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rugrats s02e13 torrent

Rugrats reveals the world from a baby's point of view. Everything looks bigger, more mysterious and uncontrollable. Angelica, the oldest, likes to terrorize. Torrent of Terror thumbnail. S3 E4 · Torrent of Terror. Jul 11, S2 E13 · Micro-Management. Jan 27, Jack's "Fenton Crammer" shrinks Danny. 11 Need help with List of Rugrats episodes; 12 Adding a "deceased" or "alive" field to Template:Infobox character; 13 MOS:IDENTITY issues that affect TV. MAN CRYING AUTOTUNE TORRENT I have 13 it is not - as most transmit "Router A" successfully - so documents including parsing people live and. File in the good question to. To your wireless - Miscellaneous Administrator. History and society single request available online documents and.

That is, where the section not only contains the link to the LoE page and the transcluded Series Overview table, but prose as we're requesting in the form of premiere and season renewals? What problem are we trying to solve here? This recognizes editors who've taken a page previously considered for deletion — to Featured Article or Good Article quality. Please see Wikipedia:Deletion to Quality Award.

According to the MOS , "new cast members [are] added to the end of the list". But then, characters that enter a series earlier would be higher up in the character list, no matter how soon they leave the series. Thus, it is common practice to order in particular the recurring characters by number of episodes they appear in to match IMDb style. For currently airing seasons, according to the MOS, new characters start at the end of the list but then are diligently sorted up after every new episode which is missing in the MOS , e.

This should probably be reflected in the MOS, too? Hey all, I've noticed a minor trend in some TV articles, and this seems the most appropriate place to get some consensus happening. Across numerous articles , I see the use of blue to indicate low ratings numbers, and the use of red to indicate high ratings numbers. This seems the exact opposite of what it should be assuming it should be at all.

Red connotes danger, a warning, so in TV, red seems the proper indication for "uh oh, this show's doing poorly. Anyone care? Cyphoidbomb talk , 20 October UTC [ reply ]. Correction Hey everybody--My communication was faulty: They're not using the color to indicate "hey, this is a great rating" or "hey, this is a bad rating", which would obviously be WP:OR. They're using colors to indicate the high est and low est numbers in a range. Cyphoidbomb talk , 23 October UTC [ reply ].

Hey all, Kalyeserye is a strange case. Quick background: there is a long-running show in the Philippines called Eat Bulaga! Within that show, is a segment called "Kalyeserye" a somewhat serialized show-within-a-show that has recurring characters, and seems to center on a love story between a "love couple" Alden and Yaya Dub. Now here's where it gets weird: It's mostly improvised, as far as I can tell although there seems to be some semblance of a story, which they do in a kind of soap opera parody style.

Some of the characters seem to not actually speak, rather, they pantomime to other actors' voices and sound effects and communicate with one another over a video chat app. I really am having a hard time explaining it, because it doesn't make any frickin' sense! Here's a video official GMA network site to give you an idea.

At , one of the Lolas grandmothers has a dramatic telephone call over dramatic music perhaps speaking to the show's Mysterious Caller? There is also interaction between some of the characters and the show hosts. Blah blah blah. Anyhow, this weirdness apparently makes it very difficult for editors to write episode summaries, for instance this one , which introduces a lot of facts from the episode, but leaves you wondering what the hell the story is.

And if we don't really understand what the story is, how does anyone write effective episode summaries? Some of the earlier ones at List of Kalyeserye episodes come close, but then some of the more recent ones really go off the rails. It seems that the tendency is to just point out things that happened, rather than to deliver a cohesive explanation of plot, if there is one.

Also, the main Kalyeserye article doesn't do a fantastic job of explaining what the series is. Anyone have any thoughts about how to improve these articles? Cyphoidbomb talk , 27 October UTC [ reply ]. I considered posting this message on the assessment page, but figured this talk page was on more watchlists.

I have worked on Eaten Alive TV special some, but not enough to feel comfortable with the content. The individual who expanded the article to its current state does not seem interested in nominating it for Good status, but I think it may meet criteria. If there is a project member who enjoys promoting article to GA status, this may be an easy project to take on. It would be great to have input from this project's editors on the naming conventions for the upcoming "event series" of The X-Files, which is being called "Season 10", "revival", "reboot", "event", "miniseries" Jmj talk , 3 November UTC [ reply ].

I have found there is not a consistent way to notate season and episode for television series. Sometimes they are written as 1X19; 01x19; season 01, episode 19; or season 1, episode Which is preferable? I lean towards the last one. The problem with the geeky formats is they are not used consistently, on or off WP, and they are meaningless to people not already familiar with them.

If for some reason we were to settle on one of them, s2e13 is much clearer than the alternatives. There's no need to use a leading zero that is mostly done with TV-pirating torrents, for alphanumeric sorting reasons, and torrent sites mostly use s02e03 format, anyway, not "02x13". Should we only include TV shows that have begun production in "List of programs broadcast by X"-type articles?

TV networks perpetually have thousands of shows in development, and only choose around a few to go into production. I cut a few shows from Nickelodeon's programs article since no further word about them was made since they were initially announced. So, to re-iterate my question, should we only include shows that have begun production in these kinds of articles? This change should not have been noticeable, but it does make image formatting easier.

In the old days it was necessary to fully format the infobox image: e. Implementation of Module:InfoboxImage some time ago supported the old format but added some parameters so that it was only necessary to include unformatted information:. The latest changes support both formats but now also allows for automatic image sizing based on user preferences.

Most TV articles that I checked used px as the default image size, so this is reflected in the infobox changes meaning that, since captions are not normally necessary, only the following needs to be entered:. A convenient table has been included in the template documentation. Please note that the previous methods of formatting are still supported. Example on the animated series Be Cool, Scooby-Doo! Luigi talk , 11 November UTC [ reply ]. Category:Episode count templates contains a number of templates that consist of "onlyinclude" tags and a raw episode count, and occasionally a date.

