- Lost Girl is a Canadian supernatural crime drama television series that premiered on the Showcase Television network on Sunday, September 12, 2010.
- The Lost Girl is a novel by D. H. Lawrence, first published in 1920. It was awarded the 1920 James Tait Black Memorial Prize in the fiction category. Lawrence started to write 200 pages of it in 1913 and abandoned it before he finished it in 1920.
- (Lost Girls) Lost Girls is a graphic novel depicting the sexually explicit adventures of three important female fictional characters of the late 19th and early 20th century: Alice from Alice's Adventures in Wonderland, Dorothy Gale from The Wizard of Oz, and Wendy Darling from Peter Pan.
- (episode) a brief section of a literary or dramatic work that forms part of a connected series
- (episode) a part of a broadcast serial
- A finite period in which someone is affected by a specified illness
- (episode) a happening that is distinctive in a series of related events
- Each of the separate installments into which a serialized story or radio or television program is divided
- An event or a group of events occurring as part of a larger sequence; an incident or period considered in isolation
- This lets the dictionary give both a class_ type and the additional information that a list of objects of that type is expected. Here’s an example from the iTunes dictionary:
- Security Guard Companies Karachi Pakistan Listings and Businesses. List Of Security Guard Companies Karachi Pakistan Mera Pakistan Directory
- An array whose items are; as in 'list of 3-item lists'.
list of lost girl episodes - Chappelle's Show
Chappelle's Show - Season 2
Comedian Dave Chappelle hosts this sketch-comedy show that parodies many of the nuances of race and culture.All 14 uncensored and unblurred episodes Extra stand-up comedy from Dave Over 1 hour of bloopers and deleted scenes 2 unaired Charlie Murphy stories The Rick James extended interview Audio commentary by Dave Chappelle and series co-creator Neal Brennan
Dave Chappelle's shrewd parodies, stinging satires, and boldly imaginative fantasias simply pour from the second season of his Comedy Central show, in every respect as funny as his well-received debut year. The structure is the same: a relaxed Chappelle introduces each sketch to an enthusiastic, studio audience (some of these introductions amount to stand-up routines), and then the madness begins. Among the many highlights from the 13 episodes on this boxed set's three discs is a mock ad for Samuel L. Jackson beer, featuring Chappelle's hilarious impression of Jackson's stern, overbearing persona from Pulp Fiction, and a dozen other features. Chappelle, considering a career in politics, floats a couple of trial campaign commercials, including one that promises to solve America's health care crisis by giving every citizen a fake Canadian I.D. Chappelle also suggests an effective program for teaching sexual abstinence to high school students: Forcing them to watch their principals have sex with the oldest female teachers on staff.
There's a good bit, too, about black soothsayer Negrodamus, whose ability to foresee events is limited to the fortunes of celebrities. Coming under fire (amusingly) are those McDonald's commercials suggesting that burger-flipping employment for African Americans can overhaul inner city communities. But, as with season 1, there are several masterpieces in this collection as well, such as Chappelle's vision of what the Internet would look like if it was a place you could actually, physically visit (with the equivalents of pop-up ads, porn sites, etc.). Equally inspired is a sketch in which a freeloading Chappelle, having impregnated the ultra-rich Oprah Winfrey, indulges his every whim. Best of all is Chappelle's take on what President Bush's administration would look like if the Chief Executive were, in fact, a black man. --Tom Keogh
The Nothing of the Everyday: My Favorite Albums from the Decade, or the Century Thus Far
Yo La Tengo - And Then Nothing Turned Itself Inside-out
Autumn is my favorite time of the year. After all, autumn is when the frivolity of summer turns serious with the waning sunlight. The leaves come alive in new and surprising colors with a willful determination to survive -- if only to hold on a little bit longer. The skin-clad girls of summer begin to take notice of the need for clothing; style is back in style. And the chill in the air forces you to be conscious of every breath. So it is no coincidence then that my favorite album from this decade, Yo La Tengo's And Then Nothing Turned Itself Inside-out, opens by heralding the end of summer ("Everyday"):
I want summer's sad songs behind me / I want to laugh a minute without fail
To equate summer with sadness is plain nonsense for most conventional minds. But for, us, the children of Hank Williams, Nick Drake, and Lou Reed, this sounds like the words of a sage.
I've spent more hours and minutes with And Then Nothing Turned Itself Inside-out than with any other album from this decade. An album that stands by your side for 10 years, in all and every occasion, is something to behold (some friendships don't last as long). It sounds good in the morning with coffee and its contemplative lyrics give relief to the confusion of days. The music settles in with you when the lights are dimming. In these 10 years, this album was for me like the bottle is for the alcoholic (or the Bible is for the fanatic).
For a band that is no stranger to raucous guitar freak-outs and noisy codas, the music here patiently waits its turn to turn and explores the subtle ways in quiet things can be quite deafening. The thick roar of guitars and bashed drums move aside -- if for a moment -- for muted, brushed drums and hushed voices. The glory of the rock and roll spectacle gives way to the drama of the everyday. And like cinema verite, there's a lot more lurking in ordinary things. When the band finally dials up the volume, it feels like nothing less than the reinvention of rock and roll ("Cherry Chapstick").
In these songs, Yo La Tengo infuse the parlor drama of domestic and personal discord with their well-known irreverence and pop culture erudition. They name-check the likes of Paul Le Mat (look it up), Kate Moss, and Anita Ward; make oblique references to Thomas Pynchon, the Who's "I Can't Explain," and some unspecified song that goes "Let's be happy/Don't be lonely"; and even manages to give script to a fictional film from an episode of The Simpsons ("Let's Save Tony Orlando's House").
