Analysis of TV Show “Friends”

Analysis of TV Show â€Å"Friends† Deep Analysis of the show â€Å"Friends† in terms of Television Pluralism First Section: HISTORICAL OVERVIEW: Creation: In American television history, a sitcom â€Å"Friends† was added by David Crane and Marta Kauffman, which initially aired on NBC from September 22, 1994 and ended on May 6, 2004. It had 10 seasons in total. The casting for the television show â€Å"Friends† was miraculous. The story revolves around six friends living in Manhattan. The balanced chemistry between all the six brilliant actors justified the casting. Not to forget the legendary director and the writers, who with their words gave all the young and single, something to relate to. In a place where recession is normal, you have to fail a couple of times in order to win. It was a thought about those who work and struggle in their mid twenties, looking for jobs, at the basic stage of building and exploring a life they want. The director wanted to reach those particular people that are the targeted audience. Imagining about those young ones struggling in big cities, it is very expensive to live on their own, they all almost face same kind of difficulties, it’s a tough physical as well as emotional journey. Now, with a friend, it’s a lot easier, this general idea influenced director to transform it into development and so we had this show, its name reflecting the idea itself as knows as â€Å"Friends†. Six friends having six different characters as following: Chandler Bing (an executive in statistical analysis), Monica Geller (a chef), Rachel Green (fashion enthusiast), Ross Geller (paleontologist) and Joey Tribbiani (struggling actor). The writers had to modify the script in order to suit it with the casted actors. The actors very well played their respective roles and they became friends off air as well which really paid off well. Reception: It gained a lot of popularity and awards throughout its run. The show â€Å"Friends† became the first long running sitcom, when it got the highest rating for it on US television. Friends won an Emmy, award for the Best Comedy Series category, which was another first. The show was praised for lack of violent content. Although, there were few critical responses over some contents, it did not stop celebrities to play and guest appearance role in this show which includes: Julia Roberts, Brad Pitt, Helen Hunt, Elliot Gould, Charlie sheen and others. Despite other competitive sitcoms Friends managed to remain at its place that is for both social phenomenon and hugely entertaining television show. According to one of the experts Friends is one of those show which marked a change in American culture. The portrayal of youth and the roles they play are well defined and represents a lifestyle that focuses around creating and maintaining relationship between a group of friends running their own lives and seeking support from each other In audience appeal, Friends was undoubtedly stayed in the nineties and as well as in the early years of twentieth century. As with time, the reviews got more positive than negative, it progressed and Friends become a most popular hit sitcom. It is still ranked as among time best TV shows (Cosgrove) Critics praised the series for having persistently spiky dialogue script and the chemistry among the most important actors was extra ordinary. Some praised the finale for being more touching and more satisfying as reflecting to the closure it gave. (Parish) Critical Reaction: Early reviews for the show were mixed (Friends Season 1). The producers always tried to match the right stories to location; it’s funny that it was never filmed in New York. They decided that filming outside would make the show less funny. The series was criticized for portraying New York the wrong way, by showing a group of friends which are struggling they are weak financially and they are not able to afford large apartments. With this being a minor criticism over the location, it also faced some serious accusations. The major criticism which it faced was focused on the use of sexuality charged themes specially the time for the show was when the kids usually watch television. Parents Television Council called it raciest sitcom, they claimed that all six characters were shown sexually on the go and the dialogues also contained vulgarity, and more sexual content. Monica’s approval on Chandler fondness for porn and that Joey’s several sexual par tners became the target. The PTC, in fact, called the show as one of the worst in US television as referring to its sexual content and vulgar language used by the characters in the show. Section Two: Full Examination in relation to Cultural Pluralism: The show was no doubt progressive. It started with negative responses and gained itself positive and best appreciation afterward which is still associated with it. As talking about the stereotypical conformity it represented in terms of race, gender, sexuality, or ethnicity. Race; The show did not support racism in particular all the characters were given balanced roles and there was not seen any hatred in terms of racism as it was shown that Joey belonged to some Spanish family. But Ross’s second wife Emily was