Stay Hungry the Dating Game Killer
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Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
8 TV Power Games: Friends and Law & Order
8 TV Power Games: Friends and Law & Order There is no such thing as a one-man show | at least not in television: one feature that all TV shows have in common is the combination of a large number of diverse contributors: producers, scriptwriters, actors, and so on. This is illustrated in Exhibit 8.1, which depicts the links between key contributors to the making and selling of a TV show. Solid lines repre- sent some form of contractual relationship, whereas dashed lines represent non-contractual relationships of relevance for value creation and value distribution. As is the case with movies, pharmaceutical drugs, and other products, the distribution of TV show values is very skewed: many TV shows are worth relatively little, whereas a few shows generate a very high value: For example, at its peak Emmy Award-winning drama ER fetched $13 million per episode.1 How does the value created by successful shows get divided among its various contrib- utors, in particular actors, producers and networks? Who gets the biggest slice of the big pie? In this chapter, I address this question by looking at two opposite extreme cases in terms of relative negotiation power: Law & Order and Friends. Law & Order | and profits The legal drama series Law & Order was first broadcast on NBC on September 13, 1990. (The pilot episode, produced in 1988, was intended for CBS, but the network rejected it, just as Fox did later, in both cases because the show did not feature any \breakout" characters.) By the time the last show aired on May 24, 2010, it was the longest-running crime drama on American prime time TV. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Stephen J. Cannell, 1941-2010
STEPHEN J. CANNELL, 1941-2010 Stephen J(oseph) Cannell was born February 5, 1941 to Joseph Cannell, a Pasadena, California entrepreneur. Cannell struggled through his early school years, flunking three different grades of elementary, junior or senior high school, and regularly failing his English classes. Years later, when having one of his own children tested for dyslexia, he discovered that he had suffered from it his entire life. Never the less, he had a passionate love for writing, despite his difficulties with the written word, and set a goal for himself to become a best-selling author. After attending the University of Oregon on a football scholarship and meeting creative writing teachers that bolstered his confidence, Cannell married his high school sweetheart and went to work for his family’s business – driving a furniture truck all day. In the evenings, he set a rigorous writing schedule for himself – writing 5 hours a day, 7 days a week, on spec. He decided that his target market would be the burgeoning television scene, and after 6 years without a sale, he finally sold a script – to the series Ironside. After a few more sales, he caught the eye of the legendary writer/producer Jack Webb, who first hired him to be story editor and ultimately head writer for Adam-12. Cannell was contracted to Universal Television, writing and producing shows for that studio during the early-to-mid 1970s. While there, he produced Chase and wrote for and produced Toma, about real-life New York City detective David Toma. While producing Toma, Cannell and his mentor Roy Huggins (creator of Maverick, and many other tv series) wrote an episode that ended up getting rewritten to serve as a pilot for a series about an unorthodox Southern California P.I. -
So Many Traps to Set: Subversions and Subversiveness in Profit
