DOCSLIB.ORG

Bob's Burgers Live! Returns to Los Angeles on April 29 at the Wiltern

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bob's Burgers Live! Returns to Los Angeles on April 29 at the Wiltern BOB’S BURGERS LIVE! RETURNS TO LOS ANGELES ON APRIL 29 AT THE WILTERN FOLLOWING SOLD-OUT 8-CITY TOUR IN 2015 - Tickets go on sale February 19 at 10:00 a.m. PST for First Show of 2016 Tour: Celebrating 100 Episodes of the Emmy® Award-Winning FOX Series - - Ultimate Fan Experience Brings Animated Series to Life with Stand-Up Performances and a Table Read by the Cast, Audience Q&A, an Exclusive Sneak-Peek at Upcoming Footage and a Surprise Celebrity Guest Appearance - LOS ANGELES (Feb. 18, 2016) – Bento Box Entertainment, in partnership with Loren Bouchard’s Wilo Productions, is bringing BOB’S BURGERS LIVE! back to Los Angeles, returning from a sold out tour, for an extra special event. Since this tour began in 2013, every show across the country has been a sell- out and, in 2015 alone, BOB’S BURGERS LIVE! averaged nearly 3,000 fans at eight events in Minneapolis; Chicago; Madison; Detroit; Washington; Philadelphia; New York City and Boston. The first BOB’S BURGERS LIVE! date of 2016 will take place April 29 at 8:00 p.m. at The Wiltern in Los Angeles. It will bring together the cast and creator of the Emmy® award-winning FOX hit BOB’S BURGERS for an exclusive comedy and musical extravaganza, celebrating 100 episodes of the series, with the 100th scheduled to air May 22, 2016 on FOX. The night will include a live table reading of a classic episode script by the cast, standup-comedy performances, a sneak-peek of clips from future episodes, musical performances and more that will bring the fans an unforgettable and unique experience. Tickets go on sale on February 19 at 10:00 a.m. PST at wiltern.com and livenation.com, with prices ranging from $49.50 to $69.50. Additionally, merchandise from the live show may be purchased at www.bobsburgerslive.com. The cast of BOB’S BURGERS scheduled to perform – and participate in a fan Q&A – at the live show includes H. Jon Benjamin (Bob Belcher); Kristen Schaal (Louise Belcher); Eugene Mirman (Gene Belcher); Dan Mintz (Tina Belcher); John Roberts (Linda Belcher); and Larry Murphy (Uncle Teddy). They will be joined by show Creator and BOB’S BURGERS LIVE! Executive Producer Loren Bouchard and surprise celebrity guests. In regard to the announcement, Greg Lombardo, Senior Vice President of Global Live and Location- Based Entertainment for Twentieth Century Fox Consumer Products, stated: “BOB’s BURGERS LIVE! has sold out venues across the country, as fans of the hit Sunday night series have flocked to see the incredible voice talent and creative team behind the show live and in person. Now, we’re happy to be bringing the experience to the show’s home town of Los Angeles, and what better time than on the eve of our 100th episode broadcast? It’s going to be a night to remember.” BOB’S BURGERS LIVE! is produced by Bento Box Entertainment and Wilo Productions in association with 20th Century Fox Consumer Products. Bento Box Entertainment and BOB’S BURGERS LIVE! is represented by WME and promoted by Live Nation. A 20th Century Fox Television production, BOB’S BURGERS was created by Loren Bouchard (“Home Movies”). Bouchard and Jim Dauterive (“King of the Hill”) serve as executive producers and writers, with animation produced by Bento Box Entertainment. Fans can “like” BOB’S BURGERS on Facebook at www.facebook.com/BobsBurgers, follow the series on Twitter @BobsBurgersFOX and join the discussion using #bobsburgers. About Bento Box Entertainment Bento Box Entertainment (bentoboxent.com) is an Emmy® award-winning studio that develops and produces quality animated content for all distribution platforms worldwide. With studios in Los Angeles, Atlanta and Toronto, the company is recognized