Aliens in America
Aliens in America is an American sitcom created by David Guarascio and Moses Port that aired on The CW for one season from 2007–2008. Guarascio and Port served as executive producers of the show alongside Tim Doyle. Luke Greenfield directed the pilot; the show is about an American teenager in Wisconsin whose family takes in a Muslim foreign exchange student from Pakistan. High schooler Justin Tolchuck is a sensitive, lanky 16-year-old just trying to fit in at his high school in Medora, Wisconsin, he lives with his well-meaning mom Franny who just wants him to be "cool" and fit in, entrepreneur dad Gary, laid back, his newly popular younger sister Claire, who tries to raise her popularity in school. When the school guidance counselor, Mr. Matthews convinces the family to take in an international student, they accept him with the expectation that he will be a good-looking European or Latin American student that will make Justin popular. Although dismayed when Raja Musharraf, a 16-year-old Muslim boy from Pakistan turns up instead, they soon warm up to him and although their cultures are different and Raja form an unlikely friendship that might allow them to get past the social nightmare of high school.
Justin feels compelled to stick by Raja when he starts to notice the blatant racist and xenophobic attitudes of his classmates and community. Dan Byrd as Justin Tolchuck Adhir Kalyan as Raja Musharaff Amy Pietz as Franny Tolchuck Scott Patterson as Gary Tolchuck Lindsey Shaw as Claire Tolchuck Christopher B. Duncan as Mr. Matthews Adam Rose as Dooley Chad Krowchuk as Brad Nolan Gerard Funk as Todd Palladino Avan Jogia as Sam Produced by CBS Paramount Network Television, the series was green-lit and given a thirteen-episode order on May 15, 2007, it premiered on October 1, 2007, aired on Monday nights at 8:30PM Eastern/7:30PM Central on The CW, following Everybody Hates Chris. The show was to be produced by NBC Universal Television, it is filmed around Canada area. The high school featured in the show is H. J. Cambie Secondary School in Richmond, British Columbia, Canada with the interiors of first-season episodes shot inside a studio. Beginning on February 10, 2008, Aliens in America moved to Sunday nights and aired at 8:30PM Eastern/7:30PM Central.
On May 9, 2008, TV Guide announced the cancellation of the series. After the show's cancellation, reruns once aired on Universal HD. Patrick Breen was cast as Gary Tolchuck but the role was re-cast in July 2007. Rating information is from The Futon Critic; the weekly rating information is from ABC Medianet. Aliens in America averaged 1.57 million viewers in its sole season. List of cultural references to the September 11 attacks Aliens in America on IMDb Aliens in America at TV.com
Drama is the specific mode of fiction represented in performance: a play, mime, etc, performed in a theatre, or on radio or television. Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes since Aristotle's Poetics —the earliest work of dramatic theory; the term "drama" comes from a Greek word meaning "action", derived from "I do". The two masks associated with drama represent the traditional generic division between comedy and tragedy. In English, the word "play" or "game" was the standard term used to describe drama until William Shakespeare's time—just as its creator was a "play-maker" rather than a "dramatist" and the building was a "play-house" rather than a "theatre"; the use of "drama" in a more narrow sense to designate a specific type of play dates from the modern era. "Drama" in this sense refers to a play, neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin or Chekhov's Ivanov. It is this narrower sense that the film and television industries, along with film studies, adopted to describe "drama" as a genre within their respective media.
"Radio drama" has been used in both senses—originally transmitted in a live performance, it has been used to describe the more high-brow and serious end of the dramatic output of radio. The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception; the structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. Mime is a form of drama. Drama can be combined with music: the dramatic text in opera is sung throughout. Musicals include songs. Closet drama describes a form, intended to be read, rather than performed. In improvisation, the drama does not pre-exist the moment of performance. Western drama originates in classical Greece; the theatrical culture of the city-state of Athens produced three genres of drama: tragedy and the satyr play. Their origins remain obscure, though by the 5th century BC they were institutionalised in competitions held as part of festivities celebrating the god Dionysus.
