Clean House Tv Program

clean house tv program
    clean house
  • Clean House is a home makeover and interior design television show, originally broadcast in 2003 which has aired 9 seasons of programs on the Style Network. Hosted by Niecy Nash, the show brings a four-person cleanup-and-renovation crew to the homes of families to clean up clutter.
  • houseclean: clean and tidy up the house; "She housecleans every week"
  • The following is an episode list for the MTV animated television series Beavis and Butt-head. The series has its roots in 1992 when Mike Judge created two animated shorts - "Frog Baseball" and "Peace, Love & Understanding" - which were later aired on Liquid Television.
    tv program
  • (TV programming) Broadcast programming, or scheduling, is the practice of organizing television or radio programs in a daily, weekly, or season-long schedule.
  • television program: a program broadcast by television
clean house tv program - TV Formats
TV Formats Worldwide: Localizing Global Programs
TV Formats Worldwide: Localizing Global Programs
Beginning around 2003, the growth of interest in the genre of reality shows has dominated the field of television studies. However, concentrating on this genre has tended to sideline the even more significant emergence of the program format as a central mode of business and culture in the new television landscape. TV Formats Worldwide redresses this balance and heralds the emergence of an important, exciting, and challenging area of television studies. Topics explored include reality TV, makeover programs, sitcoms, talent shows, and fiction serials, as well as broadcaster management policies, production decision chains, and audience participation processes. This seminal work will be of considerable interest to media scholars worldwide.

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The Flesh is Weak
The Flesh is Weak
John Derek and Martin Benson as Tony & Angelo Giani JOHN DEREK (1926 - 1998) WITH HIS dark, wavy hair and clean-cut handsomeness, John Derek became a favourite film star of teenagers in the early Fifties, but never fulfilled the promise as an actor that his early performances in such films as Knock on Any Door and All the King's Men suggested. He eventually concentrated on photography and film production, and became best known as the husband and Svengali-like manager of Bo Derek. Born Derek Harris in Hollywood in 1926, he had a film-oriented background, his father being the silent film-maker Lawrence Harris and his mother a minor film actress, Dolores Johnson. The producer David Selznick put him under contract as a teenager, and gave him small roles (billed as Derek Harris) in the Selznick productions Since You Went Away (1944, as a boyfriend of Shirley Temple) and I'll Be Seeing You (1945, as a sailor). After war service, he was cast in the important role of a young man prompted by social conditions to turn to a life of violent crime in Nicholas Ray's Knock on Any Door (1949). Produced by Humphrey Bogart's Santana company, it starred Bogart as a lawyer who defends a boy on a murder charge, and though unsuccessful (Derek is sentenced to death), makes a strong plea for the erosion of the social injustices which cause such delinquency. As a hardened youth, whose dictum is to "live fast, die young and make a good-looking corpse", Derek made a favourable impression and was immediately cast in Robert Rossen's All The King's Men (1949) as the disillusioned adopted son of an initially honest politician corrupted by power. Derek's sincere performance in the Oscar-winning film was critically praised, but Santana, having brought Dorothy Hughes' book In A Lonely Place as a vehicle for Derek, instead converted the hero to an older man so that Bogart could do it. Had Derek starred in this Nicholas Ray masterpiece his career might have progressed differently. Instead, capitalising on his popularity with the young, Columbia, who had acquired his contract, starred him in several popular but routine swashbucklers including Rogues of Sherwood Forest (1950, as the son of Robin Hood), Mask of the Avenger (1950), Prince of Pirates (1952) and The Adventures of Hajji Baba (1954). David Miller's Saturday's Hero (1951) was a good expose of colleagues who promote sport over study, with Derek in fine form as a student who discovers his esteem vanishes when an injury curtails his prowess on the football field. Nicholas Ray used him again to star with James Cagney in the western Run For Cover (1955), but the director Fred