as the leading producer of primetime animated comedy series for broadcast, cable and digital networks. Bento Box Entertainment is currently in production on the Emmy® Award-winning series Bob’s Burgers on FOX with 20th Century Fox Television and creator Loren Bouchard; Bordertown on FOX with 20th Century Fox Television, executive producer Seth MacFarlane and creator Mark Hentemann; Legends of Chamberlin Heights on Comedy Central; puppet series Glove & Boots on YouTube; and multiple other projects with the leading creators, studios, networks and distribution platforms. In addition to its production business and Bento Box Digital Studios (bentobox.tv) – which launched in February 2016 – the company is committed to identifying and executing opportunities to maximize the power of its and its partners’ entertainment properties by creating new brand extensions and experiences through its live events and brand management divisions. The company can be followed @bentboxent. About Live Nation Entertainment Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, Live Nation Media & Sponsorship and Artist Nation Management. For additional information, visit www.livenationentertainment.com. About Twentieth Century Fox Consumer Products A division of 21st Century Fox and recognized industry leader, Twentieth Century Fox Consumer Products licenses and markets properties worldwide on behalf of Twentieth Century Fox Film Corporation, Twentieth Century Fox Television and Fox Broadcasting Company, as well as third party lines. The division is aligned with Twentieth Century Fox Television, the flagship studio leading the industry in supplying award-winning and blockbuster primetime television programming and entertainment content. # # # Press Contacts: Jim Benson or Kevin Broderick Matt Biscuiti The Lippin Group/Los Angeles The Lippin Group/New York 323.965.1990 212.986.7080 [email protected] or [email protected] [email protected] Victor Trevino Live Nation [email protected] .
Load more

Recommended publications
  • Bragging Rights: the Highest Peaks in Kendall County
    Banner Graphic - Kristy Watson - Polonyx Graphic Design Bragging Rights: The Highest Peaks in Kendall County 2019 Winter By Mike Howle n my career as a geographic 451 N. Main St. I data coordinator I am occa- Boerne, TX 78006 sionally asked “What is the 830-249-3053 - highest point in Kendall Coun- 2020: December www.boernelibrary.org ty?” What is it in our DNA that wants to know what the high In this Issue: ground is? Attaining a lofty Bragging Rights position in order to gaze down Texas Treasures from a position of strength…a Magical History Tours King of the Hill? Planning for Joseph Graham refuge in the case of epic Ancient Trails, Part 3 flooding in our hills? Or just fun trivial facts? Elevations are certainly relative from sea The Pink Boll Weevil Peril - January Toepperwein Rifle level to the Rocky Mountains. For instance, the state that is sometimes known to be 1909 Boerne Incorporation “flat as a pancake,” Kansas, has a high elevation of 4,039 feet…compare that number to In Memorium: our Kendall County hills. Kate Skinner-Klee - In some cases the high ground is obvious and sometimes dramatic. In the Texas Hill February Country, after being here a while, it’s a bit less dramatic because everywhere you look you see the high ground. And that is why the question of “What’s the highest elevation in Kendall County” is so interesting. When you get on top of a hill and all the surrounding landscape is lower than where you stand, it begs the question, “Is this the highest point in the county?” Over the years I’ve heard many claims that this or that hill/mountain (what makes a hill a moun- tain is a topic for another time) is the highest point, or the second or third highest point Digital Media Lab in the county? Some realtors use the claim to help sell property.
