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CAPSULES - News and Opportunities for Christians Doing Creation Justice
The Paris Agreement: What's Next? - Mary Minette, Evangelical Lutheran Church in America (January 27, 2016)
Thou Shalt Not Toss Food - NPR News (January 19, 2016) Creation Justice community members are among those leading the charge to prevent food waste. PC(USA) Ferncliff Camp & Conference Center, ELCA & PC(USA) Parroquia San Jose, & UCC Plymouth Congregational in Minneapolis get shout outs from NPR.
Religious Leaders Welcome Efforts to Curb Methane Pollution - Creation Justice Ministries (January 22, 2016) The Department of Interior proposed new actions to curb methane emissions on public and tribal lands. Read responses Christian faith leaders of Colorado, New Mexico, Wyoming, and Utah.
SPOTLIGHT: Christian Communities Respond to the Flint Water Crisis
(Creation Justice Ministries will update this as more news becomes available.)
Christian Communities Call on Government to Act Swiftly to Heal Injuries Inflicted on the People of Flint, Michigan Creation Justice Ministries (February 8, 2016)
National Baptist Convention of America letter to their members regarding the Flint water crisis (February 11, 2016)
West Virginia Council of Churches sends letter of solidarity. They know what it is like to have poisoned water. (February 9, 2016)
National Council of Churches Podcast: Rev. Robert Blake of Vernon Chapel African Methodist Episcopal in Flint, MI & Shantha Ready Alonso of Creation Justice Ministries on the Flint Water Tragedy
Advocacy Alert: Support Federal Government Funding for Flint Relief Efforts - Evangelical Lutheran Church in America (February 1, 2016)
Three Things You Can Do for Flint - Rev. Brooks Berndt, United Church of Christ (January 22, 2016)
Presbyterian Disaster Assistance is regularly updating on relief efforts.
Week of Compassion responds with clean water deliveries.
Episcopal Church considers long term solutions for Flint.
Bishop's Appeal from the United Methodist Michigan Conference supports the United Methodist Committee on Relief.
Read about one church's experience as a water distribution center: First Church of the Brethren in Flint
It's time to start making plans to celebrate Earth Day Sunday 2016 in your congregation. Earth Day Sunday can be recognized on the Sunday before or after Earth Day: April 17 or 24. Earth Day Sunday 2016's theme is Care for God's Creatures. As always, it includes liturgical resources, Bible study material, and invitations to take action. Download it now. Please consider making a donation.
The Arctic Refuge is being threatened by a combination of climate change and development pressures. Alaska Natives depend on the Arctic Refuge for their spiritual and physical wellbeing, and have called for its protection for generations. Stand with Alaska Natives to protect the Arctic Refuge by signing and sharing this petition.
Lent is around the corner, and Christian artist Mary Button has created a Stations of the Cross: Climate Change resource that is absolutely beautiful. Purchase coloring books, poster-size coloring prints, and downloads for as little as $10.
Presbyterian Church (USA) is offering a Tread Lightly for Lenten action-reflection calendar.
Eco-Spirituality offers a Lenten devotional focused on Pope Francis's encyclical, Laudato Si'.
God's Earth is Sacred is a compilation of insights from Christian theologians and eco-practitioners. Available now on Kindle.
Find a compilation of news clips, videos, and educational resources from the Episcopal Church, PC(USA), ELCA, United Methodist Church, and others from the COP 21 Paris Climate Negotiations at Creation Justice Ministries' Storify.
Eco-America's Blessed Tomorrow program, for which Creation Justice Ministries is a co-founding partner, just released a climate change messaging research report. Read the report.
Find information about the Christian Food Movement at a new site curated by Episcopal priest Rev. Nurya Love Parish.
First Christian Church in Black Mountain, Oregon has gone solar! Read about how they did it.
Retired United Methodist pastor, poet, and songwriter Rev. John Pitney is building a net zero energy house in McMinnville, Oregon. He invites anyone who wants to learn from him about how to build net zero to get in touch with him. See his house.
Ebenezer Baptist Church, where Rev. Dr. Martin Luther King was pastor until 1968, recognized Martin Luther King day by organizing "Street Teams for Energy Efficiency." See the photos on Facebook.
Power Your Home with Wind: Join Groundswell and Creation Justice Ministries for a briefing on how to switch your home energy source to wind power. Webinars will be online February 24 and March 25. Sign up at www.creationjustice.org/wind
Learn & Pray for New England's Ocean Treasures on March 12 from 1:30-3:30 in Providence, Rhode Island. Join Creation Justice Ministries and the Rhode Island Council of Churches to learn about a proposal for the first national monument in the Atlantic Ocean. After the teach-in, we will be led by Fr. Andrew George of the Greek Orthodox Church in a Blessing of the Waters ceremony. www.creationjustice.org/ocean-treasures
Save the Date: Pittsburgh, Pennsylvania Eco-Impact Tour on April 9. Email shantha (at) creationjustice.org for more details.
United Methodist Caring for Creation Conference, which will be Friday-Saturday, April 8-9 at Decatur (Georgia) First United Methodist Church, 300 E. Ponce de Leon Ave. This year's focus is on food systems. Keynote speakers include Norman Wirzba of Duke University, Jennifer Ayres of Emory University's Candler School of Theology, and Alice Rolls of Georgia Organics. Scholarships are available. Register today.
Ecumenical Advocacy Days 2016: April 15-18 in Washington, DC. "Lift Every Voice! Racism, Class and Power." Creation Justice Ministries is coordinating eco-justice workshops. Learn more at www.advocacydays.org