All of these templates have been nominated for deletion. The discussions for each may be found at the following locations:. All of the templates in the category have now been nominated so I have completely updated the above post. Most of the discussions are on the same page. However, even these templates are no longer in use. It seems to me that we should be discouraging use of these templates, as they are unnecessary. If it is necessary to transclude episode counts there is a simpler way than creating templates specifically for the purpose.

At the article where the count is to be transcluded, it is done the same way that we do when transcluding episode lists. This is the process now being used at many episode lists. See, for example, this edit and this one , in which AlexTheWhovian added the feature to Scorpion and List of Scorpion episodes.

Got the message on my talk page, not sure what I can contribute to the discussion. I implemented the "includeonly" tags on multiple series' pages after finding another where it had been done, and had only one user have an issue with it before I explained it and the accepted it. Also not sure how we can implement it within the infobox template Adding the tags will affect the transclusion of the template itself. The article Dino Dan is in need of assistance. A copy-edit has been done but it still needs an infobox and logo.

There's a move discussion going on at Talk:Bag of Bones film which needs more participants to build consensus. The underlying question is whether a miniseries can have only two installments, or whether the minimum number of segments is three; and, if consensus is that three is the minimum, what to call two-part television events that are longer than a movie but shorter than a miniseries.

Thanks in advance to all who contribute to the conversation there. Montanabw talk , 22 November UTC [ reply ]. Does anyone here watch Bad Girls Club? Back on 8 November I made several corrections to the article only to find yesterday that all of the fixes had been reverted, predominantly by one anonymous editor who seems to be asserting ownership over the article and doesn't use edit summaries or respond to posts on his talk page.

Virtually every edit since 8 September by an IP or newly registered editor has been vandalism or the addition of unsourced content. The vandalism is easily fixed but I have no idea what in the article is correct as none of it is sourced and it really needs somebody familiar with the series to have a look.

I've been watching List of The Big Bang Theory characters for a long time and have been frustrated by the amount of fancruft creeping into this article. A good example is the section titled "Appearing in one scene only", which I removed earlier. This article could really do with some extra eyes and editors as I'm having a hell of job trying to keep the article under control. We really shouldn't have such crufty articles for any serhies, let alone one as popular as this.

I object to the massive removal of content that was done in 7 edits a few days ago. I would say that all characters that have more than a casual interaction with the story should be included. Examples of characters that should not be included are: a clerk at the DMV, a mall security guard, the minister who married Leonard and Penny.

Basically their interactions with the story was just casual. Cyphoidbomb talk , 30 November UTC [ reply ]. Is it appropriate for celebrity bio articles to contain detailed week-by-week analysis of a current reality show that they're appearing on? I cut some from a biography article recently, as it seemed clearly undue emphasis and failed the WPYEARS rule of thumb, but an IP added it back saying it was "often standard for contestants on reality shows".

Is it? Or is that maybe just for reality show contestants who have no other career? The bio in question was an actress with decades of other TV work. Hello, I'm looking for someone to help with updates to the Colleen Bell article and I wonder if anyone on this project might be willing to help get things started. In addition to being the current U. The Producing career section of the Colleen Bell article says she is producer of the show, followed by a few sentences about the show itself.

Since the Wikipedia entry is about Colleen Bell, not the show, I think it best if this section focuses more on her work with the program. You can find the request here. Please note that I have a financial conflict of interest : I am working on behalf of Ms. Can someone look at my request and make the changes if they seem appropriate? Should there always be season articles whenever there is more then one season?

For example, Younger TV series has aired 12 episodes, with only one section of out-of-universe information on reception, and yet there is a separate List of Younger episodes and also Younger season 1 and Younger season 2 articles.

While this example Younger may be inappropriate for splitting although I completed it, since it was half-accomplished , I do believe MOS:TV should be updated to reflect both television and Wikipedia today. Moreover, at that time season articles weren't as well-maintained as they are today- now we have users adding much more information on production and reception, and many season pages that have become featured lists.

I believe we need to address these changes and rewrite that section about season pages and splitting LOEs. I lean towards something broader- not a rigid episode count but whether there is enough information to split. Shows like American Horror Story and Fargo are shows that have obvious needs for season pages once they were renewed, since their seasons are completely different, and the pages would have new information on casting, locations, and production. Incredibly popular shows like Empire too make sense to have season pages once renewed, since inevitably there will be a lot of well-maintained work, too detailed for a series page.

Procedural broadcast shows with less information are the ones that I would be more reluctant to split. If we left "size" to editor discretion then pages would be split far earlier than they needed to for size reasons. It's happens quite frequently because someone "thinks" that it's too large when it fact it isn't large at all. The difficult nature is that it's based on readable prose, which is hard to determine without copying and pasting outside of the HTML code when dealing with tables.

Yes, season articles are meant for more details. My point is that early is a show's life, those details are already on the main page and maybe another ancillary page. To create a season article after one or two seasons makes little sense when almost every ounce of detail for those seasons is likely on the main page.

Depending on the show, there may not be a significant number of reviews for it yes, some shows get tons of coverage With regard to when in a show's life that a season page can or should be created, you have the GNG and you have a basic understanding that meeting the GNG by duplicating another page is not actually an appropriate reason to split.

This is a reason why, if you're going to argue for details, you need a seasonal minimum established. Your main page needs to be large enough that trimming down the details to more summary level so that the details can exist on a season page makes sense. That doesn't make sense for any show after 1 season and rarely would I say that it make sense for a show after two seasons. Not unless that show has gotten a crazy amount of coverage and the main page is swamped with information overload.

So far as I know, he only did this with Star Trek episodes. At the time, I was unfamiliar with this practice taking place anywhere, so I brought it up for discussion at the Star Trek WikiProject and at the infobox talk page itself. Cebr took my inquiry as a vote against him or her linking, and so with two editors against such practice, declined to pursue it further.