    [Show full text]
  • Info Fair Resources
    ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… Info Fair Resources ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… SCHOOL OF VISUAL ARTS 209 East 23 Street, New York, NY 10010-3994 212.592.2100 sva.edu Table of Contents Admissions……………...……………………………………………………………………………………… 1 Transfer FAQ…………………………………………………….…………………………………………….. 2 Alumni Affairs and Development………………………….…………………………………………. 4 Notable Alumni………………………….……………………………………………………………………. 7 Career Development………………………….……………………………………………………………. 24 Disability Resources………………………….…………………………………………………………….. 26 Financial Aid…………………………………………………...………………………….…………………… 30 Financial Aid Resources for International Students……………...…………….…………… 32 International Students Office………………………….………………………………………………. 33 Registrar………………………….………………………………………………………………………………. 34 Residence Life………………………….……………………………………………………………………... 37 Student Accounts………………………….…………………………………………………………………. 41 Student Engagement and Leadership………………………….………………………………….. 43 Student Health and Counseling………………………….……………………………………………. 46 SVA Campus Store Coupon……………….……………….…………………………………………….. 48 Undergraduate Admissions 342 East 24th Street, 1st Floor, New York, NY 10010 Tel: 212.592.2100 Email: [email protected] Admissions What We Do SVA Admissions guides prospective students along their path to SVA. Reach out
    [Show full text]
  • There Better Be a Naked Cheerleader Under Your Bed‖
    ―THERE BETTER BE A NAKED CHEERLEADER UNDER YOUR BED‖: REPRESENTATIONS OF SOUTHERN, WORKING CLASS MASCULINITY IN KING OF THE HILL Presented to the Graduate Council of Texas State University–San Marcos in Partial Fulfillment of the Requirements For the Degree Master of ARTS by Joshua C. Shepherd, B.J. San Marcos, Texas May 2011 ―THERE BETTER BE A NAKED CHEERLEADER UNDER YOUR BED‖: REPRESENTATIONS OF SOUTHERN, WORKING CLASS MASCULINITY IN KING OF THE HILL Committee Members Approved: __________________________ Susan Weill, Chair __________________________ Kate Peirce __________________________ Cindy Royal Approved: __________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT By Joshua Charles Shepherd 2011 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author‘s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Joshua Shepherd, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS This thesis would not have been possible without the support and assistance from some wonderful people in my life. My supervisor, Dr. Susan Weill, professor at Texas State University-San Marcos, who guided me throughout this process and pushed me to become a better writer; Dr. Kate Peirce, professor at Texas State University-San Marcos for all her help and spawning this idea with her course on Gender and Media; Dr.
    [Show full text]
  • Alt-Burger 641
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ateneo de Manila University: Journals Online Sophie Christman / Alt-Burger 641 ALT-BURGER Transforming Populist Food Systems Sophie Christman The State University of New York at Stony Brook [email protected] Abstract This article argues that there exists a problematic nexus between the industrial livestock industry, US food system policies, and American propagandist literature. The essay’s specific aim is to transform carnivorous appetites by subverting the integrity of America’s national gastronomic emblem – the hamburger. The article examines how hamburgers are unsustainable food system commodities that exacerbate state-sanctioned climate change, analyzes the underpinnings of ecophobic beef literature—specifically the graphic narrative—that serves as state propaganda, and shows how American comics can alternately promote sustainability nexuses by creating awareness of how food systems impact climate change. Keywords American propaganda; Bob’s Burgers; climate change; Fox Broadcasting Network; hamburger; Industrial Livestock About the Author Sophie Christman earned her Ph.D. in English Literature at SUNY Stony Brook University. Her research areas include: nineteenth-century literature, environmental humanities, and ecocinema studies. She recently authored the “Foreword” for The Ecophobia Hypothesis (Routledge 2018) and her scholarship has been published in Adaptation, Dickens Studies Annual, Interdisciplinary Studies in Literature and Environment, The Journal of Ecocriticism, and the Journal of International Comparative Literature. Her co-authored article “The Climate of Ecocinema” appears in The Oxford Research Encyclopedia of Communication. She has been an invited speaker at the Consortium of Humanities Centers and Institutes (CHCI) Annual Meeting in Hong Kong, the Humanities NY Environmental Stewardship Seminar, the Friends of Dickens NY, and the CUNY Victorian Seminar (forthcoming).