As a result of the recent weather events on the east coast, Franklin Electric's Water Systems Technical Hotline has been receiving a high number of calls concerning the use of generators with submersible installations. In order to provide an easy reference for all, it makes sense to review generator sizing here in Franklin AID.
Note: The use of generators must follow all local, state, and national electrical codes. ALWAYS consult these codes before installing a generator. In addition, make sure the generator is properly ventilated and that you are familiar with its operating instructions before putting it into use.
Guidelines specific to using an engine driven generator with a Franklin submersible motor can be found on page 5 of the Franklin Electric AIM (Application, Installation, and Maintenance) Manual.
To determine proper sizing, refer to Table 5 on page 5 of the AIM Manual. (Click the illustration above for a close-up view.)Note that the numbers in the sizing chart apply to both 3-wire and 3-phase motors. If it's a 2-wire installation, the minimum generator sizing is 50% higher than listed in the chart. This is because of the higher starting current required for 2-wire motors.
Also note that the sizing chart only applies to one submersible motor. If other devices are being powered, they must be identified along with their power consumption. Even though some of these items may not run continuously, they still need to be taken into account, per the generator manufacturer's recommendations.
The frequency of the voltage delivered by the generator will be a function of the engine's RPM. Motor speed varies with the frequency of the output voltage, and since pump affinity laws relate power to performance, generator sizing can have significant impact on pump output. For example, if the generator is putting out a voltage at a frequency that is below 60 hertz, the pump will not meet its performance curve. Likewise, if the frequency is above 60 hertz, it may overwork the motor and trip its overloads. The generator manufacturer's instructions will contain guidance on how to adjust the generator's frequency. Of course, you'll also need a voltmeter that measures frequency. Most of today's digital voltmeters contain this function.
More critically, a transfer switch also functions as a safety device to isolate the utility electrical supply from the generator. Without a transfer switch, the generator can back feed into the utility lines and, in a worst case scenario, cause serious injury or death. Unfortunately, the transfer switch is one of the more commonly overlooked safety devices required by the National Electrical Code (NEC).
Code also requires that the generator be properly grounded in order to protect against electrical shock in the event of a fault. Like all electrical conductors, the ground wire must be correctly sized for the load it is designed to carry.
Hopefully, you won't find yourself in a no-power situation that necessitates using an engine-driven generator. In the event that you do, taking appropriate precautions and following this protocol will help make sure you can get your Franklin sub back online.
In the last post, we reviewed how SubMonitor protects a three-phase motor against high or low voltage and how the default settings of plus or minus 10% nameplate voltage provide the optimum protection in just about every installation. However, if for some reason more voltage tolerance is required, we covered how SubMonitor's DETAILED SETUP allows the voltage trip points to be set up to plus or minus 20% of the motor's nameplate voltage.
In this post, we'll look at how SubMonitor protects against overload and underload conditions. The classic case of an overload is a bound or dragging pump. In this scenario, the motor is being asked to do more than it has been designed to handle and must pull an excessive amount of current. This higher amperage overheats and damages the motor.
At the other end, an underload can be caused by a dry well, a broken coupling, a loose impeller, or a blocked inlet. In these cases, the motor is saying, "I'm not working nearly as hard as I should be. That means I'm not moving as much water as I should be and something must be wrong." An underload condition won't damage the motor, but it can indicate a dry well condition which will destroy the pump. An underload condition could also indicate a lack of cooling flow past the motor.
In any case, an overload or underload condition indicates that something is wrong with the installation and corrective action is needed. A reliable indication of both an overload and an underload is the amount of current the motor is consuming. SubMonitor measures current via three current transformers built-in to the unit. These are sometimes called the sensor coils. These coils continuously measure the amount of current in each motor leg. One can almost think of the three sensor coils as three separate Amprobes, one for each leg, continuously measuring current.
Using its three sensor coils, SubMonitor is always monitoring for an overload or underload condition. The default setting for an overload condition is 115% of the motor's service factor amps. For example, from the Franklin Electric AIM Manual, a Franklin 6-inch, 460V, 40 horsepower submersible motor has service factor amps of 61.6. So, in the default mode, SubMonitor will take this motor off-line if any leg exceeds 70.8 amps (61.6 x 115% = 70.8). If this occurs, SubMonitor will leave the motor off-line for 10 minutes and then attempt a restart. SubMonitor will do this three times, but if after three attempts, the motor is still overloaded, SubMonitor will keep the motor off-line until the issue is corrected and SubMonitor is manually reset.
Just like the voltage protection, the above settings can be customized using DETAILED SETUP. The overload trip point can be set from 80% to 125% of service factor amps. The off-time can be customized from the default setting of 10 minutes to anywhere between 5 and 60 minutes. The number of attempted restarts can adjusted from 0 to 10.
Underload works the same way, but of course, with different numbers. The SubMonitor underload default is 75% of service factor amps. So, in the case of our motor above with service factor amps of 61.6, the underload trip point will be 46.2 amps (61.6 x 75% = 46.2). If SubMonitor senses an underload, it will leave the pump shut down for 30 minutes. In the case of a dry well, this may allow the well to recover. Once again, three restarts will be attempted before a manual reset is required. If a shorter or longer off-time is needed, it can be adjusted from 10 to 120 minutes, and the number of restarts set from 0 to 10. In terms of the underload setting itself, it can be adjusted all the down to 30% of service factor amps (less sensitive) and up to 100% of service factor amps (more sensitive).
Even though SubMonitor offers a great deal of customization on the overload and underload settings, note that in nearly all cases, the default settings are the optimal settings and will do the best job of protecting the installation while minimizing false trips.
SubMonitor's overload and underload monitoring deals with the values in each leg of a three-phase motor. But there's another current parameter here that is just as important, and that's the balance between the three legs. We'll look at that in the next post.
In our last post, we started a series on SubMonitor. By way of a quick review, SubMonitor is one of the three types of overloads used for 3-phase submersible installations. The three types are heaters, adjustable solid state, and electronic. SubMonitor falls into the last category and although SubMonitor is classified as an electronic overload, it offers far more than simple overload protection. In the next few weeks we'll take a look at all the capabilities and flexibility SubMonitor offers.
All overloads for Franklin submersible motors must be Class 10 Quick Trip. This means they must take the motor off-line within 10 seconds of the motor reaching five times service factor amps. Overloads must also be ambient compensated, meaning they must trip consistently at the same overload value regardless of the ambient temperature. Ambient compensated overloads must always be used when the motor and the overloads are in different locations and therefore at potentially different temperatures. In the case of a submersible installation, the overloads are in the panel above ground and the motor is obviously submerged underwater. As a result, they will be at different temperatures and hence the need for ambient compensation.
In our last post we touched on SubMonitor and its capabilities. Over the next several weeks, we'll take a closer look at SubMonitor and what a critical role it can play in protecting a 3-phase installation.
Before we get into the details of SubMonitor and all of its capabilities, let's look at it in the context of overloads in general. Although SubMonitor offers far more protection than just as an overload, it functions primarily as an overload.
Overloads play an important role in protecting submersible electric motors from overheating. There are two primary conditions that cause a motor to overheat and fail: a lack of cooling flow past the motor, and high current (amp) condition. While the first condition is straightforward, a high current condition may be caused by several factors including low voltage, high voltage, a ground fault, or an imbalance in a 3-phase system. Regardless of reason, power needs cut when the motor overheats. The type of protection used dictates motor survival; if you're using the wrong overload, the motor won't survive.
Overloads for all Franklin Electric submersible motors must be Class 10, Quick Trip, meaning it must take the motor off line within 10 seconds of the motor reaching five times service factor amps. These overloads must also be ambient compensated. That is, they must trip consistently at the same value regardless of the ambient temperature.
In the case of Franklin Electric single-phase submersible motors, Franklin Electric always supplies the overload, either in the motor itself or in the control box.
With Franklin Electric 3-phase motors, however, a 3-phase panel is needed with the required overloads inside the panel. These overloads need to be specified and supplied by the installer or electrician.
The most basic type of 3-phase overload is what's called a heater. These are the oldest and most conventional. As current increases in the overload, the "heater" causes a bimetal contact to bend, thereby opening the circuit.
Despite motor type, if you are working with a 3-phase system, all the work of picking the right overload is done for you on page 29 of the AIM Manual. Here, you will find the proper Class 10, Quick Trip overloads, both heater- and adjustable-type.
Now that we have reviewed overloads and their functionality, we can look more deeply into what sets SubMonitor apart from typical overloads.
Join us next week as we start a series on the SubMonitor and all that if offers in system protection.
While Pumptec and its extended family are great options for protecting single-phase systems from adverse conditions, what kind of protection is offered for three-phase systems? This week's Franklin AID will answer that very question.
In our last post we discussed Pumptec and how it protects single-phase submersible systems from damage. The protection doesn't stop there, however. Franklin offers two other members of the Pumptec family, specifically designed for Franklin single-phase motors.
QD Pumptec is very much like Pumptec in functionality and how it works, but in a smaller, unique package that quickly installs in a QD Control Box. Using power factor to monitor Franklin 230V submersible motors from ½ to 1 horsepower, QD Pumptec protects against the same adverse conditions as the original: overload, underload, high and low voltage, and rapid cycling. This specific product is often thought of as mini Pumptec because it is designed exclusively to fit inside Franklin QD control boxes.
Also offered in the Pumptec family is Pumptec-Plus. Sometimes called the "big brother," Pumptec-Plus protects against those same five conditions, but it works with any 230 V single-phase motor ranging from ½ to 5 horsepower. Unlike its Pumptec companions, however, Pumptec-Plus monitors wattage rather than power factor. When watts run 25% higher or lower than operating load, Pumptec-Plus will remove power from the system. We can get a good idea of what our operating watts should be by turning to page 13 of our AIM Manual. Let's say we are working with a ½ hp, 4-inch, three-wire motor. That motor should operate between a full load of 670 watts and a maximum load of 960 watts.
Since actual running wattage varies by motor, each Pumptec-Plus needs to be calibrated at installation. This calibration allows the Pumptec-Plus to tailor its performance to each specific system so that it can be used with any ½ to 5 hp, single-phase, 230 V motor—even those not manufactured by Franklin.
The system lights on the face of Pumptec-Plus are also an important feature; their color and state (steady vs. blinking) tell you exactly what's going on with the system. Some installers actually keep a Pumptec-Plus with them as a diagnostic tool. If a problem turns out to be intermittent, they can install the Pumptec Plus and have the homeowner make note of what the lights are doing when the problem occurs.
No matter what type of system you are installing, it's important to protect your investment. Taking the time to look into protection options can save time and money for you, as well as your customer, in the long run. For more information about how to protect your investment in the field or for troubleshooting help, contact our Technical Service Hotline at 800.348.2420 or hotline@fele.com.
Last week, we reviewed "drought insurance" for submersible water systems using the Pumptec family of products. This week, we will look specifically at Pumptec and how it protects a system from damage in many other ways.
Pumptec is a microcomputer-based pump protection device that monitors load and supply voltage in single-phase systems. It protects against five conditions that can be dangerous to a motor: underload, overload, high voltage, low voltage, and rapid cycling.
Underload, also known as dry well, includes any condition that leads to the motor becoming "unloaded". Besides a dry well, this could be an air- or gas-locked pump, failed impellers, a line blockage, or a check valve that is stuck closed. Any of these will cause the motor to unload. Once the unloading reaches a predetermined threshold, Pumptec will remove power from the motor. Anytime an underload condition occurs, the load light will come on steady and stay on until the reset time is achieved. This reset time can be set from two minutes to four hours, or a manual reset can also be specified.
Overload is the very opposite of underload and can occur when the pump becomes clogged with sand or other debris. If this happens, Pumptec will cut power to the motor and the LOAD light will flash. Unlike an underload, there's no reset time for an overload condition. Pumptec assumes that it warrants investigation and probably won't restart. The unit must be manually reset by cycling power to the unit.
In both of these situations the system goes from pumping a normal amount of water to pumping very little or no water. To monitor these conditions, Pumptec uses a threshold point on the power factor curve. As we know from our previous AID, power factor is the relationship between voltage and current. Each motor rating has a unique power factor curve, and thus a unique trip point.
If a motor experiences a loss of water for any reason, the power factor of the motor begins to drop rapidly. When it gets too low (i.e. reaches the threshold), Pumptec shuts off the motor and allows the well to recover. After a predetermined timeout, the system will come back on; however, if the load does not reach or exceed the needed power factor, the system will shut off again. If power factor gets too high, Pumptec will also shut off the motor, but in this case, a manual restart is required. You can see how these power factor scenarios correlate to underload and overload conditions.
As we mentioned earlier, Pumptec not only protects against underload and overload but several other damaging conditions.
High or low voltage can create a multitude of problems for a motor electrically. That's where Pumptec comes in: to monitor the installation's supply voltage. If voltage drops below or exceeds 10% of the rated voltage (either 115 or 230 volts), Pumptec will automatically shut down the system. If the voltage is low, the voltage light will come on and remain steady; if the voltage is high the light will flash.
Rapid cycling is the final condition monitored by Pumptec. Characterized by too many starts in a given period of time, it is most often caused by a failed pressure tank or switch. Because rapid cycling can cause serious damage to an entire system, when it is detected, Pumptec will remove power from the motor until it is manually reset.
It is important to note that because Pumptec monitors power factor, which is a unique measurement for each motor design and rating, this protective device cannot work on just any motor. Pumptec is uniquely engineered and designed to work only with Franklin Electric submersible motors from 1/3 through 1.5 horsepower.
For more information about Pumptec please visit our website and be sure to stay tuned for next week when we will continue to explore the Pumptec family of products.
Franklin AID is Application-Installation-Data for groundwater professionals. Technical tips and product information come to you in electronic format.
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Schedule your stations either for the morning OR afternoon. Too many scheduled activities in one day may leave your kids (and you!) burnt out and frustrated.
Explain your expectations for this activity, and possibly give a reward for their completion of all stations without complaint. I choose to use a show as incentive.
If your kids are older, you can experiment with longer station times. We aren't in that phase of life yet, so 15 minutes is about our limit with a 3 & 6 year old.
Have kids clean up after each station. I have found that on days we implement stations, our house is MUCH cleaner at the end of the day. WIN WIN!
Match It Games : There are endless versions of this game for all ages. Great for individual play or group play. It does require a bit of space, but my kids enjoy getting to sit on the "big table" (of course the floor is totally fine too!
Snap Circuit Building Kits : This came as a suggestion from a friend with older children. After looking into it, I can't wait for Christmas so we can add this to our collection! You can buy a basic kit, and add onto it as needed. Your child will be able to build anything from a working from a flashlight to a siren, with over 100 project ideas included!
Such a detailed post! And just so you know, you have top marks from me for finding time to post when you have 4 kids!!! I agree though that time and activities have to be structured to avoid chaos.


