DOCSLIB.ORG

Politics, Trangression, and Women's Humor in Contemporary American Television

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Politics, Trangression, and Women's Humor in Contemporary American Television "THAT'S WHAT SHE SAID": POLITICS, TRANSGRESSION, AND WOMEN'S HUMOR IN CONTEMPORARY AMERICAN TELEVISION Melinda Maureen Lewis 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 May 2014 Committee: Ellen Berry, Advisor Jacquelyn Cuneen Graduate Faculty Representative Rosalind Sibielski Becca Cragin ii ABSTRACT Ellen Berry, Advisor Since the early 2000s, women affiliated with comedy television have been widely discussed as exceptions within a masculine industrial context, celebrated as brave counterexamples to ideas women lack comedic voices, or derided for not being good enough as comics or feminists. Television has been included in this discussion as a space where women’s representation, in comparison to film, provided more dynamic options for actress. Comedy has been used in these conversations as journalists and bloggers increasingly focus on women’s lack of representation within comedy formats in addition to already lack of diversity on and offscreen. The goal of this research is to analyze women’s comedic work for television. The following is an examination of women’s authorship in comedy television. There have been a handful of women who have acted as headwriters/ showrunners/ producers/ stars in comedy texts within the past ten years. Through analyses of four women in particular: Tina Fey, Amy Poehler, Diablo Cody, and Lena Dunham, this research highlights the ways in which women’s perspectives are incorporated within their texts. Through comedy they provide characters and points of identification that go beyond stereotyping and shed light on the nuanced nature of women’s lived experiences. These texts both resist and conform to societal expectations of women. iii Television Studies exists within a state of fluctuation as industrial shifts uproot the ways in which television operates and even how we as an audience watch or experience programs. Expansion of channels, changes in ownership, challenges over content have affected the ways in which audiences view television as an object. This dissertation is an exploration of those cracks, which were made by female comedy writers to provide insight into women’s daily lives and experiences within American contexts. While by no means all-inclusive, women working in contemporary television continue to try and negotiate wider openings for women’s content on the screen and battle against the saturation of male-centric narratives. iv To all the laughing Medusas v ACKNOWLEDGEMENTS I have spent ten years working toward the goal of writing (and finishing) a dissertation and graduating with doctorate. The amount of people necessary to thank is a project in and of itself. Trust me, I will spend the rest of my life on that book of gratitude, but for now this brief mention will have to suffice. First and foremost I would like to thank my committee members. They each showed how great their sense of humor was by agreeing to be included in this project. Dr. Ellen Berry has been a major facet in my graduate career, as a great professor and mentor. There is no term to encompass how grateful I am to her for taking me on as one of her advisees. No matter how dejected I was going into her office, I was always ready to burst with ideas and writing after our meetings. Dr. Becca Cragin has been a great influence in my work. Her questions became my questions and our preliminary conversations about women and television comedy helped create a framework for this dissertation (as well as reigned me in when necessary). Dr. Roz Sibielski has not only been a great committee member, but friend and mentor. I am utterly thankful that she dived right into this work in addition to all of her other responsibilities. She has helped make me a better scholar, a more dynamic teacher, and better academic. Finally, I am grateful and lucky for Dr. Jacquelyn Cuneen’s readiness to jump in as a last minute representative. These scholars left a distinct mark on my dissertation work, which was a continuation of thoughts and work done in courses with the amazing faculty members available to those within the Department of American Culture Studies. I have been shipped, shaped, and molded by the best of them. I am especially thankful for Dr. Don vi McQuarie, who made entering into American Culture Studies and graduate school a less frightening experience. He set standards both professionally and personally I hope to reach. His successors Dr. Gajjala and Dr. Schocket have helped me with various opportunities that made life easier working on this monster. I was also lucky enough to have taken a course with Dr. Susana Peña, the Director of the School of Cultural and Critical Studies, where I learned scholarship was about entering and embracing the rabbit holes. I am also indebted to Dr. Ted Rippey, for making me a better person through Weimar Cinema; Dr. Don Callen, for being my cinematic spirit animal; Dr. Clayton Rosati for telling me I was NOT a knucklehead; Dr. Kathy Bradshaw for never letting us off the hook; and Dr. Simon Morgan-Russell, Dean of the Honors College, for giving me life lessons during my thesis. I would also like to acknowledge those at IUP’s English program who encouraged me to go further. Dr. Michael T. Williamson, Dr. Barb Kraszewski, and Dr. Judith Villa. Deserving of her own paragraph is Dr. Cynthia Baron who I have had the pleasure of working with for four years as a curator for Tuesdays at the Gish. I first met her at a screening and thought she was the coolest and working with her over the years in class, on the Gish, and writer