Banjo and Bluegrass

  Amaizing / Fantastic

Superbe et fabuleux

Kids playing bluegrass / Des enfants jouant du Bluegrass







The A-Team is an American action-adventure television series that ran from 1983 to 1987 about a fictitious former United States Army Special Forces unit whose members, after being court-martialed “for a crime they didn’t commit”, escaped from military prison and, while still on the run, worked as soldiers of fortune. A feature film based on the series was released by 20th Century Fox in June 2010.




The A-Team was created by writers and producers Stephen J. Cannell and Frank Lupo at the behest of Brandon Tartikoff, NBC’s Entertainment president. Cannell was fired from ABC in the early 1980s, after failing to produce a hit show for the network, and was hired by NBC;

His first project was The A-Team. Brandon Tartikoff pitched the series to Cannell as a combination of The Dirty Dozen, Mission Impossible, The Magnificent Seven, Mad Max and Hill Street Blues, with “Mr. T driving the car”.

The A-Team was not generally expected to become a hit, although Stephen J. Cannell has said that George Peppard suggested it would be a huge hit “before we ever turned on a camera”.

The show became very popular; the first regular episode, which aired after Super Bowl XVII on January 30, 1983, reached 26.4% of the television audience, placing fourth in the top 10 Nielsen-rated shows.

The A-Team was always portrayed as acting on the side of good and helping the oppressed. Cannell was known for having a particular skill at capitalizing on momentary cultural trends, such as the helicopters, machine guns, cartoonish violence, and joyful militarism of this series, which are now recognizable as trademarks of popular entertainment in the 1980s as seen in the TV shows Magnum, P.I. and Airwolf as well as the films Rambo: First Blood Part II and Top Gun.

The show remains prominent in popular culture for its cartoonish, over-the-top violence (in which people were seldom seriously hurt), formulaic episodes, its characters’ ability to form weaponry and vehicles out of old parts, and its distinctive theme tune.

The show boosted the career of Mr. T, who portrayed the character of B. A. Baracus, around whom the show was initially conceived.  Some of the show’s catchphrases, such as “I love it when a plan comes together”, “Hannibal’s on the jazz”, and “I ain’t gettin’ on no plane!” have also made their way onto T-shirts and other merchandise.

The show’s name comes from the “A-Teams”, the nickname coined for U.S. Special Forces’ Operational Detachments Alpha (ODA) during the Vietnam War, although this connection was never referenced on-screen.

In a 2003 Yahoo! survey of 1,000 television viewers, The A-Team was voted the one “oldie” television show viewers would most like to see revived, beating out such popular television series from the 1980s as The Dukes of Hazzard and Knight Rider.

“In 1972, a crack commando unit was sent to prison by a military court for a crime they didn’t commit. These men promptly escaped from a maximum security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire… the A-Team.”

The A-Team is a naturally episodic show, with few overarching stories, except the characters’ continuing motivation to clear their names, with few references to events in past episodes and a recognizable and steady episode structure.

In describing the ratings drop that occurred during the show’s fourth season, reviewer Gold Burt points to this structure as being a leading cause for the decreased popularity “because the same basic plot had been used over and over again for the past four seasons with the same predictable outcome”.

Similarly, reporter Adrian Lee called the plots “stunningly simple” in a 2006 article for The Express (UK newspaper), citing such recurring elements “as BA’s fear of flying, and outlandish finales when the team fashioned weapons from household items”.

The show became emblematic of this kind of “fit-for-TV warfare” due to its depiction of high-octane combat scenes, with lethal weapons, wherein the participants (with the notable exception of General Fulbright) are never killed and rarely seriously injured (see also On-screen violence section).

As the television ratings of The A-Team fell dramatically during the fourth season, the format was changed for the show’s final season in 1986–87 in a bid to win back viewers.

After years on the run from the authorities, the A-Team is finally apprehended by the military. General Hunt Stockwell, a mysterious CIA operative played by Robert Vaughn, propositions them to work for him, whereupon he will arrange for their pardons upon successful completion of several suicide missions. In order to do so, the A-Team must first escape from their captivity.

With the help of a new character, Frankie “Dishpan Man” Santana, Stockwell fakes their deaths before a military firing squad. The new status of the A-Team, no longer working for themselves, remained for the duration of the fifth season while Eddie Velez and Robert Vaughn received star billing along with the principal cast.


Mister T

Mr T

Premiere Of Walt Disney Animation Studios' "Bolt" - Arrivals

Mr T

The missions that the team had to perform in season five were somewhat reminiscent of Mission: Impossible, and based more around political espionage than beating local thugs, also usually taking place in foreign countries, including successfully overthrowing an island dictator, the rescue of a scientist from East Germany, and recovering top secret Star Wars defense information from Soviet hands.

These changes proved unsuccessful with viewers, however, and ratings continued to decline. Only 13 episodes aired in the fifth season. In what was supposed to be the final episode, “The Grey Team” (although “Without Reservations” was broadcast on NBC as the last first-run episode in March 1987), Hannibal, after being misled by Stockwell one time too many, tells him that the team will no longer work for him.

At the end, the team discusses what they were going to do if they get their pardon, and it is implied that they would continue doing what they were doing as the A-Team. The character of Howling Mad Murdock can be seen in the final scene wearing a T-shirt that says, “fini”.

During the Vietnam War, the A-Team were members of the 5th Special Forces Group (see Season 1, Episode 10, “West Coast Turnaround”).

In Season 2, Episode 4, “Bad Time on the Border”, Colonel John “Hannibal” Smith, portrayed by George Peppard, indicated that the A-Team were “ex–Green Berets”.

During the Vietnam War, the A-Team’s commanding officer, Colonel Morrison, gave them orders to rob the Bank of Hanoi to help bring the war to an end. They succeeded in their mission, but on their return to base four days after the end of the war, they discovered that Morrison had been killed by the Viet Cong, and that his headquarters had been burned to the ground.

This meant that the proof that the A-Team members were acting under orders had been destroyed. They were arrested, and imprisoned at Fort Bragg, from which they quickly escaped before standing trial.