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Chicago police officer sues family of teenager he killed
February 9, 2016 ·	by truthman_2012 ·	in News	· Leave a comment
A white Chicago police officer who fatally shot a black teenager last December is suing his family for $10m (£6.9m), claiming emotional distress. http://www.bbc.com/news/world-us-canada-35519757
Robert Rialmo shot 19-year-old student Quintonio LeGrier six times, killing the boy's neighbour in the process.
Mr Rialmo says Mr LeGrier swung at him with a baseball bat from close range, but Mr LeGrier's lawyers say the two were at least 20ft (6m) apart.
The lawsuit comes amid a federal investigation into Chicago's police.
The investigation is focusing on the use of force by officers and the department's accountability procedures.
It was launched after weeks of protests over the police killing of a black teenager by a white officer.
Laquan McDonald, 17, was shot 16 times in 2014 by the officer, who was charged with murder over a year later.
The inquiry will take a similar form to those recently conducted in Baltimore and Ferguson, Missouri – as well as more than 20 other departments in recent years, and will look for systematic violations of US civil rights laws.
'A new low'
Joel Brodsky, Mr Rialmo's defence lawyer, said it was important in an atmosphere charged by police shootings to send a message that police are "not targets for assaults" and "suffer damage like anybody else".
Mr LeGrier's father, Antonio, filed a wrongful death lawsuit days after the shooting, saying his son was not armed with a weapon and was not a threat.
His lawyer, Basileios Foutris, said Mr Rialmo's lawsuit was "a new low even for the Chicago Police Department".
"First you shoot them, then you sue them," he said.
The lawsuit provides the officer's first public account of how he says the shooting happened.
Mr Rialmo, who was responding to a domestic disturbance call, says Mr LeGrier came charging at him down the stairs and swung a baseball bat at his head. Mr Rialmo says he backed away and shouted at Mr LeGrier to drop the bat, drew his weapon and fired at the teenager.
Mr Rialmo fired six times, killing both Mr LeGrier and Bettie Jones, a neighbour who was standing behind the teenager.
"The fact that LeGrier's actions had forced Officer Rialmo to end LeGrier's life and to accidentally take the innocent life of Bettie Jones has caused, and will continue to cause, Officer Rialmo to suffer extreme emotional trauma," the lawsuit says.
Lawyers for Mr LeGrier's father and for Ms Jones say evidence indicates the officer was 20 or 30 feet (six to nine metres) away when he fired.
County prosecutors have asked the FBI to investigate the shooting. The Chicago Police Department has refused to comment.
Such a lawsuit by an officer is extraordinarily unusual, said Phil Turner, a former federal prosecutor and current defence attorney who is not connected to the case.
Speaking to the Associated Press news agency, he questioned whether a judge would give it any merit and said it appeared intended to intimidate Mr LeGrier's family.
He said he had never heard of an officer blaming his shooting victim for causing trauma.
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redpajama_set_name: RedPajamaCommonCrawl


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The Increasingly Poor Decisions of Todd Margaret is a black comedy television series starring David Cross, Sharon Horgan, Blake Harrison, Will Arnett,  Spike Jonze, Sara Pascoe and Amber Tamblyn. The series is produced by IFC and RDF Television and premiered on October 1, 2010, on IFC.

Premise

Seasons one and two
The first two seasons of the series tell a single story—that of American office temp worker Todd Margaret (David Cross). After overhearing Todd recite jargon from a self-help CD and confusing it for him being on a call with a customer, ultra-aggressive executive Brent Wilts (Will Arnett) promotes Todd on the spot.

Todd is put in charge of Thunder Muscle, a new energy drink his company is seeking to sell in the United Kingdom. Todd's company has only one employee, an Englishman named Dave (Blake Harrison), who offers his full assistance in helping Todd promote and sell the product in Britain.

Most of the humor in season 1 and season 2 focuses on Todd Margaret's not being familiar with British culture and customs. His situation is compounded by the fact that Todd is a habitual liar, as well as by Dave's truly nasty pranks and manipulation of Todd.

In every episode of the first two seasons, Todd lies to cover up his ignorance and his lack of experience running a company.  And Dave provides Todd with false information about British culture in order to constantly humiliate and sabotage him.

Todd has an infatuation with a local cafe owner Alice Bell (Sharon Horgan). Several of Todd's most damning lies are motivated by his desire to impress Alice and to manipulate her into a relationship with him.

During season 1, a cold open at the start of each episode depicts Todd before a British court as various charges against him are read out. A subplot involves Todd's supervisor Doug Whitney (Spike Jonze). Upset at having been fired by Brent, Doug learns that Brent Wilts is not really a company executive. Doug then investigates Brent for fraud.

For the bulk of season 1, Brent is shown as a foul-mouthed, abusive superior towards Todd, constantly demanding unrealistic results in terms of timetables for getting Thunder Muscle onto the British marketplace. Brent also demands that profits from the drink be delivered to him personally, so as to pay for his hookers and his gambling losses.

By the end of season 1, it is revealed that Brent is, in truth, a mild-mannered pushover like Todd, and that he has been promoted by the owner of his and Todd's company, a mysterious individual known as Mountford. Brent has been ordered by Mountford to promote Todd and to push him with unachievable expectations that Todd has no hope of meeting, thereby dooming Todd to failure.

Season 2 features Todd being reunited with his father, who offers to try to help his son avoid prison. Meanwhile, Alice, Brent, and Doug try to find out the truth about Mountford.

Todd gives Alice a fraudulent liquor license for her cafe in an attempt to buy her love, resulting in her cafe being shut down and a warrant put out on her arrest because of said fake liquor license. Alice investigates the situation and finds damning evidence that might free Todd and incriminate Dave. But she is killed when Todd unwittingly detonates a truck bomb while she is on her way to the court to reveal Dave's actions.

In the end, Brent attempts (and fails) to defend Todd in court as Doug discovers that Mountford is Dave, the son of a rich and powerful Lord. Several months prior, while visiting the U.S., Dave was at a bar, and a nervous Brent spilled drinks on him. Dave finds that his date at the bar has been stolen by Todd, who, exploiting Dave's brief absence to go get drinks, lured Dave's intoxicated date back to his home for sex. Humiliated and desiring revenge, Dave paid the bartender for information about the two men, then set about formulating a complicated revenge scheme to punish and humiliate both of them.

Todd is found guilty; but Dave's father, a high-ranking member of the House of Lords, arranges for the whole mess to get resolved, having grown tired both of the atrocious behavior of his son as well as of the scandal that Dave's and Todd's mishaps had caused England.

The elder Mountford arranges a pardon for Todd, on the condition that he leave England. Mountford, Sr. also reveals that Todd's American citizenship has been revoked on account of his actions, and the only countries that are willing to take him are the Turks and Caicos Islands and North Korea. Todd chooses North Korea due to his associating Turks and Caicos with the Turks who had been using him to plan a terrorist bombing.

When Todd arrives in North Korea, he is manipulated by the North Korean dictatorship to launch their first-ever nuclear weapon (a discussion at the launch control panel being the source of the cold openings for a second season). Todd pushes the button, bringing about a nuclear holocaust that seemingly destroys the rest of the world as well as all of the other characters, with the notable exception of the lone survivor, a Turkish terrorist who wanted to blow himself up in an act of terrorism during the course of the series—as he notes in the final line of the season, "There is a certain irony to [it]."

Season three
Season three of the series is a continuation that reframes the first two seasons as a dream due to the apocalyptic nature of the season two finale. David Cross returns, playing a new version of his character. Jack McBrayer joins the cast.

Over the course of the third season, a radically different Todd Margaret (closer to the brash, abrasive Brent from the first two seasons) encounters different versions of characters from the earlier episodes, all while a prophecy of a "catalyst" destined to destroy the world is worshipped by a mysterious cult.

Gradually, the new Todd becomes aware of the events from previous seasons and tries to make changes to prevent his destiny to destroy the world with North Korean red button. These prove to be increasingly disastrous, resulting in Todd immediately throwing his trust to the new version of Alice (who is revealed to be a white supremacist in this reality) and alienating his new assistant Dave (who in this reality is completely innocent of any wrongdoings but forms a legitimate hatred for Todd).

It quickly becomes clear that every decision to prevent the end of the world is the poor decision and the universe itself conspires to force Todd to press the red button.

Finally Todd accepts the inevitable and presses the red button, only for the "North Korean army" to be part of an elaborate game show.

Reality immediately collapses and Todd awakens from a dream back in season one, implying that the vast majority of the three seasons were possibly a surreal nightmare or that Todd himself is permanently trapped in different versions of reality where he is doomed to failure.

Cast

Main cast
 David Cross as Todd Margaret: An American who is promoted overnight to be chief marketer of the Thunder Muscle energy drink in the UK, a position for which he is wildly unqualified. He is quick to tell implausible lies to impress Alice or to get out of uncomfortable situations.  In season 3, Todd is sent to the London office of Global National to resolve sales issues.
 Sharon Horgan as Alice Bell: The Irish owner of a cafe near Todd's flat. She aspires to turn her cafe into a showcase for molecular gastronomy. Todd develops a crush on her the first time they meet. Although she finds him annoying and unattractive, she continually takes pity on Todd and helps him out. In the third season, Alice is now the owner of The Molecule, a prestigious molecular gastronomy restaurant, and the leader of a white supremacist group.
 Russell Tovey (2009 Pilot) & Blake Harrison (TV Series) as Dave: Todd's sole employee, who often seems to take advantage of Todd's ignorance of British culture to pull pranks and make him appear foolish. As the series goes on, it is revealed he is actually David Mountford, the son of a rich and powerful lord called Lord Mountford (Mark Heap). Following a bar incident, in which Todd humiliated him, Dave arranged for Todd's (and Brent's) promotion to a management position so that he can secretly watch Todd fail at his job and life. In the original pilot episode, Dave was played by Russell Tovey. In the third season, Dave is a subordinate to Todd in the London office. He is now a legitimately eager employee trying to help Todd, but Todd's dream makes him distrust Dave.
 Will Arnett as Brent Wilts, Todd's superior, who uses excessive profanity and travels all over Europe, losing money in casinos and hiring prostitutes.  Brent promoted Todd impulsively, mistakenly believing that Todd was a tough, take-no-prisoners businessman. He expects Todd to produce cash through sales to support Brent's decadent lifestyle. At the end of season one, it is revealed that Brent was promoted the same way Todd was.   In season 3, he is subordinate to Todd and had been in charge of the London office.

