by Gen X and Gen Y—two generations who couldn’t be more different—Gen Z is a distinct group with a personality all their own. -
Trauma, Coming of Age, and Raising Children in Stranger Things
Parenting Into the Spin: Trauma, Coming of Age, and Raising Children in Stranger Things Author Howell, Amanda, Baker, Lucy Published 2019 Journal Title Refractory: a journal of entertainment media Version Version of Record (VoR) Copyright Statement © 2019 Swinburne University of Technology. The attached file was published in Refractory: a journal of Entertainment Media, Vol. 31, 2019 and is reproduced here in accordance with the copyright policy of the publisher. Refractory: a journal of Entertainment Media is available online at: https://refractory-journal.com/ Downloaded from http://hdl.handle.net/10072/387422 Link to published version https://refractory-journal.com/parenting-into-the-spin-trauma-coming-of-age-and-raising- children-in-stranger-things/ Griffith Research Online https://research-repository.griffith.edu.au Parenting Into the Spin: Trauma, Coming of Age, and Raising Children in Stranger Things | Refractory: a Journal of Entertainment Media U a Parenting Into the Spin: Trauma, Coming of Age, and Raising Children in Stranger Things Feb 26, 2019 | Television, Volume 31 Lucy Baker and Amanda Howell Abstract: This paper focuses on how families of Hawkins, Indiana respond to trauma and threat and considers how the idea of family itself shifts in Stranger Things between Seasons One and Two. “Parenting into the Spin” (or skid) refers to what the authors see as a particular valorization of adaptive and flexible modes of parenting that has a good deal more to do with contemporary values and concerns than the 1980s that Stranger Things nostalgically recalls. The introduction of domestic violence in Season Two, alongside still ongoing institutional and supernatural traumas, expand the importance of authority and empathy in parenting. -
This Year's Emmy Awards Noms Here
FOR IMMEDIATE RELEASE 2017 EMMY® AWARDS NOMINATIONS FOR PROGRAMS AIRING JUNE 1, 2016 – MAY 31, 2017 Los Angeles, CA, July 13, 2017– Nominations for the 69th Emmy® Awards were announced today by the Television Academy in a ceremony hosted by Television Academy Chairman and CEO Hayma Washington along with Anna Chlumsky from the HBO series Veep and Shemar Moore from CBS’ S.W.A.T. "It’s been a record-breaking year for television, continuing its explosive growth,” said Washington. “The Emmy Awards competition experienced a 15 percent increase in submissions for this year’s initial nomination round of online voting. The creativity and excellence in presenting great storytelling and characters across a multitude of ever-expanding entertainment platforms is staggering. “This sweeping array of television shows ranges from familiar favorites like black- ish and House of Cards to nominations newcomers like Westworld, This Is Us and Atlanta. The power of television and its talented performers – in front of and behind the camera – enthrall a worldwide audience. We are thrilled to once again honor the very best that television has to offer.” This year’s seven Drama Series nomInees include five first-timers dIstrIbuted across broadcast,Deadline cable and dIgItal Platforms: Better Call Saul, The Crown, The Handmaid’s Tale, House of Cards, Stranger Things, This Is Us and Westworld. NomInations were also sPread over dIstrIbution Platforms In the OutstandIng Comedy Series category, with newcomer Atlanta joined by the acclaimed black-ish, Master of None, Modern Family, Silicon Valley, Unbreakable Kimmy Schmidt and Veep. Saturday Night Live and Westworld led the tally for the most nomInations (22) In all categories, followed by Stranger Things and FEUD: Bette and Joan (18) and Veep (17). -
The Upside Down
The upside down En studie om Stranger things gestaltning av genus FÖRFATTARE: Minea Fäger Tina Rosenfink KURS: Medie- och kommunikationsvetenskap C, Uppsats Examensarbete/kandidatuppsats 15 hp PROGRAM: Medie- och kommunikationsvetenskapliga programmet EXAMINATOR: Cecilia Mörner HANDLEDARE: Jacob Nordangård TERMIN: Höstterminen 2016 Medie- och kommunikationsvetenskap C JÖNKÖPING UNIVERSITY Examensarbete/kandidatuppsats 15 hp Högskolan för lärande och Höstterminen 2016 kommunikation SAMMANFATTNING Författare: Minea Fäger och Tina Rosenfink Uppsatsens titel: The upside down - En studie om Stranger things gestaltning av genus Språk: Svenska Antal sidor: 55 Vår grundläggande avsikt med studien är att få en större förståelse kring gestaltningen av genus på populärkultur. Det kommer vi att uppnå̊ med att analysera stereotypa representationer av kvinnor och män i tv-serien Stranger things. Vårt övergripande mål med studien är att tydliggöra hur olika normer och sociala strukturer samspelar i media. Vårt syfte med studien är att undersöka om porträtteringen är normbrytande eller om den förstärker rådande genusnormer. Uppsatsens teoretiska ramverk består av hegemoni som tillåter oss att undersöka genus och klass. De teoretiska begrepp som vi använder oss av är bland annat hegemonisk maskulinitet, normkritik och genus. Som metod har vi använt oss av gestaltningsteorin, och vi har vi tagit fram fyra återkommande ramar samt analyserat dem med hermeneutiska verktyg. Vi vill undersöka om det är möjligt att Stranger things är lika genusneutral som den framställts på olika medier eller om serien upprätthåller existerande genusstereotyper och normer. Vad som gör vår studie intressant och olik tidigare undersökningar som tittat på genusroller i media är att vi anser att Stranger things inte skildrar eller förstärker genusstereotyper vid första anblick. -
Sardonic Humor Is My Way of Relating to the World__ Audience
1 Abstract: There is a lengthy history of teenagers on television, and of teenagers as a television viewing audience. Over the past decade, developments in how technology allows audiences to interact with television have affected both the structure and content of television that features and caters to teenagers. Using specific texts (most notably Gossip Girl (The CW, 2007-2012), Riverdale (The CW, 2017-), and Heathers (Paramount, 2017)) and the paratexts formed by audience members in their interaction online with the original texts and their creators, this thesis seeks to understand how teen television has adapted itself to fit the models created by the internet and its users and the nature of its potential repercussions for the genre and for television in general. 2 “Sardonic Humor is My Way of Relating to the World”: Audience Interaction With Teen Television, 2007 - Present Chloe Harkins Bachelor of Arts Thesis, Film Studies Program 3 Acknowledgements: I would like to first thank my thesis advisor, Robin Blaetz, whose infinite enthusiasm for and faith in this project, as well as her patience in approaching a subject out of her usual realm of study, truly was what kept it going. Thank you to the other two members of my thesis committee; Elizabeth Markovits, who has provided consistent support and massively assisted my growth throughout my four years at Mount Holyoke, and Amy Rodgers, who gave me one of my most rewarding experiences in a class during my last semester. Thank you to all my professors at Mount Holyoke, Hampshire, and Amherst, especially those in media studies who helped me build the understanding of television/the internet/“television and the internet” that became the basis for this work.