British and they did make fun of her accent but there was no hatred seen as it was part of the humor being created at that instant. Looking into this matter more critically, the cast is always seen in a coffee shop called â€Å"Central Perk† and on the same sofa every day, it seems as if they are depicting the dominance and everyone else was not important and not worthy enough to be a part of their i.e. main characters’ conversation. When Ross dates Julie, a girl from chine, Rachel shows jealousy so she acts rude to her. This episode, where Julie is with all the other characters together in a group and she is being really nice to everyone including Rachel but Rachel, in spite of her kindness, abuses Julie and calls her names. Rachel is portrayed as a typical white woman perfect hair and all beautiful. Minorities even if dated do not last longer in the series. Whereas, white people managed to break the circle and they get accepted by everyone. Take example of Mike, Phoebe’s husband. The show does seem to enforce their typical, white, middle-class lifestyle status, from beginning to end, and it is because of these examples that this show â€Å"Friends† can be considered as racist, well just a little I would say. Sexuality; As far as sexuality is concerned there were many sexual contents, well I would say an appropriate amount of sexual context, there was however no nudity shown. There was this naked guy in their neighbors who they used to look pout from their window and describe what he’s doing in a funny manner but there was no nudity shown. Another aspect where sexuality was depicted in the show â€Å"Friends† was the fact that everybody used to think that Chandler was gay, Joey because of his several sleep around, they used to consider him womanizer. While lesbians, bisexual and transgender characters did not appear in television until 1970s now television sitcoms are seen featuring an entire genre for gays. Ross’s ex wife is shown Lesbian and Chandler’s father is shown transsexual. The show can be considered as conveying heterosexual values toward a younger audience. Gender; Analyzing the sitcom Friends in terms of gender equality or sexism, it seems like the overall show is perhaps written in conflict to the so called male dominated society; gender binaries that are traditionally known to keep down women. This show is about six friends , three males and three females, again showing the balanced equality in numbers, all in their mid twenties as the series starts, they are living in Manhattan, struggling to develop and manage satisfying careers and as well as romantic relationships. (Spangler) The show has conveyed an improvement in the depiction of women in television, through Rachel’s character. Here sexual freedom exhibits a liberated woman, free from the dominated stereotypes of male dominating society and also the traditional stereotypes that come with the women who sleep around. The way they showed Rachel’s character, at first she was dependent on her father’s money but then she started working as a waitress initially an d then progressing finally she succeeded in building an exceptional career for herself, she became an inspiration to all women. Ethnicity; this genre, situation comedy, has become an integral part of American culture. This show presented a window meant to show us the homes of our favorite characters to know more about their ethnic background and lifestyles like we came to know about Chandlers indifferent behavior towards Christmas and Thanksgiving. Another positive aspect would be the common national portrayal of group of friends who functioned as family units where rather than parents or siblings; they relied on each other for support. While if critically observe this, they failed to include minorities in the depiction of common national or cultural tradition. With the all-American lifestyle depiction, six Americans, unmarried, young people living and struggling totally depicting that today’s society is biased in choosing friends. Whites go for whites. It can be said that audience would not have watched the show with this fan following if it was about six minority friends. This show might have present ed a wrong conclusion about different ethnic groups. People do not want their children to be racist; they want them to be diverse. All of the six characters were never seen with a minority; they were shown hanging out in a cafà © or bar that too in a large city. Closely, I saw African-American or Mexican in the background. There was this episode where Joey went for this part in a play; after the scene was finished I had seen three minorities’ heads in the background there were countless of whites though. Later, Rachel find a new boy friend that is white as well, they do not show any coupling with black people. The show which I chose is a product of its time because of the positive responses it received, not to forget the targeted audiences was satisfied with the show it had given them something to relate to and enjoy watching. As the show shown a casual latter day sequence of shots, for example the friends always gathered at the coffee shop to discuss their issues and breakups. Television critics highly praised the run as having constantly