have confirmed this as truth. I cannot thank her enough for the encouragement she has given me, the amount of hours spent workshopping, and all the advice and opportunities she has shared. I am and forever will be in the Cynthia Baron Fan Club and when those satin jackets finally get made I’m ordering two. Professors are not the only ones who confront us with how much we don’t actually know which is why I must pay thanks to my colleagues. My cohort helped me understand what kind of scholar I wanted to be and how to get there. Their consultation in the early stages of this project was invaluable, especially Arundhati's editing eyes. To those I have had the absolute pleasure of knowing and greatly contributed to my vii well-being: Dr. Mark Bernard, an absolute treasure of a gentleman and scholar; Dr. Hope Bernard for her very necessary note-taking and truth-saying; Carolyn Strong, one of the nicest and calmest academics I’ve come across, Dr. Phillip Cunningham, you can stay; Dr. Kelly MacDonald, for showing me the joys of cooking; Dr. Eric Weeks, “CHOO CHOO”; Stephanie Plummer, like a sun ball of sun; Justin Philpot, you’re an absolute treasure; Melissa Mills-Dick, you made me want to get back to the joys of fiction – and I’m forever thankful for those breaks from frustration; Diana DePasquale, I don’t know why we watch the things we do, but I’m sure glad we do; and to the cine-fun-club, thanks for the belly aches brought on by intense laughter and pizza. I am also grateful to those who have put up with me for far longer than anybody should by choice: Ryan, my dearest friend, I can’t wait for you to get here. Jillian thank you for your encouragement and straightforwardness. I could always count on you. Susan, thank you for those brief moments in time where it feels like nothing has changed. My academic partner in crime, Katie Barak, put up with me ranting, raving, and questioning since meeting in 2008. We have been through coursework, exams, and dissertations together. We have laughed, cried, and watched terrible television for six years and it’s never gotten stale. She’s my C3PO, Shaun, Jay to my R2-D2, Ed, and Silent Bob. Once again, but this time on paper (so much more official), I thank you and reiterate how I couldn’t have gotten through without your friendship (Broc and Moshi are pretty ok, too). I would like to conclude by declaring my undying love and gratitude for my family. My cat Ernie has been a phenomenal compadre over the years and is a frequent reminder of how fun naps can be between bouts of feverish play. A gigantic thank you to viii my parents, John and Malia. They had plenty of opportunities to conveniently misplace me behind during our many trials, but they held on and have supported me in all meanings that word conveys for the past twenty-nine years. I only hope throughout the years I can show your sacrifices were worth it. I love you forever. ix TABLE OF CONTENTS Page LADIES AND GENTLEMAN: AN INTRODUCTION ...................................................... 1 Television as More than Appliance .......................................................................... 3 Feminist Media Scholarship ..................................................................................... 7 Gaps and Interventions ............................................................................................. 14 Four Authors . ........................................................................................................... 21 Chapter Breakdowns ................................................................................................. 25 CHAPTER 1: WHAT’S THE DEAL WITH WOMEN AND COMEDY? ......................... 30 Finding Humor .......................................................................................................... 33 Women and Humor ..................................................................................................
Load more

Recommended publications
  • GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
    Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months.
    [Show full text]
  • Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock
    Genders 1998-2013 Genders 1998-2013 Genders 1998-2013 Home (/gendersarchive1998-2013/) Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock May 1, 2012 • By Linda Mizejewski (/gendersarchive1998-2013/linda-mizejewski) [1] The title of Tina Fey's humorous 2011 memoir, Bossypants, suggests how closely Fey is identified with her Emmy-award winning NBC sitcom 30 Rock (2006-), where she is the "boss"—the show's creator, star, head writer, and executive producer. Fey's reputation as a feminist—indeed, as Hollywood's Token Feminist, as some journalists have wryly pointed out—heavily inflects the character she plays, the "bossy" Liz Lemon, whose idealistic feminism is a mainstay of her characterization and of the show's comedy. Fey's comedy has always focused on gender, beginning with her work on Saturday Night Live (SNL) where she became that show's first female head writer in 1999. A year later she moved from behind the scenes to appear in the "Weekend Update" sketches, attracting national attention as a gifted comic with a penchant for zeroing in on women's issues. Fey's connection to feminist politics escalated when she returned to SNL for guest appearances during the presidential campaign of 2008, first in a sketch protesting the sexist media treatment of Hillary Clinton, and more forcefully, in her stunning imitations of vice-presidential candidate Sarah Palin, which launched Fey into national politics and prominence. [2] On 30 Rock, Liz Lemon is the head writer of an NBC comedy much likeSNL, and she is identified as a "third wave feminist" on the pilot episode.
