The closest they come to eggs are in the canteen at the series' permanent base in and around a former Kodak warehouse on the outskirts of Stockport. Rebecca - or Bex as she's known to her mates - has just finished her lunch. Before returning to the freezing warehouse to film interior scenes in the poky Gallagher kitchen (duplicated in the full-scale set house in the grounds) she takes time out to consider how she's grown up in public.
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"Debbie gets a boyfriend," says Bex, bashfully. "And the first time I met him was to film a sex scene with him. I was like 'Oh. My. God.' "It wasn't as bad as I thought it would have been. Of course it was embarrassing, but because I'm not 18 yet, they actually have to use a body double if they're showing certain parts.
She says: "Turns out they do that to more or less everyone. But they were very good with me, they didn't show anything. Anyway, I had about four pairs of knickers on. I'd never done a sex scene before. In fact, I very rarely have sex.
We Are Men is a single-camera comedy about four single guys living in a short-term apartment complex who unexpectedly find camaraderie over their many missteps in love. Carter (Chris Smith), the youngest and most recent addition to the group, moved in after being ditched at the altar mid-ceremony, and is now eager to re-enter the dating scene and get on with his life with some guidance from his "band of brothers": Frank Russo (Golden Globe and multiple Emmy Award winner Tony Shalhoub), a successful middle-aged clothing manufacturer and four-time divorcée who still fancies himself a ladies man; Gil Bartis (Kal Penn), a small business owner who was caught having the world's worst affair; and Stuart Strickland (Jerry O'Connell), a speedo-wearing OB/GYN who's hiding his assets until his second divorce is settled. Jill (Rebecca Breeds) is Frank's charming and attractive daughter, who stands as the one positive remnant from his failed relationships. Armed with a hot tub, pool-side barbeque and plenty of questionable advice, these losers in the marriage department take Carter under their wing to impart their own brand of wisdom about the opposite sex. Emmy Award winner Rob Greenberg, Eric Tannenbaum and Kim Tannenbaum are executive producers for CBS Television Studios. Rob Greenberg directed the pilot.
The Millers stars Will Arnett as Nathan Miller, a recently divorced local roving news reporter looking forward to living the singles' life until his parents' marital problems unexpectedly derail his plans. After Nathan finally breaks the news of his divorce to his parents, Carol (Emmy Award winner Margo Martindale) and Tom (Emmy Award winner Beau Bridges), his father is inspired to follow suit and stuns the family when he leaves his wife of 43 years. Already in shock, Jack is even more aghast when his meddlesome mom decides to move in with him. Meanwhile, his absent-minded dad imposes upon Nathan's sister, Debbie, her husband Adam and their daughter Mykayla (Eve Moon). Nathan's best friend and news cameraman, Ray (J.B. Smoove), was excited to be Nathan's wingman in the dating scene, but Carol manages to even cramp his style. Now, as Nathan and his sister settle in with their truly impossible parents, they both wonder just how long the aggravating adjustment period is going to last. Greg Garcia (Raising Hope and My Name Is Earl) is the executive producer of The Millers for CBS Television Studios. Emmy Award winner James Burrows directed the pilot.
In the Hollywood Western prior to Ford's landmark film--which is a story set in 1868 about Ethan Edwards (played by the fifties monumental icon John Wayne), a Texan who embarks on a seven-year search (2) for a niece captured by Comanches when she was nine--Indians-and-the-land had become the linked, visual cliche of an untamed wilderness that goes civilized under the guns of cowboys and cavalry and the heroic, albeit questionable, efforts of White settlers. The Searchers ostensibly evokes these conventions through loaded remarks by the settlers about "this land" in oblique reference to the Indians. In one visually stunning shot, Comanche warriors seem to emerge out of the land, menacingly, behind a posse of Texas Rangers who are out hunting for them. An early critique of Hollywood's typing of the Indian as either savage, noble, or Hiawatha-esque came in 1936 from Stanley Vestal, the nom de plume of a professor of English at Oklahoma who complained that everybody gets typed in Hollywood and that of Indians in Westerns there was "not a human being in a carload." (3) Referring to the Indian Arts and Crafts law passed in 1935, making it a crime to sell fake Indian goods as genuine, Vestal said: "It seems time for similar legislation designed to prevent the sale of fake Indian drama." (4) Early scenes in The Searchers contribute to Ford's apparent adherence to conventional typing, which include the smoking evidence of a Comanche attack, a homestead of slaughtered or captured inhabitants, who happen to be Ethan's kin, even though Ford complicates the savage stereotype, such as later in the film when we learn that settlers had killed two of the Comanche leader's sons. William Luhr, who analyzes how John Wayne's character "deviate[s] substantially" from his public image, comments on the way Ford problematizes this image of the Indians:
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