Today, Cebr has commented [6] [7] that he or she intends to restart the practice of linking the season in the infobox. Despite Cebr's assumption, I don't have an opinion on this, but would like to get the community's wider input on the matter since it's something not done commonly or at all previously. Since I didn't have much luck in garnering input at the Star Trek WikiProject or the template talk page before, I'm bringing it up here hoping for the TV WikiProject's input on the matter.

Thanks in advance! For anyone wondering, this is the whole source for three conversations. Like, it's so minor I can't even believe it was ever even noticed Cebr talk , 2 December UTC [ reply ]. Hey all, could use some other eyes at Talk:List of Sofia the First episodes.

There's a contingent of show fans who are insistent that an episode, "Minimus is Missing", which is coded by Disney as is a S3 episode. I keep having the same circular discussion, so if anyone has anything different to add since I very well could be being a little myopic about this , I welcome the input. Cyphoidbomb talk , 4 December UTC [ reply ].

Hey all, anyone have any expertise in this? Or is someone playing around? Cyphoidbomb talk , 2 December UTC [ reply ]. I recently had to re-delete an article that was essentially a list of every horror film broadcast on WakuWaku Japan. None of the films were created by the channel, nor was the channel the first place to show these films, so it was basically a case of a film eventually showing on a channel. Now a look at the article page showed an extremely long list of various shows that have played on the channel.

My question is basically this: do we really need to list every show that has ever broadcast on the channel itself? My basic reaction is that we should really only list shows that the channel either created or was the first to premiere, meaning that the programming was created with the specific intent to show it on WakuWaku Japan first and rebroadcast it on other channels later.

You can see the original version here. I've removed this as the content wasn't original to the channel or acquired by the channel, just re-broadcast content. I think that listing the shows can be problematic, given that some shows are only comprised of a limited amount of episodes, like Amachan or Tokyo Love Story. Basically, this runs the risk of the article being forever incomplete if we include everything that was ever shown or out of date, if they frequently switch up programming.

I think that it'd be far easier to just limit the listing to original programming and then have a brief synopsis of other things they show, like what I've written. I'm mildly curious to know if the channel is even notable or not, to be honest. A search brings up some sourcing like this , but there's not a terribly large amount of it out there. That's not my main reason for posting here, but since I'm here it is something that could be worth mentioning.

Opinions are needed on the following matter: Talk:Daenerys Targaryen Article setup. Hi all, thanks to those who commented on the Sofia the First issue above. There's a similar situation at Talk:List of the Backyardigans episodes , where some editors appear to be contemplating the use of Nickelodeon URLs, as well as the assertion of someone who claims to be a show director as evidence of the show's production order.

Comments solicited please! Cyphoidbomb talk , 6 December UTC [ reply ]. There is most likely no error in the reference. The message is appearing because " " is used in the citation, in the form ep2 , List of Foo episodes ep2 or something similar. I've raised this at Help talk:Citation Style 1 and submitted a request to fix the module, but there has been no action yet. A summary of a Featured Article tagged by this wikiproject will appear on the Main Page soon.

You can use the page history to get a diff comparing it to the lead section of the article; how does it look? London Spy could use some eyeballs. There's a bit of a personality conflict between two editors and it's devolved into a lot of sniping that might be helped by some good-ol community meddling.

Currently there is a dispute about how long plot summaries should be. I am nominating two images for discussion because I could not choose which one to keep. I invite you to FFD. It seems that former TV channels like Noggin Playhouse Disney , Toon Disney , and several other sister networks that have been renamed have their own pages, so I think that Noggin is notable enough for its own page, especially since it is linked from many of pages.

The channel, originally being a co-production between Sesame Workshop and Nickelodeon directed at pre-teens, was so different than what the current Nick Jr. I would have done the page myself but I feel that having the community's input first will help. Let me know what you think, thank you! Squiddaddy talk , 17 November UTC [ reply ]. To summarize, the operator wishes to modify some instances of Mexican TV station callsigns in articles, from e.

As this is out of my area of expertise, I am asking for clarification that this is correct and desired. Editors here might like to keep an eye on this article, where an IP editor continues to use IMDb as a source, despite being told on their talk page that it is not, generally speaking, considered to be a WP:reliable source.

The editor is edit-warring to keep the edits in, and is apparently a SPA, as they have not edited any other articles. I'm backing away. This image is one of FFDs. I invite you to comment there. Can I get some opinion on if TVmaze is a reliable source regarding episode titles, air dates, cast, etc.? I see it popping up as reference, there is no TVmaze wikipedia article, and I didn't understand where their information comes from, is it user-generated, like IMDb?

The issue concerns including criticism in a section that is currently full of positive reviews, and especially the issue of including criticism of season 2 and noting how the show progressed from there. And they have edited articles related to this series only. I have dropped a note on their talk pages in relation to this, to declare their COI in these cases.

I personally have no interest in the series and would not be able to pursue this if its going to get bitter ahead. Hence requesting other regular editors to look into this matter. TheRedPenOfDoom : , if you are interested and willing, do keep an eye on this.

If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the Categories for discussion page. Knife skills: The basics are so important. Gordon shows you how to properly sharpen and hold these critical tools, and the best ways to practice and improve your knife skills. Even in a restaurant kitchen, cooking eggs is one of the most difficult tasks.

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The path hasn't always been easy for Gordon. Listen to his universal advice for how to succeed. Welcome to Shondaland. Meet Shonda, the woman behind some of television's biggest and most talked about hits, and learn what she'll teach you about the craft of writing for television. Shonda discusses the importance of knowing your television history and how you can learn some of the fundamentals of storytelling on your own.