And after 60 minutes of richly-carved music, Yo La Tengo add another layer of drama with the set closer, "Night Falls in Hoboken." What starts out as a thoughtful, if oblique, acoustic folk number slowly dissolves into a cascading pool of undulating dissonance and feedback. But there's no roar here, just small waves of sound dissolving into sound. 17 minutes later, and nearly 12 minutes after the last lyric is heard, the music settles into a whir of accidental loops set to a gentle patter of percussions. It sounds like this can go to infinity... and to my ears, the music never ends.
I don't want to bore you with the minute (and long-winded) details from the remainder of my list.
Here then are other albums from this decade (or century, if you will) that I loved (this one goes to 20):
Joanna Newsom - Ys
Gillian Welch - Time (The Revelator)
Radiohead - In Rainbows
Low - Things We Lost in the Fire
Modest Mouse - The Moon and Antarctica
Wilco - Yankee Hotel Foxtrot
Ryan Adams - Heartbreaker
Bjork - Vespertine
Joanna Newsom - The Milk-Eyed Mender
Lambchop - Is a Woman
Sleater-Kinney - All Hands on the Bad One
Radiohead - Kid A
Tom Waits - Orphans: Brawlers, Bawlers, and Bastards
Low - Trust
Beth Orton - Comfort of Strangers
Matt Sweeney & Bonnie "Prince" Billy - Superwolf
The Yeah Yeah Yeahs - It's Blitz!
Bob Dylan - Modern Times
Califone - King Heron Blves
Special Jury Prize:
Neil Young for Greendale and Living with War - The Old Man filled this decade with two of the strangest albums ever committed to wax cylinder, tape or hard drive: the former is a novel about a small-town American family that is set to rock songs, and the latter is a cycle of anthems that reflect on the war in Iraq, backed by a large choir. In terms of sheer conviction and moxie, Neil Young struck gold.
Meg Baird - Dear Companion
Bob Dylan - "Love and Theft"
PJ Harvey - White Chalk
Willie Nelson - You Don't Know Me: The Songs of Cindy Walker
Jim O'Rourke - Indifference
Sparklehorse - It's a Wonderful Life
Yo La Tengo - Sounds of the Sounds of Science
In honor of the release of "Lost Girls" (which actually won't come out in the UK until Jan, 2008), Alan Moore and Melinda Gebbie gave a talk at the Institute of Education in London. The talk was moderated by "comedian, broadcaster and comic fan" Stewart Lee.
Projected behind them you can see the covers for a few of the volumes of the book.
list of lost girl episodes
The intrigue and danger continues in Darker Than Black: Gemini of the Meteor. Hei – aka the masked killer, BK-201 – encounters Suo, a young Russian girl whose life changed the night a meteor fell to Earth. With Contractors attacking from all sides, and the mysterious organization Section 3 closing in, Hei must fight to keep Suo alive.
The second season of Darker than Black, Gemini of the Meteor (2009), takes place two years after the events in season one. Hei (a.k.a. the Black Reaper, a.k.a. BK201) is a Contractor, a human with mysterious powers. Although he loses his ability to manipulate electricity, he still swings around and strangles enemies with a sort of piano-wire whip. For this adventure, he's paired with Suo, a middle-school girl who has some Contractor powers, but retains human emotions. They're joined by Mao, a former Contractor who took the form of a talking black cat in season one, but who is now a flying squirrel, and the nearly mute Doll July. As Suo searches for her eerily powerful twin brother Shion, Hei teaches her to shoot, fight, and outmaneuver CIA agents and assorted other bad guys. Hei is trying to find Yin, his partner from season one: she and Shion are the keys to an elaborate prophecy involving the future of humanity. Gemini of the Meteor is even more confused and confusing than season one. Characters appear, then disappear, only to reappear several episodes later. Hard-hitting action sequences alternate with talky, static ones, in which the characters try to sort out the hopelessly tangled plot. Suo is apparently a clone Shion created of himself, but it's not clear whether the original Suo died in an explosion in her father's lab or in a meteor strike in Siberia--or both. Her relationship with the often brutal Hei recalls the murderous moppets and their coaches in Gunslinger Girl. The series ends on an inclusive note as a lead-in to a possible season three. The four-part OVA Side Story acts as a sort of bridge between seasons one and two. (Although these episodes are on the second disc, the viewer should watch them first.) Hei and Yin, who has evolved into a Doll with potentially world-altering powers, try to evade the attacks of their foes, especially the shape-shifting Shichi, as they visit Okinawa, Hong Kong, and the tropics. There are hints of an intriguing story underlying Darker than Black, but it gets lost in a labyrinth of flashbacks, dreams, and visions. (Rated TV MA: violence, violence against women, nudity, grotesque imagery, transvestitism, suggested lesbianism, gore, alcohol and tobacco use) --Charles Solomon
(1. Black Cats Do Not Dream of Stars…, 2. Fallen Meteor…, 3. Vanishing in a Sea of Ice, 4. The Ark Adrift on the Lake, 5. Gunsmoke Blows, Life Flows, 6. An Aroma Sweet, a Heart Bitter, 7. The Doll Sings in the Winter Wind, 8. Twinkling Sun on a Summer Day, 9. They Met One Day, Unexpectedly, 10. Your Smile on a False Street Corner, 11. The Sea Floor Dries Up and the Moon Grows Full, 12. Ark of Stars)