The four main characters are Tia Ahuja (the only daughter of fashion entrepreneur Sumit Ahuja), Anvesha Ray Banerjee (the only daughter of Bollywood filmstar Sonia Ray), Yuvraaj Dev (the brat son of Indian politician Yashwant Dev), and Ranveer Sisodia (from a middle-class Rajasthani family who comes to Maurya to avenge the death of his father with Sumit Ahuja). They form the music group "Remix" and become the singing sensation of the decade.[2]
Star One Tv Serial Remix All Epi
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One on One is an American sitcom that aired on UPN from September 3, 2001, to May 15, 2006. The series stars Flex Alexander as a single sportscaster, who becomes a full-time father when his ex-wife decides to accept a job out of the country and his teenage daughter Breanna (Kyla Pratt) moves in with him. The series was set in Baltimore for the first four seasons, before changing settings to Los Angeles for the final season. The series was a joint production of the Greenblatt/Janollari Studio and Daddy's Girl Productions in association with Paramount Network Television.
The show's theme song "Living One on One", was written and performed by Shanice (wife of the show's star Flex Alexander) and Tonex with music composed by Jonathan Wolff and Becky Kneubuhl (who composed the scene-change music for the first season). The theme song was slightly shortened and remixed by Detail and Ray J for the show's fifth season. A truncated version of the theme, which had no lyrics except for the words "One on One", was used as a closing theme, heard only in syndicated airings.
Hosted and remixed by DJ Green Lantern and DJ Mister Cee in GTA IV and then Funkmaster Flex and Statik Selektah in EFLC, the station plays Contemporary Hip-Hop and R&B. (Also replaces The Classics 104.1 in EFLC)
Most of the ringtones found on the game's ringtone download website are from previous Grand Theft Auto games, mainly from Head Radio and Lips 106 in Grand Theft Auto III and Liberty City Stories, and "Pager" is the tone of the pager in Grand Theft Auto III (which is, in turn, the melody of the theme for the original Grand Theft Auto, which also appeared on radio station Lips 106 in Grand Theft Auto III) and the opening tune on Grand Theft Auto: Vice City when it displays the Rockstar North logo, in the form of a Commodore 64 loading screen. All of these songs are from fictional bands made by Rockstar Games.
Rockstar Games has released five soundtrack albums to date. The Music of Grand Theft Auto IV contains several soundtrack selections from the game. Vladivostok FM features tracks from the in-game radio station featuring three (or four, depending on the release) cut songs. Liberty City Invasion features original music produced for the game by DJ Green Lantern, half of them appears on 102.7 The Beat in the game, but the others were cut. There is also an exclusive DJ intro from DJ Green Lantern (like the way in Vice City's Official Soundtrack Box Set).
There were a number of concerns regarding serialized storytelling as it added new problems to the mix. There were concerns that episodes would be ready in the proper order, and in some cases they were not like "No Mutant is an Island". They worried about how the younger demographic would deal with an episode that has a cliffhanger, as well as viewers who missed previous episodes. This is why they came up with the "Previously on X-Men..." recap, which is now a common practice. Julia Lewald credits editor Sharon Janis for those sequences as she had no direction and did them entirely herself.
Mark Edward Edens and Meugniot laid out the thirteen stories of the first season in detail on a single ten-page premise before any writer started on a script. Their goal was to introduce the Sentinel threat in the premiere episodes then resolve it by the end since they were not sure they would get a second season.
Actually, the biggest opposition to serialized storytelling was from Marvel. Meugniot said, "The strongest opposition to creating a show that was faithful to the Marvel way of doing things came from Marvel, which galvanized us into trying to do it right. We knew our audience wasn't stupid and that they were frustrated by being talked down to. Our best argument was that we'd been kids when Stan [Lee] started the more adult approach to superhero stories and we loved it and wanted replicate it for our viewers."