sharp script and chemistry linking the foremost actors (Friends climax watched by 51m) few other scholarly and TV critics gave their reviews: the jokes could make you laugh a couple of time each episode and the stories written were innovative and very original (Havrilesky) one of the brightest series in comedy (Richmond) the show was successful in making a comeback to their viewer’s heat and marking their territory (Carter) Cultural Significance: There are very few of the sitcoms in the history of television which have had long-term Cultural impact. It does not matter how much you categorize the TV programs or how much influence the novel reality trend has on it; it is a fact that will remain that television sitcoms are not realistic. It’s impossible for it to be 100% real because TV is not reality. The stories included are however chunks of the maker’s perception. Which they always edit, filter, and script it to manipulate the audiences to drag hug amount of attention and fan following. Rachel’s hairstyle was noticed a lot tit was even nicknamed as â€Å"The Rachel† (Jicha) and adopted by many. Joe’s catchphrase â€Å"How you doin’?† also became popular and imitated by many as a pickup line or when greeting or making new friends. Chandler’s sarcasm and jokes also influenced viewers it also developed an alternative lifestyle where young people live unconventional domesti c lives, it brings to a close way that all you need is some good friends and you can put up family of your choice. This new way of living and developing relationships is not normally seen in conventional society. Pluralism: Today pluralism has become a basic value of public communication. Freedom of speech, freedom of expression, with other factor including pluralism, cultural variety, and acceptance toward other views and value systems has become a need for trend in society. (Gladkova) Television is a type of medium that makes it easy to carry on a conversation or to convey a message; it is a reference point to the culture for most of us. People who watch TV more often tend to compare themselves with those people in the TV and imitate their behavior, their way of talking, their way of dressing, and adopting their catchphrases or specific dialogues. Now take Friends in this scenario, it is reviewed that people consider that this is the most realistic sitcom as far as todays generation is concerned. Observe closely, the story is about three male and three female, all singles, struggling and surviving in New York on their salaries, job and part time jobs, they switch partners just as they change clothes. This is certainly not reality, maybe it is for the writers and the producers, but it is not for the rest of the world. As per the reality is concerned, makers of this show breathe high class lifestyles in town coastal big cities, they don’t look up to religious services and they don’t even know anyone who does, so through depiction of these television shows they end up reflecting the distorted reality of those who make the shows. And the sexual contents were there in excess which do not really set a good tradition, everybody has slept with everyone. Big changes sometimes happen with sitcoms, in Friends the characters ask out, date, and breakup. If, fortunately they get married, they have babies, or go to London. Writers use this in order to maintain the surprise factor, they couldn’t think of something new and something that can convey a message something useful let say they could have family that adopted a homeless kid. The show do not follow the ever changing context of real line, in contrast the viewer just tune in to see what’s next in the line which is systematically created; what happens next in a plotline. Like what would be the Ross’s reaction when he would see Rachel’s at the airport. Will Emily dump Ross after he took Rachel’s name on the wedding altar? Friends, nevertheless, depict postmodernism, and the absolute value of small community in which individual find his/her identity and safety. There was however no religion involved much, apart from occasions like Christmas. The characte rs weren’t shown visiting churches apart from only weddings. The other activities like drinking and smoking were however seen as often as it may get which was real enough. Works Cited Carter, Bill. Plot Twists Paid Off For Friends. The New York Times (2002 ). Cosgrove, Mather. TV Guide Names Top 50 Shows. CBS News (2002). Friends climax watched by 51m. BBC News (2004). Friends Season 1. CBS Interactive Inc. (2004). Gladkova, Anna A. The role of television in cultivating the values of pluralism and cultural diversity in children. Psychology in Russia: State of the Art 6.1 (2013). Havrilesky, Heather. Never forget your â€Å"Friends†. SALON (2004). Jicha, Tom. They leave as they began: With a buzz. The Baltimore Sun. (2004). Parish, Ken. Farewell to Friends The finale to the 10-year series wraps up all the loose ends. Fort Worth Star-Telegram (2004 ). Richmond, Ray. Season Premiere of Friends Leaves Room to Grow. Daily News of Los Angeles (CA) (1994). Spangler, Lynn C. Television Women from Lucy to Friends: Fifty Years of Sitcoms and Feminism. United States of America: Greenword Publishing Group, 2003.