It all begins with an idea. Shonda reveals her process for finding and assessing ideas, and determining what makes a great idea for a TV series. Show titles, story bibles, tone, structure - Shonda walks you through how to take your idea and turn it into a fully-fleshed out concept. Effective research can make your story come to life. Using case studies from Scandal and Grey's Anatomy, Shonda discusses her techniques and method for conducting research for her stories.

Meredith Grey, Olivia Pope, Cristina Yang - Shonda has created some of the most memorable characters to grace television. In this chapter, Shonda breaks down how she approaches the character development process. Shonda shares her techniques on how to effectively develop and evolve your characters when writing your stories, including when and how to kill off characters. You can't make a TV show without pitching it first. Shonda shares how she originally pitched Grey's Anatomy to network executives and her top tips for how to deliver an effective pitch.

Shonda breaks down the five acts of television and what needs to be accomplished in each one to tell an effective story in a one-hour drama. You have your premise, your characters, and your research. Now it's time to write your script. Shonda talks about her own process for preparing to write a script, including how to create beat sheets and outlines.

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Shonda breaks down the Grey's Anatomy pilot act-by-act and shares why she made certain story decisions. Shonda breaks down the first act of the Scandal pilot, revealing why she structured the opening scene the way she did. Shonda discusses act two of the Scandal pilot and the introduction of Olivia's White House storyline.

Shonda discusses act three of the Scandal pilot and how to balance various story lines in a single episode. Shonda discusses act four of the Scandal pilot and the importance of quickening the pace of your action. Shonda discusses the final act of the Scandal pilot and reveals how she set up the pilot for an entire season of episodes. You've written the first draft - now comes the task of editing your script. Shonda reveals her own editing process and provides tips on the best things to cut in a script.

Shonda has never had a TV show last for less than six seasons. In this chapter, Shonda discusses what keeps people watching a show beyond the pilot. In this case study, Shonda discusses how the scene between Olivia and Rowan Pope in the season three premiere of Scandal cleverly uses dialogue to reveal who the characters are, and the importance of the scene in the show's story.

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When he starts a new project, Frank knows it's crucial to consider a building's surroundings. In this chapter, he'll share his techniques for situating his work within existing landscapes. Being a master builder means staying on top of the latest in material advancements. Frank gives you a peek into his 'prototyping graveyard', where he tests materials that pique his interest, and looks for the humanity in the mundane.

Working with an architect is an enormous investment. Learn how you can honor your client's trust, and play an indispensable part in bringing their design goals to life. Frank Gehry and Associates have been a bustling business since , a monumental feat in the world of architecture. In this chapter, Frank shares how he runs an ethical, creative, collaborative, and profitable business.

If you're thinking of hiring a partner, or working for one, listen to these best practices Frank has honed over the years. The key? It starts with respect. After unpacking his process and sharing what inspires him, Frank explains how the next generation of architects can engage and challenge tradition to create groundbreaking designs.

Meet Steve. He's one of the most accomplished comedians of all time, an acclaimed writer, actor, and musician. No talent? No problem. Steve shares some ways that anyone can jumpstart their comedic journey. He didn't let a lack of talent slow him down and thinks you shouldn't either. Inspiration is all around you if you know where to look. Steve teaches you how to keep your eyes open and reveals some of the most abundant sources of comedic material.

Figuring out what you have to say can be one of the most daunting tasks a comedian faces. Steve provides some effective techniques for identifying your own unique voice and channeling it into comedy. It's not just what you say, it's how you say it. Steve explains how his own stage persona emerged and teaches you how to cultivate one that will take your material to the next level.

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Steve examines one of Tim's bits and illustrates how he can heighten the comedy, connect with the audience, and streamline his performance. A strong opening and closing are the keys to a memorable act. Steve talks about the importance of these moments and shows you how to use them to your advantage. Steve discusses the questions that face every comedian when it comes to vulgarity and political correctness. Excellence in comedy requires practice just like everything else.

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David outlines what he'll cover in this class, and the best mindset you can have to learn how to write great drama. Trying to understand drama? Look no further than everyday life. David teaches you how to recognize drama at its best—when it seeks to simply entertain, not teach. Learn how drama functions as a form of myth, the ways in which it enlightens the complexities of humanity, and how it provides us with an outlet for expressing the issues that preoccupy us.

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David discusses the history of American Buffalo and delves into its plot, teaching you the symbolism of the eponymous coin and how the narrative speaks to viewers on a deeply human level. David shares the inspiration behind Glengarry Glen Ross and discusses the differences between drama and tragedy. Learn how David developed his style for writing dialogue, famously known as "Mamet-speak," and where to draw inspiration when trying to write great dialogue.

David talks about what informs and motivates dialogue, and how to achieve a musicality and rhythm in your character's speech pattern. Writing drama is not the same as conveying information. A dramatist's job is to entertain, not bore, the audience.

Learn how to recognize unnecessary narration and exposition and how to let the audience help you cut it out. Every scene must contain three things. Learn what those are and how to recognize and remove scenes that are unnecessary to your script. David discusses how he begins writing, the environment in which he likes to write, how he deals with writer's block, and how he looks to Hemingway for inspiration on how to begin writing.

David tells us that there isn't a fairy dust that will fix your script and explains the simple difference between him and an artist who spends his or her days simply dreaming about becoming a writer. Learn how David reveres his audiences, what they are looking for when they come to the theatre, and how to learn from them. Your responsibility as a writer: don't lie.

David discusses how the audience comes to the theatre to hear the truth and how drama helps us search for the truth. He gives examples of conveying the truth from two of his most revered plays. David continues talking about the truth in two of his most controversial works: Oleanna and Race. Learn from David, in the role of the theatre director, on how he views what makes a great actor and how to cast the right ones for your play. The life of a dramatist is fraught with uncertainty, but dedication and passion towards your craft can lead you beyond consciousness.

