El Mentalista.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
'Nothing but the Truth': Genre, Gender and Knowledge in the US
‘Nothing but the Truth’: Genre, Gender and Knowledge in the US Television Crime Drama 2005-2010 Hannah Ellison Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film, Television and Media Studies Submitted January 2014 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. 2 | Page Hannah Ellison Abstract Over the five year period 2005-2010 the crime drama became one of the most produced genres on American prime-time television and also one of the most routinely ignored academically. This particular cyclical genre influx was notable for the resurgence and reformulating of the amateur sleuth; this time remerging as the gifted police consultant, a figure capable of insights that the police could not manage. I term these new shows ‘consultant procedurals’. Consequently, the genre moved away from dealing with the ills of society and instead focused on the mystery of crime. Refocusing the genre gave rise to new issues. Questions are raised about how knowledge is gained and who has the right to it. With the individual consultant spearheading criminal investigation, without official standing, the genre is re-inflected with issues around legitimacy and power. The genre also reengages with age-old questions about the role gender plays in the performance of investigation. With the aim of answering these questions one of the jobs of this thesis is to find a way of analysing genre that accounts for both its larger cyclical, shifting nature and its simultaneously rigid construction of particular conventions. -
2009 Annual Report
2009 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Media Council Board of Governors ..............................................................................................................12 Public Programs PALEYDOCEVENTS ..................................................................................................................................14 INSIDEMEDIA Events .................................................................................................................................15 PALEYDOCFEST .......................................................................................................................................19 PALEYFEST: Fall TV Preview Parties ..........................................................................................................20 PALEYFEST: William S. Paley Television Festival ..........................................................................................21 Robert M. -
“Ladies in Red” Written by Gary Glasberg Directed By
“Ladies in Red” Written by Gary Glasberg Directed by Chris Long Episode 102 #3T7802 Warner Bros. Entertainment PRODUCTION DRAFT 4000 Warner Blvd. July 23, 2008 Burbank, CA 91522 FULL BLUE 7/25/08 FULL PINK 7/28/08 © 2008 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc. THE MENTALIST “Ladies in Red” Episode #102 July 28, 2008 – Pink Production Draft CAST LIST PATRICK JANE SENIOR CBI AGENT TERESA LISBON CBI AGENT KIMBALL CHO CBI AGENT WAYNE RIGSBY CBI AGENT GRACE VAN PELT CBI AGENT VIRGIL MINELLI SFPD INSPECTOR COLLEEN MULVEY JASON SANDS JENNIFER SANDS JULIE SANDS MICHAEL BENNETT REPO DEPUTY ADRIANNA JONOVIC LAWYER DIETER WEBB THE MENTALIST “Ladies in Red” Episode #102 July 28, 2008 – Pink Production Draft SET LIST INTERIORS SANDS HOME – DAY & NIGHT FOYER OFFICE LIVING ROOM JULIE’S BEDROOM SUN ROOM CBI HQ – DAY & NIGHT KITCHEN BULLPEN INTERROGATION ROOM LISBON’S OFFICE OBSERVATION ROOM CONFERENCE ROOM YACHT – NIGHT CBI CAR – DAY JENNIFER’S CAR – NIGHT APARTMENT HALLWAY – NIGHT HOSPITAL – DAY & NIGHT CORRIDOR WAITING ROOM *DOCTOR’S LOUNGE OMITTED (L/C) *STORAGE ROOM ADDED (L/C) ANOTHER HALLWAY PATIENT’S ROOM CONCERT HALL – NIGHT EXTERIORS