The origin of the A-Team is directly linked to the Vietnam War, during which the team formed.

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The show’s introduction in the first four seasons mentions this, accompanied by images of soldiers coming out of a helicopter in an area resembling a forest or jungle.

Besides this, The A-Team would occasionally feature an episode in which the team came across an old ally or enemy from those war days.

For example, the first season’s final episode “A Nice Place To Visit” revolved around the team traveling to a small town to honor a fallen comrade and end up avenging his death, and in season two’s “Recipe For Heavy Bread”, a chance encounter leads the team to meet both the POW cook who helped them during the war, and the American officer who sold his unit out.

An article in the New Statesman (UK) published shortly after the premiere of The A-Team in the United Kingdom, also pointed out The A-Team’s connection to the Vietnam War, characterizing it as the representation of the idealization of the Vietnam War, and an example of the war slowly becoming accepted and assimilated into American culture.

One of the team’s primary antagonists, Col. Roderick Decker (Lance LeGault), had his past linked back to the Vietnam War, in which he and Hannibal had come to fisticuffs in “the DOOM Club” (Da Nang Open Officers’ Mess).


At other times, members of the team would refer back to a certain tactic used during the War, which would be relevant to the team’s present predicament. Often, Hannibal would refer to such a tactic, after which the other members of the team would complain about its failure during the War. This was also used to refer to some of Face’s past accomplishments in scamming items for the team, such as in the first season episode “Holiday In The Hills”, in which Murdock fondly remembers Face being able to secure a ’53 Cadillac while in the Vietnam jungle.

The team’s ties to the Vietnam War were referenced again in the fourth season finale, “The Sound of Thunder”, in which the team is introduced to Tia (Tia Carrere), a war orphan and daughter of fourth season antagonist General Fulbright. Returning to Vietnam, Fulbright is shot in the back and gives his last words as he dies.

The 2006 documentary Bring Back The A-Team joked that the scene lasted seven and a half minutes, but his death actually took a little over a minute. His murderer, a Vietnamese colonel, is killed in retaliation. Tia then returns with the team to the United States (see also: casting).

This episode is notable for having one of the show’s few truly serious dramatic moments, with each team member privately reminiscing on their war experiences, intercut with news footage from the war with Barry McGuire’s Eve of Destruction playing in the background.

The show’s ties to the Vietnam War are fully dealt with in the opening arc of the fifth season, dubbed “The Revolution”/”The Court-Martial”, in which the team is finally court-martialed for the robbery of the bank of Hanoi.

The character of Roderick Decker makes a return on the witness stand, and various newly introduced characters from the A-Team’s past also make appearances. The team, after a string of setbacks, decides to plead guilty to the crime and they are sentenced to be executed. They escape this fate and come to work for a General Hunt Stockwell, leading into the remainder of the fifth season.

The A-Team revolves around the four members of a former commando outfit, now mercenaries.


Their leader is Lieutenant Colonel/Colonel John “Hannibal” Smith (George Peppard), whose plans tend to be unorthodox but effective.

Lieutenant Templeton Peck (Dirk Benedict; Tim Dunigan appeared as Templeton Peck in the pilot), usually called “Face” or “Faceman”, is a smooth-talking con man who serves as the team’s appropriator of vehicles and other useful items, as well as the team’s second-in-command.

The team’s pilot is Captain H.M. “Howling Mad” Murdock (Dwight Schultz), who has been declared insane and lives in a Veterans’ Administration mental institution for the show’s first four seasons.

Finally, there is the team’s strong man, mechanic and Sergeant First Class Bosco Albert “B.A.”, or “Bad Attitude”, Baracus (Mr. T).

It is unclear to which U.S. Army unit the four belonged. A patch on Hannibal’s uniform in the season 1 episode “A Nice Place To Visit” indicates they belonged to the 101st Airborne division in Vietnam, but the patch was replaced by the 1st Air Cavalry Division patch in the Season 5 episode “Trial by Fire”. In the Season 1 episode “West Coast Turnaround”, Hannibal stated they were with the 5th Special Forces Group.

Then, in Season 2 episode “Bad Time on the Border”, Hannibal refers to his friends as “ex-Green Berets”. Though the name they have adopted comes from the “A-Teams”, the nickname coined for Special Forces Operational Detachments Alpha, these detachments usually consisted of twelve members; whether the four were considered a “detachment” of their own or had once had eight compatriots who were killed in action was never revealed.

For its first season and the first half of the second season, the team was assisted by reporter Amy Amanda Allen (Melinda Culea).

In the second half of the second season, Allen was replaced by fellow reporter Tawnia Baker (Marla Heasley). The character of Tia (Tia Carrere), a Vietnam war orphan now living in the United States, was meant to join the Team in the fifth season, but she was replaced by Frankie Santana (Eddie Velez), who served as the team’s special effects expert. Velez was added to the opening credits of the fifth season after its second episode.

During their adventures, the A-Team was constantly met by opposition from the Military Police. In the show’s first season, the MPs were led by Colonel Francis Lynch (William Lucking), but he was replaced for the second, third, and earlier fourth season by Colonel Roderick Decker (Lance LeGault) and his aide Captain Crane (Carl Franklin).

Lynch returned for one episode in the show’s third season (“Showdown!”) but was not seen after. Decker was also briefly replaced by a Colonel Briggs (Charles Napier) in the third season for one episode (“Fire!”) when LeGault was unavailable, but returned shortly after. For the latter portion of the show’s fourth season, the team was hunted by General Harlan “Bull” Fulbright (Jack Ging), who would later hire the A-Team to find Tia in the season four finale, during which Fulbright was killed.


The fifth season introduced General Hunt Stockwell (Robert Vaughn) who, while serving as the team’s primary antagonist, was also the team’s boss and joined them on several missions. He was often assisted by Carla (Judith Ledford, sometimes credited as Judy Ledford).