Historians know the names of many ancient Greek dramatists, not least Thespis, credited with the innovation of an actor who speaks and impersonates a character, while interacting with the chorus and its leader, who were a traditional part of the performance of non-dramatic poetry. Only a small fraction of the work of five dramatists, has survived to this day: we have a small number of complete texts by the tragedians Aeschylus and Euripides, the comic writers Aristophanes and, from the late 4th century, Menander. Aeschylus' historical tragedy The Persians is the oldest surviving drama, although when it won first prize at the City Dionysia competition in 472 BC, he had been writing plays for more than 25 years; the competition for tragedies may have begun as early as 534 BC. Tragic dramatists were required to present a tetralogy of plays, which consisted of three tragedies and one satyr play. Comedy was recognized with a prize in the competition from 487 to 486 BC. Five comic dramatists competed at the City Dionysia.
Ancient Greek comedy is traditionally divided between "old comedy", "middle comedy" and "new comedy". Following the expansion of the Roman Republic into several Greek territories between 270–240 BC, Rome encountered Greek drama. From the years of the republic and by means of the Roman Empire, theatre spread west across Europe, around the Mediterranean and reached England. While Greek drama continued to be performed throughout the Roman period, the year 240 BC marks the beginning of regular Roman drama. From the beginning of the empire, interest in full-length drama declined in favour of a broader variety of theatrical entertainments; the first important works of Roman literature were the tragedies and comedies that Livius Andronicus wrote from 240 BC. Five years Gnaeus Naevius began to write drama. No plays from either writer have survived. While both dramatists composed in both genres, Andronicus was most appreciated for his tragedies and Naevius for his comedies. By the beginning of the 2nd century BC, drama was established in Rome and a guild of writers had been formed.
The Roman comedies that have survived are all fabula palliata (comedies b
Voice acting is the art of performing voice-overs or providing voices to represent a character or to provide information to an audience or user. Examples include animated, off-stage, off-screen or non-visible characters in various works, including feature films, dubbed foreign language films, animated short films, television programs, radio or audio dramas, video games, puppet shows, amusement rides and documentaries. Voice acting is done for small handheld audio games. Performers are called voice artists or voice talent, their roles may involve singing, although a second voice actor is sometimes cast as the character's singing voice. Voice acting is recognised in Britain as a specialized dramatic profession, chiefly owing to the BBC's long tradition of radio drama. Voice artists are used to record the individual sample fragments played back by a computer in an automated announcement; the voices for animated characters are provided by voice actors. For live action productions, voice acting involves reading the parts of computer programs, radio dispatchers, or other characters who never appear on screen.
With a radio drama or Compact Disc drama, there is more freedom in voice acting, because there is no need to match a dub to the original actors, or to match an animated character. Producers and agencies are on the look out for many styles of voices such as booming voices, which may be perfect for more dramatic productions or cute, young sounding voices that are perfect for trendier markets; some just sound like regular, everyday people and all of these voices have their place in the Voiceover world, provided they are used and in the right context. In the context of voice acting, narration is the use of spoken commentary to convey a story to an audience. A narrator is a personal character or a non-personal voice that the creator of the story develops to deliver information to the audience about the plot; the voice actor who plays the narrator is responsible for performing the scripted lines assigned to the narrator. In traditional literary narratives, narration is a required story element. One of the most common uses for voice acting is within commercial advertising.
The voice actor is hired to voice a message associated with the advertisement. This has different subgenres; the subgenres are all different styles in their own right. For example, television commercials tend to be voiced with a narrow, flat inflection pattern, whereas radio commercials tend to be voiced with a wide inflection pattern in an over-the-top style. Markerters and advertisers use voiceover all over their projects, from radio, to TV, to online and more! Total advertising spend in the UK is forecast to be £21.8 billion in 2017. Voiceover used in commercial adverts is the only area of voice acting where de-breathing is used. De-breathing means artificially removing breaths from the recorded voice; this is done to stop the audience being distracted in any way from the commercial message, being put across. Dub localization is a type of voice-over, it is the practice of voice-over translation altering a foreign language film, art film or television series by voice actors. Voice-over translation is an audiovisual translation technique, in which, unlike in Dub localization, actor voices are recorded over the original audio track, which can be heard in the background.