Recurring cast
Steve Davis as himself: hired by Todd (who, on bad advice from Dave, believes him to be "bigger than Beckham") to be the "face of Thunder Muscle".
Colin Salmon as Hudson (seasons 1 and 2): Alice's Canadian ex-boyfriend who is currently in Leeds shooting an independent film. Todd's jealousy of Hudson prompts him to extreme behaviour in a futile attempt to monopolize Alice's attention. Hudson is quite blunt about having little respect for Todd. His film also seems not to have been received well by the local British population.  In season 3, Hudson is a cartoon bear on television.
Amber Tamblyn as Stephanie Daley: a girl who had a drunken one-night stand with Todd in seasons 1 and 2. Also plays a news reporter by the same name.  In season 3, she is Todd's steady girlfriend.
Russ Tamblyn as Chuck Margaret (seasons 1 and 2) and Billy the Cheesegrater (season 3):  Todd's father who comes to Britain after seeing Todd's debacle at the Remembrance Day ceremony, deciding Todd "needed a hand".  Chuck is slightly less bumbling than Todd.  In the third season, he is an incredibly slow assassin called "Billy the Cheesegrater".
Jon Hamm as himself: Dave's personal servant at his mansion, listed simply as "Dave's Employee" in the credits. However, it is later revealed that the character is in fact a fictionalized version of the real Jon Hamm, having had his services bought out from the Mad Men production by Dave to record the "self-help" CDs that Todd and Brent use. Hamm is mentioned in the third-season premiere, Todd Margaret Part 1, and was seen briefly as the agitated driver of a white van.
Sara Pascoe as Pam: Todd's pregnant, promiscuous neighbor in seasons 1 and 2.  In season 3, she remains Todd's neighbor, but is a conceptual artist (Pascoe originally played a woman at a trivia machine in a pub who todd tries to sell thunder muscle to in the 2009 pilot episode).
Mark Heap as Lord Mountford: Dave's father who is an incredibly powerful British Lord and is responsible for sending Todd to North Korea in Season 2's finale. In Season 3, he is Todd's boss at Global National.

2009 pilot
The series originated as an episode of Channel 4's Comedy Showcase in November 2009. This backdoor pilot follows the same narrative arc as the season one premiere episode. The Dave Mountford character is played by Russell Tovey. Tovey's obligations to the show Being Human conflicted with the subsequent sitcom. The role was recast with Blake Harrison and Tovey's scenes were reshot. Additionally, the pilot episode length was 24 minutes rather than the series 22 minute length.

Episodes

Season 1 (2010)

Season 2 (2012)

Season 3 (2016)

Production
The show was created by David Cross and written by Cross and Shaun Pye. The first season premiered October 1, 2010, on IFC in the U.S.; and on More4 in the UK on November 14, 2010. The second season was broadcast on Fox in the UK from March 5, 2013. David Cross announced that season 2 would be the final season, despite the network's wish for a third season.

The pilot was aired in the UK as an episode of the Channel 4 series Comedy Showcase. Scenes from the first episode were re-shot after the Channel 4 airing when the part of Margaret's assistant, Dave, was recast with Blake Harrison. Russell Tovey, who played the character in the original pilot, was no longer available when the series went into production.

The show reunites Cross with Arrested Development co-star Will Arnett; the two also appear together on the Fox sitcom Running Wilde, which premiered before, but was produced after, Todd Margaret.

David Cross mentioned on WTF with Marc Maron that he put his own money into financing the show.

In 2014, IFC renewed the series for a third season, which aired from January 7 to January 14, 2016.

Though no official announcement has been given yet, Cross indicated in an August 2016 interview with The A.V. Club that the show is done, and there will not be any more seasons.

References

External links
The Increasingly Poor Decisions of Todd Margaret at IFC.com

2010 American television series debuts
2010 British television series debuts
2016 American television series endings
2016 British television series endings
2010s American black comedy television series
2010s British black comedy television series
English-language television shows
Comedy Showcase
IFC (American TV channel) original programming
Television series by Banijay
American television series revived after cancellation

redpajama_set_name: RedPajamaWikipedia


The second wave of acts has been announced for this year's edition of Pop-Kultur festival, which returns to Berlin this August.
Amongst the new additions are specially commissioned works from Karen Gwyer, Automat, Die Türen and Staatsakt. They join a programme of exclusive performances for Pop-Kultur which already includes Pan Daijing, Sophia Kennedy and more.
Elsewhere, on the line-up, there are newly confirmed performances from Richard Dawson & Band, Mark Ernestus' Ndagga Rhythm Force, Neneh Cherry, Gwenno, Nilüfer Yanya, Shopping, Ms Banks and more, who join a line-up that already includes Nadine Shah, John Maus, Anna von Hausswolff and Chelsea Wolfe amongst others.
This year's Pop-Kultur runs from August 15-17, and will take place at Berlin's Kulturbrauerei. For more information, and to get tickets, click here.


[07.12] Michael introduces agenda. Indicates note well, that meeting is recorded, minutes taken, presence logged. Makes sure all on Etherpad.
Pros and cons of EAP-TLS method (whether over PANA or 1X), vs. "separate" join network with object model with 6top protocol and data collection/actuation.
Comments on 1X from Paul Duffy. IEEE802.15.9 group is chartered to design something similar to 1X in IEEE802.15.4 space.
15.9 security WG from IEEE.
[Rene Struik] 15.9 effort started several years ago. This KMP group codifies methods to transfer key management messages.
[Rene Struik] Any technical work? Not equivalent to PANA.
[Subir Das] Understanding is that 15.9 is not chartered to design mechanism similar to PANA. Not sure we should call it as chartered to design something similar to PANA.
[Michael Richardson] discussion with Bob Moskowitz indicating 15.9 will allow to transport PANA-like messages.
[Michael Richardson] does not matter, let's discuss at some other time. You have a client which wants to join; EAP-TLS, you get a network key through that process allowing the mote to join the network. Only reason to talk about 15.9 is because Paul Duffy indicated preferred 1X instead of PANA.
[Rene Struik] Technical argument for preferring 1X?
[Michael Richardson] pre-existence of deployments/customers. Preference.
[Subir Das] are we assuming that mote will run CoAP interface?
[Subir Das] if runs CoAP, will have DTLS by default?
[Michael Richardson] will assume runs CoAP for sensors/actuators.
[Jonathan Simon] sounds reasonable. If CoAP is mechanisms that devices use for data and management, than joining model which stays close to that is a good idea. Simple solutions that don't have a lot of extra layer or parallel technologies is better.
[Michael Richardson] have written down as PRO. Anybody has recommendation for 1X/PANA method?
[Michael Richardson] once you get to authorization server, EAP-TLS is used, regardless of whether you come in through PANA or 1X. Same thing.
[Michael Richardson] proxy uses PANA to contact authorization server. The adjacent node relays the information through the mesh to the authentication server. At that point, it's PANA. With 1X, something else? Probably radius or something else.
[Michael Richardson] yes, but single hop and not thousands of authenticators talking to radius server.
PANA relaying has been RFCed, not a problem.
From a radius/relaying standpoint, PANA and 1X are very similar.
[Michael Richardson] EAP-TLS over something. If someone has ZigBeeIP authentication infrastructure for lighting, they could use it for plant. Same technology. Agreed that having common infrastructure is a feature?
[Paul Duffy] not a lot of ZigBeeIP deployed. Cisco not a fan of PANA in ZigBeeIP, but has many devices that use 1X. Cisco tries to use things off the shelf. 1X is smaller footprint.
[Paul Duffy] Is the CoAP/DTLS approach brand new?
[Paul Duffy] No running code for IP but WirelessHART does it that way just not over IP, just over layer 2.
[Paul Duffy] People inside Cisco might not like that at all because all the way up to L4. Minimal amount of footprint is preference.
[Paul Duffy] Minimize attack footprints by strictly L2 approach 1x.
[Jonathan Simon] L2 from 15.4 perspective?
[Paul Duffy] security compromise, cannot answer directly. you would be making compromise.
[Jonathan Simon] if the mechanism that all are happy with to send data is not the same one as the one used to join network then security concern for join is principally for blocking denial of service. You need to go through those steps to send data. That looks like what we need to decide: DoS vs. simplifying.
[Michael Richardson] Assumes 1AR can be used in all of solutions. No other standard solution as mature as 1AR.
[Paul Duffy] think correct, could ask authors. Involved with ZigBeeIP, 802.1AR, smart grid issues.
[Rene Struik] question 1AR: don't understand what is so special about it. Just certificate?
[Michael Richardson] also mechanism to update and replace certificates to create new device IDs. Seems that are all pieces needed: accept mote, replace, obsolete, change ownership, etc.
[Rene Struik] we need more precision. Have no way what is being discussed about what matters and what is missing.
[Michael Richardson] question is not whether 1AR is good/bad. It exists. Question is: given what 1AR gives us, how can be transport the network claim to the mote and the authentication claim of the mote. One of standard protocols is PANA or 1X transport of EAP-TLS. Other mechanism is to use the certificates 1AR gives us directly in DTLS. In 6TiSCH, if we have a PCE, the PCE needs to program schedule in motes. PCE need "super user" access to motes, 1AR certificates provide that ownership statement. We need interoperability between motes and authentication servers from different vendors. We don't expect people to handle mote to authenticate, needs to be much more automated. 1AR is routinely done by companies such as Verizon for VoIP phones; there are products which use that.
[Subir Das] are we trying to lock down the device to a particular vendor?
[Michael Richardson] initially, transfer between vendor and user. from APIs in 1AR, once the initial owner takes ownership, possibility to change identity so doesn't need to talk to vendor. Allows transferring ownership.
[Subir Das] we could just think of it as a certificate. We should have different options.
[Michael Richardson] other mechanisms like transferring ownership can be added to talk. Crux is for mote to be able to validate certificate chain.
[Michael Richardson] the mote is able to validate a variety of certificate statements.
[Paul Duffy] about 1AR, let's not assume it's perfect. May need to be modified, but strong guidance to IoT space.
[07.55] [Michael Richardson] Let's move on. we spent lot of time on PANA/1AR. Round table with final comments.
[Michael Richardson] can you write as e-mail?
[Tom Phinney] nothing to add. concerned with scalability and replacement. But think those issues are being addressed e.g. by René. Tend to agree wit the Cisco concerns about scalability.
[Thomas Watteyne] Was taking notes. Interesting discussion. Leaning towards side that all of our data is transported over CoAP. Data transported over CoAP, also CoAP might be used by the PCE. CoAP is not optional, has to be there and secured. Reusing it for join reduces the footprint in the motes.
[Paul Duffy] That is a concern, indeed.
[Pascal Thubert] Concerned that we are looking at solutions, but we haven't documented requirement space. Not clear we cover all requirements. Happy to keep in mind Michael B. Anything else we are missing?
assumption: mote runs CoAP and DTLS already for 6top, and also for actual sensors/actuators.
common authorization infrastructure with ZigBee IP.
reuses existing CoAP and DTLS code base.
requires layer-3/layer-4 to be operating.