Character traits

John “Hannibal” Smith: Master of Disguise. His most used disguise (although not onscreen) is Mr. Lee, the dry cleaner. This is one of the final parts of the client screening process, as he tells the client where to go in order to make full contact with the A-Team. He dresses most often in a white safari jacket and black leather gloves. He also is constantly seen smoking a cigar. Hannibal carries either a Browning Hi-Power, Colt M1911A1 or a Smith & Wesson Model 39 as a sidearm, most often “Mexican Carried” although he uses a holster when on missions. His catchphrase is “I love it when a plan comes together”. Often said, usually by B.A., to be “on the jazz” when in the fury of completing a mission.

Templeton “Faceman” Peck: Master of the Persuasive Arts. The team’s scrounger, he can get virtually anything he sets his mind to, usually exploiting women with sympathy-appeal and flirtation. However, he is not without integrity, as stated by Murdock in the episode “Family Reunion”: “He would rip the shirt off his back for you, and then scam one for himself.” Faceman is also the A-Team’s accountant. He dresses suavely, often appearing in suits. Faceman carries a Colt Lawman Mk III revolver for protection, and drives a white Corvette with orange trim.

Bosco Albert “B.A.” (Bad Attitude) Baracus: The muscle for the A-Team, Able to perform amazing feats of strength. He is also the team’s mechanic. B.A. affects a dislike for Murdock, calling him a “crazy fool”, but his true feelings of friendship are revealed when he prevents Murdock from drowning in his desire to live like a fish. B.A. also has a deep fear of flying, and the others usually have to trick and/or knock him out in order to get him on a plane.

It is very rare that B.A is awake while flying, and even rarer for him actually to consent to it. However, he then goes into a catatonic state. B.A generally wears overalls and leopard or tiger print shirts in the early seasons, then later wears a green jumpsuit in the later seasons.



He is almost always seen with about 50 pounds of gold necklaces and rings on every finger, and also wears a weightlifting belt. Baracus’s hair is always styled in a mohawk-like cut. He drives a customized black GMC van, which is the team’s usual mode of transport.

H.M “Howling Mad” Murdock: The A-Team’s pilot, he can fly any kind of aircraft with extreme precision. However, due to a helicopter crash in Vietnam, Murdock apparently went insane. He lives in a Veterans’ Hospital in the mental wing. Whenever the rest of the team requires a pilot, they have to break him out of the hospital, generally using Faceman to do so. In Seasons 1-4, Murdock has a different pet, imaginary friend, or persona in each episode. Whenever one of his pets or imaginary friends is killed by an enemy, Murdock snaps and takes revenge (but never kills).

Many times, when B.A is mad at Murdock for being crazy, Hannibal will side with Murdock in a sympathetic way. Once he is discharged from the hospital in Season 5, Murdock has a different job each episode. Essentially, B.A. and Murdock get on each other’s nerves. Murdock usually wears a leather flight jacket, a baseball cap, and basketball sneakers.


Although the part of Face was written by Frank Lupo and Stephen J. Cannell with Dirk Benedict in mind, NBC insisted that the part should be played by another actor, instead.

Therefore, in the pilot, Face was portrayed by Tim Dunigan, who was later replaced by Dirk Benedict, with the comment that Dunigan was “too tall and too young”.

According to Dunigan: “I look even younger on camera than I am. So it was difficult to accept me as a veteran of the Vietnam War, which ended when I was a sophomore in high school.”

Carrere was intended to join the principal cast of the show in its fifth season after appearing in the season four finale, providing a tie to the team’s inception during the war. Unfortunately for this plan, Carrere was under contract to General Hospital, which prevented her from joining The A-Team. Her character was abruptly dropped as a result.

According to Mr. T’s account in Bring Back… The A-Team in 2006, the role of B. A. Baracus was written specifically for him. This is corroborated by Stephen J. Cannell’s own account of the initial concept proposed by Tartikoff.

James Coburn, who co-starred in The Magnificent Seven, was considered for the role of Hannibal in The A-Team, while George Peppard (Hannibal) was the original consideration for the role of Vin (played by Steve McQueen instead) in The Magnificent Seven.

Robert Vaughn, of course, actually appeared in the film.

According to Dirk Benedict, Robert Vaughn was actually added to the cast in season 5 because of his friendship with the notoriously difficult George Peppard. It was hoped that Vaughn would help ease worsening tensions between Peppard and Mr. T.






L’Agence tous risques (The A-Team) est une sĂ©rie tĂ©lĂ©visĂ©e amĂ©ricaine en 98 Ă©pisodes de 45 minutes, crĂ©Ă©e par Frank Lupo et Stephen J. Cannell, diffusĂ©e entre le 23 janvier 19831 et le 8 mars 1987 sur le rĂ©seau NBC.

En France, les saisons 1 Ă  4 ont Ă©tĂ© diffusĂ©es Ă  partir du 1er juillet 1984 sur TF12. Diffusion de la saison 5 inĂ©dite du 5 fĂ©vrier 19963 au 16 fĂ©vrier 19964 sur TF1. Rediffusion intĂ©grale du 6 juillet 20025 au 8 mai 20046 sur M6. Puis en 20037 sur 13e rue, de juin 2010 Ă  aoĂ»t 2013 sur TMC ainsi qu’Ă  partir du 16 dĂ©cembre 2013 jusqu’en juillet 2014 sur HD1 et depuis le 19 fĂ©vrier 2015 sur Paris PremiĂšre.

Le 16 juin 2010, un film du mĂȘme nom est commercialisĂ© par 20th Century Fox8.





Pendant la guerre du ViĂȘt Nam, le chef hiĂ©rarchique de l’Agence tous risque, le gĂ©nĂ©ral Morrison, leur a donnĂ© l’ordre de voler la banque de HanoĂŻ afin de prĂ©cipiter la fin de la guerre. La mission est un succĂšs, mais quatre jours aprĂšs la fin de la guerre, ils retrouvent le gĂ©nĂ©ral assassinĂ© par les Viet Cong, le quartier gĂ©nĂ©ral Ă©tant entiĂšrement brĂ»lĂ©. Par consĂ©quent, aucune preuve indiquant que l’Agence tous risques agissait sur ordre n’existe. Les membres passent alors devant une cour de justice militaire, celle-ci les condamnant Ă  la prison. IncarcĂ©rĂ©s aux États-Unis, ils s’Ă©vadent rapidement et mĂšnent dĂ©sormais une vie de mercenaires au service « de la veuve et de l’orphelin », combattant les injustices locales.