YACHT CLUB (MEMORIAL SERVICE) – DAY SANDS HOME – DAY *BALCONY ADDED (L/C) DOWNTOWN SACRAMENTO (NEAR STATE CAPITAL) – DAY MARINA (YACHT) – NIGHT BEACH (FLASHBACK JANE W/WIFE AND DAUGHTER) – DAY OAKLAND HOUSE – DAY PARKING LOT – NIGHT APARTMENT BUILDING - NIGHT THE MENTALIST “Ladies in Red” Episode #102 July 28, 2008 – Pink Production Draft DAY/NIGHT BREAKDOWN DAY 0 – (JANE WITH HIS WIFE AND DAUGHTER) Scene 17 NIGHT 1 Scenes 1 – 2, 44, 46 DAY 2 Scene 3 DAY 3 Scenes 4 - 12 NIGHT 3 Scenes 13 – 14 DAY 4 Scenes 15 – 16, 18 - 25 NIGHT 4 Scenes 26 – 35 DAY 5 Scenes 36 – 43, 45, 47 - 48 TEASER FADE IN: 1 INT. -
The Sherlock Holmes Paradigm in Contemporary Crime Series
Echoing the Eccentric Genius – The Sherlock Holmes Paradigm in Contemporary Crime Series Inaugural-Dissertation zur Erlangung der Doktorwürde der Philologischen Fakultät der Albert-Ludwigs-Universität Freiburg i. Br. vorgelegt von Isabell Ewers aus Baden-Baden SS 2020 Erstgutachter/in: Frau Prof. Dr. Barbara Korte Zweitgutachter/in: Frau PD Dr. Nicole Falkenhayner Vorsitzende/r des Promotionsausschusses der Gemeinsamen Kommission der Philologischen und der Philosophischen Fakultät: Prof. Dr. Dietmar Neutatz Datum der Fachprüfung im Promotionsfach: 22.03.2021 Table of contents 0. Introduction 4-10 1. The creation and popularisation of the eccentric genius 1.1. Explaining the continuum of an ambivalent fascination 1.1.1. Eccentrics and geniuses: terminology, parallels and the question of definition 11-12 1.1.2. “Great men” or madmen? The eccentric genius in the eyes of the Victorians 13-21 1.1.3. A new working definition based on family resemblance: ten key features 22-31 1.2. Adapting the paradigm to the small screen 1.2.1. The ‘what’ and the ‘why’: a sociological turn of adaptation studies 32-41 1.2.2. The ‘how’: medium-specific codes and the potential of television series 41-48 2. The Sherlock Holmes stories by Arthur Conan Doyle 2.1. The (integrational) functions of an eccentric genius 2.1.1. The birth and background of the Sherlock Holmes paradigm 49-53 2.1.2. A genius put to use: Holmes’s profession and its attraction for society 53-69 2.1.3. Decadence, domestic life and mental state of a singular and other-worldly (?) genius 69-78 2.2. -
Only a Job Author: CK Rating: P6 Contents: Not Trusting Him Is Her
Only A Job Author: CK Rating: P6 Contents: Not trusting him is her job. But life's not only the job. Disclaimer: Nothing mine; this fabulous show belongs to Bruno Heller and his team :) A/N: Takes place during the nightly car ride in "Carnelian, Inc."; it's a different take on the scene and what they should have talked about - in other words: All The Times revisited (well, kinda - it's at least another episode- based story ;)). Um, yes... maybe the "trust fall" doesn't fit to the story, so it might be a good idea to ignore it. Only for the story, of course *grins* "Talk to me." Teresa Lisbon groaned inwardly. She should have known it. He had been quiet a bit too long. But really, she didn't want to talk. She only wanted to sleep. Well, to pretend to be sleeping. Just do anything to avoid what she feared at the moment: him starting the whole trust conversation all over again. It had made her uncomfortable before, although she had managed to stay confident; but she knew that now, being as tired as she was, she wouldn't be able to hide her uneasiness. She hadn't wanted to hurt him, and yet she had had to do it. And now, as cowardly as she was when relationships of any kind were concerned, she just wanted to avoid the topic. To forget about it. "Do I have to?" she asked indifferently and suppressed a yawn. "No. I can just fall asleep, and we can drift into oncoming traffic. -
LOVE at the SHORE Cast Bios AMANDA RIGHETTI (Jenna)