    [Show full text]
  • 500M 57 29 11 9 39
    29 2008 Warner Bros. 27 series for 10 networks 57 39 20th Century Fox TV 20 broadcast Universal Television 2013 7 basic cable 43 original series for 16 networks* 22 for broadcast 18 basic cable 11 19 ABC Studios 2 pay cable 1 digital Growth Sony Pictures *16 new series in 2013-14 Television Fox TV Studios 2013 Emmy 9 Nominations CBS Television Studios 20th Century Fox Television Fox 21 Studios Cable series: 2013-14 20 20th Century Fox TV 15 Warner Bros. Output ABC “Modern Family” 10 Universal Television CBS “How I Met Your Mother” 7 Sony Pictures Television USA “Burn Notice” USA “White Collar” 2 ABC Studios SHO “Homeland” 2 CBS Television Studios Third-Party Broadcast series: 2013-14 Network Hits 34 Warner Bros. 22 20th Century Fox TV 18 ABC Studios 18 Universal Television 17 CBS Television Studios 11 Sony Pictures Television “American Dad” “Bob’s Burgers” “Family Guy” “Futurama” The World of “How I Met Your Mother” “King of the Hill” Off-Network “Last Man Standing” Brian Grazer & Ron Howard Dana Walden & Pipeline (2015-16) (“24,” “Arrested Development”) “Modern Family” “New Girl” (2015-16) Gary Newman “Raising Hope” Howard Gordon (2014-15) (“The X-Files,” “24,” “The Simpsons” “Homeland,” Diverse in both content and “Legends,” “Tyrant”) outlets, 20th Century Fox TV has flourished under the leadership of its chairman-CEOs. Key Exec “Angel” Producers Key Library “Buffy the Vampire Slayer” Series “King of the Hill” “MASH” “Prison Break” “Reba” “24” Seth MacFarlane “The X-Files” (“Family Guy,” More than 50 current “American Dad,” “The and
    [Show full text]
  • Gender Roles & Occupations
    1 Gender Roles & Occupations: A Look at Character Attributes and Job-Related Aspirations in Film and Television Stacy L. Smith, PhD Marc Choueiti Ashley Prescott & Katherine Pieper, PhD Annenberg School for Communication & Journalism University of Southern California An Executive Report Geena Davis Institute on Gender in Media Our earlier research shows that gender roles are still stereotyped in entertainment popular with children.1 For example, female characters in feature films populate less than 30% of all speaking roles. A slightly better percentage emerges across our research on gender roles in children’s television programming. Not only are on screen females present less frequently than on screen males, they are often sexualized, domesticated, and sometimes lack gainful employment. To illustrate this last point, our recent analysis2 of every first run general audience film (n=21) theatrically released between September 2006 and September 2009 reveals that a higher percentage of males (57.8%) than females (31.6%) are depicted with an occupation. While females hold marginally more professional jobs than their male counterparts (24.6% vs. 20.9%), women are noticeably absent in some of the most prestigious occupational posts. Across more than 300 speaking characters, not one female is depicted in the medical sciences (e.g., doctor, veterinarian), executive business suites (e.g., CEO, CFO), legal world (e.g., attorney, judge), or political arena. More optimistically, 6 of the 65 working females (9%) are shown with a job in the hard sciences or as pilots/astronauts. These findings suggest that females have not shattered as many glass ceilings in the “reel” world as one might suspect.