Acteurs principaux

George Peppard  : colonel John « Hannibal » Smith

Dirk Benedict  : lieutenant Peck « FutĂ© » Templeton (VO : « Face ») (Ă  partir de l’Ă©pisode 2)

Dwight Schultz  : capitaine Henry « Looping » Murdock (VO : « Howling Mad »)

Mister T.  : sergent Bosco Albert « Barracuda » Baracus (VO : « B. A. »

Melinda Culea  : Amy Amanda « Triple A » Allen (saisons 1 et 2)

Robert Vaughn  : général Hunt Stockwell (saison 5)

Eddie Velez  : Frankie Santana (saison 5)

Tim Dunigan  : lieutenant Templeton « Futé » Peck (VO : « Face ») (épisode pilote uniquement)



L’Agence tous risques a Ă©tĂ© crĂ©Ă©e par les producteurs amĂ©ricains Stephen J. Cannell et Frank Lupo Ă  la demande du prĂ©sident du rĂ©seau NBC, Brandon Tartikoff.

Stephen J. Cannell a Ă©tĂ© renvoyĂ© de chez ABC au dĂ©but des annĂ©es 1980, aprĂšs avoir Ă©chouĂ© dans sa tentative de produire une Ă©mission Ă  succĂšs pour la chaĂźne. Cannell est engagĂ© Ă  la NBC et son premier projet Ă©tait de crĂ©er L’Agence tous risques.

Brandon Tartikoff considĂšre l’Ă©mission comme un mĂ©lange de Les Douze Salopards, Mission Impossible, Les Sept Mercenaires, Mad Max et Capitaine Furillo, avec « Mr. T conduisant l’engin. »

L’Agence tous risques n’Ă©tait, au dĂ©part, pas considĂ©rĂ©e comme une future sĂ©rie Ă  succĂšs, mais Stephen J. Cannell explique que George Peppard Ă©tait persuadĂ© qu’elle deviendrait un succĂšs « avant mĂȘme que l’on allume la camĂ©ra »13. L’Ă©mission se popularise ; le premier Ă©pisode, diffusĂ©e juste aprĂšs le Super Bowl XVII le 30 janvier 1983, atteint 26,4 % de l’audience sur la chaĂźne, le classant ainsi quatriĂšme sur l’Échelle de Nielsen.

Le titre original de la sĂ©rie vient des « Special Forces » (SF, « forces spĂ©ciales »), que les amĂ©ricains surnomment A-Teams et populairement connues sous le surnom des « bĂ©rets verts » (green berets), qui sont une des forces spĂ©ciales de l’US Army.

SpĂ©cialisĂ©es dans la guerre non conventionnelle, les actions commandos et la formation de troupes alliĂ©es, elles ont, depuis leur crĂ©ation au dĂ©but des annĂ©es 1950, Ă©tĂ© engagĂ©es dans la plupart des conflits impliquant les États-Unis.

La sĂ©rie s’inscrit dans un contexte particulier aux États-Unis, qui voit apparaĂźtre divers avatars de vĂ©tĂ©rans de la guerre du ViĂȘt Nam, comme le dĂ©tective privĂ© Thomas Magnum ou le sergent T.J. Hooker.



Rapatriés aprÚs la fin officielle de la guerre, en 1975, de trÚs nombreux vétérans américains ont éprouvé de grandes difficultés à se réintégrer dans une société qui ne les reconnaissait plus.

D’une part, les traumatismes physiques et psychologiques des soldats les rendaient extrĂȘmement fragiles, d’autre part, Ă  la frustration patriotique de la population s’est ajoutĂ© le rejet de soldats dont l’opinion publique dĂ©couvrit brusquement les techniques de combat.

En effet, si l’AmĂ©rique moyenne soutenait la guerre au dĂ©but des annĂ©es 1960, dans un contexte de guerre froide, il en allait tout autrement quinze ans plus tard.

Les milliers de morts et de blessĂ©s dans le camp amĂ©ricain ne trouvaient plus aucun sens dans l’opinion publique, tandis que de nombreux journalistes rĂ©vĂ©laient la nature des combats, opposant des soldats lourdement armĂ©s Ă  des combattants mĂȘlĂ©s Ă  la population.

Des photos d’enfants brĂ»lĂ©s au napalm ont tĂŽt fait de retourner le peuple amĂ©ricain contre une guerre jugĂ©e mal prĂ©parĂ©e, idĂ©ologiquement discutĂ©e et grande consommatrice d’hommes et d’argent public.

Dans ce contexte d’aprĂšs-guerre, la sociĂ©tĂ© amĂ©ricaine rejette les vĂ©tĂ©rans du ViĂȘt Nam, une attitude illustrĂ©e notamment par la chanson Born in the USA de Bruce Springsteen, le film Rambo ou plus tard le film NĂ© un 4 juillet avec Tom Cruise.

L’Agence tous risques en est une autre illustration, puisque des soldats ayant agi sur ordre de la hiĂ©rarchie se retrouvent face Ă  la justice de leur pays, pour un dĂ©lit qu’ils n’ont commis que dans le cadre de leur fonction.

ÉvadĂ©s, ils seront pourchassĂ©s pour ce dĂ©lit, ne parvenant pas Ă  faire reconnaĂźtre par le dĂ©partement de la DĂ©fense le contexte dans lequel les faits reprochĂ©s ont Ă©tĂ© commis.

Par ailleurs, d’un point de vue plus strictement formel, la sĂ©rie marque une Ă©volution (ou du moins y participe) dans la structure des personnages. Autrefois seul, tel un Colombo ou une Arabesque, le hĂ©ros se multiplie, ici par quatre, offrant plus de possibilitĂ©s d’identification au spectateur.