text:
Jaw-dropping sport moments of 2021: Simone Biles at the Tokyo Olympics
by Zeus | Dec 25, 2021 | Gymnastics, Mental health, Olympic Games, Simone Biles, Sport, Tokyo Olympic Games 2020
Jaw-dropping sport moments of 2021: Simone Biles at the Tokyo OlympicsThe greatest gymnast in history opened up about her mental health issues in Tokyo – and collected a bronze medal00:57As Simone Biles entered the Ariake Gymnastics Centre for the women's team final...
The Sports Archives – A Quick History Lesson in the Art of Taekwondo
by Zeus | Sep 24, 2012 | Mental health, Olympic Games
Taekwondo was established from simple and modest beginnings over 1,000 years ago and has since spread to become one of the world's most successful and popular form of martial arts. Instructors and those training enjoy physical and mental discipline, as well as an...
The Sports Archives – Alcohol and Athletics – How Much is Too Much?
by Zeus | Mar 22, 2012 | Athletics, Mental health, Olympic Games
Alcohol and Athletics – How Much is Too Much? Alcohol and athletics. Athletics and alcohol. Strange bedfellows, but they have such a long history together that the association has become a social norm. Many of us don't feel meeting up with teammates...
International Olympic Committee transgender guidance criticised by medical experts
Eric Lira: US prosecutors issue first charge under Rodchenkov Act
Eric Liddell: Olympic champion inducted into Scottish Rugby Hall of Fame
22 for 2022: The unmissable sporting events over the next year
Adam Peaty
Australia sport
BBC Sports Personality of the Year
Disability and sport
Eddie McGuire
Paris Olympic Games 2024
Planning policy
Sarah Storey
Sport politics
Tokyo Olympic Games 2020
Tokyo Paralympic Games 2020
USA Olympic team
Winter Olympics 2022
Women's cricket


text:
using System.Reflection;

[assembly: AssemblyTitle("Autofac.Tests.Integration.Wcf")]

redpajama_set_name: RedPajamaGithub


text:
Q: Java Number Limit: -1500000000 - 1500000000 = 1294967296 Hi I am trying to do the math in the title in Java language:
Math.max(-1500000000 - 1500000000, 0)
Mathematically, the above equation should return 0 but I got 1294967296.
Can anyone explain the theory behind it and how to overcome such limitation?
Thanks.

A: The theory is that you have overflowed 32 bits in an int. The fix is to use a  long literal.
Math.max(-1500000000L - 1500000000L, 0)

redpajama_set_name: RedPajamaStackExchange


Gregg has over 20 years of experience both in acting as a fiduciary in insolvency situations and in representing others in that capacity. As an attorney, he has been involved in a wide variety of creditors' rights matters on behalf of debtors, lenders, creditors' committees, equity holders' committees, receivers, assignees and bankruptcy trustees. He is also a panel trustee for the Bankruptcy Court for the Northern District of Illinois. In this capacity, Gregg has been appointed by the United States Trustee to operate distressed businesses and to liquidate businesses and personal assets for the benefit of creditors. Gregg has also been appointed as receiver for companies in enforcement cases at the request of federal and state regulatory agencies. Gregg has expertise in a wide variety of industries including manufacturing, real estate, retail, gaming, energy, telecom, hospitality, and health care.
In his career, Gregg has served as receiver to a group of affiliated companies in one of the largest telemarketing fraud cases in history. He also served as trustee to an operating telecom equipment manufacturer and service company and sold the company to a Fortune 50 acquirer for a substantial return to creditors. He has also successfully confirmed a plan of reorganization for a hospitality client in less than 100 days and negotiated for a distribution to equity holders in several large chapter 11 cases. Some of his clients have included a large, multinational food products and packaging company, a national chain of sporting goods stores, a major business hotel located in Chicago's Loop, and several airports involved in the bankruptcy case of a national airline.
Gregg earned his bachelors degree from the University of Illinois in 1985 and his juris doctor from the University of Illinois in 1988. He is licensed to practice law in Illinois and is admitted to practice in the federal courts in a number of districts.


text:
Huge waves bring The Eddie's Hawaiian surfing competition after a hiatus
HONOLULU (AP) — One of the world's most famous surfing competitions — dubbed the "Super Bowl of Surfing" — went ahead Sunday in Hawaii for the first time in seven years with towering waves and huge swells expected to grow through the day. This year, female surfers will compete alongside men for the first time …
Huge waves bring The Eddie's Hawaiian surfing competition after a hiatus Read More »
OGL's new Dungeons & Dragons game will be 'irreversible' and bring mechanics to Creative Commons
picture: Coast Wizards Dungeons and Dragons issued a Today's statement By saying that the future of licensing open games will involve bringing its ground rules under jurisdiction Creative Commons. Creative Commons is "a nonprofit organization dedicated to sharing knowledge, and has developed a range of licenses to allow creators to do so," according to Kyle …
OGL's new Dungeons & Dragons game will be 'irreversible' and bring mechanics to Creative Commons Read More »


We recently uncrated the slates and setup up this Contender Series Brunswick in Newport Beach, California. Installation went smoothly and we used the existing Navy Blue cloth that was removed during disassembly. It is ready to play in time for the holiday season.
It is worth noting that Contender Series pool tables do not have standard K-66 profile rubber. Instead, the rubber is a bit thinner and a different shape than nearly every pool table on the market. The odd L-shape of the cushions give the balls an unusual bounce. Also, these rails will most likely need to be modified down the road when it comes time to replace the rubber bumpers, as standard K-66 (or U-23, K-55 for that matter) will not fit properly. This process will likely create additional fees for recushioning service.
Looking for a new pool table? Visit our showroom to see both import and made in the USA billiard tables that come in at or below budget. We can show you the ins and outs of the construction and tell you about the top notch materials used on each and every one.


text:
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With the third-quarter round of 13F filings behind us it is time to take a look at the stocks in which some of the best money managers in the world preferred to invest or sell heading into the fourth quarter. One of these stocks was Echostar Corporation (NASDAQ:SATS).
Echostar Corporation (NASDAQ:SATS) has seen a decrease in hedge fund sentiment lately. The level and the change in hedge fund popularity aren't the only variables you need to analyze to decipher hedge funds' perspectives. A stock may witness a boost in popularity, but it may still be less popular than similarly priced stocks. That's why at the end of this article we will examine companies such as Reliance Steel & Aluminum (NYSE:RS), Tesoro Logistics LP (NYSE:TLLP), and Copart, Inc. (NASDAQ:CPRT) to gather more data points.
In the financial world, there are tons of gauges stock traders use to value stocks. A duo of the less known gauges are hedge fund and insider trading activity. Our researchers have shown that, historically, those who follow the top picks of the best hedge fund managers can outclass the S&P 500 by a healthy amount (see the details here).
Now, let's check out the fresh action surrounding Echostar Corporation (NASDAQ:SATS).
What have hedge funds been doing with Echostar Corporation (NASDAQ:SATS)?
Heading into Q4, a total of 29 of the hedge funds tracked by Insider Monkey were bullish on this stock, a trim of 3% from the previous quarter. With the smart money's positions undergoing their usual ebb and flow, there exists an "upper tier" of notable hedge fund managers who were boosting their stakes significantly (or already accumulated large positions).
Of the funds tracked by Insider Monkey, Renaissance Technologies, managed by Jim Simons, holds the biggest position in Echostar Corporation (NASDAQ:SATS). According to its latest quarterly report, the fund has an $83.3 million position in the stock, comprising 0.2% of its 13F portfolio. On Renaissance Technologies's heels is Kensico Capital, led by Michael Lowenstein, holding a $74.6 million position; 1.6% of its 13F portfolio is allocated to the stock. Remaining hedge funds and institutional investors that are bullish contain Murray Stahl's Horizon Asset Management, Adam Fox and Samuel Elder's Altalis Capital Partners and Mario Gabelli's GAMCO Investors.