This method of translation is most used in documentaries and news reports to translate words of foreign-language interviewees. Automated dialogue replacement is the process of re-recording dialogue by the original actor after the filming process to improve audio quality or reflect dialogue changes. ADR is used to change original lines recorded on set to clarify context, improve diction or timing, or to replace an accented vocal performance. In the UK, it is called "post-synchronization" or "post-sync". Voice artists are used to record the individual sample fragments played back by a computer in an automated announcement. At its simplest, each recording consists of a short phrase, played back when necessary, e.g. the "Mind the gap" announcement introduced by London Underground in 1969. In a more complicated system, such as a speaking clock, the announcement is re-assembled from fragments such as "minutes past" "eighteen" and "p.m." For example, the word "twelve" can be used for both "Twelve O'Clock" and "Six Twelve."
Automated announcements can include on-hold messages on phone systems and location-specific announcements in tourist attractions. Seiyū occupations include performing roles in anime, audio dramas and video games, performing voice-overs for dubs of non-Japanese movies, providing narration to documentaries and similar programs; because the animation industry in Japan is so prolific, voice actors in Japan are able to have full-time careers as voice-over artists. Japanese voice actors are able to take greater charge of their careers than voice actors in other countries. Japan has 130 voice acting schools and troupes of voice actors, who work for a specific broadcast company or talent agency, they attract their own appreciators and fans, who watch shows to hear their favorite actor or actress. Many Japanese voice actors branch into music singing the opening or closing themes of shows in which their character stars, or become involved in non-animated side projects such as audio dram
Maison Ikkoku is a Japanese manga series written and illustrated by Rumiko Takahashi. It was serialized in Big Comic Spirits from November 1980 to April 1987, with the chapters collected into 15 tankōbon volumes by Shogakukan. Maison Ikkoku is a bitter-sweet romantic comedy involving a group of madcap people who live in a boarding house in 1980s Tokyo; the story focuses on the developing relationships between Yusaku Godai, a poor student down on his luck, Kyoko Otonashi, a young widowed boarding house manager. The manga was adapted into a ninety-six-episode anime television series created by Studio Deen that ran on Fuji TV from March 26, 1986 to March 2, 1988. A Final Chapter movie, three OVAs, a music special were produced, with a live-action movie made by Toei in 1986. A live-action TV special aired in May 2007 on TV Asahi, with a finale aired in July 2008. Both the manga and anime have been released in North America by Viz Media. Maison Ikkoku has been both critically and commercially successful, with over 25 million copies in circulation.
The story takes place at Maison Ikkoku, a worn and aging boarding house in a town called Clock Hill, where 20-year-old college applicant Yusaku Godai lives. Though honest and good-natured, he is weak-willed and taken advantage of by the offbeat and mischievous tenants who live with him: Yotsuya, Akemi Roppongi and Hanae Ichinose; as he is about to move out, he is stopped at the door by the beautiful Kyoko Otonashi, who announces she will be taking over as manager. Godai falls in love with her and decides to stay. Godai and the other tenants find out that despite her young age, Kyoko is a widow who had married her high school teacher, who tragically died shortly thereafter. Godai empathizes with endeavors to free her from her sadness, he manages to work up enough courage to confess his love to her, it begins to look as if a relationship between them might appear. However, Kyoko meets the rich and charming tennis coach Shun Mitaka at her tennis club. Mitaka declares his intention to court Kyoko and states that he is patient, can wait until her heart is ready.
Godai, not willing to give up, continues to chase Kyoko. But through a series of misunderstandings, he is seen by Kyoko and Mitaka walking with the cute and innocent Kozue Nanao. For the rest of the series, Kozue is mistakenly perceived as being Godai's girlfriend. Angered by this, Kyoko begins to date Mitaka. Despite the misunderstandings and Godai have feelings for each other, their relationship grows over the course of the series. Godai manages to get into college and, with the help of Kyoko's family, he begins student-teaching at Kyoko's old high school. Mirroring Kyoko's meeting of her husband, Godai catches the attention of precocious and brazen student Ibuki Yagami, who begins pursuing him, her outspoken approach stands in stark contrast to Kyoko, which helps Kyoko come face to face with her feelings for Godai. Meanwhile, Mitaka's endeavors have been hindered by his phobia of dogs, as Kyoko owns a large white dog named Soichiro in honor of her late husband, he overcomes his phobia but, when he is about to propose to Kyoko, his family begins to goad him into a marriage with the pure and innocent Asuna Kujo.
