Entertainment Weekly is an American magazine, published by Meredith Corporation, that covers film, music, Broadway theatre and popular culture. Different from celebrity-focused publications like Us Weekly, In Touch Weekly, EW concentrates on entertainment media news and critical reviews. However, unlike Variety and The Hollywood Reporter, which are aimed at industry insiders, EW targets a more general audience; the first issue was published on February 16, 1990, was formed as a sister magazine to People. Created by Jeff Jarvis and founded by Michael Klingensmith, who served as publisher until October 1996, the magazine's original television advertising soliciting pre-publication subscribers portrayed it as a consumer guide to popular culture, including movies and book reviews, sometimes with video game and stage reviews, too.. In 1996, the magazine won the coveted National Magazine Award for General Excellence from the American Society of Magazine Editors. EW won the same award again in 2002.
In September 2016, in collaboration with People, Entertainment Weekly launched the People/Entertainment Weekly Network. The network is "a free, ad-supported online-video network carries short- and long-form programming covering celebrities, pop culture and human-interest stories", it was rebranded as PeopleTV in September 2017. Beginning with the August 2019 issue, Entertainment Weekly transitioned to a monthly issue model. Bruce Gersh, president of the Meredith entertainment division, which includes both EW and People, said that the cutback in print would be accompanied by deeper 24/7 digital coverage. Entertainment Weekly will still produce weekly digital “covers” and push into podcasts, plans events and experiential offerings with stars and festivals. JD Heyman, deputy editor of People, replaced Henry Goldblatt as editor. About 15 people were cut as a result of the change. Previous owner Time Inc. spent $150 million developing EW after its February 1990 launch, was rewarded for its patience when the magazine made a six-figure profit at the end of 1996, in its peak years was cranking out $55 million in annual profit.
Though still profitable before the switch to a monthly, it was squeezed in recent years as celebrity coverage exploded across all platforms and print advertising shrank. While still called a “weekly,” before the switch, EW was publishing only 34 issues a year. Meredith considered selling the title along with several others after it completed its $2.8 billion acquisition of Time Inc. but was convinced to keep EW in part because it was so intertwined with top money-maker People. The magazine features celebrities on the cover and addresses topics such as television ratings, movie grosses, production costs, concert ticket sales, ad budgets, in-depth articles about scheduling, showrunners, etc; the magazine is published once per month, although the legacy name "Entertainment Weekly" is still used. Entertainment Weekly follows a typical magazine format by featuring a letters to the editor and table of contents in the first few pages, while featuring advertisements. While many advertisements are unrelated to the entertainment industry, the majority of ads are related to up-and-coming television, film or music events.
These beginning articles open the magazine and as a rule focus on current events in pop culture. The whole section runs eight to ten pages long, features short news articles, as well as several specific recurring sections: "Sound Bites" opens the magazine. It's a collage of media personalities. "The Must List" is a two-page spread highlighting ten things. "First Look", subtitled "An early peek at some of Hollywood's coolest projects", is a two-page spread with behind-the-scenes or publicity stills of upcoming movies, television episodes or music events. "The Hit List", written each week by critic Scott Brown, highlights ten major events, with short comedic commentaries by Brown. There will be some continuity to the commentaries; this column was written by Jim Mullen and featured twenty events each week, Dalton Ross wrote an abbreviated version. "The Hollywood Insider" is a one-page section. It gives details, in the separate columns, on the most-current news in television and music. "The Style Report" is a one-page section devoted to celebrity style.
Because its focus is on celebrity fashion or lifestyle, it is graphically rich in nature, featuring many photographs or other images. The page converted to a new format: five pictures of celebrity fashions for the week, graded on the magazine's review "A"-to-"F" scale. A spin-off section, "Style Hunter", which finds reader-requested articles of clothing or accessories that have appeared in pop culture appears frequently. "The Monitor" is a two-page spread devoted to major events in celebrity lives with small paragraphs highlighting events such as weddings, arrests, court appearances, deaths. Deaths of major celebrities are detailed in a one-half- or full-page obituary titled "Legacy"; this feature is nearly identical to sister publication People's "Passages" feature. The "celebrity" column, the final section of "News and Notes", is devoted to a different column each week, written by two of the magazine's more-prominent writers: "The Final Cut" is written by former executive editor and author Mark Harris.
Harris' column focuses on analyzing current popular-culture ev
Bisacetamide is an organosilicon compound with the formula Me3SiNCMe. It is a colorless liquid, soluble in diverse organic solvents, but reacts with compounds, including solvents and moisture, containing OH and NH functional groups, it is used in analytical chemistry for the derivatisation of compounds in analysis to increase their volatility, e.g. for gas chromatography. It is used to introduce the trimethylsilyl protecting group in organic synthesis. A related reagent is N,O-bistrifluoroacetamide. BSA is prepared by treating acetamide with trimethylsilyl chloride in the presence of a base: 2 Me3SiCl + H2NCMe + 2 Et3N → Me3SiNCMe + 2 Et3NHClThe reaction of BSA with alcohols gives the corresponding trimethylsilyl ether, together with N-acetamide as a byproduct: ROH + Me3SiNCMe → Me3SiNCMe + ROSiMe3
In ancient Roman religion, Abundantia was a divine personification of abundance and prosperity. She was among the embodiments of virtues in religious propaganda that cast the emperor as the ensurer of "Golden Age" conditions. Abundantia thus figures in art and literature, but has little mythology as such, she may have survived in some form in medieval France. The Augustan poet Ovid gives Abundantia a role in the myth of Acheloüs the river god, one of whose horns was ripped from his forehead by Hercules; the horn was taken up by the Naiads and transformed into the cornucopia, granted to Abundantia. On Neronian coinage, she was associated with Ceres and equated with Annona, who embodied the grain supply. Like Annona, Abundantia was a "virtue in action" in such locations as the harbor, where grain entered the city. Abundantia occurs in the context of Mithraic iconography on a vase from Lezoux, in the Roman province of Gallia Aquitania, which presents the most complete depiction of the act of bull-slaying, central to the religion.
Abundantia is seated and holds a cornucopia as an image of "the abundance that stems from Mithras' act." It has been suggested that the Gallic goddess Rosmerta had a functional equivalence to Abundantia, but the two are never directly identified in inscriptions. William of Auvergne, a bishop of Paris, mentions a Domina Abundia, who appears in the Roman de la Rose as "Dame Habonde." The bishop derives her name from abundantia. At night the dominae enter houses, they eat and drink from the vessels. If they are pleased, they bring fertility. William regarded these practices as a form of idolatry. Folklorists of the 19th century saw these figures as Celtic fairies. Nicholas of Cusa reports that on his travels through the French Alps in 1457, he met two old women who told him they were in the service of Domina Abundia, they identified themselves as apostate Christians, had been imprisoned for witchcraft. Nicholas felt that they had been deluded by the devil, but should be allowed to receive penance rather than burning at the stake.