Eliminating The Capital Gains Tax :: essays research papers

Eliminating The Capital Gains Tax One of the major obstacles facing all entrepreneurs in the United States when starting a new business or expanding an existing one is raising capital. Here capital refers to money that people invest in a business. Investment and entrepreneurship are the heart and soul of a lively economy. There is no other economic task more important than investing one's capital into new ideas and new enterprises. Therefore capital raised from one person or a group of professional investors remains a crucial source of funding for these type of enterprises. In the type of economic world which is present today the opportunity for good returns on a person's money must be in abundance to allure investments in such ventures. Capital gains taxes significantly diminish these returns, therefore reducing the incentives to invest. Eliminating the capital gains tax will spark entrepreneurship and new investments in the economy, which in turn will elevate economic growth and increase the number of jobs. In order to stimulate economic growth in the United States, taxes on capital gains should be eliminated. Members of Congress once considered a reduction in the capital gains tax rate from 28% to 19.8%. Combined with indexation, which is , reducing the capital gains tax by any amount would be a vital pro-growth step taken by Congress. However, given the fickle and high risk nature of investments and entrepreneurships, and the importance of maintaining a competitive economy in a global environment, capital gains should be exempt from taxation altogether. A zero percent capital gains tax would attract entrepreneurial risk taking, which is very important to economic growth. It would entice wealthy investors to invest in a certain enterprise, which in small numbers would immensely increase the economic growth in the United States. In the Wall Street Journal the U.S. Commission on civil rights said, "Reducing the tax on capital gains effectively increases the flow of financial 'seed corn' to budding entrepreneurs." Also, from a global perspective, the United States has one of the biggest capital gains tax rate. Depending on inflation, sometimes the United States has the largest capital gains tax rate in the world. In a competitive global economy a zero percent capital gains tax rate would make the United States a haven for capital, which in the long run will spark economic growth in the United States. Eliminating the capital gains tax altogether would not only promote a "boom" economy in the United States but will give the United States an edge that it needs to compete in the global world, not to mention create new jobs. The potential benefits for eliminating the capital gains tax are clear.

Northanger Abbey Transformations

â€Å"Explore the theme of Transformations in â€Å"Northanger Abbey† In â€Å"Northanger Abbey† Austen crafts from start to finish a perfect paradigm of her own satirical wit and burlesqued humour, which go to all lengths imaginable to disguise and embed her novel’s transformations. These demonstrate her great skill as a satirist in making the reader dig for their own enjoyment.Her meaning is drenched in multiple interpretations causing even complete opposites like the transformed and unchanged to blur together, leaving as Fuller says, â€Å"The joke on everyone except Austen†; whose sophisticated â€Å"meta-parody† carries on transforming and confusing the reader (Fuller, Miriam 2010). Craik first contrived how to delve into Austen’s satire, and that was by realising that â€Å"The literary burlesque is not incidental, nor integral† (Craik, W A 1965).In my essay I am therefore going to delve deeply into the satirical, and reveal the true transformations Austen intended to present. The first line of the text identifies Catherine Morland as the novel’s central figure for transformation â€Å"No one who had ever seen Catherine Morland in her infancy would have supposed her born to be an heroine† (Austen, Jane â€Å"Northanger Abbey† 2003 PP. 5). Austen then ironically, and ambiguously, decks her out to be a burlesqued parody of the heroic archetype, thus transforming the perspective of what constitutes a heroine.Traditionally they were thought of as intelligent, beautiful and isolated