Feeling the pressure, Mitaka begins to pursue Kyoko with increased aggression. He realizes that she has decided on Godai and is waiting for him to find a job and propose. Mitaka is pulled out of the race when he ends up thinking he slept with Asuna and her announcing a pregnancy. Taking responsibility, he proposes to Asuna, but finds out too late that it was her dog, pregnant, not her; as things begin to go well for Godai, Kozue Nanao makes a reappearance in his life. Kozue tells Godai and the other Ikkoku tenants that she is thinking of marrying another man though Godai had proposed to her. Kyoko, feeling foolish and betrayed, slaps demands that he move out; when Godai refuses, he wakes up the next morning to find her gone and her room empty. Godai tries to explain himself by visiting Kyoko every day though she won't answer the door. After she calms down a bit, Kyoko runs into the other tenants, they try to convince her to return. The seductive Akemi, sensing that Kyoko is still hesitant, threatens to seduce Godai if Kyoko doesn't want him.
She tells the other tenants that she only said that to threaten Kyoko into coming back. This backfires, it results in Kozue resolving to marry the other man. As Kyoko is about to return to Ikkoku, she learns that Godai has ended it with Kozue, but she thinks he slept with Akemi, she insults him, tells him that she hates him, runs away. Godai follows her explaining that she doesn't trust him and that, despite the other girls, she never considered one important thing: Godai's own feelings, he passionately tells her that he loves only her: From the first moment he saw her and forevermore, she is the only woman in his eyes. The two spend the night together. Having cleared his last barrier of getting a teaching job, Godai proposes to Kyoko and, with the blessings of both families, they get married; the story ends as Godai and Kyoko arrive home with their newborn daughter and Kyoko tells her that Maison Ikkoku is the place where they first met. Takahashi created Maison Ikkoku as a love story, she only wanted to start the series focusing on Kyoko and Godai's relationship before moving on to include the other te
A television show is any content produced for broadcast via over-the-air, cable, or internet and viewed on a television set, excluding breaking news, advertisements, or trailers that are placed between shows. Television shows are most scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might be called a television program if it lacks a narrative structure. A television series is released in episodes that follow a narrative, are divided into seasons or series – yearly or semiannual sets of new episodes. A show with a limited number of episodes may be called serial, or limited series. A one-time show may be called a "special". A television film is a film, broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time, be recorded on home video or a digital video recorder for viewing, or be viewed on demand via a set-top box or streamed over the internet; the first television shows were experimental, sporadic broadcasts viewable only within a short range from the broadcast tower starting in the 1930s.
Televised events such as the 1936 Summer Olympics in Germany, the 1937 coronation of King George VI in the UK, David Sarnoff's famous introduction at the 1939 New York World's Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 1947 World Series inspired many Americans to buy their first television set and in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name "Mr Television" and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers; the first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman's speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T's transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast in the US occurred on January 1, 1954.
During the following ten years most network broadcasts, nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color; the first all-color prime-time season came just one year later. In 1972, the last holdout among daytime network shows converted to color, resulting in the first all-color network season. Television shows are more varied than most other forms of media due wide variety formats and genres that can be presented. A show may non-fictional, it may be historical. They could be instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program features a set of actors playing characters in a historical or contemporary setting; the program follows their adventures. Except for soap opera-type serials, many shows before the 1980s, remained static without story arcs, the main characters and premise changed little.
If some change happened to the characters' lives during the episode, it was undone by the end. Because of this, the episodes could be broadcast in any order. Since the 1980s, there are many series that feature progressive change to the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure. While the series, Babylon 5 is an extreme example of such production that had a predetermined story running over its intended five-season run. In 2012, it was reported that television was growing into a larger component of major media companies' revenues than film; some noted the increase in quality of some television programs. In 2012, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: "I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television."