Chaque personnage est nettement marquĂ© dans ses singularitĂ©s, l’ensemble formant une Ă©quipe hĂ©tĂ©rogĂšne mais nĂ©anmoins soudĂ©e, oĂč tous les grands types de caractĂšres se reconnaĂźtront.

Cette formule d’Ă©criture des sĂ©ries coexistera nĂ©anmoins avec d’autres personnages isolĂ©s, tels Magnum ou MacGyver, mais elle continuera de se dĂ©velopper pour atteindre un casting Ă©tendu dans des sĂ©ries comparable Ă   Jump Street, Beverly Hills  ou Urgences. Dans ces derniers exemples, il est possible de voir apparaĂźtre une nĂ©buleuse de personnages, chacun dĂ©veloppant une histoire parallĂšle ou imbriquĂ©e avec celle des autres protagonistes.

De multiples spectateurs peuvent dĂ©sormais s’identifier Ă  un personnage en particulier, peu importe leur race, sexe, religion ou orientation sexuelle dans certains cas.

Enfin, pour les sĂ©ries plus rĂ©centes, une telle Ă©volution correspond peut-ĂȘtre aussi aux plans de carriĂšre des acteurs, qui profitent des sĂ©ries pour dĂ©velopper une carriĂšre au cinĂ©ma (tels Johnny Depp) ou pas (Jason Priestley).

Dans une telle perspective, les producteurs de la sĂ©rie ne peuvent se permettre d’interrompre une saison Ă  cause du dĂ©part du rĂŽle-titre. La multiplication des hĂ©ros offre une solution Ă  ce problĂšme, puisqu’une sĂ©rie peut se passer d’un personnage dont l’histoire dira qu’il est parti Ă  l’Ă©tranger, dĂ©cĂ©dĂ© ou quoi que ce soit qui explique son absence au gĂ©nĂ©rique.


Saisons une Ă  quatre


Les Ă©pisodes sont en gĂ©nĂ©ral construits sur des schĂ©mas trĂšs semblables. Le dĂ©but de l’Ă©pisode correspond Ă  la prise de contact entre un client qui est terrorisĂ© par une association de malfaiteurs ou un potentat local.

La maniĂšre classique de cette rencontre est que le client entre en contact alors qu’Hannibal Smith est dĂ©guisĂ©, afin de vĂ©rifier que le client n’est pas en rĂ©alitĂ© Ă  la solde des militaires.

Dans d’autres cas, l’Agence est en train de rouler et tombe sur quelqu’un qui a besoin d’aide. La plupart du temps, les honoraires pour l’intervention de l’Agence ne sont soit pas demandĂ©s, soit pas perçus ou sont rĂ©cupĂ©rĂ©s d’une autre maniĂšre (en prĂ©levant sur l’argent des malfaiteurs par exemple).

GĂ©nĂ©ralement, Looping n’est pas prĂ©sent dans l’Ă©quipe car il est internĂ© dans un hĂŽpital psychiatrique, et l’Agence utilise en gĂ©nĂ©ral FutĂ© pour aller le rĂ©cupĂ©rer grĂące Ă  divers stratagĂšmes.

Ou alors il s’Ă©vade de lui-mĂȘme pour aller rejoindre l’Agence. Dans beaucoup d’Ă©pisodes, il aime avoir un objet ou un animal qui ne le quitte pas jusqu’Ă  la fin, tel qu’un cafard, un homard, une chaussette, avec lequel il agace gĂ©nĂ©ralement Barracuda avec ses facĂ©ties.

Ensuite, l’Agence qui doit se rendre sur le lieu des crimes et dĂ©lits des malfaiteurs emprunte parfois l’avion, ce que Barracuda dĂ©teste particuliĂšrement auquel cas ils doivent l’endormir.

Une fois sur les lieux, il y a souvent une annonce d’Hannibal aux malfaiteurs indiquant qu’ils doivent dĂ©sormais compter avec eux. Cela produit en gĂ©nĂ©ral une bagarre sans armes que l’Agence gagne facilement, tout en laissant curieusement leurs ennemis s’Ă©chapper.

Peut-ĂȘtre dans l’espoir que ces derniers, impressionnĂ©s par les membres de l’Agence, abandonnent leurs entreprises malhonnĂȘtes et s’en aillent.

Les antagonistes reviennent et au lieu de tuer les membres de l’Agence, les laissent (souvent, sans mĂȘme les ligoter et/ou les bĂąillonner) dans une grange, un garage ou un entrepĂŽt, voire une mine.

PrivĂ©s de leurs armes, ils ont nĂ©anmoins Ă  leur disposition du matĂ©riel tel que de l’acĂ©tylĂšne, de la poudre, des tĂŽles et des tubes d’acier permettant Ă  Barracuda de bricoler des armes ou de refaire fonctionner un engin (voiture, tracteur…) ce qui leur permet de s’Ă©chapper, et d’arriver Ă  arrĂȘter les malfaiteurs.

Dans d’autres cas, Looping arrive Ă  prendre le contrĂŽle d’un hĂ©licoptĂšre, souvent sous le nez de son propriĂ©taire, ce qui permet de constituer un appui aĂ©rien non nĂ©gligeable.

L’arrestation finale des mĂ©chants se fait parfois par un combat Ă  mains nues, qui oppose toujours les mĂ©chants Ă  l’agence en respectant la hiĂ©rarchie (Hannibal contre le chef de l’Ă©quipe, Barracuda contre le noir ou le plus costaud des mĂ©chants), ou alors au terme d’une des innombrables poursuites homĂ©riques de la sĂ©rie, qui permettent Ă  chaque fois d’admirer les talents de pilote de Barracuda au volant de sa camionnette ou d’un bolide Ă©trange bricolĂ© par l’agence.

Ils doivent souvent partir rapidement aprĂšs l’arrestation des mĂ©chants pour Ă©chapper aux colonels Lynch ou Decker. Dans tous les cas, il n’y a en gĂ©nĂ©ral, mĂȘme avec l’utilisation d’armes de guerres mortelles, pas de personnes qui soient tuĂ©es, voire sĂ©rieusement blessĂ©es.