    [Show full text]
  • Masculinity in King of the Hill Valerie Palmer-Mehta
    Text and Performance Quarterly Vol. 26, No. 2, April 2006, pp. 181Á/198 The Wisdom of Folly: Disrupting Masculinity in King of the Hill Valerie Palmer-Mehta This essay examines the recurring themes of masculinity and sports that emerge in the first three seasons of King of the Hill and the ways in which the character Bobby Hill negotiates masculine performativity within a comic frame as the figure of the wise fool. Bobby’s folly within the context of sports functions to highlight the slippage in masculinity, opening up a space of ambivalence where subversive performativity is realized. The utility of folly in disrupting gender normativity and underscoring the instability of gender norms is illuminated. Keywords: Wise Fool; Folly; Masculinity; Performativity; King of the Hill The construction of masculinity and its representation in the media have been areas of bourgeoning interest in the past decade, as Ashcraft and Flores, and Vavrus, have demonstrated, and it is a topic that Hanke presaged (‘‘Hegemonic,’’ ‘‘Redesigning,’’ ‘‘Theorizing,’’ ‘‘Mock-macho’’). Performative and performance analyses of masculi- nity, while virtually absent prior to the 1990s, have begun to illuminate the myriad forces that influence the iteration and constitution of masculinity in a variety of cultural forms, such as the classical ballet company (Hamera), the Mythopoetic men’s movement (Gingrich-Philbrook ‘‘Good Vibration’’), the 1936Á/37 Federal Theater Project production of The CCC Murder Mystery (Chansky), and the military (Knight). Gingrich-Philbrook has examined the intersection of masculinity, homo- phobia, and performance studies in his analysis of the masculinist research economy that informed some scholars’ reception of Corey and Nakayama’s ‘‘Sextext,’’ a critical exploration of gay male culture, underscoring the importance of examining cultural Valerie Palmer-Mehta is an Assistant Professor in the Department of Rhetoric, Communication, and Journalism at Oakland University.
    [Show full text]
  • Animating Experiences of Girlhood in Bob's Burgers Katie
    I’m (Not) A Girl: Animating Experiences of Girlhood in Bob’s Burgers Item Type Article Authors Barnett, Katie Citation Barnett, K. (2019). "I’m (Not) A Girl: Animating Experiences of Girlhood in Bob’s Burgers." Journal of Popular Television, 7(1), 3-23. DOI 10.1386/jptv.7.1.3_1 Publisher Intellect Journal Journal of Popular Television Download date 27/09/2021 00:37:22 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10034/621344 I’m (Not) A Girl: Animating Experiences of Girlhood in Bob’s Burgers Katie Barnett, University of Chester Abstract Discourses of girlhood increasingly acknowledge its mutability, with the ‘girl’ as a complex image that cannot adequately be conceptualized by age or biology alone. Likewise, theories of animation often foreground its disruptive potential. Taking an interdisciplinary approach that encompasses girlhood studies, animation studies, and screen studies, this article analyses the representation of the two main girl characters, Tina and Louise Belcher, in the animated sitcom Bob’s Burgers (2011–present). Taking this concept of mutability as its central focus, it argues that animation is an ideal medium for representing girlhood, given its disruptive potential and non-linear capacities, whereby characters are often frozen in time. With no commitment to aging its young female characters, Bob’s Burgers is instead able to construct a landscape of girlhood that allows for endless reversal, contradiction and overlap in the experiences of Tina and Louise, whose existence as animations reveals girlhood as a liminal space in which girls can be one thing and the other – gullible and intelligent, vulnerable and strong, sexual and innocent – without negating their multifarious experiences.
    [Show full text]
  • Executive Leadership Summit
    Executive Leadership Summit Overview & Opportunities 1771 N Street NW Washington, D.C. 20036 NABShow.com Executive Leadership Summit Sunday, April 19, 2020 Encore at Wynn Las Vegas The Third Annual NAB Show Executive Leadership Summit is an exclusive, invite-only event bringing together the key voices and leaders from today’s top media, entertainment, technology and advertising organizations for an afternoon of critical dialogue, future-forward panels, and collaborative networking. Produced in partnership with Variety, and coupled with NAB Show as the backdrop, the event also features leading insight from outside the broadcast industry including investment firms specializing in media, advertising powerbrokers, technology providers, and more to create the ultimate destination to unlock answers to your biggest content creation, production, budgeting, delivery, and monetization questions. 2019 Attendees Jack Abernethy, CEO, Fox Television Stations Barry Drake, President/CEO, Aloha/Ocean Trusts Todd Achilles, President & CEO, Edge Networks Ken Eaton, Strategic Account Executive, Akamai Technologies Robert Aitken, Managing Director, Deloitte Bradley Epperson, Senior Vice President, NBCUniversal Sarah Aubrey, Head of Original Content, WarnerMedia Streaming Service Mary Kay Evans, Chief Marketing Officer, Verizon Digital Media Services Sarah Baehr, Co-Chief Investment Officer, Horizon Media Gerry Field, Vice President Technology, American Public Television Stuart Baillie, SVP, Viacom Media Networks Joan FitzGerald, SVP Advanced TV, Premium Media
    [Show full text]
  • Downloaded More Than 212,000 Times Since the Ipad's April 3Rd Launch,” the Futon Critic, 14 Apr
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature _____________________________ ______________ Nicholas Bestor Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor Master of Arts Film Studies Michele Schreiber, Ph.D. Advisor Eddy Von Mueller, Ph.D. Committee Member Karla Oeler, Ph.D. Committee Member Accepted: Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor B.A., Middlebury College, 2005 Advisor: Michele Schreiber, Ph.D. An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2012 Abstract TV to Talk About: The CW and Post-Network Television By Nicholas Bestor The CW is the smallest of the American broadcast networks, but it has made the most of its marginal position by committing itself wholly to servicing a niche demographic.