Zinnemann refused to consider the studio's request that he cast Derek in the prime role of Prewett in From Here To Eternity (1954), stating that either Montgomery Clift played it or he would not direct. Cecil B. De Mille cast him in the important role of Joshua in The Ten Commandments (1956) when Cornel Wilde turned the part down, and he had a good role in Otto Preminger's epic of the founding of Palestine, Exodus (1960), but most of his other roles were in minor films and, after spending a season in the television series Frontier Circus (1961), he decided to develop his increasing interest in still photography and film production. The actress Ursula Andress had become his second wife (his first was the starlet Patti Behrs), and in 1964 he co-produced Nightmare in the Sun, an exploitation movie starring Andress and directed by the former actor Marc Lawrence who made the film in 15 days. "Derek promised to allow his wife Ursula to do a nude scene with Aldo Ray," Lawrence later wrote, "but the day before shooting he changed his mind. Years later he did a nude layout of Ursula for Playboy and got $15,000 for his art." The following year Derek himself directed Andress in Once Before I Die, a war story about a bunch of soldiers (including Derek) and a lone woman trying to survive in the Philippines - slow-moving and self-consciously photographed, it was given a limited release. Derek's marriage to Andress ended when she embarked on an affair with the French actor Jean-Paul Belmondo, and he next married the actress Linda Evans, who starred in another little-seen movie directed and photographed by Derek, Childish Things (1969). In 1972, Derek fell in love with Mary Cathleen Collins, a 16-year-old Californian (younger than his son and daughter) who was acting in a film he was directing in Greece, Fantasies. To avoid legal complications, he took her to Germany and as soon as she turned 18 he divorced Evans to marry her, also taking charge of her career. As Bo Derek, she became famous starring with Julie Andrews and Dudley Moore in Blake Edwards's 10 (Bo epitomising in the film the ultimate score that a woman could achieve for desirability), starting a new fashion craze with her cornrow hairstyle. The guidance she accepted afterwards from her husband is generally considered to have
Adam Faith
Adam Faith
Adam Faith (1940 - 2003) One of the first generation of home-grown British pop stars, he remained in the public eye first as an actor and then as a businessman Adam Faith, who has died of a heart attack aged 62, was one of Britain's leading pop singers in the early 1960s. One of the first generation of home-grown British stars, he vied for popularity with Billy Fury and Cliff Richard. His brief career as a pop idol was eclipsed when guitar groups, such as the Beatles, took over and his style of beat ballad seemed outmoded. But he did not disappear from the limelight. Instead, he reinvented himself several times, as music businessman, financial expert and, in particular, as an actor. His acting career reached a peak in 1971 when he starred in the television series Budgie, scripted by Keith Waterhouse. He was born Terence Nelhams in Acton, west London, the third of five children of a coach driver and an office cleaner. After leaving school, he worked in the film industry, progressing from messenger boy to assistant film editor. He was inspired to form the Worried Men skiffle group in 1956 by Lonnie Donegan's recording of Rock Island Line. As Faith said in his first autobiography Poor Me (1961): "Skiffle hit Britain with all the fury of Asian flu. Everyone went down with it." Faith later repaid his debt by producing a 1978 comeback album for Donegan, Puttin' On The Style. While performing at the Two Is coffee bar in Soho, in a live broadcast for BBC TV's 6-5 Special show in 1958, Nelhams caught the eye of producer Jack Good, who told him that he could be a successful singer with a change of name. Good gave him a book of Christian names from which Terry picked Adam from the boys section and Faith from the girls. His big break came when John Barry, the musical director of 6-5 Special, recommended him to Stewart Morris, the producer of a new TV series, Drumbeat. Morris created the moody Adam Faith image by ordering him to cut his James Dean-style mass of blond hair and forbidding him to smile on camera, resulting in Faith's trademark "sunken cheek, hungry look". His first recording, in 1959, for the Parlophone label, What Do You Want, was masterminded by John Barry, songwriter