La plupart du temps, les ennemis sont sonnĂ©s, ou trĂšs lĂ©gĂšrement blessĂ©s (une douleur Ă  un membre ou Ă  la tĂȘte). Il n’y a eu, en tout et pour tout, que deux morts dans toute la sĂ©rie. Cette sĂ©rie est devenue pour cette raison un genre Ă  part entiĂšre dans la tĂ©lĂ©vision, puisque c’est la premiĂšre sĂ©rie violente Ă  avoir Ă©tĂ© diffusĂ©e aux heures de grande Ă©coute aux États-Unis justement en raison de l’absence, ou presque, de morts.

À ce titre, la sĂ©rie apparaĂźt quelquefois peu crĂ©dible, notamment dans l’Ă©pisode Tirez sur le Cheik, oĂč l’hĂ©licoptĂšre des mĂ©chants s’Ă©crase contre une falaise et que leurs occupants en ressortent indemnes.

CinquiĂšme saison

L’avant-derniĂšre saison perdant en popularitĂ©[rĂ©f. nĂ©cessaire], le format de la sĂ©rie a Ă©tĂ© changĂ© pour la derniĂšre saison (1986-1987).

AprĂšs avoir Ă©chappĂ© pendant des annĂ©es aux militaires, l’Agence tous risques est finalement arrĂȘtĂ©e. Ils ont le choix entre retourner en prison, ĂȘtre exĂ©cutĂ©s ou ĂȘtre affectĂ©s Ă  une agence gouvernementale dirigĂ©e par le gĂ©nĂ©ral Hunt Stockwell qui rĂ©alise des missions secrĂštes. Ils choisissent de travailler avec Stockwell.


ArrĂȘt de la sĂ©rie

Selon le producteur Stephen J. Cannell, la sĂ©rie s’est arrĂȘtĂ©e au bout de cinq ans parce qu’elle devenait de plus en plus chĂšre Ă  produire. Qui plus est, les acteurs George Peppard, Dirk Benedict et Mr. T Ă©taient de plus en plus dĂ©motivĂ©s (ce dernier avait d’ailleurs sa propre sĂ©rie, de 1988 Ă  1990).


L’Agence tous risques bĂ©nĂ©ficie de gĂ©nĂ©riques diffĂ©rents Ă  chaque saison, avec une accroche commune : « Il y a dix ans (en 1972), une unitĂ© de commando d’Ă©lite stationnĂ©e au ViĂȘt Nam fut envoyĂ©e en prison par un tribunal militaire, pour un crime qu’ils n’avaient pas commis.

Ces hommes s’Ă©vadĂšrent rapidement de leur prison militaire de haute sĂ©curitĂ©, se rĂ©fugiant dans les bas-fonds de Los Angeles. Aujourd’hui, encore recherchĂ©s par le gouvernement, ils fuient encore et toujours devant leurs poursuivants et survivent comme des mercenaires.

Si vous avez un problĂšme, si vous ĂȘtes seul, si personne ne peut vous aider, si vous ĂȘtes acculĂ©, si la justice ne peut plus rien pour vous, il vous reste un recours, un seul : l’Agence tous risques. »

Plus tard, au cours de la saison 2, l’accroche fut modifiĂ©e : « accusĂ©s d’un vol qu’ils n’ont pas commis, n’ayant aucun moyen d’en faire la preuve, ils fuient sans cesse devant leurs poursuivants. Pour subsister, ils emploient leurs compĂ©tences. Si la loi ne peut plus rien pour vous, il vous reste un recours, un seul : l’Agence tous risques. »









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Once upon a time

Once Upon a Time is an American fairy tale dramatic series that premiered on October 23, 2011, on ABC. The show takes place in the fictional seaside town of Storybrooke, Maine, whose residents are characters from various fairy tales transported to the “real world” town and robbed of their real memories by a powerful curse.

Episodes typically feature a primary storyline in Storybrooke, as well as a secondary storyline from another point in a character’s life before the curse was enacted.

It borrows elements and characters from Disney films, including Snow White and the Seven Dwarfs, Pinocchio, Alice in Wonderland, Peter Pan, Sleeping Beauty, 101 Dalmatians, The Sword in the Stone, Robin Hood, The Little Mermaid, Beauty and the Beast, Hercules, Mulan, Tangled, Brave, Oz the Great and Powerful, and Frozen.

Once Upon a Time was created by Lost and Tron: Legacy writers Edward Kitsis and Adam Horowitz. The series was renewed for a fifth season in May 2015. A spin-off series, Once Upon a Time in Wonderland, consisting of 13 episodes, premiered on October 10, 2013, and concluded on April 3, 2014.

The series takes place in the fictional seaside town of Storybrooke, Maine, in which the residents are actually characters from various fairy tales and other stories that were transported to the “real world” town and robbed of their original memories by the Evil Queen Regina (Lana Parrilla), using a powerful curse obtained from Rumplestiltskin (Robert Carlyle).

The residents of Storybrooke, where Regina is mayor, have lived an unchanging existence for 28 years, unaware of their own lack of aging.

The town’s only hope lies with a bounty hunter named Emma Swan (Jennifer Morrison), the daughter of Snow White (Ginnifer Goodwin) and Prince Charming (Josh Dallas), who was transported from the Enchanted Forest to our world as an infant before she could be cursed.

As such, she is the only person who can break the curse and restore the characters’ lost memories. She is aided by her son, Henry (Jared S. Gilmore), with whom she has recently reunited after giving him up for adoption upon his birth, and his Once Upon a Time book of fairy tales that holds the key to breaking the curse.


Henry is also the adopted son of Regina, providing a source of both conflict and common interest between the two women.

Episodes usually have one segment that details the characters’ past lives that, when serialized, adds a piece to the puzzle about the characters and their connection to the events that preceded the curse and its consequences.

The other, set in the present day, follows a similar pattern with a different outcome but also offers similar insights.