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Home >> Future Public Media >> Documents >> Field Reports >> Field Report: Made in LA
Field Report: Made in LA
By: Kafi Kareem, Graduate Fellow
An Emmy award-winning feature length documentary, Made in L.A, demonstrates successful community engagement in every stage of a media project – from fundraising and development to outreach and distribution. Driven by a passion for social justice, makers Almudena Carracedo and Robert Bahar have brought national attention to immigration/labor issues in Los Angeles, largely by building an alliance of community activist groups who support and promote the film. In this sense, the heart of the project is its public. After a successful festival run, national PBS broadcast and multiple awards (see appendix), the film continues to bring in revenue and make an impact through DVD sales, tours and screenings. Made in L.A. has built a loyal, diverse audience, unifying varied interest groups, and is a powerful example of media as a tool for social mobilization.
Background and Mission
The brainchild of director/producer Almudena Carracedo, Made in L.A. began in November of 2001 as a 5-month video project for organizers to raise awareness about labor-rights infringements in the Los Angeles garment industry and engage local garment workers. After reading a newspaper article about sweatshops in downtown Los Angeles, Carracedo approached L.A.'s Garment Worker Center with the intention of making a short film that would expose the conditions – long hours, sub-minimum or no wage pay, unsafe or unsanitary environments – under which immigrant garment factory workers were forced to labor. She formed intimate relationships with many of the workers in the Center, in part because, as a recent immigrant from Spain, she shared their native tongue. One year later, she was still documenting the workers' experiences. "The film emerged from passion," she explains.
Carracedo believed that the workers' stories deserved a national audience and a feature-length treatment. She sought out collaborators and in the process connected with Robert Bahar, founder of Doculink, an online community for documentary filmmakers to share information and ideas, and to support each other's growth. Together, Carracedo and producer Robert Bahar restructured the film with the new mission in mind.
The filmmakers completed Made in L.A. over the course of the next five and half years, bringing on a creative team—including co-writer and editor Lisa Leeman, editor Kim Roberts and composer Joseph Gonzalez—during the final production year. The film intimately follows the lives of three Latina immigrant garment workers involved in an organized struggle against a major clothing retailer. Through a boycott campaign and lawsuit, the workers force management to grant them legal wages—setting a legal precedent. The three women emerge from the battle transformed.
Made in L.A. aired on national broadcast television on September 4, 2007, the day after Labor Day, as part of PBS's P.O.V., a prime time series premiering 14-16 of the best independent nonfiction films every year. The film had a long, successful festival run and continues to gain momentum nationwide through community screenings.
Funding Model
During the first four years of production, Carracedo and Bahar were not paid. They both held other jobs (Almudena worked part-time as a Teaching Assistant at UCLA, and Robert worked as a line producer on other films) to sustain their full-time commitment to Made in L.A. Fundraising events, consisting of four house parties and one concert, financed the first few years of filming, in addition to building a core audience of grassroots advocacy organizations and community members. At these events, which collectively brought in about $30,000, screenings of the film's trailers allowed the production team to solicit feedback from passionate community members who, supportive of the film's message and mission, made generous contributions towards its completion. Close to 300 donors contributed to the making of the film. Carracedo and Bahar's free guide, "Reach Out! Planning a Fundraising House Party in Your Community," offers insights into hosting a successful fundraiser.
The Made in L.A. team also received a number of small grants from organizations such as the Unitarian Universalist Fund for a Just Society and the Diane Middleton Foundation, which supported the film's advocacy mission, and the Pacific Pioneer Fund, which supports emerging filmmakers. Still, the filmmakers held other jobs until they were able to secure enough funding to make a full-time commitment to the project in late 2005. The bulk of this funding came from the Independent Television Service (ITVS).
The production period for Made in L.A. can be divided into two stages, separating the first four years from the last two. The final budget was approximately $340,000, broken down as follows:
Since the film's completion, distribution and outreach efforts, consisting of community screenings, tours, website-based DVD sales and educational sales though California Newsreel (producer and distributor of social justice films since 1968), have already yielded about $100,000. The project directs all revenue towards sustaining its outreach campaign to bring the film to college campuses, worker centers, community groups, unions, immigrant rights groups and interfaith groups.
The filmmakers distribute DVDs from their website, working with NeoFlix, an e-commerce business for filmmakers and distributors, which handles order processing and fulfillment. The Made in L.A. project send units of 1000 DVDs to NeoFlix, which processes and ships orders for the DVD, charging 10 percent per unit. Community and university screenings bring in anywhere from $250 to $3,000. Organizations pay for the filmmakers to make a personal appearance and engage audiences at the screenings. University screening tours are particularly lucrative as they also cover travel costs and offer an honorarium in addition to paying for the screenings. Screening kits allow organizations to host events without the makers and are another source of revenue. A large community screening kit costs $198 and includes 11 DVDs, five full-size movie posters (27x39), and 200 postcards as well as a step-by-step guide to help organizations host a successful, audience-engaging event. Not all organizations are able to pay for screenings, but the ones that do make it possible for the makers to attend many events for free.
Made in L.A. followed a revenue and distribution model that reflects an awareness of the latest trends in the independent film industry. Distribution strategist and Made in L.A. consultant, Peter Broderick, calls this set of models and strategies "The New World of Distribution."
Avoiding the expense of buying ads in major publications, the filmmakers opted for a more grassroots approach, identifying and building a core audience, keeping their audience(s) updated on the film's progress and generating excitement within this core group. They used film festivals as another opportunity for exposure and to attract potential outreach partners. Finally, they opted not to take the risks involved with a theatrical release (having already scheduled a broadcast release with P.O.V. ) and chose a hybrid distribution strategy anchored by a comprehensive website, maintaining control over marketing and distribution decisions every step of the way. The Made in L.A. project was particularly adept at identifying and connecting personally with a core audience of community organizers, activists and universities who were passionate about immigration and labor issues. Much of the audience for the film emerged organically as enthusiastic fans encouraged others to host screenings and purchase DVDs.
With support from P.O.V, Made in L.A. partnered with Active Voice in San Francisco to help build up to the film's broadcast. Active Voice is a team of communication specialists who create strategies for using media to propel communities and individuals to take specific actions towards positive social change, through guides, workshops, events and key partnerships nationwide. Made in L.A. was part of Active Voice's Global Lives initiative on issues surrounding refugees and immigrants in 21st century America. La Americana, Speaking in Tongues, Childhood in Translation and The Visitor were also a part of this initiative, which involved forging partnerships between the filmmakers and concerned groups.
Active Voice connected Made in L.A. with organizational allies nationwide (such as the National Network for Immigrant and Refugee Rights) and generating buzz about the broadcast. Additionally, Active Voice convened a brain trust of Washington-based organizations to discuss how best to frame Made in L.A., and how the film might fit into policy discussions around low-wage work and immigration.
Distribution specialist Peter Broderick, president of Paradigm Consulting, which helps media makers develop strategies to maximize distribution, audiences, and revenues, and a key player in the growth of the ultra-low budget feature movement, served as a consultant throughout the film's distribution phase.
Additionally, the team partners with an extensive number of local and national organizations (see appendix)—churches, advocacy groups, think tanks etc—to co-host screenings of Made in L.A., often to draw attention to local issues. In California alone, such organizations include the All Saints Church in Pasadena, the Community Coalition, the Immanuel Presbyterian Church and SAJE in L.A., Interfaith Worker Justice, the International Latino Film Society, the Bay Area Immigrant Rights Coalition and Mujeres Unidas y Activas in San Francisco, PUEBLO in Santa Barbara, and the San Leandro Community Action Network.
Publics for Made in L.A.
What makes Made in L.A. unique, in Carracedo's view, is that it tackles the labor exploitation issue by bringing attention to sweatshops right here within the U.S. and creates a link between labor rights and immigrant rights issues. "The film is empowering because it tells the stories of women immigrant leaders and has a wide appeal because it bridges gaps between English speakers and Spanish speakers," she says.
Bahar concedes, however, that there may be roughly 20 percent of the larger U.S. public whose anger makes them resistant to considering the immigration issue in any depth.
The film's core audience was built around their alliance of project partners and the community organizations, individual supporters as well as the garment workers themselves. The filmmakers credit these groups as being central to creating buzz around the film's broadcast release which reached over a million households, with some of the highest ratings in Houston, TX, Phoenix, AZ, and Oklahoma City, OK.
Made in L.A.'s wide appeal, and it's ability to unite various interest groups, is evidenced by the range of organizations who have co-hosted screenings of Made in L.A. to bring attention to particular issues. The Progressive Jewish Alliance (PJA) in California, which educates, advocates and organizes on issues of peace, equality, diversity and justice, co-hosted a screening of Made in L.A. in March of 2008, which was attended by a large number of retirees who were particularly impacted by the Tenement Museum scene connecting the story of today's immigrants to Jewish immigrants who came to the New York in the early 1900s.
Similarly, Made in L.A. screenings at universities brought together diverse campus and community groups as illustrated by the following examples:
A Stanford screening event, sponsored by The Riddell Fund and Residential Education, brought together a host of on-campus organizations – Okada, Casa Zapata, the Asian American Activities Center, El Centro Chicano, Film Studies, the Stanford Asian American Activism Coalition, and The Center for Comparative Studies or Race and Ethnicity (CCSRE) – as well the cross-college student group, Movimiento Estudiantil Chicana/o de Aztlan (MEChA), and local activists from the SweatFree Campaign, a national anti-sweatshop movement.
A University of California, Los Angeles (UCLA) screening event was sponsored by the following UCLA institutes and organizations – Institute for Research on Labor & Employment, Labor Center, Critical Race Studies Program, David J. Epstein Program in Public Interest Law and Policy, Latin American Institute, Chicano Studies Research Center, Asian American Studies Department, Conciencia Libre & Student Worker Front, Student Activist Project, and the Center for the Study of Urban Poverty – in addition to MEChA
Campus organizations from a range of departments joined student groups to sponsor a screening event at the University of Southern California (USC). Among these were: the Political Student Assembly, Academic Honors Assembly, Latino/a Student Assembly, Women's Student Assembly, Program Board Speakers Committee, USC School of Social Work, Social Work Alumni Association, Latino Social Work Caucus, Social Work Student Organization, Jesse M. Unruh Institute of Politics, and Graduate & Professional Student Senate. The USC Global Cultures Initiative, the Institute for Multimedia Literacy and the Department of Comparative Literature.
The filmmakers did not predict that Made in L.A. would appeal to college-aged Latinos as strongly as it has. These young people seem to be particularly impacted by the film as many of their parents have fought, and are fighting, the same battles as the women in the documentary. One student shared the following testimony, published on Made in L.A.'s website:
"I had the opportunity to see the screening with my mother and younger sister... and the experience was phenomenal. The tears in my mother's and sister's eyes as they related to the struggle that the women overcame in the film is worth more than words can say. But my tears were mostly motivated by the knowledge that I was sitting next to someone who had survived and overcame similar struggles - a single immigrant mother who, in much the same manner as the women in the film, did whatever it took to provide for her family - my mother."
-Eduardo D.
The filmmakers struggled to find funding, apart from small donors and community fundraisers, for the first four years of production. However, they continued to submit grant proposals while hosting community fundraisers and holding other jobs. In hindsight, they realized that they were unable to secure bigger funders largely because early versions of the film lacked a wide appeal. Funders weren't willing to invest in a project that would only reach a small, albeit passionate, core audience. They set out to cut a trailer that would make the film's content more relevant to a general audience. The new strategy paid off when in late 2005, after having applied to ITVS two times prior, they finally received funding. Although the initial lack of funds forced the filmmakers to slow down production, it also enabled them to follow the main characters for a much longer time and to tell a more in-depth story.
The filmmakers expected the editing process to take about six months, but it actually took a year of continuous restructuring with editors, Lisa Leeman and Kim Roberts, to arrive at the final version of Made in L.A.
"The big editorial challenge of the film was that we were telling two different stories," explains Bahar. The two narratives were the chronological progress of the boycott campaign and lawsuit, and the three main characters' personal stories. The editing team set out to create a cohesive story arc that put the characters' feelings and experiences at the forefront. They reedited the film until they felt that it told a more in-depth story through the point of view of the women in the film.
Short Festival Run
At the end of 2006, with a September 2007 broadcast date already set and fast-approaching festival deadlines, the filmmakers were still involved in the process of reediting. The film, in their view, didn't yet tell the story in the way that it needed to be told for maximum impact, and for prosperity. So they decided to sacrifice festival appearances in order to continue editing. Made in L.A. was completed in mid 2007, leaving the makers with a very short US festival run. In June 2007 they were invited to do a world premiere at Silverdocs, and a West Coast premiere at the Los Angeles Film Festival. Fortunately, Made in L.A.'s hugely successful PBS broadcast premiere generated enough interest to nullify the effects of the short US festival window. Since then, the film has played at over 70 film festivals around the world, and continues its international festival run.
Excess of Demand
Made in L.A.'s enthusiastic supporters quickly spread the word about the film. Presented with an overwhelming demand for screenings that exceeded their capacity to respond, the filmmakers met another, albeit much welcomed, challenge. They were forced to turn down quite a few invitations to attend screenings, but developed innovative screening kits to enable organization to host successful screening events independently.
To date, Made in L.A. has been screened at over 70 film festivals worldwide, winning a host of awards and nominations (see appendix), including an EMMY Award for Outstanding Achievement in Continuing Coverage of a News Story and a Henry Hampton Award for Excellence in Film and Digital Media.
Press coverage was quite extensive nationwide and overwhelmingly positive. The film was reviewed by some of the most widely read newspapers across the country – a fact that may speak to its ability to reach mainstream audiences.
A New York Times review states, "Labor protest is not dead. Nor is it futile, according to 'Made in L.A.,' an excellent documentary."
Variety reports, "More simplistically heroic than, say, 'Harlan County U.S.A.,' 'Made in L.A.' could still serve as a populist rallying cry within the movement it chronicles," and also hails the film as a "rousing true story of solidarity, perseverance and triumph."
Glowing reviews also come from, El Pais (Spain), which described the film as a "combative documentary, full of humanity" and the Los Angles Times, which says the film is not "an exposé of abuses by the garment industry, but a document of an experience . . . domestic decorations and rituals become the fabric that supports the larger action."
The film was also covered in the The New Yorker, La Jornada (Mexico), the Seattle Times and the Los Angeles and Chicago editions of Hoy, to name a few.
Film screenings are an important outreach, distribution and publicity tool for Made in L.A. Organizations can buy community screening kits, which include full-size movie posters, postcards and enough DVDs to sell at the screenings for $20 each. These DVD sales can cover the cost of the kit, and the screenings can help organizations earn revenue for their cause.
Made in L.A.'s community screening campaign aims to empower national partners, community organizations, student groups and faith-based groups to use Made in L.A. as a vehicle for public education and social action around local issues in their communities. More specifically, this initiative is designed to allow organizations to:
1.	Raise awareness about local and national issues of low wage work, immigrants' rights, consumer awareness, women's empowerment and community organizing for social and economic justice.
2.	Educate immigrants and low-wage workers about their rights and present opportunities available to them in the community.
3.	Spotlight local organizations' work or current campaigns around issues represented in the film.
4.	Enhance or build coalitions between organizations working across the issues represented in the film.
5.	Build bridges between immigrant workers, community members, and other organizations.
Screenings are also an important publicity tool as the filmmakers can collect contact information from the attendees to add to their subscribers' list. With thousands of people subscribing to the Made in L.A. monthly e-letter, and visiting their website, it is possible for the team to do business online. The website features a blog that keeps supporters updated on the project's progress, new screening tours, awards and other successes. Detailed information about the film, filmmakers, outreach partners, how to host screenings and how to get involved with the project is also provided. The site's "Learn More" section provides a link to a state-by-state directory of organizations in the U.S. working on immigration issues and a short list of some of the more prominent organizations.
Numerous individuals and organizations have credited Made in L.A. with successfully provoking thoughtful debate and action.
In November of 2008, Made in L.A. partnered with SweatFree Communities in the Pacific Northwest, a national anti-sweatshop coalition, using film screenings and appearances in six different cities to raise awareness about their campaigns. Kristin Beifus of SweatFree Washington comments, "Our goals [with the Made in L.A. tour] were to raise the profile of Sweat-Free campaigns working on campus and in the community by highlighting sweatshops in the US, and engage people to become part of these campaigns. The film was a call to action, and Robert and Almudena made every effort to link the film with local initiatives. By the end 30 people had signed postcards indicating that they were interested in becoming involved with SweatFree Campaign. As a result of the tour, there will be more concerted efforts with sweat-free groups on UW campus, labor academics and community groups."
In conjunction with their Worker's Rights Project, The Midwest Coalition for Human Rights hosted Made in L.A. screenings in Iowa, Nebraska, and Minnesota. The organization reports that the community screenings not only provided a forum for vocalizing their concerns on US labor practices and immigration rights, but provoked audiences to learn more about their projects.
Yale University held a bilingual screening for students, organizers, immigrant workers and professors. The panel included organizers from Unidad Latina en Acción, who spoke about supporting immigrant workers organizing in local restaurants and at Yale itself. Students got involved with the workers' struggle. Several community groups in New Haven successively held screening of Made in L.A., and the film has been incorporated into local activism. At a press conference for 12 Latina home care workers launching a lawsuit for unpaid wages, the plaintiffs explained that the film had given them courage and strengthened their campaign.
Other organizations, such as the International Latino Film Society, are similarly enthusiastic about the film's ability to bring awareness to issues of race, culture, exploitation and discrimination.
Made in L.A. has also been used as a teaching tool in high schools, colleges and universities. Matthew Garcia, professor of American Civilization, Ethnic Study, and History at Brown University calls it an "essential film for educators interested in sharing with their students the struggle of immigrant workers in a globalized garment industry." The film has been used by hundreds of schools and universities, including the UC Berkley and UCLA Labor Centers and incorporated in gender studies courses at the University of Missouri, Southern Oregon University and the University of California, Santa Barbara.
Los Angeles High School teacher, Nikhil Laud considers Made in L.A. "a powerful teaching resource" that enhanced class discussions about globalization, immigration, as well as workers and consumers' rights.
In 2009, the Made in L.A. team will continue with their distribution and outreach efforts, sustaining existing partnerships and reaching out to more potentially interested groups. With funding from the Fledging Fund and the Diane Middleton Foundation, they have embarked in their second year of community engagement work and have brought on another team member to handle the excess of demand.
In addition to distributing community screening kits, which also allow organizations to earn revenue for their cause(s), the team will begin a viral Internet campaign, making modules of the film available on platforms such as Facebook to respond to the needs of particular audiences. Bahar explains that one such module might be shaped from a scene in the film in which one of the main characters, Lupe, visits the Lower East Side Tenement Museum and the Ellis Island Immigration Museum. Sadly she sees that immigrant garment workers in New York at the start of the 20th century suffered many of the same hardships. "It's just like that today," she observes.
The makers believe that their persistence and focus made an improbable film happen. "Know in your heart what it takes to get there," says Carracedo. Spend as much time as takes to bring your vision to fruition, knowing when to, and when not to, listen to outside feedback. It will be worth it in the long run to create a project that has a long reaching positive impact on the issues at hand and your career as an artist.
Funders Are Friends
Bahar and Carracedo advise, "A fundraiser only works when it is conducted with integrity and with respect for your potential donors. The basis of this kind of event is to work in collaboration with a community around issues that you're both involved with and care about. At its best, it is a symbiotic relationship: you need THEM to help support your work, and they need YOU to create the kind of work that they want to see – and that you're hopefully already creating."
Make the Business Model Fit the Mission
Bahar explains that, as the producer of Made in L.A., he has learned how to build the right business structure to draw revenue from advocacy efforts without compromising the project's mission; a structure designed to "maintain a true "double bottom line" that enables the team to support their continued work while accomplishing their mission and offering materials to partners at a low cost."
He recommends:
Stay flexible – Implement your strategy stage by stage and modify it as you go. You learn valuable information in every stage that will enable you to improve your plan for the next stage.
Split rights – Retain overall control of your distribution. Take a hybrid approach, dividing certain rights among distributors and retaining the right to do direct sales.
Target audiences – Research, test, and refine your approach to core audiences. Understand who is most responsive to your films, and how to reach them most effectively.
Find partners – Look for national nonprofits, websites, sponsors, and distributors to team up with to bring your film to their members, subscribers, and customers.
The Made in L.A. project has formed a national alliance of outreach partners with whom they host events to help bring attention to specific issues. Ally organizations include:
Center for Law and Social Policy
Hispanics in Philanthropy
Lutheran Immigrant and Refugee Service
National Immigrant Solidarity Network
National Network for Immigrant and Refugee Rights
Sweatshop Watch
National Immigration Law Center
SweatFree Communities
Garment Worker Center
Amnesty International Western Regional Office
Asian Immigrant Women Advocates
Bay Area Immigrant Rights Coalition
Centro de la Familia (Colorado Springs, CO)
DC Lawyer Chapter of American Constitution Society for Law and Policy
Hispanic American League of Artists (HALA)
Interfaith Worker Justice
Lower East Side Tenement Museum (NY)
MEChA (Movimiento Estudiantil Chicana/o de Aztlan)
United Students Against Sweatshops
Midwest Coalition for Human Rights
Made in L.A. has won the following awards:
2008 EMMY Award, Outstanding Achievement in Continuing Coverage of a News Story, Long Form.
Henry Hampton Award for Excellence in Film and Digital Media, Council on Foundations, USA
Special Mention of the Jury, Valladolid International Film Festival, Spain
SIGNIS Award, Voces contra el Silencio Film Festival, Mexico
ESTELA Award, National Association of Latino Independent Producers (NALIP), USA.
Best Documentary, Cuenca International Women Film Festival, Spain
Best Editing and Special Mention of the Jury, Antlantidoc, Uruguay
Spirit of Humanity Award, San Joaquin International Film Festival
Corky Gonzales Righteousness Award, Cine Sin Fin East L.A. Chicano Film Festival, USA
Nominee, Pare Lorentz Award, International Documentary Association
Nominee, Witness Award at Silverdocs, USA
2008 IMAGEN Award Nominee, Best Television Documentary
2008 ALMA Award Nominee, National Council of La Raza
SXSW Documentaries: Finding a Voice | March 19, 2016
SXSW for Good: Obama, Abortion, Harassment, Diversity | March 13, 2016
Diversity in Independent TV Documentaries: Is Public TV Different? | October 16, 2015