‘LOVE AT THE SHORE’ Cast Bios AMANDA RIGHETTI (Jenna) – Amanda Righetti is best known for her starring role in CBS’ People’s Choice Award-winning hit drama series “The Mentalist,” alongside Simon Baker. Righetti played well-liked former rookie Grace Van Pelt, special agent in the fictionalized California Bureau of Investigation. Most recently, Righetti starred as Madeline in USA Network’s drama series “The Colony.” In the spring of 2015, Righetti co-produced and starred, with Jonathan Bennett, in the indie film “Cats Dancing on Jupiter” and, her past film credits include the hits “Captain America: The First Avenger,” “Friday The 13th” from director Michael Bay, “Role Models” and “The Chateau Meroux.” Righetti was cast as Hailey Nichol in the Fox hit “The O.C.,” which led the way to roles on other FOX network TV shows, including “North Shore” and “Reunion.” Additional television credits include guest-starring roles on “CSI: Crime Scene Investigation,” HBO’s comedy series “Entourage,” NBC’s “Chicago Fire” and “Chicago PD.” Born and raised near Las Vegas, Righetti currently resides in the Los Angeles area with her son, Knox. # # # PETER PORTE (Lucas) – First-generation American Peter Porte grew up in a small village in upstate New York with his European parents. He earned a BFA in Acting at NYU’s Tisch School of the Arts. He furthered his education, studying in Paris, Hong Kong and London, at the Royal Academy of Dramatic Art (RADA). After earning multiple degrees, Peter toured with the Broadway National Touring Company of “Mamma Mia!,” after which he made the move to Los Angeles. -
A Dozen Red Roses”
“A Dozen Red Roses” Written by Andi Bushell Directed by Lesli Linka Glatter Episode 118 #3T7818 Warner Bros. Entertainment PRODUCTION DRAFT 4000 Warner Blvd. February 16, 2009 Burbank, CA 91522 FULL BLUE 2/18/09 © 2009 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc. THE MENTALIST “A Dozen Red Roses” Episode #118 February 18, 2009 – Blue Production Draft CAST LIST PATRICK JANE SENIOR CBI AGENT TERESA LISBON CBI AGENT GRACE VAN PELT CBI AGENT KIMBALL CHO CBI AGENT WAYNE RIGSBY CSI MAN FELIX HANSON CHARLIE CHAPLIN MARILYN MONROE GABRIEL FANNING FELICIA SCOTT SYDNEY HANSON *FREDERICK ROSS NAME CHANGE MARCUS KLEIN MITCH CAVANAUGH *SCRIPT SUPERVISOR OMITTED ROWAN/GEOFF BRANDON FULTON *RECORDIST OMITTED THE MENTALIST “A Dozen Red Roses” Episode #118 February 18, 2009 – Blue Production Draft SET LIST INTERIORS HOLLYWOOD PRECINCT – DAY & NIGHT BULLPEN INTERROGATION ROOM (1) INTERROGATION ROOM (2) HANSON RESIDENCE (MALIBU BEACH HOUSE) – DAY & NIGHT LIVING ROOM STAIRS TRAILER – DAY HOLLYWOOD PARTY HOUSE – NIGHT FITTING ROOM - DAY HOSPITAL ROOM – DAY CBI HQ – DAY INTERROGATION ROOM OBSERVATION ROOM EXTERIORS HOLLYWOOD BOULEVARD – DAY & NIGHT PARKING LOT STUDIO BACKLOT – DAY NYC FLOWER STORE SET TRAILER ALLEY (ALONGSIDE OF A SOUND STAGE) STREET – DAY HANSON RESIDENCE (MALIBU BEACH HOUSE) – DAY & NIGHT *ROSS’S APARTMENT BUILDING – DAY NAME CHANGE CBI VAN (OUTSIDE HANSON RESIDENCE) - NIGHT THE MENTALIST “A Dozen Red Roses” Episode #118 February 18, 2009 – Blue Production Draft DAY/NIGHT BREAKDOWN FLASHBACK DAY 0 *OMITTED FLASHBACK NIGHT 0 *Scene 35 - 37 DAY 1 Scenes 1 – 10 (Scenes 11 – 12 Omitted) DAY 2 *Scenes 13 – 16, 19 – 21 *(Scenes 17 – 18 Omitted) NIGHT 2 Scenes 22 – 24 DAY 3 Scenes 25 - 26 NIGHT 3 Scenes 27 - 28 DAY 4 Scenes 29 – 33 DAY 5 Scenes 34, 38 - 39 TEASER FADE IN: 1 EXT. -
“Red Hair and Silver Tape” Written by Bruno Heller Directed by David