Once Upon a Time ou Il Ă©tait une fois au QuĂ©bec est une sĂ©rie tĂ©lĂ©visĂ©e fantastique amĂ©ricaine crĂ©Ă©e par Edward Kitsis et Adam Horowitz, basĂ©e sur tous les contes de fĂ©es. Elle est diffusĂ©e depuis le 23 octobre 2011 sur le rĂ©seau ABC1 aux États-Unis sur le rĂ©seau CTV2 au Canada.

En Belgique, la série est diffusée depuis le 6 août 2012 sur BeTV3 ainsi que depuis le 29 juin 2013 sur RTL-TVI4

En France, depuis le 1er décembre 2012 sur M65 puis à partir du 19 août 2014 sur 6ter6,

En Suisse, depuis le 31 octobre 2013 sur RTS Deux7

Au Québec, depuis le 6 janvier 2014 sur AddikTV8 puis à partir du 1er avril 2015 sur le réseau TVA.

Le jour du mariage de Blanche-Neige et du Prince Charmant, la méchante Reine fait irruption et lance une malédiction.

Tout le monde est inquiet et les jeunes mariés craignent pour leur enfant à venir. Ils décident de consulter Rumplestiltskin / le Ténébreux, un étrange et dangereux personnage.

Ce dernier les informe que l’enfant qu’ils attendent viendra les sauver lors de son 28e anniversaire.

La petite Emma naßt et la malédiction se rapproche. Le prince réussit à envoyer sa fille dans un endroit sûr.

Cependant, la Reine arrive et tous sont envoyĂ©s dans un monde sans magie, oĂč ils ne se souviennent pas de leur vĂ©ritable identitĂ©.

À Boston, Emma Swan vit une existence solitaire.

Le jour de son 28e anniversaire, Henry, le petit garçon qu’elle a abandonnĂ© 10 ans auparavant, lui rend visite.

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Elle ne souhaite pas reprendre contact avec son fils, mais accepte de le ramener chez lui. Sur le chemin, Henry lui montre un livre de contes de fĂ©es et explique Ă  Emma que toutes les histoires sont rĂ©elles et que les personnages qui y figurent habitent en rĂ©alitĂ© Ă  Storybrooke dans le Maine, la ville oĂč il vit.

Il ajoute aussi qu’elle est la seule Ă  pouvoir vaincre la malĂ©diction qui rĂšgne sur la ville, car elle est la fille de Blanche-Neige et du Prince Charmant. Emma dĂ©couvre qu’Henry a Ă©tĂ© adoptĂ© par Regina Mills, le maire de la ville qui, d’aprĂšs Henry, est la mĂ©chante Reine.

Emma est sceptique, mais dĂ©cide finalement de rester quelque temps pour s’assurer que son fils va bien. L’horloge de la ville se remet alors en marche, ainsi que le temps jusqu’alors arrĂȘtĂ©.

Jennifer Morrison  : Emma Swan

Lana Parrilla  : Regina Mills / la Méchante Reine

Ginnifer Goodwin  : Mary Margaret Blanchard / Blanche-Neige

Josh Dallas  : David Nolan / le Prince Charmant

Jared S. Gilmore : Henry Mills

Robert Carlyle : M. Gold / Rumplestiltskin / La BĂȘte / Le TĂ©nĂ©breux / Le Crocodile

Émilie de Ravin  : Belle French / Lacey French (invitĂ©e saison 1, principale depuis la saison 2)

Colin O’Donoghue : Killian Jones / Capitaine Crochet (principal depuis la saison 2)

Sean Maguire  : Robin des Bois (récurrent saisons 3 et 4, principal saison 5)

Rebecca Mader  : Zelena, la MĂ©chante SorciĂšre de l’Ouest (rĂ©currente saisons 3 et 4, principale saison 5)



Person of interest

Person of Interest ou Personne d’intĂ©rĂȘt au QuĂ©bec est une sĂ©rie tĂ©lĂ©visĂ©e amĂ©ricaine crĂ©Ă©e par Jonathan Nolan et produite par J. J. Abrams.

person of interest

PERSON OF INTEREST est diffusĂ©e en simultanĂ© depuis le 22 septembre 2011 sur CBS aux États-Unis et sur Citytv pour les deux premiĂšres saisons, puis sur le rĂ©seau CTV au Canada.

En Belgique, la série est diffusée depuis le 28 août 2012 sur La Une, chaßne du groupe de la RTBF, au Québec, depuis le 5 septembre 2012 sur le réseau V, en France, depuis le 6 mars 2013 sur TF1 et en Suisse, depuis le 30 juin 2013 sur RTS Un.



La sĂ©rie est aussi rediffusĂ©e dans le cadre d’une syndication sur la chaĂźne du cĂąble amĂ©ricaine WGN America et Ă©galement sur Netflix États-Unis, depuis l’automne 2015.

Person of Interest  est souvent citée comme étant une des meilleures séries diffusées sur une grande chaßne américaine.

Les critiques soulignent entre autres la capacitĂ© que la sĂ©rie a Ă  s’amĂ©liorer saison aprĂšs saison, ses personnages trĂšs travaillĂ©s ou encore son ambiance rĂ©aliste d’une AmĂ©rique post-11 septembre.

Si la sĂ©rie est parfois dĂ©signĂ©e comme Ă©tant « la meilleure sĂ©rie de science-fiction actuellement diffusĂ©e », Person of Interest s’inscrit dans une thĂ©matique bien rĂ©elle, notamment depuis les rĂ©vĂ©lations d’Edward Snowden sur la surveillance globale mise en place par les États-Unis, et soulĂšve de nombreuses questions quant au respect de la vie privĂ©e. Elle a Ă©tĂ© nommĂ©e pour un Primetime Emmy Awards en 201211,  2012, 2013,2014.


John Reese, un ex-agent paramilitaire de la CIA prĂ©sumĂ© mort, est engagĂ© par le mystĂ©rieux milliardaire Harold Finch. Dans le passĂ©, ce dernier a conçu un systĂšme de surveillance de masse pour le gouvernement voulant Ă©viter un nouveau 11 septembre. Le systĂšme est capable de prĂ©dire les actes terroristes dans le monde, en s’appuyant sur de nombreuses donnĂ©es comme les enregistrements des camĂ©ras de surveillance et des appels tĂ©lĂ©phoniques, ou les antĂ©cĂ©dents judiciaires.