like Eleanor Tilney, but we are told Catherine is â€Å"Occasionally stupid†¦almost pretty†¦and (her father) was not in the least addicted to locking up his daughters† (PP. 5 – 7). Austen reverses the polarity of Catherine’s character transforming her into a more modern heroine, her point being that anyone can be a heroine as long as they evolve as opposed to stagnating like tradit ional gothic figures such as Emily St Aubert (Radcliffe, Anne 2008).Already Austen is choosing transformation and change over self-stagnation, while with feminist intentions breaks down the barrier that portrays women as self-reliant on the patriarchal strength of men by encouragement to live life on their own terms like Catherine Morland â€Å"Let me go, Mr Thorpe†¦. do not hold me! † (PP. 73). Austen introduces the unchanged character of Eleanor Tilney to highlight â€Å"Catherine’s subconscious refusal to be helpless and passive† (Fuller, Miriam 2010).Eleanor unlike Catherine relies on men for support throughout her life first her father, and then through a â€Å"man of fortune and consequence†, which shows â€Å"her real power (to be) nothing† (PP. 185), in the light of Eleanor’s lack of transformation Catherine’s transformative nature is apparent by direct contrast. By deviating from this generic norm Austen sets up Catherin e’s own transformation from innocent, naive girl to blossoming, self-reliant woman. However many critics have debated whether or not Catherine in fact changes at all.This is the case for her intuition, which is part of what Fuller called â€Å"Catherine’s defences† (2010), which according to Schaub: â€Å"Catherine’s romantic temperament, her â€Å"intuition,† is right in all her basic judgments† (2000). Schaub is referencing Catherine’s interpretation of individuals such as General Tilney which all turn out to be correct â€Å"in suspecting General Tilney of either murdering or shutting up his wife, she had scarcely sinned against his character, or magnified his cruelty† (PP. 183). A true transformation however does occur in Catherine abandoning her gothic unreality for â€Å"objective reality† (Butler, Marilyn 1975).Her change is illustrated in the fading out of Austen’s free indirect narrative, observed in volu me one, for the true direct narrative perspective of Catherine herself, heard strongly in her condemnation of Isabella â€Å"she must think me an idiot, or she could not have written so†( PP. 161). This narrative change shows the growth of mind that Austen observes in her own character, and she allows her the freedom to use it which has Catherine; through transformative mistakes; gain a greater perspective on the world â€Å"Nothing could shortly be clearer, than that it had been all a voluntary, self-created delusion† (PP. 46). Lastly a final sign of her ultimate growth is a change in her setting of choice after marrying Henry Tilney. Instead of the sublime gothic grandeur of the abbey she chooses the simplistic pastoral setting of the parsonage â€Å"In her heart she preferred it to any place she had ever been† (PP. 156). The abbey of Northanger, that Catherine rejects, is traditionally seen as the key location for all gothic goings on. However it is my joint assertion with Fuller, that â€Å"the social codes of Bath are as labyrinthine as he passageways of Udolpho are to Emily†, and according to Drabble â€Å"like a minefield† (2010) for the young Catherine Morland. Austen uses satire once again to confuse and camouflage the full roles these two settings play, making for a clever and shocking juxtaposition as settings now transform along different lines. This is done through almost frequent and obvious references to the gothic in the anti-gothic setting of Northanger â€Å"Darkness impenetrable and immoveable filled the room† (PP. 124) while contrasting it to more subtle and less noticeable gothic in Bath â€Å"Mr Thorpe only laughed, smacking his whip† ( PP. 2). If we follow Fuller’s argument that â€Å"Northanger abbey† is part of what she terms the â€Å"Domestic Gothic† (2010); a genre that highlights the sexual threat to young women; the then humorous misadventures of Catherine in Ba th turn into events that closely resemble sexual abuse. Particularly in the character of John Thorpe who transforms from a bawdy, comic figure, stumbling over himself to marry Catherine, into