The lives of Police Officers working for the Los Angeles Police Department.

U.S. Marshal Raylan Givens is a modern day nineteenth century-style lawman, enforcing his brand of justice in a way that puts a target on his back with criminals, and places him at odds with his bosses in the Marshal service. That conflict results in a reassignment for Givens to the U.S. District covering the town where he grew up. He is an anachronism, a tough, soft-spoken gentleman who finds his quarry fascinating, but never gives an inch. Dig under his placid skin and you'll find an angry man who grew up hard in rural Kentucky, with an outlaw father, who knows a lot more about who he doesn't want to be than who he really is.

OZ chronicles McManus' (Terry Kinney) efforts to control the inmates of Em(erald) City as well as the drug trade and the violence. There have been many groups of inmates during the run of the show and not everybody makes it out alive. There are the gangstas (Adebisi, Wangler, Redding, Poet, Keene, Supreme Allah), Muslims (Said, Arif, Hamid Khan), Italians (Pancamo, Nappa, Schiebetta), bikers (Hoyt), Aryans (Schillinger, Robson, Mark Mack), Christians (Cloutier, Cudney), Latinos (Alvarez, Morales, Guerra, Hernandez), gays (Hanlon, Cramer), and a pile of others (the O'Riley brothers, Keller, Stanislovsky, etc.). And a great "everyman" character called Beecher offers a good look at a normal man who made one tragic mistake. Besides the regular inmates, there are guest stars such as Method Man, Luke Perry, Master P, Treach, etc. and a bunch of prison staff doctors (Dr. Nathan), a nun/psychologist (Sister Peter Marie), a bunch of guards--some honest, some crooked--and, of course, the warden, Leo Glynn. The whole thing is narrated and held together by inmate Augustus Hill, who provides the show with context and some sense of theme, and ties everything together nicely.

The professional and personal lives of those who work in advertising on Madison Avenue - self-coined "mad men" - in the 1960s are presented. The stories focus on those at one of the avenue's smaller firms, Sterling Cooper, and its various incarnations over the decade. At the heart of these stories is Donald Draper, the creative genius of the company. That professional creative brilliance belies the fact of a troubled childhood, one that he would rather forget and not let anyone know about except for a select few, but one that shaped who he is as an adult and as an ad man in the need not only to sell products but sell himself to the outside world. His outward confidence also masks many insecurities as evidenced through his many vices, such as excessive smoking, drinking and womanizing - the latter despite being a family man - and how he deals with the aftermath of some of the negative aspects of his life.

tv show

Paul Bertorelli

1996 film directed by Ethan and Joel Coen

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