    [Show full text]
  • Amy Schumer Netflix Special Transcript
    Amy Schumer Netflix Special Transcript Which Antonino wimbles so allopathically that Winslow antagonises her cerium? Perissodactylous and crimpy Lindy expedite, but Ulises undersea skated her monolaters. Plundering Terrill spawn infinitesimally while Pen always vesiculated his hootch distributed afore, he overindulging so meticulously. Controversial but there is backing down on russian influence of democracy being judged by the national lockdown amidst global gaming and he is now, netflix special season Move away at least one of public bathrooms safe, amy schumer netflix special transcript here is in front lines at the transcript bulletin warns paycheck protection on? Stuck at home to know what legal system works on impeachment trial jen, a sheep thing they crashed onto this story that amy schumer netflix special transcript. Dave Chappelle's speech accepting the Mark Twain Prize. That it is number of distance, so i am going to kiss his pacifier, amy schumer netflix special transcript. She has released a vengeance of comedy specials including The if Special Netflix Amy Schumer Live law the Apollo HBO and most. Christie christmas Chrome chronic Chuck Schumer CIA torture programs. What do you netflix special ensures that amy schumer netflix special transcript here in arabic herself dancing with amy schumer doing something he spends hours from happening; president trump turns out president trump. Rose would like it is that amy schumer: despite warnings from the family calls for the united in mainland china of civil liberties, amy schumer netflix special transcript bulletin publishing company clearview. Twitter that are filing back to their email if this transcript bulletin warns every one knee and amy schumer netflix special transcript.
    [Show full text]
  • The Portrayal of Black Female Athletes in Children's Picturebooks
    Strides Toward Equality: The Portrayal of Black Female Athletes in Children’s Picturebooks Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Rebekah May Bruce, M.A. Graduate Program in Education: Teaching and Learning The Ohio State University 2018 Dissertation Committee: Michelle Ann Abate, Advisor Patricia Enciso Ruth Lowery Alia Dietsch Copyright by Rebekah May Bruce 2018 Abstract This dissertation examines nine narrative non-fiction picturebooks about Black American female athletes. Contextualized within the history of children’s literature and American sport as inequitable institutions, this project highlights texts that provide insights into the past and present dominant cultural perceptions of Black female athletes. I begin by discussing an eighteen-month ethnographic study conducted with racially minoritized middle school girls where participants analyzed picturebooks about Black female athletes. This chapter recognizes Black girls as readers and intellectuals, as well as highlights how this project serves as an example of a white scholar conducting crossover scholarship. Throughout the remaining chapters, I rely on cultural studies, critical race theory, visual theory, Black feminist theory, and Marxist theory to provide critical textual and visual analysis of the focal picturebooks. Applying these methodologies, I analyze the authors and illustrators’ representations of gender, race, and class. Chapter Two discusses the ways in which the portrayals of track star Wilma Rudolph in Wilma Unlimited and The Quickest Kid in Clarksville demonstrate shifting cultural understandings of Black female athletes. Chapter Three argues that Nothing but Trouble and Playing to Win draw on stereotypes of Black Americans as “deviant” in order to construe tennis player Althea Gibson as a “wild child.” Chapter Four discusses the role of family support in the representations of Alice Coachman in Queen of the Track and Touch the Sky.