“Red Hair and Silver Tape” Written by Bruno Heller Directed by David Nutter Episode 101 #3T7801 Warner Bros. Entertainment PRODUCTION DRAFT 4000 Warner Blvd. July 7, 2008 Burbank, CA 91522 FULL BLUE 7/10/08 PINK REVS. 7/11/08 YELLOW REVS. 7/11/08 GREEN REVS. 7/15/08 GOLD REVS. 7/16/08 SALMON REVS. 7/17/08 CHERRY REVS. 7/17/08 © 2008 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc. THE MENTALIST “Red Hair and Silver Tape” Episode #101 July 17, 2008 – Cherry Revisions SET LIST INTERIORS O’KEEFE HOUSE – DAY *LIVING ROOM OMITTED MELANIE’S BEDROOM CBI HEADQUARTERS – DAY SHAND CREEK WINERY/RESTAURANT – DAY & NIGHT PATIO AREA KITCHEN OFFICE BACK OFFICE LOCKER ROOM STAFF BATHROOM SHERIFF’S DEPARTMENT - DAY INTERVIEW ROOM MAIN OFFICE RECEPTION AREA ICE CREAM PARLOR – DAY GARDEN VALLEY MOTEL & SUITES – DAY SUITE 9A CBI VAN - DAY SHAND CREEK PANEL VAN – DAY EXTERIORS VINEYARD – NORTHERN NAPA COUNTY – DAY O’KEEFE FARMHOUSE – SONOMA VALLEY – DAY SHAND CREEK WINERY/RESTAURANT – DAY & NIGHT PARKING LOT RESTAURANT TERRACE DRIVEWAY SHERIFF’S DEPARTMENT – SMALL TOWN – DAY HECTOR’S HOUSE – VACAVILLE – DAY VALLEY GARDEN MOTEL & SUITES - DAY CBI VAN - DAY GRAVEYARD - DAY THE MENTALIST “Red Hair and Silver Tape” Episode #101 July 17, 2007 – Cherry Revisions REVISED PAGES PINK REVISIONS – 7/11/08 4, 12, 17, 23, 24, 30, 34, 36, 45, 48, 51, 53 YELLOW REVISIONS – 7/11/08 10, 11, 11A GREEN REVISIONS – 7/15/08 4, 11, 11A, 13, 17, 22, 26, 26A, 33, 34, 35, 35A, 36, 41, 42, 49, 50, 52, 53 GOLD REVISIONS – 7/16/08 5, 6, 7, 16, 17, 33, 35, 35A, 36, 48, 52 SALMON REVISIONS – 7/17/08 29, 32, 32A CHERRY REVISIONS – 7/17/08 4, 5, 5A TEASER FADE IN: 1 EXT. -
The Role of Alterity for the Construction of Identity in BBC's
The Role of Alterity for the Construction of Identity in BBC’s Sherlock Masterarbeit im Ein-Fach-Masterstudiengang, Fach “English and American Literatures, Cultures, and Media” der Philosophischen Fakultät der Christian-Albrechts-Universität zu Kiel vorgelegt von Wiebke Wilhelmine Pauketat Erstgutachter: Prof. Christian Huck Zweitgutchterin: Prof. Annegreth Horatschek Kiel im Dezember 2013 2 Table of Content 1 Introduction ........................................................................................................ 3 2 Theory ............................................................................................................... 7 2.1 The importance of alterity for identity construction ...................................... 7 2.2 Concept reality/fiction, film techniques ...................................................... 10 3 Analysis ........................................................................................................... 16 3.1 Perspective and Identification with Sherlock/Sherlock´s side of the story.. 16 3.2 Moriarty as a concept and not just a character (more than just a villain) ... 21 3.3 Moriarty – as he is depicted as alterity ...................................................... 28 3.3.1 Expectations/schemes ....................................................................... 28 3.3.2 Scenes .............................................................................................. 32 4 Conclusion ...................................................................................................... -
“Red Tide” Written by Ashley Gable Episode 103 #3T7803 Warner
“Red Tide” Written by Ashley Gable Episode 103 #3T7803 Warner Bros. Entertainment PRODUCTION DRAFT 4000 Warner Blvd. July 29, 2008 Burbank, CA 91522 © 2008 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc. THE MENTALIST “Red Tide” Episode #103 July 29, 2008 – Production Draft CAST LIST PATRICK JANE SENIOR CBI AGENT TERESA LISBON CBI AGENT KIMBALL CHO CBI AGENT WAYNE RIGSBY CBI AGENT GRACE VAN PELT CBI AGENT VIRGIL MINELLI HOPE WIN DAMON TANNER LISA TANNER MARLA PAPPAS PHILLIP REEKER (AKA “FLIPPER”) DALE MERRICK ANDY KYLE RAYBURN DANE MERRICK THE MENTALIST “Red Tide” Episode #103 July 29, 2008 – Production Draft SET LIST INTERIORS CBI HQ – DAY BULLPEN INTERROGATION ROOM OBSERVATION ROOM CHRISTINE TANNER’S HOUSE – DAY LIVING ROOM SANTA MARTA BEACH SHERIFF’S OFFICE – DAY BULLPEN HALLWAY INTERROGATION ROOM CBI CAR - DAY FLIPPER’S TRAILER – DAY HIGH SCHOOL AUDITORIUM - DAY EXTERIORS SANTA MARTA BEACH – DAY CHRISTINE TANNER’S HOUSE – DAY TRAILER PARK (NEAR BEACH) - DAY HIGH SCHOOL CAMPUS - DAY SECRET BEACH/CONSTRUCTION SITE – DAY & NIGHT CBI HQ PARKING LOT - DAY THE MENTALIST “Red Tide” Episode #103 July 29, 2008 – Production Draft DAY/NIGHT BREAKDOWN NIGHT 0 Scene 36, 38, 42, 46 DAY 1 Scenes 1 - 30 NIGHT 1 Scenes 31 - 33 DAY 2 Scenes 34 – 35, 37, 39 – 41, 43 – 45, 47 - 48 TEASER FADE IN: 1 EXT. SANTA MARTA BEACH - DAY (D/1) 1 Early morning in Paradise. -