When a person or company decides to create a new series, they develop the show's elements, consisting of the concept, the characters, the crew, cast. They "pitch" it to the various networks in an attempt to find one interested enough to order a prototype first episode of the series, known as a pilot. Eric Coleman, an animation executive at Disney, told an interviewer, "One misconception is that it's difficult to get in and pitch your show, when the truth is that development executives at networks want much to hear ideas, they want much to get the word out on what types of shows they're looking for."To create the pilot, the structure and team of the whole series must be put together. If audiences respond well to the pilot, the network will pick up the show to air it the next season. Sometimes they save it for mid-season, or father review. Other times, they pass forcing the show's creator to "shop it around" to other networks. Many shows never make it past the pilot stage; the show hires a stable of writers, who usually
Johanna Mansfield Sullivan Macy, better known as Anne Sullivan, was an American teacher best known for being the instructor and lifelong companion of Helen Keller. At the age of five, Sullivan contracted trachoma, an eye disease, which left her blind and without reading or writing skills, she received her education as a student of the Perkins School for the Blind, where upon graduation she became a teacher to Keller when she was 20. Sullivan was born on April 14, 1866, in Feeding Hills, Massachusetts. According to her baptismal certificate, her name at birth was Johanna Mansfield Sullivan, she was the oldest child of Alice Sullivan. Her family emigrated to the United States from Ireland during the Great Famine; when she was only five years old she contracted a bacterial eye disease known as trachoma, which created painful infections and over time made her nearly blind. When she was eight, her mother died, her father abandoned the children two years for fear he could not raise them on his own, she and her younger brother, were sent to an overcrowded almshouse in Tewksbury, Massachusetts.
Jimmie died two to three months into their stay. Sullivan remained at the Tewksbury house for four years after his death, where she had eye operations that offered some short-term relief for her eye pain but proved ineffective. Sullivan lost her sight at a young age and therefore had no skills in reading, writing, or sewing, the only work she could find was as a housemaid. Another blind resident staying at the Tewksbury almshouse told her of schools for the blind. During an 1880 inspection of the almshouse, she persuaded inspector Franklin Benjamin Sanborn to allow her to leave and enroll in the Perkins School for the Blind in Boston, where she began her studies on October 7, 1880. Although her rough manners made her first years at Perkins humiliating for her, she managed to connect with a few teachers and made progress with her learning. While there, she befriended and learned the manual alphabet from Laura Bridgman, a graduate of Perkins and the first blind and deaf person to be educated there.
While there, she had a series of eye operations that improved her vision. In June 1886, she graduated at age 20 as the valedictorian of her class, she stated, "Fellow-graduates: duty bids us go forth into active life. Let us go cheerfully and earnestly, set ourselves to find our especial part; when we have found it, willingly and faithfully perform it. The summer following Sullivan's graduation, the director of the Perkins Institution, Michael Anagnos, was contacted by Arthur Keller, in search of a teacher for his seven-year-old blind and deaf daughter, Helen. Anagnos recommended Sullivan for this position and she began her work on March 3, 1887, at the Kellers' home in Tuscumbia, Alabama; as soon as she arrived there, she argued with Helen's parents about the Civil War and over the fact that they used to own slaves. However, she quickly connected with Helen, it was the beginning of a 49-year relationship: Sullivan evolved from teacher to governess and to companion and friend. Sullivan's curriculum involved a strict schedule with constant introduction of new vocabulary words.
Instead, she began to teach her vocabulary based on her own interests, by spelling each word out into Keller's palm. Sullivan encouraged Helen's parents to send her to the Perkins School, where she could have an appropriate education. Once they agreed to this, Sullivan stayed with her there. Sullivan continued to teach her bright protégée. With the help of Anagnos, Keller became a public symbol for the school, helping to increase its funding and donations and making it the most famous and sought-after school for the blind in the country. However, an accusation of plagiarism against Keller upset Sullivan: She left and never returned, but did remain influential to the school. Sullivan remained a close companion to Keller and continued to assist in her education, which included a degree from Radcliffe College. On May 3, 1905, Sullivan married Harvard University instructor and literary critic John Albert Macy, who had helped Keller with her publications, he moved in with them, they lived together.
However, within a few years, the marriage began to disintegrate. By 1914 they separated, though he is listed as living as a "lodger" with them in the 1920 U. S. Census, they never divorced. As the years progressed after their separation, he appears to have faded from her life, she never remarried. In 1932 Keller and Sullivan were each awarded honorary fellowships from the Educational Institute of Scotland, they were awarded honorary degrees from Temple University. In 1955 Keller was awarded an honorary degree from Harvard University, in 1956 the director's cottage at the Perkins School was named the Keller-Macy Cottage. In 2003, Sullivan was inducted into the National Women's Hall of Fame. Sullivan had been visually impaired for all of her life, but by 1935 she was blind in both eyes. On October 15, 1936, she had a coronary thrombosis, fell into a coma, died five days on October 20 at age 70