    [Show full text]
  • CPD Film Company Resource List
    Company List Film/ Entertainment Before You Begin Use this list of companies to begin your internship or job search in the entertainment industry. The list is broad and includes companies in film and television (development, production, distribution, equipment, agencies), animation, advertising, and more. As you review the list, consider your internship or job search strategy. If you’re searching for an internship, you will have a shorter, targeted list. If you’re searching for full-time employment, you may want to consider creating a list of your favorite companies, a list of companies that you would enjoy working at, and an alternate company list. We advise exploring and applying to opportunities at all of the companies on your list. Take this scenario You’ve just graduated from ArtCenter with a BFA or MFA in Film and your concentration was cinematography. • Plan A Your main goal is to apply to freelance Director of Photography roles that you find through Staff Me Up, Mandy, Industry Facebook groups, ArtCenter Connect, or personal references. Initially, you may not generate enough income to pay for all of your expenses, in which case you’ll need to look for additional part-time or full-time work. • Plan B In order to support yourself while you’re building your freelance career, you apply to administrative roles at below-the- line agencies that represent cinematographers. While working at a below-the-line agency, you’ll likely make valuable contacts who can offer career advice. However, these positions are also hard to land, so it’s important to research additional opportunities.
    [Show full text]
  • Nomination Press Release
    Brad Walsh, Executive Producer Outstanding Comedy Series Jeff Morton, Co-Executive Producer The Big Bang Theory • CBS • Chuck Lorre Jeffery Richman, Co-Executive Producer Productions, Inc. in association with Warner Abraham Higginbotham, Co-Executive Producer Bros. Television Cindy Chupack, Co-Executive Producer Chuck Lorre, Executive Producer Chris Smirnoff, Producer Bill Prady, Executive Producer Steven Molaro, Executive Producer 30 Rock • NBC • Broadway Video, Little Dave Goetsch, Co-Executive Producer Stranger, Inc. in association with Universal Television Eric Kaplan, Co-Executive Producer Lorne Michaels, Executive Producer Jim Reynolds, Co-Executive Producer Tina Fey, Executive Producer Peter Chakos, Supervising Producer Robert Carlock, Executive Producer Steve Holland, Supervising Producer Marci Klein, Executive Producer Maria Ferrari, Producer David Miner, Executive Producer Faye Oshima Belyeu, Produced By Jeff Richmond, Executive Producer Curb Your Enthusiasm • HBO • HBO John Riggi, Executive Producer Entertainment Ron Weiner, Co-Executive Producer Larry David, Executive Producer Matt Hubbard, Co-Executive Producer Jeff Garlin, Executive Producer Kay Cannon, Supervising Producer Gavin Polone, Executive Producer Vali Chandrasekaran, Supervising Producer Alec Berg, Executive Producer Josh Siegal, Supervising Producer David Mandel, Executive Producer Dylan Morgan, Supervising Producer Jeff Schaffer, Executive Producer Luke Del Tredici, Supervising Producer Larry Charles, Executive Producer Jerry Kupfer, Producer Tim Gibbons, Executive
    [Show full text]