David experiences the self-doubt common amongst writers. Learn how he overcomes it and the one thing you should avoid in order to forge a path towards becoming a writer. David leaves you with parting words and an emotional story from one of his favorite science fiction novels. Meet your new instructor: fashion icon and branding genius Diane von Furstenberg. Diane explains the goals of her MasterClass and the importance of acting with intention in your life.

Why do you want to be a designer? Diane challenges you to answer this question and gives advice on how to establish a foothold in the fashion industry. Learn how to find inspiration for your designs. Art, nature, and color can all play a part in how your brand differentiates itself in the marketplace. Learn how to position your product and brand within the market.

Diane explains the importance of market research, how to identify gaps in product offerings, and ways to measure up your competition. From logos and names to building your brand portfolio, Diane breaks down how to craft your brand DNA. Learn how to identify your consumers and build relationships with them. Brand loyalty depends on how deeply your consumer values your brand. Social media has changed the way fashion brands interact with their consumers.

Diane shares the best ways to approach marketing on these platforms. Careful collaborations can drive your brand's growth. Diane shares her techniques for selecting brand partnerships, and avoiding pitfalls. Find out how she learned about the industry, advertising, and the power of the image in her early career.

In the final lesson, Diane shares her philosophy and encourages you to get started designing your brand—and your life. Meet Dr. She's one of the most accomplished scientists and conservationists of our time. And now, she's your instructor. Learn how Dr. Jane's childhood aspirations took her from England's seaside to the forests of Africa.

Jane explains the challenges she faced during her initial work in Gombe and how she arrived at the one breakthrough that changed everything. Jane goes into depth about how she studied complex behaviors in chimpanzees, including their usage of tools. Find out how she uncovered the darker side of our closest relatives. Hear about the family bonds and infant development that Dr. Jane discovered while observing chimp families.

According to Dr. Hear how much she has learned about the remarkable similarities between chimps and humans and how much is still left to be uncovered. After observing the similarities between chimps and humans, Dr. Jane believes that emotion plays an important role in science and that human beings might not be the only animal to display spiritual behavior. Learn about the moment Dr. Jane turned from scientist to activist, and how she uncovered many problems facing chimps and humans. Jane shares the three main problems challenging the health of our planet and explains how we mustn't lose hope in the face of these seemingly impossible problems.

The problems facing humans and animals are all interconnected. Learn how conflicts between humans and animals threaten both species. Jane has observed many forms of animal cruelty. Here, she relates some of them in order to shed light on the problem and teach us how to give animals the respect they deserve.

Learn about the many kinds of waste we release into the environment and the effects they have on our interconnected world. Water is one of our most precious resources. And yet, Dr. Jane says we take it for granted. The destruction of forests is especially painful to Dr. Jane because of the emotional connection she has with trees.

Learn about these incredible plants and the far-reaching effects of destroying forests. The need to grow copious amounts of food to keep up with human population growth is harming our planet and our society, as Dr. Jane explains. There is hope to combat the negative effects of industrial agriculture.

Learn how organic farming helps restore forests, attract wildlife, and produce healthier and better tasting food. You can become an activist today by choosing what you buy and what you eat. Learn how changing some small habits in your food consumption can have far-reaching effects on our environment. It's easy to feel hopeless in the face of problems. But Dr. Jane teaches you the many ways you can help, and how we should think—and act—locally. Jane is one of the best storytellers in the world.

See how Dr. Jane communicates with climate change skeptics and companies who are harming animals. We are on a downward path towards creating a planet that will no longer support human life. Jane believes there is still hope for saving Earth, especially in young people. Jane contends that there are four main reasons for hope: the energy of youth, the power of the human brain, the resilience of nature, and the power of social media. Jane ends her MasterClass by reminding us that our work has just begun—and that our greatest tool for creating change is the one that we all share: the indomitable human spirit.

Garry's teaching reflects his style of play: direct, dynamic, and ambitious. He shares what he will cover in this class, including concrete instruction for players at different levels. The double attack is a simple concept that can often be deadly. Garry offers elegant examples to show its power—and how to defend yourself from it. Garry believes in the power of geometry. Through these positions, he shows how you can get the best out of your pieces—even the weak ones.

Missing a discovered attack can have dramatic consequences. Not all pins are created equal. Defense requires harmony, and knowing how to disrupt your opponent is critical. The most destructive form of overload is when a piece has to watch for threats coming from different directions. In the endgame, it can create a decisive advantage—or save a game that appears hopeless. He shows the purity and creativity of the endgame—including drama, shouldering, and zugzwang.

Garry continues his endgame lessons with pawn endgames, rook endgames, queen v. While it can seem slow and weak in the middlegame, an active king is vital in the endgame. Garry believes miracles happen when you know how to create them. While most players spend time on openings, you can make game-changing miracles by studying the rich possibilities of endgames. Garry played e4 as a child prodigy and stuck with that move as the under chess champion of the USSR and under champion of the world.

Learn when and how he grew his repertoire. What happens when your opponent plays your opening? How do you find a satisfying opening both psychologically and strategically? Is there such a thing as universal opening advice? He brought abandoned openings back from the dead and built a database of almost 20, different analyses—but Garry believes there are still more ideas to surface.

With a time control of 30 minutes, watch Garry take on three players with ratings of , , and From there, Garry talks through how he developed his pieces and explains how Molly could have created more discomfort for him. Garry dissects his opening against Vishy Anand in The discussion includes analysis of a decisive mistake, strong attacks, tactical motifs, and a powerful yet quiet move that came at a rare early stage of the game.

Garry focuses on pawn endgames and the drama they can create. An appetite for the beauty of the endgame is one of the best ways to improve your chess. Even when Garry was a kid, the number 13 held special meaning for him. He shares the realization of that numeric destiny and the forces that shaped his singular style of play.