254 GRAAT On-Line issue #6 December 2009 “So many traps to set”: subversion and subversiveness in Profit1 Jean Du Verger Université René Descartes - Paris V. Profit, created by David Greenwalt and John McNamara, produced by Stephen J. Cannell and starring Adrian Pasdar as Jim Profit, was first aired on Fox Broadcasting Company in April 1996 and axed after just four episodes2 (out of the eight originally filmed and scheduled). Probably one of the most controversial and category-defying television serials ever, it portrays Jim Profit, a ruthless and ambitious junior executive, whose hidden agenda is progressively unveiled as he climbs the corporate ladder of the multinational conglomerate Gracen & Gracen (G&G). While throwing into sharp relief the shadowy recesses of corporate America, the series also distorts the dominant ideological and aesthetic patterns of traditional television series, as it develops a subversive discourse on American society. Profit mirrors the complex cultural currents and counter currents that run through American society, provocatively depicting such aspects as the workplace, family values and sexuality. Profit is probably one of the most tantalizing and riveting dramas in television‘s recent history, not only on account of the themes it discusses, but because of its reversal of traditional televisual codes, which contributes to the viewer‘s entrapment in a complex and elaborate narrative structure. This paper will, therefore, discuss the narratological implications of the show‘s Chinese box narrative pattern, highlighting the way in which it subverts the traditional textual structures of television series. I will then examine the camera‘s discourse which, in conveying an impression of fragmentation, imparts a puzzle-like 255 dimension to the narrative overall. -
H:\My Documents\Article.Wpd
Vehicle Data Codes as of 1/26/2010 Press CTRL + F to prompt the search field. VEHICLE DATA CODES TABLE OF CONTENTS 1--LICENSE PLATE TYPE (LIT) FIELD CODES 1.1 LIT FIELD CODES FOR REGULAR PASSENGER AUTOMOBILE PLATES 1.2 LIT FIELD CODES FOR AIRCRAFT 1.3 LIT FIELD CODES FOR ALL-TERRAIN VEHICLES AND SNOWMOBILES 1.4 SPECIAL LICENSE PLATES 1.5 LIT FIELD CODES FOR SPECIAL LICENSE PLATES 2--VEHICLE MAKE (VMA) AND BRAND NAME (BRA) FIELD CODES 2.1 VMA AND BRA FIELD CODES 2.2 VMA, BRA, AND VMO FIELD CODES FOR AUTOMOBILES, LIGHT-DUTY VANS, LIGHT- DUTY TRUCKS, AND PARTS 2.3 VMA AND BRA FIELD CODES FOR CONSTRUCTION EQUIPMENT AND CONSTRUCTION EQUIPMENT PARTS 2.4 VMA AND BRA FIELD CODES FOR FARM AND GARDEN EQUIPMENT AND FARM EQUIPMENT PARTS 2.5 VMA AND BRA FIELD CODES FOR MOTORCYCLES AND MOTORCYCLE PARTS 2.6 VMA AND BRA FIELD CODES FOR SNOWMOBILES AND SNOWMOBILE PARTS 2.7 VMA AND BRA FIELD CODES FOR TRAILERS AND TRAILER PARTS 2.8 VMA AND BRA FIELD CODES FOR TRUCKS AND TRUCK PARTS 2.9 VMA AND BRA FIELD CODES ALPHABETICALLY BY CODE 3--VEHICLE MODEL (VMO) FIELD CODES 3.1 VMO FIELD CODES FOR AUTOMOBILES, LIGHT-DUTY VANS, AND LIGHT-DUTY TRUCKS 3.2 VMO FIELD CODES FOR ASSEMBLED VEHICLES 3.3 VMO FIELD CODES FOR AIRCRAFT 3.4 VMO FIELD CODES FOR ALL-TERRAIN VEHICLES 3.5 VMO FIELD CODES FOR CONSTRUCTION EQUIPMENT 3.6 VMO FIELD CODES FOR DUNE BUGGIES 3.7 VMO FIELD CODES FOR FARM AND GARDEN EQUIPMENT 3.8 VMO FIELD CODES FOR GO-CARTS 3.9 VMO FIELD CODES FOR GOLF CARTS 3.10 VMO FIELD CODES FOR MOTORIZED RIDE-ON TOYS 3.11 VMO FIELD CODES FOR MOTORIZED WHEELCHAIRS 3.12 -
NPRC) VIP List, 2009
Description of document: National Archives National Personnel Records Center (NPRC) VIP list, 2009 Requested date: December 2007 Released date: March 2008 Posted date: 04-January-2010 Source of document: National Personnel Records Center Military Personnel Records 9700 Page Avenue St. Louis, MO 63132-5100 Note: NPRC staff has compiled a list of prominent persons whose military records files they hold. They call this their VIP Listing. You can ask for a copy of any of these files simply by submitting a Freedom of Information Act request to the address above. The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. -
3Rd QUARTER 2018 EFFECTIVE 8/3/18
