Walter Presents
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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 -
AT2400 Alltouch® Remote Control How Do I Program the Mode Keys? What If None of the Codes Work? the Same Time, Regardless of the Current Mode
FCC Compliance Setting Up Your Remote (continued) User’s Guide Can I Change My Volume Control? Can I Change My Channel Control? This device complies with Part 15 of the FCC Rules. You can program your Volume and Mute keys to By default, the channel keys on your remote (CH+, Operation is subject to the following two conditions: function in one of two ways: CH-, digits 0-9, and Last) let you change channels (1) This device may not cause harmful interference, • To control the volume on a single device all on the set-top, the TV, or a VCR, depending on the and (2) this device must accept any interference the time current mode. You can disable or enable channel received, including interference that may cause control for the TV or VCR mode. Also, if you have ® • To control the volume on each device, AT2400 AllTouch undesired operation. reassigned your AUX key to control a second TV depending on the mode key that you press or VCR, you can disable or enable channel control Note Remote Control Note: The default setting is to control volume for that device as well. See Reassigning Mode This equipment has been tested and found to comply through your TV all the time. Keys, earlier in this section, for more information. with the limits for a class B digital device, pursuant Follow these steps to change the way your Volume If you disable the channel control for a TV or VCR, to Part 15 of the FCC Rules. These limits are and Mute keys function. -
TP Vision Confirms Arrival of Freeview Play on Philips Android Tvs
News Release TP Vision confirms arrival of Freeview Play on Philips Android TVs TP Vision has confirmed the imminent arrival of Freeview Play to the company’s Philips Android TVs. Freeview Play is the UK’s fastest growing TV platform, launched in 2015, the platform now has over 7 million users. Freeview Play gives viewers access to live and on demand TV in one easy to use interface. The platform provides 85 live channels (including 15 in HD), as well as 20,000 hours of on-demand content from BBC iPlayer, ITV Hub, All 4, My 5, UKTV Play, CBS Catchup Channels UK and Horror Bites. TP Vision has been one of the strongest and most successful partners for Android TV having first introduced the platform back in 2014 and having committed nearly 50% of the company’s range of Philips sets to Android TV ever since – including the premium OLED and OLED+ ranges, frequently awarded the status of the Best TV available by the media, consumers and the trade. Philips Android TVs manufactured from now on will include firmware that enables Freeview Play by default. 2019 model year Philips Android TVs which are in-store or are already in use in consumer homes will receive an over-the-air software update which will prompt users to enable Freeview Play on the TV via easy onscreen instructions. In the case of any further questions, consumers can easily contact Philips’ Consumer Care info-line for help. Commenting on the inclusion of Freeview Play to Philips Android TVs, Martijn Smelt CMO for Europe at TP Vision said: ‘The addition of Freeview Play is the final piece that allows us to confidently say Philips Android TV sets offer the best overall package on the UK market. -
Cold War Nostalgia for Transnational Audiences
Central European History 54 (2021), 352–360. © The Author(s), 2021. Published by Cambridge University Press on behalf of Central European History Society of the American Historical Association doi:10.1017/S0008938921000480 REVIEW ESSAY The Deutschland Series: Cold War Nostalgia for Transnational Audiences Heather Gumbert OW do you explain the Cold War to a generation who did not live through it? For Jörg and Anna Winger, co-creators and showrunners of the Deutschland series, you Hbring it to life on television. Part pop culture reference, part spy thriller, and part existential crisis, the Wingers’ Cold War is a fun, fast-paced story, “sunny and slick and full of twenty-something eye candy.”1 A coproduction of Germany’s UFA Fiction and Sundance TV in the United States, the show premiered at the 2015 Berlinale before appear- ing on American and German television screens later that year. Especially popular in the United Kingdom, it sold widely on the transnational market. It has been touted as a game-changer for the German television industry for breaking new ground for the German television industry abroad and expanding the possibilities of dramatic storytelling in Germany, and is credited with unleashing a new wave of German (historical) dramas including Babylon Berlin, Dark, and a new production of Das Boot.2 History buffs and—still—historians often seek historical truths in fictional narratives of the past. But historical film and television always tell us more about the moment in which they were created than the periods in which they are set. That is, because television narratives speak to other media narratives, similar to how historians speak to one another through his- toriography. -
PSB Audience Opinions Annex