Johnny Worth and producer John Burgess. They reinvented Faith as an Anglicised Buddy Holly with Barry's pizzicato string arrangement and quirky vocal mannerisms like the oddly pronounced "biya-bee" for "baby". The record was soon selling 50,000 copies a day and became No 1 in the hit parade and the first of Adam's 16 Top 20 records over the next five years. His other hits included Poor Me, Who Am I, Someone Else's Baby and Lonely Pup (In A Christmas Shop). Adam Faith was quickly established as a teen-idol. From 1960 to 1962, he appeared in the films Beat Girl, Never Let Go, What A Whopper! and Mix Me A Person, a psychological drama which established his acting credentials. John Barry's scores for three of the films provided the springboard for his subsequent work for the James Bond series. Such was his instant celebrity that in December 1960 Adam Faith was interviewed on the BBC TV programme Face To Face by John Freeman to whom he revealed that his favourite composers were Sibelius and Dvorak and his favourite book Catcher In The Rye. In the words of pop pundit Nik Cohn, Faith thereby introduced "the concept of pop singer as thinker". By 1963, in order to compete with the new popularity of groups such as the Beatles, Adam Faith hired the Roulettes to accompany him on his live appearances and commissioned songs from a younger writer, Chris Andrews. Nevertheless, by 1967, Faith's star had waned and recognising that "the worst thing in the world is to be an ex-pop singer doing the clubs" he focussed on an acting career. He toured as the lead in Keith Waterhouse and Willis Hall's Billy Liar, appeared as Feste in Twelfth Night and with Dame Sybil Thorndyke in Emlyn Williams' Night Must Fall. His role in Budgie, as the diffident small-time crook, suited Faith's stage persona and the show ran for several seasons. In 1988 a stage musical version was produced. In the early 1970s, Faith returned to the music business as a manager and producer rather than a performer. While touring in 1964 he had discovered the singer Sandie Shaw and now he recognised the potential of Leo Sayer. Faith managed him until 1985 when the relationship soured and Sayer sued Faith for unpaid earnings. Faith also coproduced Sayer's early albums and the first solo album by The Who's Roger Daltrey in 1973. In August 1973 he was seriously injured in a car accident, an event that he described later as the turning point of his career. The crash inspired the title song of I Survive, Faith's first recording for seven years. Although the album received good reviews, it was not a commercial success and it marked the end of his singing career. In 1974 he returned to film acting. Producer David Puttnam per

clean house tv program
clean house tv program
Undead TV: Essays on <I>Buffy the Vampire Slayer</I>
When the final episode of Buffy the Vampire Slayer aired in 2003, fans mourned the death of the hit television series. Yet the show has lived on through syndication, global distribution, DVD release, and merchandising, as well as in the memories of its devoted viewers. Buffy stands out from much entertainment television by offering sharp, provocative commentaries on gender, sexuality, race, ethnicity, and youth. Yet it has also been central to changing trends in television production and reception. As a flagship show for two U.S. “netlets”—the WB and UPN—Buffy helped usher in the “post-network” era, and as the inspiration for an active fan base, it helped drive the proliferation of Web-based fan engagement.
In Undead TV, media studies scholars tackle the Buffy phenomenon and its many afterlives in popular culture, the television industry, the Internet, and academic criticism. Contributors engage with critical issues such as stardom, gender identity, spectatorship, fandom, and intertextuality. Collectively, they reveal how a vampire television series set in a sunny California suburb managed to provide some of the most biting social commentaries on the air while exposing the darker side of American life. By offering detailed engagements with Sarah Michelle Gellar’s celebrity image, science-fiction fanzines, international and “youth” audiences, Buffy tie-in books, and Angel’s body, Undead TV shows how this prime-time drama became a prominent marker of industrial, social, and cultural change.
Contributors. Ian Calcutt, Cynthia Fuchs, Amelie Hastie, Annette Hill, Mary Celeste Kearney, Elana Levine, Allison McCracken, Jason Middleton, Susan Murray, Lisa Parks

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