Linda Woolverton Dives Down the Rabbit Hole!
Linda Woolverton dives down the Rabbit Hole! Character-Driven Writing by Vaughn, Goldman & Millar 2010 Sundance Coverage + Know Your Show: The Mentalist MARCH/APRIL 2010 Volume 17 Number 2 - - - - - - - - - - - - - - Allan Loeb writes the stimulus Beacham, Hay & Manfredi Noah Baumbach stresses us out $6.95 package for Wall Street: get Kracken on Clash of the Titans in Greenberg Money Never Sleeps "My head is spinning... my writing career is taking off...and I owe it all to entering my script in the Creative Screenwriting AAA Contest last fall!" — Robert Lugibihl, February 2009 OPEN NOW! DEADLINE APRIL 11, 2010 sponsored by Welcome to Creative Screenwriting’s annual screenplay competition. The AAA Contest is looking for the best and most talented writers from around the world. If you have written a great screenplay, please allow us to bring your work to the attention of the industry. The winner of the AAA contest will be profiled in Creative Screenwriting magazine and the names of the top ten finalists will be published in CS Weekly. Finalists and their screenplays will also be publicized in press releases and ads placed in industry publications. GRAND PRIZE — $7,500 CASH additional prizes, plus Acclaim and Access: • $7,500 cash • Winning script mailed to over 300 agents, managers, and development executives. • Free Gold Pass registration to the 2010 Screenwriting Expo ($300+ value) • Air fare up to $300 and lodging at the 2010 Screenwriting Expo headquarters hotel • Five free Golden Pitch Festival pitch tickets ($125 value, plus selection priority). Second Prize: $2,500 cash plus script sent to producers, agents, and managers, plus other prizes. -
Brayden Jennings Persuasion and Television: How to Stay on The
Brayden Jennings Persuasion and Television: How to Stay On the Air On the Five Major Broadcasting Networks Oklahoma State University Honors Thesis Abstract This honors thesis postulates that there are certain determining factors, specifically persuasive factors, that the five major broadcasting networks can use when selecting which shows to order so they will have a decreased cancelation rate. The current cancelation rate of shows on these networks is nearing 70% and has been steadily declining for the past decade. Shows need to be persuasive in order for the networks to make money, thus the shows should use persuasion. The persuasive factor that shows should use to initially capture viewer attention is credibility. Credibility for these shows can be in the form of expertise or trustworthiness. This can be done by casting a well-known actor or using a theme that has been successful in the past, a trusted theme. A successful television show must also gain the compliance of their viewers through the use of rewarding activity, punishing activity, and/or the activation of impersonal commitments. These keep viewer interest from episode to episode and hopefully from season to season. Another element of persuasion that shows must utilize is motivational appeals. These appeals can be anything from fear to sex appeals. These appeals keep viewer interest during the episode and ultimately keep them watching entire episodes. All of these persuasive elements need to be shown visually and audibly. Watching a show is reinforced even more when a viewer hears and sees something, thus increasing a shows chance of being renewed.