Hundred Episode 6
Riverdale is finally back after being on hiatus for a few months, and the premiere was anything but normal. Following the explosion at the end of the previous episode, Archie, Betty, and Jughead start experiencing some strange side effects. Meanwhile, something is going on at Thornhill, the Serpents and Ghoulies are at it once again, and a manhunt to find Hiram commences with a devastating end.
Hundred Episode 6
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My name is Malcolm Gladwell. You're listening to Revisionist History, my podcast about things overlooked and misunderstood. This episode is my eulogy for Hank Rowan. I never met him, but he's a hero of mine. I want to understand why he didn't become everyone's hero; why Hank Rowan example didn't spread beyond Glassboro, New Jersey.
This episode is the third in my 3-part Revisionist History miniseries re-examining the promise of higher education. The first installment was about why the educational system struggles to find talented low-income students. The second episode was a comparison of Vassar and Boden and why it's so difficult for some colleges to find the money for financial aid. But today, I want to talk about educational philanthropy, which I think is an issue that doesn't get talked about nearly enough.
MG: The UC system is the University of California system, 10 schools, Berkeley, UCLA, San Diego, Davis, Santa Barbara, etc., maybe the finest group of public universities in the world. If you listened to the previous episode of Revisionist History, the one about Vassar, I talked about the New York Times access index. It's a ranking of 180 universities in the US according to how good a job they do in finding, educating, and financially supporting low income students. Right now, Vassar comes in eighth. Well, six of the first seven spots on that list are University of California schools. Stanford has 16,000 students; the UC system has 238,000 students. So I'm asking John Hennessy, might there ever, ever be an instance where he might tell a would be super philanthropist, "Look, we've already got $22 billion in the bank, higher than the output of two Caribbean countries, and it's earning us a couple of tax free billions every year. Your dollar would go further at the public institutions down the street since they educate 222,000 more students than we do with a fraction of the endowment"? I'm not holding Hennessey to his answer. I'm not looking for
Riverdale season 6, episode 5 was as bold as any episode of the show has ever been, giving the tiny town its very own apocalyptic event where the characters were charged with literally saving multiple worlds. Obviously, like most of the Rivervale event episodes, it was a crazy trip from start to finish.
In the U.S. television industry, 100 episodes is the traditional threshold for a television series to enter syndicated reruns. One hundred episodes are advantageous for stripped syndication because it allows for 20 weeks of weekday reruns (depending on the number of episodes produced once the program debuts in syndication) without repeating an episode, and such shows can be sold for higher per-episode pricing.
Syndication is often a profitable enterprise because a series can be rerun for years after it ends production. Shows of limited profitability during their first run will still prove to be viable to the production company if they can last 100 episodes. This point is usually reached during a series' fifth season.
More recently, Clueless had reasonable success in syndication, especially on cable, even though only 62 episodes had been produced by the time the series ended in 1999. Chappelle's Show entered syndication despite only producing 33 episodes, five of which were clip shows. Series which have entered the public domain, such as Dusty's Trail, Meet Corliss Archer, and Life with Elizabeth are sometimes aired regardless of the number of episodes because there is no licensing fee.
Dramas, which do not require daily runs, have also had success in syndication with shorter runs. For example, Lost in Space ceased production in 1968 after 84 episodes because of declining ratings, but did well in syndication for a number of years. The original Star Trek series had only 79 episodes available when its network run ended in 1969, but after its considerable success in syndication, it spawned multiple feature films and more than six spin-off series. Other examples include The Prisoner and Hondo, both successfully syndicated for more than 30 years despite having only 17 episodes produced. The original 1978 series Battlestar Galactica and its spin-off Galactica 1980 produced a combined 34 episodes, yet it not only remains in syndication but it also led to a 2003 reimagining that lasted for 75 episodes. In 2014, AMC released The Walking Dead for reruns on MyNetworkTV after 51 episodes had aired; that series was still in production at the time, and MyNetworkTV airs its shows once a week instead of in a daily strip.
The growth of cable and satellite television has prompted channels to rerun series more often, with fewer episodes. Reruns of a particular show may air multiple times a day, several days a week, despite having only one or two seasons of episodes produced.
By the early 2010s, the milestone for syndication was accepted at 88 episodes, which is typically reached after four seasons. Shows approaching the 88-episode target are often renewed despite low ratings in order to ensure syndication. Production companies can offer discounts on licensing fees to the networks to encourage renewal. Shows that are approaching the 88-episode syndication milestone while suffering from poor ratings are often moved to graveyard slots on Friday or Saturday in order to burn off remaining episodes. By the end of that decade, with the rise of subscription video on demand services and different funding models which make continuing series more expensive, the threshold for a series to be profitable in syndication has been dropped even lower to 50 episodes.
The 100-episode threshold is generally applied solely to scripted prime time programming, since sitcoms and dramas are the most prevalent in syndicated reruns. Other programming may follow different patterns. For example, the traditional syndication model seldom works for most reality shows, and both annual and semi-annual contests have also been a relative failure in syndication.
On rare occasions, game shows have been rerun on broadcast television. Despite having very high output as far as numbers of episodes (a typical 13-week run of even an unsuccessful game show yielded 65 episodes) are concerned, most networks instead opted to recycle the tapes of those shows, as it was viewed at the time as a more profitable practice than trying to sell reruns of daytime programming. The practice of rerunning some of the most popular game shows in syndication was rare, but not unheard of, in the 1970s and 1980s; Gambit was rerun in 1978 and Match Game was rerun in syndication in 1985. In addition, Classic Concentration was rerun by NBC between September 1991 and the summer of 1993. Jeopardy! and Wheel of Fortune, which have produced thousands of episodes over their runs of 35 or more years in syndication as of 2019, offers a package of reruns (with the former using the title Daytime Jeopardy!) as companion series for stations with an extra time slot.
With the advent of cable channels such as Game Show Network and the subchannel network Buzzr, rerunning game shows has become more common; for instance, Merv Griffin's Crosswords, which lasted one season and 225 episodes in syndication during the 2007-08 season, ran continuously for several years thereafter, originally in syndication and later on RTV. GSN has rerun several game shows that ran less than 100 episodes, including Greed (44 episodes), Dog Eat Dog (26 episodes), Power of 10 (18 episodes), and perhaps the most extreme case, Million Dollar Password, which ran for only 12 episodes. Even among shows with hundreds (and even thousands) of episodes, since the early 2010s, GSN typically has only acquired the rights to 50 to 65 episodes at a time for most series. Rerunning game shows has proven to be successful; Stirr, the free over-the-top service run by Sinclair Broadcast Group, stated that Buzzr was the service's most popular nationwide channel.
Rerunning children's programming generally requires fewer episodes than programming for adults. For most children's series, reruns are aired for a short period of time after the series finishes production, then are replaced. For weekly series, this practice dates to at least the 1960s, when Saturday morning cartoons would, after the end of their 13-week run, begin rerunning continuously for about a year (usually four runs/year) until being replaced by the next show, either new or archival. During the 1970s, 22 episodes was typically the number a producer sought in order for an animated program to be rerun beyond its first year. After several years, once the previous generation of children outgrew the show, it could be reintroduced for the next younger generation by airing reruns. For shows that are rerun daily, the time span is usually on the order of months. This also meant that cancellations of children's programming was extremely rare; because of the long lead time to produce a cartoon, networks usually bought a full season of a show before it began airing, meaning that it would be far too late to have any appreciable financial benefit by ending it. 041b061a72