World champions climb to the top through brutal and relentless analysis. Learn what Garry believes is the greatest danger facing players. He looks back on that defeat and forward to the benefits of computers in chess training. After a crushing loss to Karpov, Garry analyzed his play and came up with a variation that he never used. Meet your instructor, legendary pianist and composer Herbie Hancock. For Herbie, music is more than the notes you play.

Learn how to open your mind—and ears—to the real story. Don't let improvisation intimidate you. Herbie taught himself to play jazz by playing along with his favorite records. Learn how to use his methods to accompany the music you love.

Countless jazz tunes are built around one of two simple harmonic patterns. Learn how Herbie breaks the rules of melody, rhythm, and harmony to infuse his solo performances with creativity. Have you ever thought about music as a series of images? Herbie shares techniques that will push the boundaries of your improvising. Where do songs come from? For Herbie, they start to take shape in life experiences.

A song is never finished. In this chapter, Herbie challenges you to give old compositions a contemporary edge. Herbie brings in a rhythm section to break down two versions of his classic tune. They also accompany a synthesizer solo steeped in the sounds of funk and the blues. Let these ideas inspire your own harmonic exploration. Herbie performs one of his most famous compositions alone at the piano.

Listen and practice along to learn about how to play ballads and use the sus4 chord. Herbie has tips for grooving deeper and feeling more comfortable playing in strange and complex rhythms, from swing to funk. Play along and find the downbeat for yourself. His story serves as an inspiration and a testament to what you can accomplish when you let passion be your guide. For his final solo performance, Herbie chooses one of his most popular compositions. A study in bluesy playing, it showcases the possibilities you can find in simple structures if you stay open to the moment.

Meet your new instructor: Oscar-winning director Martin Scorsese. Martin explains the goals of his MasterClass and talks about the importance of staying true to yourself on your filmmaking journey. Martin explains how he realized that filmmaking was his true calling in life. Martin teaches you to appreciate the value of every shot using the lessons he learned from his tough—but inspirational—professor at NYU. There is no set process for filmmaking, but in this lesson Martin offers you a glimpse of what his own process looks like.

Learn to let your film take on its own life and always remain open to unexpected changes that could add value to a scene. Martin encourages you to take inspiration from the work of other directors and discusses the significance of referencing other films in your own work. Martin teaches the tenets of visual literacy and elaborates on the hallmarks of his style, including previsualization with storyboards, the use of voice-over, and the influence of documentary on his feature films.

Martin connects the atmosphere in which he first started making movies to the current climate of filmmaking, teaching you how technological advances can both help and hinder your creative process as a director. Martin teaches you how to see the inherently cinematic elements of your daily life and how to identify the themes and stories you are most drawn to. Martin shows you his process for reading scripts and how he goes about forming ideas. He also teaches you important lessons regarding research and explains how to further develop your script in rehearsal.

Martin explains the significance of casting and offers his wisdom on how to interact with your potential actors, both individually and as part of a group. He also shares which performances he uses as models and what he looks for in an actor. Martin teaches you the importance of getting in front of the camera as a director. You'll also learn how to build a trusting relationship with your actors, how to make time for them to experiment, and when to stop talking and start to shooting.

Martin shows you what you should look for when scouting locations and how to turn your location limitations into advantages. Martin teaches you how to reflect the themes of a story through production design. Learn how to bring the world of your film to life and when to take artistic license when depicting historical periods. Learn how to let character dictate costume and how to collaborate with actors to find the perfect clothing for roles.

Martin teaches you how to work with your cinematographer and tells you the best way to learn—by asking your DP questions. Discover Martin's experience with low-budget filmmaking collaborating with cinematographer Michael Ballhaus.

Learn how to creatively get the shots you need, even under tight budget and schedule constraints. Learn the differences between working with a small, core crew and a big one, and how to empower individual members of your crew. Martin reveals the magic of the edit room, and shares the qualities you should look for in an editor.

He also prepares you for the continuous evolution that is intrinsic to the editing process. Martin teaches the importance being in sync with your editor and expounds on a valuable lesson: You may have to cut the scenes you love. Martin gives you a lesson on the historic use of color in cinema and explains his use of color in his own films.

Martin discusses the evolution of black and white film and how he arrived at the decision to make Raging Bull in black and white. Martin teaches you his approach to sound design: enter the editing room with the intention of cutting away sound instead of adding it. Learn how to create atmosphere with sound design, as well as how to use sound to solve editing problems.

Martin shows how music serves as part of the spiritual lives of his characters and talks about the films whose music influenced him, from director Kenneth Anger's independents to the traditional scores of Hollywood films. Martin recommends promotional strategies and teaches you how to identify and target your film's potential audience. Martin analyzes the first scene of Stanley Kubrick's Barry Lyndon. Watch and learn as Martin breaks down the use of natural lighting and voice-over.

Discover how every image in the scene embodies the structure of an entire historical moment. Martin analyzes the visual language of this scene from Jacques Tourneur's Out of the Past, explaining the director's use of light and shadow. Martin discusses camera tilts and Robert Mitchum's performance in this scene. Martin also analyzes the composition of frames and the effect of the music. Martin discusses color and background action in this scene from Alfred Hitchcock's Vertigo. Learn how point-of-view shots and specific angles contribute to the emotional power of the scene.

Watch and learn as Martin breaks down camera movement and the blocking of actors. In his parting words of wisdom, Martin encourages you to find your own way and never lose sight of the creative spark that inspires you on each film. Judy invites you to discover your own process by hearing what worked for her. Judy was an anxious kid and used stories she invented as companions and a creative outlet. Hear her talk about the early beginnings of her rich imagination. Judy believes the most powerful stories come from within, yet writers need to be highly attuned to the world around them.

She shares her process for identifying and developing strong ideas. Judy discusses the highly personal calculation every writer will make about whether to raid their own lives for material. She also talks about the importance of letting ideas percolate before committing them to paper. Judy shares the inspiration behind some of her most iconic and enduring books and characters: Margaret, Fudge, and Blubber. Learn how to tap into the childhood version of yourself to authentically relate to younger readers.