Early promotions for the series lacked Jean Grey, Beast, and Gambit. When production started in February of 1992, the producers were told that Jean and Beast were secondary characters as they were less interesting to the core audience. However, as they were writing the first season the producers enjoyed them more and more. They felt that Jean became the emotional core and that, while everyone else fought amongst each other, everyone trusted and respected Jean saying she had a quiet strength. They found Beast fun to write for as there was no one like him. He was the most mutated yet most at ease with his mutation. He spouted obscure poetry but was powerful, agile, and courageous, calling him a writer's dream. They ignored the suggestion to minimize the two. Gambit, however, was simply left off the promotion despite always being intended to be featured from the beginning.[9]
As Saban didn't own the property, he was only getting a fee regardless of how much it cost. If the budget went up it would come out of his pocket. He was always looking to economize and often his reaction to creative decisions was, "What's that going to cost?" He noted that it all starts with the script saying that if a story isn't memorable with likable characters it doesn't matter how big of a budget it has. He said, "If it ain't on the page, it ain't on the stage...regardless of the budget."
Pryde was one of the few characters not to make any cameo appearance, and the only major X-Man to not appear. She had been the center of the "Pryde of the X-Men" pilot that failed to take off. Marvel feared the character was to blame and essentially banned her from the series. Eric Lewald said, "The use of Kitty Pryde was a non-starter: She was never going to make an appearance in X-MEN:TAS after the less-than-enthusiastic reaction to Pryde of the X-Men." This didn't last forever as she became a major part of the comics again and main character on X-Men: Evolution and Wolverine and the X-Men.[12]
Iona Morris played Storm for the first season. Alison Sealy-Smith replaced her starting the second season and redubbed the voice for reairings of the first. Morris was the second actress to record for Storm. Another unrevealed actress recorded all of the first season. However, she was white and the producers feared a potential backlash should the series become popular. Morris rerecorded the lines and went on to record several episodes of the second season. Since she was American, and would get residuals for reruns, Canadian actress Sealy-Smith took the role and rerecorded the first season for a third time.[13]
When Lee left Marvel to form Image Comics, Marvel ordered the producers to remove all of Lee's visual influence. Will Meugniot said, "My goal at that point was to do something as close to the contemporary comics as possible, so we started with the Jim Lee designs (among many available). But we had this side-trip of of them because shortly after we started, after I had gotten the initial designs of Wolverine, Cyclops, and Jean approved, suddenly I got a note from Marvel saying, "you have to put away all the Jim Lee reference. We can't do a show that looks like his stuff." They wouldn't say why, but of course the problem turned out to be that Jim and the other major Marvel guys had announced that they were leaving to found Image Comics." To counter the order, Meugniot sent in designs similar in style to Hanna-Barbera Productions knowing Marvel would never go for it. Marvel eventually relented.[15]
The series suffered from lag due to the writers being in Los Angeles and cast being in Canada. The writers would send the material up to Canada where people would audition. The tapes would be sent by mail back to Los Angeles where it could be heard and analyzed. Worse yet, it would be three or four months for the animation to get back and close to the scheduled air date. If something went wrong the entire schedule would get screwed up. This is why the third episode aired so long after the first two. Loesch and Iwanter spent millions to delay the show so it would start right.
The song was used as Eclipse's ringtone in the series premiere of the mutant-based show The Gifted. The inclusion started as a behind-the-scenes gag. Showrunner Matt Nix told The Hollywood Reporter, "Honestly, we did it initially as a joke for the cut. Then we were like, 'No, we have to do this.' We were told we couldn't do it, and we basically said, 'No, really, this needs to happen. We're doing this.' It's one of those things where there aren't a lot of those battles you get to win when you're making a network television show, but that one? We knew it cost more money than a regular ring tone, but it's so much fun so we're doing it. Pay the money. I was very happy we got that." When asked if it would be heard again, "It might reoccur! We don't want everyone to just be waiting around for it."[22]
The other error deals with Cable. In "Slave Island", he is shown to be a highly skilled mercenary. Then in the second season starting with "Time Fugitives, Part One" he is a time traveling soldier now with a metal arm, being more faithful to the comics.
Will Meugniot said of the success, "We found out fast that everything risky that we had fought for (serialization, adult stories, fast pace, serious drama instead of light comedy, respecting the books) worked with the audience. X-Men: TAS, showing on new little 4th-place Fox network, not only premiered in January at number one in its time period, it was soon grabbing over half of the TV viewers in the country, more than the three 'big' networks combined. While we were building our inventory to start regularly airing in January, Fox Kids was taking votes in their Thanksgiving Take Over event, in which kids got to ask for the shows they wanted to be shown on Thanksgiving morning. It was kept secret at the time, but virtually one-hundred percent of the requests were for X-Men. We were validated with the network." 2ff7e9595c
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