    [Show full text]
  • Cast Biographies RILEY KEOUGH (Christine Reade) PAUL SPARKS
    Cast Biographies RILEY KEOUGH (Christine Reade) Riley Keough, 26, is one of Hollywood’s rising stars. At the age of 12, she appeared in her first campaign for Tommy Hilfiger and at the age of 15 she ignited a media firestorm when she walked the runway for Christian Dior. From a young age, Riley wanted to explore her talents within the film industry, and by the age of 19 she dedicated herself to developing her acting craft for the camera. In 2010, she made her big-screen debut as Marie Currie in The Runaways starring opposite Kristen Stewart and Dakota Fanning. People took notice; shortly thereafter, she starred alongside Orlando Bloom in The Good Doctor, directed by Lance Daly. Riley’s memorable work in the film, which premiered at the Tribeca film festival in 2010, earned her a nomination for Best Supporting Actress at the Milan International Film Festival in 2012. Riley’s talents landed her a title-lead as Jack in Bradley Rust Gray’s werewolf flick Jack and Diane. She also appeared alongside Channing Tatum and Matthew McConaughey in Magic Mike, directed by Steven Soderbergh, which grossed nearly $167 million worldwide. Further in 2011, she completed work on director Nick Cassavetes’ film Yellow, starring alongside Sienna Miller, Melanie Griffith and Ray Liota, as well as the Xan Cassavetes film Kiss of the Damned. As her camera talent evolves alongside her creative growth, so do the roles she is meant to play. Recently, she was the lead in the highly-anticipated fourth installment of director George Miller’s cult- classic Mad Max - Mad Max: Fury Road alongside a distinguished cast comprising of Tom Hardy, Charlize Theron, Zoe Kravitz and Nick Hoult.
    [Show full text]
  • Eight Comedians; One Chronic Mental Illness
    Eight comedians; one chronic mental illness When it comes to depression, everyone’s story is different. But a lot of time, the stories can be pretty similar. In this podcast, there are common themes that rise up in conversations with comedians. There was a pretty specific age range during which most people first felt depression. Some were as young as five, some as old as 21. But for a lot of them, it hit right down the middle: during the cracking voice years, the unexpected hair years. Jake Weisman, standup comic Jake is based in LA and one of the writers and stars of Hampton Deville, an up and coming sitcom on Comedy Central. “The first time I had depression was when puberty hit in seventh or eighth grade. I remember feeling very dark thoughts all the time. Like not wanting to be alive. I remember being kind of an asshole. I hated myself so much. I remember every day, having this layer of sludge over my brain. I felt stupid and unworthy of everything I had and I kind of hated myself. I would be really sarcastic to people.” Awareness of how much you could hate yourself comes up a lot. Also, how much you could detach from the world. Sometimes how much you didn’t want to be there anymore. Another theme that kept coming up was confusion about what was going on. You don’t have life experience to identify it. You’ve never felt anything like this before. Mike Drucker, standup and a writer Mike has worked on Jimmy Fallon, Saturday Night Live, he’s co-writer of an upcoming Bill Nye’s show for Netflix.
    [Show full text]
  • 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.
    [Show full text]
  • Privatization in Russia: Catalyst for the Elite
    PRIVATIZATION IN RUSSIA: CATALYST FOR THE ELITE VIRGINIE COULLOUDON During the fall of 1997, the Russian press exposed a corruption scandal in- volving First Deputy Prime Minister Anatoli Chubais, and several other high- ranking officials of the Russian government.' In a familiar scenario, news organizations run by several bankers involved in the privatization process published compromising material that prompted the dismissal of the politi- 2 cians on bribery charges. The main significance of the so-called "Chubais affair" is not that it pro- vides further evidence of corruption in Russia. Rather, it underscores the im- portance of the scandal's timing in light of the prevailing economic environment and privatization policy. It shows how deliberate this political campaign was in removing a rival on the eve of the privatization of Rosneft, Russia's only remaining state-owned oil and gas company. The history of privatization in Russia is riddled with scandals, revealing the critical nature of the struggle for state funding in Russia today. At stake is influence over defining the rules of the political game. The aim of this article is to demonstrate how privatization in Russia gave birth to an oligarchic re- gime and how, paradoxically, it would eventually destroy that very oligar- chy. This article intends to study how privatization influenced the creation of the present elite structure and how it may further transform Russian decision making in the foreseeable future. Privatization is generally seen as a prerequisite to a market economy, which in turn is considered a sine qua non to establishing a democratic regime. But some Russian analysts and political leaders disagree with this approach.
    [Show full text]
  • 30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
    30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network.