Kids have big questions and want their lives reflected in the books they read. Give kids credit—they understand more than you think. Judy explains that authors should never write as adults talking to children. Judy deconstructs how she researched her sprawling novel, which she based on series of unbelievable-yet-true events that happened in her hometown when she was a teenager. Judy calls her notebooks her security blankets.

Take a peek inside them to see how she bridged information with imagination to fictionalize a story she personally experienced. Compelling and layered characters drive stories forward and keep readers wanting to turn the page. But before that happens, writers need to get to know their characters as if they were real people.

Judy encourages you to explore voice and point of view until you land on a storytelling style that fits your characters. Realistic dialogue elevates and sharpens your characters. What characters say to each other has the power to reveal. Judy wants to help you tackle a book scene by scene, beginning with how to find your starting point.

Judy discusses how settings can act as secondary characters and how to give your book the ending it deserves. In later drafts, Judy goes deeper into character to propel a story forward. Judy shares what she always does before submitting a manuscript. She also teaches you how to write a killer query letter to find an agent.

A young editor discovered Judy in the slush pile and changed her work—and life—forever. Judy shares how she approached working with editors to arrive at the best possible version of her work. Rejection is a fact of life if you want to be a writer. Learn how Judy overcame her doubts when the letters piled up—and how she used rejection to fuel her determination. Writers should understand the power that cover art and titles can have on perception and sales.

Judy shares lessons from the trenches, as well as her view on the importance of keeping a clear sense of your own identity within an ever-changing market. Judy remains one of the most banned authors in the country, with books that are still challenged by censors. She shares her hard-earned belief that writers need to remain true to themselves and the truth of their stories. Judy started writing because she was desperate for a creative outlet. She shares how her desire to feel normal led her to create enduring emotional connections with readers who wanted to feel the same way.

When you finish this MasterClass and begin your next project, Judy urges you to foster the most powerful force in your writing life: your own imagination. You know Samuel L. Learn how Sam imbues every role with a sense of purpose and complexity of character—even if they only appear on screen for a few minutes. In this lesson, he shares the fundamentals of his characterization process. Learn how to use posture, gait, voice, and physical appearance to add complexity to your characters.

Sam directs student actors in a workshop, and the first scene on the docket is the iconic diner scene from Pulp Fiction. He pushes the students to develop a connection with Jules by imagining his life story and how he got to this moment in the diner. Sam reveals how his childhood experiences have informed his approach to character voices throughout his career, and discusses his method of developing a vocalization plan.

Sam directs the actors to perform a scene from The Negotiator in which two characters—Danny and Farley—are on opposite ends of the power spectrum. Students play the scene and then switch roles. He shows how posture works on each side of the phone as each character is pushed to their limits.

On the surface, this Kingsman scene is a simple conversation between two characters. Sam pushes the student actors to take risks and commit to their choices. Sam encourages you to nurture a sense of curiosity and explore stories set in worlds that you are unfamiliar with, so that you have a more expansive view of the characters you take on throughout your acting career.

Sam gives you this and more time-tested rules for auditioning. When you finish this MasterClass and continue your career in acting, Sam urges you to remember your responsibility to your audience—and to the world at large. Meet your new instructor: Bob Woodward. In this chapter, Bob underscores the vital role of journalism today. He also shares his belief that there are no boundaries to searching for what he calls "the best obtainable version of the truth.

Bob's guiding principles push you to get outside your comfort zone, carve your own path, and leave opinion and political slant out of your reporting. Bob explains what makes a compelling news story. He urges you to be open to changing course if a better story materializes. Bob and a group of students from his Yale journalism seminar take a deep dive into his interview with then—presumptive Republican presidential nominee Donald Trump.

In-depth reporting requires you to be persistent, focused, and proactive. Bob discusses the value of giving your case the time it deserves and getting out in the field to verify what you've learned from your research. Watergate was a pivotal moment in Bob's career. In this chapter, he shares the lessons he learned from reporting on this groundbreaking historical event. Bob teaches you the importance of documentation—both acquiring documents for your reporting, and documenting your own research.

He offers multiple ways to find written evidence to build your story. Bob explains why sources decide to share information with journalists and teaches you how to assess who to talk to when investigating a story. From establishing ground rules to strategically sharing what you already know, Bob teaches what to keep in mind as you initiate contact with sources for a story.

Bob reveals how he developed his relationship with Mark Felt, the source who became known as "Deep Throat" during the Watergate scandal. Learning how to build trust with sources is one of the most valuable lessons you can learn as a reporter. Here, Bob breaks down his approach—from expediting intimacy to maintaining your boundaries.

As a reporter, the more sources you have in your arsenal, the better your chances of unearthing valuable information. Bob shares ways to expand the scope of people who will talk to you. Bob and a group of students from his Yale journalism seminar analyze his interview with President Barack Obama about his decisions in war. Developing a relationship with a source over time can be one of the most productive endeavors a reporter can take on.

There are several important steps you should take before formally interviewing a source. From determining the best location to meet, to deciding whether to send the questions ahead of time, Bob walks you through how to prepare for your interview. Interviewing is one the most important parts of a reporter's job. Here, Bob details the best practices to follow as you question a source.

Many challenges can arise when you are interviewing someone to uncover the truth. Bob provides insight into how to push through interview obstacles, from withstanding hostility to addressing deception. From the surprising value of rejection to the importance of honest communication, Bob reveals what he's learned from the many accomplished editors he's worked with over the years, including renowned Washington Post editor Ben Bradlee.

Using examples from his own reporting, Bob discusses some common pitfalls reporters run into when developing their theory of the case. After all your investigative work and research, ultimately you have to write your story. Here, Bob shares strategies for turning what you've uncovered into a compelling piece of journalism.