Why is DTAF-conjugated Streptavidin offered instead of FITC-conjugated Streptavidin?
We have observed that fluorescence from many of our fluorophore-conjugated streptavidins in solution was enhanced following the addition of a saturating amount of free biotin. Of particular significance was the difference we observed between DTAF- and FITC-conjugated streptavidins.
Fluorescence from FITC-streptavidin was extremely low when no biotin (curve F-S) was bound to the conjugate. However, after addition of a saturating concentration of free biotin (curve F-S+B) there was a 16-fold increase in fluorescence (Figure 1). A similar response from DTAF-streptavidin was less dramatic (a 1.9-fold increase)(curves D-S and D-S+B), however its fluorescence was much higher than that from FITC-streptavidin before the addition of biotin.
Of more importance, however, was the observation that DTAF-streptavidin was more than twice as fluorescent as FITC-streptavidin before (curves F-S and D-S) and after (curves F-S+B and D-S+B) the addition of free biotin (Figure 1).
Figure 1. Comparison of fluorescence between FITC-streptavidin (F-S) and DTAF-streptavidin (D-S) before and after (F-S+B and D-S+B) the addition of free biotin. Spectra were obtained with an M-series spectro-fluorometer system from Photon Technologies International, Inc.
Figure 2. Human peripheral lymphocytes were stained with anti-CD3, biotin-SP-goat anti-mouse IgG (H+L) (min X Hu, Bov, Hrs Sr Prot) (115-065-062), and either FITC-streptavidin (blue) or DTAF-streptavidin (green). Stained cells were analyzed in a FACSCalibur (Becton Dickinson) flow cytometer.
Although this difference may be somewhat less apparent when the conjugates are bound to only one or two biotins on an antibody, these observations suggest that DTAF-streptavidin should be a better fluorescein labeling reagent than FITC-streptavidin. In fact as Figure 2 shows, when the two conjugates were compared for brightness in a flow cytometry experiment, DTAF-streptavidin was about two and a half times brighter than FITC-streptavidin. For this reason, JIR offers only DTAF- (rather than FITC-) conjugated streptavidin. This phenomenon is unique to streptavidin, and is not observed with antibodies.