EFFECTIVE 8/3/18 3rd QUARTER 2018 MONDAY - FRIDAY SATURDAY SUNDAY 6:00a Adventures of Superman 6:00a Maverick Tarzan 6:30a Adventures of Superman 6:30a 7:00a Wanted: Dead or Alive Batman 7:00a Tarzan 7:30a Wanted: Dead or Alive Batman 7:30a 8:00a Have Gun, Will Travel 8:00a Tarzan Daniel Boone 8:30a Have Gun, Will Travel 8:30a 9:00a Travel Thru History (E/I) 9:00a Rawhide Tarzan 9:30a The Coolest Places on Earth (E/I) 9:30a 10:00a Zoo Clues (E/I) 10:00a The High Chaparral The Greatest American Hero 10:30a Walking Wild (E/I) 10:30a 11:00a Real Stories of the Highway Patrol Safari (E/I) 11:00a The Greatest American Hero 11:30a Real Stories of the Highway Patrol Safari (E/I) 11:30a 12:00p Swamp Thing 12:00p The Incredible Hulk 12:30p Swamp Thing 12:30p 1:00p 1:00p Sheena The Incredible Hulk 1:30p 1:30p 2:00p 2:00p Xena: Warrior Princess The Greatest American Hero 2:30p 2:30p 3:00p 3:00p Xena: Warrior Princess Relic Hunter 3:30p 3:30p 4:00p 4:00p Hercules: The Legendary Journeys Relic Hunter 4:30p 4:30p 5:00p 5:00p Hercules: The Legendary Journeys BeastMaster 5:30p 5:30p 6:00p 6:00p Renegade BeastMaster 6:30p 6:30p 7:00p 7:00p Black Sheep Squadron Black Sheep Squadron 7:30p 7:30p 8:00p 8:00p Star Trek: Original Black Sheep Squadron Star Trek: Original 8:30p 8:30p 9:00p 9:00p Star Trek: The Next Generation Hunter Star Trek: The Next Generation 9:30p 9:30p 10:00p 10:00p Star Trek: Deep Space Nine Hunter Star Trek: Deep Space Nine 10:30p 10:30p 11:00p 11:00p Star Trek: Voyager Wiseguy Star Trek: Voyager 11:30p 11:30p 12:00a 12:00a Star Trek: Enterprise Wiseguy Star Trek: Enterprise 12:30a 12:30a 1:00a 1:00a Xena: Warrior Princess The Commish The Incredible Hulk 1:30a 1:30a 2:00a 2:00a Xena: Warrior Princess The Commish The Incredible Hulk 2:30a 2:30a 3:00a Swamp Thing 3:00a Hercules: The Legendary Journeys 21 Jump Street 3:30a Swamp Thing 3:30a 4:00a 4:00a Hercules: The Legendary Journeys 21 Jump Street Tarzan 4:30a 4:30a 5:00a The Cisco Kid 5:00a Cheyenne Tarzan 5:30a Trackdown 5:30a ALL TIMES EASTERN/PACIFIC • SUBJECT TO CHANGE COLOR INDICATES CHANGE TO SCHEDULE . -
Vancouver's Serinda Swan Gets Real in New CBC Drama Coroner
Vancouver's Serinda Swan gets real in new CBC drama Coroner Swan stars as a Toronto coroner who has to raise her teenage son on her own after her husband's sudden death. Dana Gee Updated: January 7, 2019 Coroner Where: CBC When: Jan. 7, 9 p.m. Info: cbc.ca Serinda Swan felt there was more to her new TV character coroner Jenny Cooper than the study of bodily fluids, skin tissue and blood spray patterns. Swan felt Cooper, the lead in the new CBC drama Coroner, had an internal life that was also ripe for dissection. “I really want to keep her as human as possible. I donʼt want her to be a coroner that happens to be a person. I wanted her to be a person who happens to be a coroner,” Swan said she told Coroner execuitve producer and director Adrienne Mitchell and showrunner/creator Morwyn Brebner when they were discussing the role. “I wanted to be able to lead with her humanity. I wanted to lead with everything she feels.” In the new eight-part series we meet Swan just as her husband has dropped dead. Once an emergency room doctor, Swanʼs mounting anxiety has forced her to make big changes and navigate new, very often, emotional waters. To help start anew she packs up her teenage son moves to Toronto and takes a job as a coroner. The CBC drama Corner stars Serinda Swan as coroner Jenny Cooper. Photo: Ben Mark Holzberg Ben Mark Holzberg / PNG “First and foremost itʼs watching a womanʼs experience in this new life,” added Swan, who grew up in West Vancouver but has called Los Angeles home since 2009. -
Keep It Down
COVER STORY..............................................................2 The Sentinel FEATURE STORY...........................................................3 SPORTS.....................................................................4 MOVIES............................................................8 - 22 WORD SEARCH/ CABLE GUIDE.......................................10 COOKING HIGHLIGHTS..................................................12 SUDOKU..................................................................13 tvweek STARS ON SCREEN/Q&A..............................................23 December 25 - 31, 2016 Keep it down Noah Wyle as seen in “The Librarians” Ewing Brothers 2 x 3 ad www.Since1853.com While the rest of the team sets out to recover the Eye of Ra and solve the mystery of the Bermuda Triangle, Flynn (Noah Wyle, “ER”) learns a great deal about himself in a new episode of “The Librarians,” airing Sunday, 630 South Hanover Street Dec. 25, on TNT. The series follows a group of Librarians tasked with retrieving powerful