a sadistic sexual predator. This is seen in the simple contrast when he abducts young Catherine on a trip to â€Å"Blaize castle! † (PP. 0), and Austen transform the light comedy of deception into a â€Å"gothic abduction scene† (Fuller, Miriam 2010). In which Thorpe â€Å"lashes his horse into a brisker trot† and takes her â€Å"into the marketplace† (PP. 62) thus turning Catherine into a â€Å"commodity† to be owned (Fuller, Miriam 2010). In her sudden character transformations Austen shows how she can rework any of her characters in an instance, making them comic one moment and frightening the next, and it is also a warning to young women of the â€Å"powerful and opportunistic members of society† that reside in Victorian resort towns like Bath (Full er, Miriam 2010).Austen’s satire, as witnessed, goes to great lengths to confuse and mask her meaning. Her reasoning behind it is simply her own enjoyment, and her desire to praise her medium of choice: the novel. Her complexity and ambiguity are merely part of an elaborate, and in itself satirical complement to novels which she believes display â€Å"the most thorough knowledge of human nature, the happiest delineation of its varieties, and the liveliest effusions of wit and humour† (PP. 24). Bibliography: Austen, Jane (2003[1818]) Northanger Abbey, Lady Susan, The Watsons and Sandition (Oxford, Oxford University Press) †¢ Fuller, Miriam (2010) â€Å"Let me go, Mr Thorpe; Isabella, do not hold me! : Northanger Abbey at the Domestic Gothic† Persuasions: The Jane Austen Journal (Jane Austen Society of North America) †¢ Craik, W A (1965) â€Å"Jane Austen The Six Novels† (W & J MacKay & Co ltd, Chatham, Great Britain) †¢ Schaub, Melissa (2000 ) â€Å"Irony and Political Education in â€Å"Northanger Abbey† (Jane Austen Society of North America) http://www. asna. org/persuasions/on-line/vol21no1/schaub. html Accessed (27/0/2012) †¢ Butler, Marilyn (1975) â€Å"Jane Austen and the War of Ideas: The Juvenilia and â€Å"Northanger Abbey† (Clarendon Press, Oxford) †¢ Radcliffe, Anne (2008) â€Å"The Mysteries of Udolpho† (Oxford, Oxford University Press) †¢ Keymer, Thomas (2011 [1997]) â€Å"Northanger Abbey and Sense and Sensibility† â€Å"The Cambridge Companion to Jane Austen† (University Press Cambridge, Cambridge) †¢ Bush, Douglas (1978[1975]) â€Å"Jane Austen† (The Macmillan Press LTD, London)

Why Should We Have Mandated Early Intervention And Early...

Alexis Smith Professor Lehr SE 504 25 October 2016 Final Exam Why should we have mandated early intervention and early childhood education for children with disabilities and their families? Provide a rationale for each. 8 pts. The benefits of early intervention (EI) and early childhood education (ECE) are very clear. They help improve children’s skills, knowledge, and way of navigating the world while having some form of a disability. EI is usually provided in the child’s home, giving their family the opportunity to learn more about their child and how to assist in creating a better life for him/her. It also gets the entire family involved in the care of the child, which is important for parents who feel that they may not be able to make a difference in their child’s life or for parents who believe it is their fault that their child has a disability. Through education and services provided, the family will be able to function as efficiently as would a family who doesn’t have a member with a disability. Early childhood education is especially helpful for each individual child with a disability. It puts them in a place of inclusion while improving their language and social skills and gives them a place outside of the home to achieve goals that are more individualized and about them rather than their family. Being in an inclusive environment with peers their age would increase their social skills and help them to navigate the world around with less barriers. These skillsShow MoreRelatedI Attended The Division For Early Childhood920 Words   |  4 Pages In 2013, I attended the Division for Early Childhood (DEC) Conference in San Francisco. At that time, I was a doctoral student eager to present my dissertation literature review on young children with disabilities (and their families) who have experienced, abuse, neglect and trauma. 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