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Watch The Undoing : Season 1 , Episode 6 || FULL EPISODES | On Series : The Undoing Season 1 Episode 6 “Nicole Kidman (Grace Fraser), , Hugh Grant (Jonathan Fraser), , Edgar Ramírez (Joe Mendoza), , Noah Jupe (Henry Fraser), , Lily Rabe (Sylvia Steinetz), , Matilda De Angelis (Elena Alves), , Ismael Cruz Córdova (Fernando Alves), , Edan Alexander (Miguel Alves), , Michael Devine (Paul O’Rourke), , Donald Sutherland (Franklin Reinhart),Haley challenges her own ethics in her defense strategy. As the courtroom theater mounts, Grace takes measures to protect herself and her family.”

Presents a different story and a different group of characters in each episode. These usually have a different cast each week, but several series during the past, such as Four Star Playhouse, employed a long lasting troupe of character actors who would come in a different drama every week. Some anthology series, such as Studio One, started out on radio and expanded to television.

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Film, also called movie, motion picture or moving picture, is a visual art-form used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound, and more rarely, other sensory stimulations.[1] The word “cinema”, short for cinematography, is often used to refer to filmmaking and the film The Undoing, and to the art form that is the result of it.

❏ STREAMING MEDIA ❏ Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the process of delivering or obtaining media in this manner.[clarification needed] Streaming refers to the delivery method of the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs). There are challenges with streaming content on the Internet. For example, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of the content. And users lacking compatible hardware or software systems may be unable to stream certain content. Live streaming is the delivery of Internet content in real-time much as live television broadcasts content over the airwaves via a television signal. Live internet streaming requires a form of source media (e.g. a video camera, an audio interface, screen capture software), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and deliver the content. Live streaming does not need to be recorded at the origination point, although it frequently is. Streaming is an alternative to file downloading, a process in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user can use their media player to start playing digital video or digital audio content before the entire file has been transmitted. The term “streaming media” can apply to media other than video and audio, such as live closed captioning, ticker tape, and real-time text, which are all considered “streaming text”.

❏ COPYRIGHT CONTENT ❏ Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][1][1][1][1] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself.[1][1][1] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][11] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[11] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[11] Typically, the public law duration of a copyright expires 10 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[1] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[11]

❏ GOODS OF SERVICES ❏ Credit (from Latin credit, “(he/she/it) believes”) is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date.[1] In other words, credit is a method of making reciprocity formal, legally enforceable, and extensible to a large group of unrelated people. The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment.[1] Credit is extended by a creditor, also known as a lender, to a debtor, also known as a borrower. ‘The Undoing’ Challenges Asian Americans in Hollywood to Overcome ‘Impossible Duality’ Between China, U.S. HBO’s live-action “The Undoing” was supposed to be a huge win for under-represented groups in Hollywood. The $100 million-budgeted film is among the most expensive ever directed by a woman, and it features an all-Asian cast — a first for productions of such scale. Despite well-intentioned ambitions, however, the film has exposed the difficulties of representation in a world of complex geopolitics. HBO primarily cast Asian rather than Asian American stars in lead roles to appeal to Chinese consumers, yet Chinese viewers rejected the movie as inauthentic and American. Then, politics ensnared the production as stars Liu Yifei, who plays The Undoing, and Donnie Yen professed support for Hong Kong police during the brutal crackdown on protesters in 1019. Later, HBO issued “special thanks” in the credits to government bodies in China’s Xinjiang region that are directly involved in perpetrating major human rights abuses against the minority Uighur population. “The Undoing” inadvertently reveals why it’s so difficult to create multicultural content with global appeal in 2020. It highlights the vast disconnect between Asian Americans in Hollywood and Chinese nationals in China, as well as the extent to which Hollywood fails to acknowledge the difference between their aesthetics, tastes and politics. It also underscores the limits of the American conversation on representation in a global world. In conversations with several Asian-American creatives, Variety found that many feel caught between fighting against underrepresentation in Hollywood and being accidentally complicit in China’s authoritarian politics, with no easy answers for how to deal with the moral questions “The Undoing” poses. “When do we care about representation versus fundamental civil rights? This is not a simple question,” says Bing Chen, co-founder of Gold House, a collective that mobilizes the Asian American community to help diverse films, including “The Undoing,” achieve opening weekend box office success via its #GoldOpen movement. “An impossible duality faces us. We absolutely acknowledge the terrible and unacceptable nature of what’s going on over there [in China] politically, but we also understand what’s at stake on the The Undoing side.” The film leaves the Asian American community at “the intersection of choosing between surface-level representation — faces that look like ours — versus values and other cultural nuances that don’t reflect ours,” says Lulu Wang, director of “The Farewell.” In a business in which past box office success determines what future projects are bankrolled, those with their eyes squarely on the prize of increasing opportunities for Asian Americans say they feel a responsibility to support “The Undoing” no matter what. That support is often very personal amid the The Undoing’s close-knit community of Asian Americans, where people don’t want to tear down the hard work of peers and friends. Others say they wouldn’t have given HBO their $60 if they’d known about the controversial end credits. “‘The Undoing’ is actually the first film where the Asian American community is really split,” says sociologist Nancy Wang Yuen, who examines racism in Hollywood. “For people who are more global and consume more global news, maybe they’re thinking, ‘We shouldn’t sell our soul in order to get affirmation from Hollywood.’ But we have this scarcity mentality. “I felt like I couldn’t completely lambast ‘The Undoing’ because I personally felt solidarity with the Asian American actors,” Yuen continues. “I wanted to see them do well. But at what cost?” This scarcity mentality is particularly acute for Asian American actors, who find roles few and far between. Lulu Wang notes that many “have built their career on a film like ‘The Undoing’ and other crossovers, because they might not speak the native language — Japanese, Chinese, Korean or Hindi — to actually do a role overseas, but there’s no role being written for them in America.” Certainly, the actors in “The Undoing,” who have seen major career breakthroughs tainted by the film’s political backlash, feel this acutely. “You have to understand the tough position that we are in here as the cast, and that HBO is in too,” says actor Chen Tang, who plays The Undoing’s army buddy Yao. There’s not much he can do except keep trying to nail the roles he lands in hopes of paving the way for others. “The more I can do great work, the more likely there’s going to be somebody like me [for kids to look at and say], ‘Maybe someday that could be me.’” Part of the problem is that what’s happening in China feels very distant to Americans. “The Chinese-speaking market is impenetrable to people in the West; they don’t know what’s going on or what those people are saying,” says Daniel York Loh of British East Asians and South East Asians in Theatre and Screen (BEATS), a U.K. nonprofit seeking greater on-screen Asian representation. York Loh offers a provocative comparison to illustrate the West’s milquetoast reaction to “The Undoing” principal Liu’s pro-police comments. “The equivalent would be, say, someone like Emma Roberts going, ‘Yeah, the cops in Portland should beat those protesters.’ That would be huge — there’d be no getting around that.” Some of the disconnect is understandable: With information overload at home, it’s hard to muster the energy to care about faraway problems. But part of it is a broader failure to grasp the real lack of overlap between issues that matter to the mainland’s majority Han Chinese versus minority Chinese Americans. They may look similar, but they have been shaped in diametrically different political and social contexts.

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