    [Show full text]
  • If You're Happy and You Know It...Pizza By
    Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 2 3 4 5 6 Rent is Due STOP IN THE Rent Is LATE~ add National Donut Day OFFICE TO COUNT $50 late fee THE GUMBALLS IN THE JAR! IF YOU'RE HAPPY AND YOU KNOW IT..... Tell others about your great experience living here! We just love when people come in to inquire Permakil Your Community Team about our apartments and tell us they know someone who lives here! It's the best compliment we can get! Resident referrals are $200 of your referral moves in!! 7 8 9 10 11 12 13 Nicole Kidd Newport National Best Friend Additional $25 late Evictions are filed Property Manager PIZZA BY THE POOL.... ITALIANFEST Day fee if rent is not paid for non payment of Megan Ruberg rent FREE PIZZA.....Our annual pizza by the pool will be held on Thursday June 18th from Leasing Consultant Taste of Newport 5:00pm-6:30pm. Aspen Pines will provide the pizza, desserts and non- alcoholic beverages. We (Monmouth St.) Jeff Dotson hope to see everyone there! This is also a great way to meet other residents that live in the Maintenance complex! Pizza won't last, make sure you get there as early as you can! 14 15 16 17 18 19 20 Mike Dunaway Permakil Maintenance ASPEN PINES NEWS: **Thank you to all residents for following the pool rules so far! 1 guest per resident, NO GLASS Pizza by the pool Office Hours 5:00pm-6:30pm CONTAINERS, pool hours are 9am-9pm!! Monday Thru Friday **Picking up after pets....Dog do do can really smell in the summertime, remember we provide Jeff's Birthday! 10:00 am-6:00 pm trash receptacles with bags throughout the property to clean up after your pet.
    [Show full text]
  • Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions
    Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 5-2010 Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions Stephanie Savage Salve Regina University, [email protected] Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the Advertising and Promotion Management Commons, and the Marketing Commons Savage, Stephanie, "Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions" (2010). Pell Scholars and Senior Theses. 54. https://digitalcommons.salve.edu/pell_theses/54 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Savage 1 “Who’s gonna turn down a Junior Mint? It’s chocolate, it’s peppermint ─it’s delicious!” While this may sound like your typical television commercial, you can thank Jerry Seinfeld and his butter fingers for what is actually one of the most renowned lines in television history. As part of a 1993 episode of Seinfeld , subsequently known as “The Junior Mint,” these infamous words have certainly gained a bit more attention than the show’s writers had originally bargained for. In fact, those of you who were annoyed by last year’s focus on a McDonald’s McFlurry on NBC’s 30 Rock may want to take up your beef with Seinfeld’s producers for supposedly showing marketers the way to the future ("Brand Practice: Product Integration Is as Old as Hollywood Itself").
    [Show full text]
  • 'Duncanville' Is A
    Visit Our Showroom To Find The Perfect Lift Bed For You! February 14 - 20, 2020 2 x 2" ad 300 N Beaton St | Corsicana | 903-874-82852 x 2" ad M-F 9am-5:30pm | Sat 9am-4pm milesfurniturecompany.com FREE DELIVERY IN LOCAL AREA WA-00114341 The animated, Amy Poehler- T M O T H U Q Z A T T A C K P Your Key produced 2 x 3" ad P U B E N C Y V E L L V R N E comedy R S Q Y H A G S X F I V W K P To Buying Z T Y M R T D U I V B E C A N and Selling! “Duncanville” C A T H U N W R T T A U N O F premieres 2 x 3.5" ad S F Y E T S E V U M J R C S N Sunday on Fox. G A C L L H K I Y C L O F K U B W K E C D R V M V K P Y M Q S A E N B K U A E U R E U C V R A E L M V C L Z B S Q R G K W B R U L I T T L E I V A O T L E J A V S O P E A G L I V D K C L I H H D X K Y K E L E H B H M C A T H E R I N E M R I V A H K J X S C F V G R E N C “War of the Worlds” on Epix Bargain Box (Words in parentheses not in puzzle) Bill (Ward) (Gabriel) Byrne Aliens Place your classified Classified Merchandise Specials Solution on page 13 Helen (Brown) (Elizabeth) McGovern (Savage) Attack ad in the Waxahachie Daily Light, Merchandise High-End 2 x 3" ad Catherine (Durand) (Léa) Drucker Europe Midlothian Mirror and Ellis Mustafa (Mokrani) (Adel) Bencherif (Fight for) Survival County Trading1 Post! x 4" ad Deal Merchandise Word Search Sarah (Gresham) (Natasha) Little (H.G.) Wells Call (972) 937-3310 Run a single item Run a single item priced at $50-$300 priced at $301-$600 for only $7.50 per week for only $15 per week 6 lines runs in The Waxahachie Daily Light, ‘Duncanville’ is a new Midlothian Mirror and Ellis County Trading2 x 3.5" Post ad and online at waxahachietx.com All specials are pre-paid.
    [Show full text]