text:
Come Back, Mrs. Noah
Category: Come Back, Mrs. Noah
In 2050, England is about to launch a massive space station, the crowning achievement of British technology. As preparations for launch continue, the BBC invites housewife Gertrude Noah to visit the launch pad and the station, which she describes as "fancy." But a runaway reaction occurs in the station's launch engines, and mission control – unaware that a few crew members and civilians are aboard the station for a live broadcast – launches the station for the safety of those on the ground. Without a full crew possessing the necessary expertise to land the station properly, Mrs. Noah is stuck in orbit with a reporter named Clive and three station crew members who seem oblivious as to how anything works.
written by Jeremy Lloyd & David Croft
directed by Bob Spiers
music by John Scott / theme song by David Croft
Cast: Mollie Sugden (Mrs. Noah), Ian Lavender (Clive Cunliffe), Donald Hewlett (Carstairs), Michael Knowles (Fanshaw), Robert Gillespie (Mission Controller), Ann Michelle (Assistant Controller), Joe Black (Garstang), Jennifer Lonsdale (The Technician), Gorden Kaye (The Television Presenter)
Notes: Come Back Mrs. Noah was created by Jeremy Lloyd and David Croft, the creators of Are You Being Served?, and starred one of that show's stars, Mollie Sugden. This series was produced during the long gap between the fifth and sixth seasons of Are You Being Served?.
Come Back, Mrs. NoahBBC1
July 17, 1978 April 24, 2016 Earl
With the Britannia 7 space station still stuck in orbit without a qualified crew, Mrs. Noah and the others aboard set about trying to work out the basics of surviving in orbit. When the space station is equipped with such modern marvels as an artificial "space chicken" that disgorges sausage-like strings of eggs, it begins to look as though survival may be a bit more complicated than anyone thought. In the meantime, the BBC kindly provides two-way communication between those stranded on the space station and their families on Earth, and Mrs. Noah discovers that Mr. Noah has been comforted by their buxom next door neighbor.
Cast: Mollie Sugden (Mrs. Noah), Ian Lavender (Clive Cunliffe), Donald Hewlett (Carstairs), Michael Knowles (Fanshaw), Tim Barrett (Mission Controller), Ann Michelle (Assistant Controller), Joe Black (Garstang), Jennifer Lonsdale (The Technician), Gorden Kaye (The Television Presenter), Norman Mitchell (Mr. Noah), Diana King (Mrs. Carstairs), Raymond Bowers (Professor Holzburger), Jennifer Guy (Ivy Basset), Kenneth MacDonald (Space Man)
The unwitting occupants of space station Britannia 7 prepare themselves for the arrival of a rescue party via space shuttle. Mission control advises Carstairs to brief the non-astronauts aboard the station in proper procedures for a space shuttle docking, which he proceeds to try to explain with a variety of everyday food items (with varying degrees of success). There's just one little problem: the Britannia 7 wasn't ready for launch, and does not have the proper docking mechanism, meaning that Carstairs and everyone else aboard will have to create a temporary airtight seal when the shuttle arrives.
Cast: Mollie Sugden (Mrs. Noah), Ian Lavender (Clive Cunliffe), Donald Hewlett (Carstairs), Michael Knowles (Fanshaw), Tim Barrett (Garfield Hawk), Ann Michelle (Scarth Dare), Joe Black (Garstang), Jennifer Lonsdale (The Technician), Gorden Kaye (The Television Presenter), Raymond Bowers (Slumber Control)
Notes: The model work for the launch of the space shuttle is reasonably good for this era (especially considering that the space shuttle had not actually lifted off yet). Heard several times in this episode is a sound effects sequence known as "White Void", created for and first used in the 1968 Doctor Who serial The Mind Robber by Brian Hodgson, co-founder of the BBC Radiophonic Workshop. Just thought you'd like to know.
Who Goes Home
The occupants of the Britannia 7 space station receive sobering news from Earth: the space shuttle that has just arrived to rescue them can only take a finite number of people home. Immediately, the stranded Britannia 7 residents begin sizing up the greatest achievements of their lives, each trying to prove his or her worthiness to return to Earth intact. The competition heats up until Carstairs points out that there might be another way to return home, though it's a very experimental procedure – one he thinks should be tested first on Mrs. Noah.
Cast: Mollie Sugden (Mrs. Noah), Ian Lavender (Clive Cunliffe), Donald Hewlett (Carstairs), Michael Knowles (Fanshaw), Tim Barrett (Garfield Hawk), Ann Michelle (Scarth Dare), Joe Black (Garstang), Jennifer Lonsdale (The Technician), Gorden Kaye (The Television Presenter), Harold Bennett (The Priest)
Housing Problem
August 7, 1978 April 24, 2016 Earl
The shuttle returns to Earth with none of Britannia 7's inhabitants. Facing a stay much longer than they ever expected – perhaps stretching into months or longer – Carstairs and Fanshaw begin investigating some features of Britannia 7 intended for long-distance journeys, including a facility for recreating Earthlike environments. Mrs. Noah gravitates toward one option that replicates the environment to which she is most accustomed – British suburbia – and the rest of the station's occupants grudgingly help her return, briefly, to her ideal life.
Cast: Mollie Sugden (Mrs. Noah), Ian Lavender (Clive Cunliffe), Donald Hewlett (Carstairs), Michael Knowles (Fanshaw), Tim Barrett (Garfield Hawk), Ann Michelle (Scarth Dare), Joe Black (Garstang), Jennifer Lonsdale (The Technician), Gorden Kaye (The Television Presenter), Christopher Mitchell (The Butler), Vicki Michelle (The Maid), Jean Gilpin (2nd Technician)
August 14, 1978 March 13, 2017 Earl
Biding their time until the next rescue attempt, the male members of the Britannia 7 crew use the station's environment simulator to spend a day on the golf course, though they quickly discover that there are worse problems than trying to teach Mrs. Noah how to play, namely the computer-generated golf course which simulates things a little too perfectly, including sudden downpours. But Earth has worse news than that: a rescue plan has been devised which involves the crew bailing out of Britannia 7 and hang-gliding to Earth from the upper-atmosphere, a risky, never-before-tested escape method. Can Mrs. Noah really go home, or would it be better to remain in orbit?
Cast: Mollie Sugden (Mrs. Noah), Ian Lavender (Clive Cunliffe), Donald Hewlett (Carstairs), Michael Knowles (Fanshaw), Tim Barrett (Garfield Hawk), Ann Michelle (Scarth Dare), Joe Black (Garstang), Jennifer Lonsdale (The Technician), Gorden Kaye (The Television Presenter), Jean Gilpin (2nd Technician)
Notes: This is the final episode of the series and, as painful as it is to admit, it beats Star Trek: The Next Generation to the holodeck concept by nearly a decade. Whatever points the show gains for anticipating that concept, a few can probably be deducted for the apparent confusion between a space station and a starship (since the station apparently has some form of interplanetary drive).
Come Back, Mrs. NoahBBC1, Series Finale