PSB Annual Research Report 2017 PSB audience opinions annex Published July 2017 1 Contents Slide Section 3 Background 8 Overview of PSB television 24 Overall satisfaction with PSB 32 Nations’ and regions’ news 40 Children’s PSB 46 Individual PSB channel summaries 56 PSB website use and online viewing 62 Demographics 2 Background 3 Background and objectives PSB tracker overview • Ofcom developed a range of PSB purposes and characteristics in its first PSB review in 2005*, based on the public service purposes presented in the 2003 Communications Act. The PSB channels (BBC One, BBC Two, BBC Three, BBC Four, ITV1, Channel 4, Channel 5, BBC News, S4C and BBC Alba) are expected together to fulfil the purposes and characteristics, although it is also acknowledged that each PSB channel has a specific remit. • The PSB tracker asks respondents to rate specific TV channels on each of the PSB purposes and characteristics relevant to that channel. • The PSB purposes and characteristics were put into everyday language for the PSB Tracker survey, which asked respondents to give their opinions on the PSB statements, both in terms of their importance, and their delivery by the PSB channels (see slides below). • Regular viewers of each channel were asked to rate the channel on the statements, using a ten-point scale. Within this report a rating of 7, 8, 9 or 10 has been taken as a positive response, indicating that a viewer sees the channel/channels as delivering against this purpose/characteristic. • The survey reports the opinions of self-defined ‘regular viewers’ of each PSB channel, on the delivery of that channel’s PSB purposes and characteristics. -
The Future of Public Service Broadcasting
House of Commons Digital, Culture, Media and Sport Committee The future of public service broadcasting Sixth Report of Session 2019–21 Report, together with formal minutes relating to the Report Ordered by the House of Commons to be printed 17 March 2021 HC 156 Published on 25 March 2021 by authority of the House of Commons The Digital, Culture, Media and Sport Committee The Digital, Culture, Media and Sport Committee is appointed by the House of Commons to examine the expenditure, administration and policy of the Department for Digital, Culture, Media and Sport and its associated public bodies. Current membership Julian Knight MP (Conservative, Solihull) (Chair) Kevin Brennan MP (Labour, Cardiff West) Steve Brine MP (Conservative, Winchester) Alex Davies-Jones MP (Labour, Pontypridd) Clive Efford MP (Labour, Eltham) Julie Elliott MP (Labour, Sunderland Central) Rt Hon Damian Green MP (Conservative, Ashford) Rt Hon Damian Hinds MP (Conservative, East Hampshire) John Nicolson MP (Scottish National Party, Ochil and South Perthshire) Giles Watling MP (Conservative, Clacton) Heather Wheeler MP (Conservative, South Derbyshire) Powers The Committee is one of the departmental select committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No. 152. These are available on the internet via www.parliament.uk. Publication © Parliamentary Copyright House of Commons 2021. This publication may be reproduced under the terms of the Open Parliament Licence, which is published at www.parliament.uk/site-information/copyright-parliament/. Committee Reports are published on the Committee’s website at www.parliament.uk/dcmscom and in print by Order of the House. -
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. -
Deutschland 83 Is Determined to Stake out His Very Own Territory
October 3, 1990 – October 3, 2015. A German Silver Wedding A global local newspaper in cooperation with 2015 Share the spirit, join the Ode, you’re invited to sing along! Joy, bright spark of divinity, Daughter of Elysium, fire-inspired we tread, thy Heavenly, thy sanctuary. Thy magic power re-unites all that custom has divided, all men become brothers under the sway of thy gentle wings. 25 years ago, world history was rewritten. Germany was unified again, after four decades of separation. October 3 – A day to celebrate! How is Germany doing today and where does it want to go? 2 2015 EDITORIAL Good neighbors We aim to be and to become a nation of good neighbors both at home and abroad. WE ARE So spoke Willy Brandt in his first declaration as German Chancellor on Oct. 28, 1969. And 46 years later – in October 2015 – we can establish that Germany has indeed become a nation of good neighbors. In recent weeks espe- cially, we have demonstrated this by welcoming so many people seeking GRATEFUL protection from violence and suffer- ing. Willy Brandt’s approach formed the basis of a policy of peace and détente, which by 1989 dissolved Joy at the Fall of the Wall and German Reunification was the confrontation between East and West and enabled Chancellor greatest in Berlin. The two parts of the city have grown Helmut Kohl to bring about the reuni- fication of Germany in 1990. together as one | By Michael Müller And now we are celebrating the 25th anniversary of our unity regained. -
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 ................................................................. -
Inclusion and Diversity 3,000 9.9% 15.7% 85% 76% 995M 22.2M 54
FACTS Channel 4 Factsheet December 2020 We are Creators TV. Channel 4: Film. We are Digital. We are Channel 4 is a unique and distinctive part of the UK. Publicly owned but entirely commercial and self-sufficient, our public-service Challengers Champions remit mandates us to take risks and offer alternative programming, Voicing alternative views. Youth. commissioning all of our programmes externally. Experimenting and taking risks. Diversity. Provoking genuine debate and change. Education. Shaping culture. Talent. We’re a network of 12 television channels plus the UK’s biggest Telling today’s full story. Creativity. streaming service, All 4. We have the youngest-skewing PSB channel in the UK – and we reach more 16-34-year-olds than any other commercial broadcaster across TV and streaming. Through Film4, we back creative We are excellence and invest in British filmmakers, to huge critical acclaim – Film4 films have produced 138 Oscar nominations and 35 wins in our Commercial 38-year history. We act commercially in order to deliver our social impact. Our purpose is to create change through entertainment and we do this by representing unheard voices, challenging with purpose and reinventing entertainment. Key stats (2019): TV Digital Social Financials 9.9% 995m 1st £660m viewing share programme views on All 4 biggest channel on Facebook globally total content spend 15.7 % £ m viewing share among 16-34-year- 22.2m 71% 492 originated content spend olds – the only PSB to have greater viewers registered on All 4 of UK 18-24s are reached on share