artifacts, solving Carlisle•7 17-2 4 3-2421 mysteries and battling supernatural threats to mankind. Rebecca Romijn (“X-Men,” 2000) and Christian Kane Steven A. Ewing, FD, Supervisor, Owner (“Leverage”) also star. 2 DECEMBER 24 CARLISLE SENTINEL cover story the other Librarians on their The other members of the many harrowing adventures. team each possess unique skills Stacks of thrills However, now that she and that help them on their many Carsen are romantically in- quests. Kane is Oklahoma-born Season 3 of ‘The Librarians’ in full swing on TNT volved, she struggles to keep cowboy Jacob Stone, the per- her feelings for him from get- fect combination of brains and By Kyla Brewer The big news this season is ting in the way of her duty to brawn, thanks to his knowledge TV Media the return of Noah Wyle, who protect the others. of art, architecture and history. -
Danny Virtue Producer/Director/2Nd Unit Director /Stunt Coordinator / Stunt Performer
Danny Virtue Producer/Director/2nd Unit Director /Stunt Coordinator / Stunt Performer Office: 604-299-7050 Office: 604-826-7636 Cel: 604-250-1167 Website: www.stuntscanada.com Website: www.virtuestudioranch.com Email: [email protected] DGA/DGC/SAG/UBCP/ACTRA/TEAMSTERS #155/IATSE #891/ACFC Member Height: 6’1 Weight: 210 Hair: Silver Eyes: Blue Waist: 38 Inseam: 34 Sleeve: 34 Shoe: 12 Hat: 7 3/8 Neck: 16 Jacket: XL **MPPIA BC CREATES COMMUNITY AWARD - 2016 **OUTSTANDING ACHIEVEMENT AWARD – LEO AWARDS - 2015 *LEO AWARDS WINNER – BEST STUNT COORDINATION IN A FEATURE FILM – “GUNLESS” – 2010 **PETER USTINOV HUMANITARIAN AWARD – BANFF FILM FESTIVAL *GEMINI AWARD NOMINEE – BEST DRAMATIC SERIES – “NEON RIDER” – 1995 *GEMINI AWARD NOMINEE – BEST DRAMATIC SERIES – “NEON RIDER” - 1993 PRODUCING & DIRECTING SHOW ROLE MEDIA/PRODUCTION COMPANY Goodnight for Justice 2 & 3 Producer Feature Films – Hallmark Entertainment E-Quest Executive Producer Pilot Whistler – Season II Executive Producer TV Series – 13 episodes – CTV Whistler – Season I Executive Producer TV Series – 13 episodes – CTV Grizzly Director Promo- Blair Murdoch Productions Dead Man’s Gun Director TV Series Neon Rider – Seasons I, II, III, IV Executive Producer, Producer, Co-Creator, TV Series – 65 Episodes – AVR Director Productions- CTV/GLOBAL Dude Executive Producer, Co-Creator Pilot – AVR Productions The Gibbet Executive Producer Short Film – Virtue Productions Ariana’s Quest Co-Producer, Co-Director Feature Film – Forgotten Kingdom Productions The Girls From Mars Associate Producer -
FBI Arrests Pair As Spies for USSR
PAGE TWENTY-FOUR - MANCHESTER EVENING HERALD. Manchester. Conn.. Thurs., June 26, 1975 “Two Bills Signed HARTFORD (UPI) - Gov. signed by Mrs. Grasso holds of interest. Ella T. Grasso has signed bills that membership in the authori The governor has signed 439 allowing public housing tenants ty while living in a public bills and vetoed four since iianri|Mtpr if iimng leralh to sit on local housing housing project is not a conflict taking office last January. authorities and Requiring higher CATHOLIC BURIAL MANCHESTER, CONN., FRIDAY, JUNE 27, 1975- VOL. XCIV, No. 228 SIXTEEN PAGES PRICE: HETEEN CENTS . a insurance coverage for Manchester—A City of Village Charm V fireworks displays. It makes good sense for families to own cemetery Another measure signed into property before it is needed. law by the governor will make You can spare your family distress and financial COBGITATIONS towns in which a person worry by selecting a burial site now. becomes destitute responsible y i for the welfare payments. 85 East Center-St.i Gandhi Takes Under previous laws the at Summit St. SAINT JAMES CEMETERY In the days when oil and coal the ore cannot compete with now, but the old abandoned benefits were paid by the town Wide Powers FBI Arrests Pair 368 Broad Street mines have afforded 0. C. stoves had windows, they were richer deposits in other places. in which the person had lived WEEKEND CASH and CARRY SPECIALI Manchester, Connecticut Cobalt is used for the old many enjoyable hours of most of the time in the past two fitted with what was generally Phone 646-3772 NEW DELHI (UPI) — Prime Minister known as isinglass or thin mica.