From deciding what details to include to evaluating word choice, Bob provides advice on how to fine-tune your news story once your initial draft is complete. Bob explains his approach to reporting on secrets—particularly information that involves the public's safety, national security, and government intelligence.

Bob discusses how the internet has transformed the landscape of journalism. He encourages reporters to continue fighting to uncover the truth—even in the face of attacks on the media. Meet Marc. In his first lesson, the CFDA Award-winning designer describes the scope of his class, from inspiration to runway shows, and explains his goal: to inspire, encourage, and enlighten you on your journey in fashion.

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In the kitchen, the adults talk about what they should do for Christmas. Chas worries that Christmas will be a dissapointment for Chuckie, like his own childhood Christmases, and Drew wants to reaffirm Angelica's faith in Santa Claus. Betty then gets an idea to rent a cabin in the mountains with a Santa experience for their children. The other adults like this idea, and so Didi calls a travel agent while Stu looks for Christmas decorations. Back in the living room, Angelica wonders what she's going to do with the toys she got from the mall, including a box of crayons and a Reptar space helmet.

She then gets an idea when she sees Phil looking sad. He tells her that he doesn't know what to get Lil for Christmas. Angelica tells Phil that she might like a box of crayons for her favorite coloring book, and Phil is excited to hear this, when she stops him and tells him that he can only have them if he gives her his favorite Reptar doll. Phil reluctantly does so, and Angelica is satisfied with her trick, until she sees Lil.

As Didi talks to a travel agent on the phone for a place for her, her friends, and her family to spend Christmas, Drew and Chas wonder how they're going to give their children a Santa Claus experience. Chas gets an idea to dress like Santa and come down the chimney on Christmas Eve, and Drew likes that idea, under one condition, he hires a professional to play Santa, much to Chas' dismay.

Angelica asks Lil if she's looking for a Christmas present for Phil, and convinces her to trade her favorite coloring book for a Reptar space helmet for Phil's Reptar doll. Angelica is quite satisfied with herself, knowing that the twins will get something for their favorite toys for Christmas, but they won't have their favorite toys to go with them. Meanwhile, Tommy and Chuckie continue arguing over whether or not Santa's a good person, and Chuckie tells Tommy that he wishes he could catch Santa to prove it.

This gives Tommy the idea to set traps for Santa so he can tell them if he's good or bad, but Chuckie is reluctant to this idea. Lou then gathers the children around so he can tell them the story of Santa Claus. He tells them that he himself met Santa when he was a kid, and that even though Santa's old, he's still very smart, and he gives lumps of coal instead of toys to bad children.

Angelica gulps nervously upon hearing this, but Lou assures her and the babies that they're all good children and have nothing to worry about. Didi then tells the other adults that she booked a cabin, much to their delight. That night at Angelica's house, Angelica asks Drew that if it's really true that Santa gives lumps of coal instead of presents to bad children, and Drew tells her it is.

After he tucks her in, she goes to sleep, assuring herself that Santa can't know about the trick she played on Phil and Lil. Angelica has a dream that it's Christmas morning, and she gets a large pile of presents, but every present she opens is a lump of coal.

Angelica doesn't understand how Santa knew about the trick she played on Phil and Lil, but Santa assures her he does, and after telling her he got the twins new toys to replace the ones she took from them, he buries her in a pile of coal. Angelica awakens from her nightmare and asks Drew if it's Christmas.

Drew assures her that it isn't until tomorrow, and Angelica, relieved for now, resolves to make amends for what she did to the twins. In the second act, all four families with Spike in tow drive to the mountains to the cabin they rented. Angelica wants to talk with Phil and Lil, when Betty arrives and tells the twins she's taking them to chop down a Christmas tree, much to Angelica's ire.

As Lou unsuccessfully tries to put up the Christmas decorations, Chuckie asks Tommy if he's sure he wants to set traps for Santa, but Tommy assures him that Santa is nice, and the two browse the cabin for places to set traps. They decide to block the front door including the dog door and the dining room windows, but ignore the chimney, thinking that no one in their right mind would come down it, not realizing that that's how Santa always enters a house. In the kitchen, Chas and Charlotte are cooking dinner.

Charlotte is on the phone with Jonathan, her assistant, when Angelica asks her if she can go with Aunt Didi to chop down a tree. Charlotte gives her her permission, and as she tries to talk to Jonathan again, Stu tells her he's glad she could get away from work and spend the holidays with them. Charlotte assures Stu that it is Christmas, the season of love and joy, before getting back to Jonathan. Betty dresses Angelica and the twins in their winter clothes as Didi tells her she got an axe.

Betty tells her that she got her permit, and they're ready to chop down a tree. They go outside, and Betty and Didi look for a christmas tree to chop down. When Didi finds one she deems perfect, she refuses to let Betty chop it down. Meanwhile, Angelica tries to make amends with Phil and Lil, but gets separated when she falls onto her sled and it slides down the hill. Lou finishes putting up the Christmas decorations, and he's got the bruised fingers to prove it.

All the families then gather together to eat dinner, and Angelica asks Didi if a kid would still be brought a lump of coal if she tried to make up for something bad she did, but couldn't fix it. Didi assures Angelica that she's a good girl, then Stu notices that Tommy and Chuckie are getting tired. Betty decides it's time to put the babies to bed, much to Angelica's dismay. After Didi and Betty tuck Tommy, Chuckie, Phil, and Lil into their cribs, Tommy awakens and tries to convince his friends to stay awake so they can hear if their traps go off.

Unfortunately, they all fall asleep, and Tommy realizes he's on his own, before he too, falls asleep. Downstairs, as the other adults sing Christmas carols, Chas puts on his Santa Claus costume. Angelica passes by him, deeply regetting playing a trick on Phil and Lil. Drew calls the actor he hired to play Santa, who tells him he's able to come. Miriam Flynn. Angel Parker.

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