Cependant, la Machine repĂšre aussi les crimes entre citoyens ordinaires considĂ©rĂ©s comme mineurs par le gouvernement. Les autoritĂ©s ayant dĂ©cidĂ© de ne pas tenir compte de ces donnĂ©es, Finch s’est laissĂ© une porte de sortie et reçoit chaque jour les numĂ©ros de sĂ©curitĂ© sociale des personnes impliquĂ©es Ă  New York ou dans ses environs. C’est avec l’aide de Reese qu’il va tenter de retrouver ces « Persons of Interest » (trad. litt. : « Personnes d’intĂ©rĂȘt ») et de dĂ©couvrir si elles ont le rĂŽle de victime ou de coupable dans l’affaire concernĂ©e.

TraquĂ©s par le lieutenant de police Jocelyn « Joss » Carter, ils sont aidĂ©s par un autre lieutenant, anciennement vĂ©reux, Lionel Fusco, qui leur fournit des informations et garde un Ɠil sur sa collĂšgue policiĂšre. Mais l’arrivĂ©e dans New York de deux justiciers va Ă©galement contrarier plusieurs organisations criminelles.


Acteurs principaux

Jim Caviezel: John Reese

Michael Emerson: Harold Finch

Kevin Chapman: le lieutenant Lionel Fusco

Amy Acker: Samantha « Sam » Groves alias « Root » (invitée saison 1, récurrente saison 2, principale à partir de la saison 3)

Sarah Shahi : Sameen Shaw (récurrente saison 2 , principale à partir de la saison 3)



Person of Interest is an American science fiction crime drama television series created by Jonathan Nolan that premiered on September 22, 2011, on CBS.



It is produced by Nolan, alongside J.J. Abrams, Bryan Burk, and Greg Plageman. It stars Jim Caviezel as John Reese, a former CIA agent who is presumed dead.

He is approached by a mysterious billionaire named Harold Finch (Michael Emerson) who is trying to prevent violent crimes before they happen by using an advanced surveillance system dubbed “The Machine”, which turns out to have evolved into a sentient AI.

Their unique brand of vigilante justice attracts the attention of two NYPD officers, Jocelyn “Joss” Carter (Taraji P. Henson) and Lionel Fusco (Kevin Chapman), whom Reese uses to his advantage as he investigates persons of interest.



Reese and Finch are later aided by Samantha “Root” Groves (Amy Acker), a highly intelligent computer hacker and contract killer whom the Machine later identifies as its “analog interface”, and Sameen Shaw (Sarah Shahi), a former ISA assassin who unknowingly dealt with the “relevant” numbers found by the Machine.

From season 3, the series sees the advent of a new rival AI called “Samaritan”, which is brought into existence by Decima Technologies. Much of season 4 is centered on the struggle between the two competing AIs and their human agents.

The series was renewed for a fifth season to debut mid-season during the 2015–16 television season.

The fifth season, which consists of 13 episodes, is expected to premiere in spring 2016.

CBS has yet to announce whether it is the final season or not, although the writers have written it as a final season.

The series has received generally positive reception from critics, including an increase in acclaim when the series introduced more serialized storylines and its exploration of artificial intelligence.


John Reese, a former Green Beret/Delta Force operator and CIA operative, is burnt out and living as a vagrant in New York City after the death of the woman he loved; he is presumed dead.

He is approached by Harold Finch, a reclusive billionaire software genius who is living under an assumed identity.

Finch explains that, after September 11, 2001, he built a computer system for the government that uses information gleaned from omnipresent surveillance to predict future terrorist attacks.

However, Finch discovered that the computer was predicting ordinary crimes as well.

The government is not interested in these results, but Finch is determined to stop the predicted crimes.

He hires Reese to conduct surveillance and intervene as needed, using the repertoire of skills he gained in the military and the CIA.



Through a back door built into the system, Finch receives the Social Security number of someone who will be involved in an imminent crime, at which point he contacts Reese. Without knowing what the crime will be, when it will occur, or even if the person they were alerted to is a victim or perpetrator, Reese and Finch must try to stop the crime from occurring.

They are helped by NYPD Detectives Lionel Fusco, a corrupt officer whom Reese coerces into helping them, and Joss Carter, who in early episodes investigates Reese for his vigilante activities.


Michael Emerson aka Harold FINCH


Although Reese arranges for Carter and Fusco to be partners in the NYPD early in the series, for the entirety of season one neither is aware that the other is also working with Finch and Reese. Periodically, the team enlists the aid of Zoe Morgan, a professional “fixer” who applies her skills to particularly difficult tasks.

The series features several subplots. One significant story arc involves “HR”, an organization of corrupt NYPD officers who are initially in league with budding mob boss Carl Elias and later with the Russian mafia; in earlier parts of this arc, Fusco is forced to go undercover. Another important story line revolves around Root, a psychopathic hacker who is determined to gain access to The Machine. During season two, another organization of powerful business figures, Decima Technologies, is revealed to be attempting to gain access to the Machine.




Carter vows vengeance against HR after they have her boyfriend, Detective Cal Beecher, murdered. Reese and Finch encounter Sameen Shaw, an ISA assassin, on the run after being betrayed by her employers. Shaw learns about The Machine in the season two finale and subsequently becomes a member of Reese and Finch’s team. In Season three, Carter delves deeper into her investigation of HR, eventually uncovering its leader; but she is killed. In his grief, Reese briefly leaves the team. The team also battles Vigilance, a violent anti-government organization devoted to securing people’s privacy.

During the second half of season 3, Decima Technologies starts to acquire hardware to bring to life a new artificial intelligence called Samaritan, using the codes from Harold’s old college classmate, Arthur Claypool. In the season 3 finale, it is revealed that Vigilance was created by Decima to make them appear as domestic terrorists. This allowed Decima to obtain all the NSA feeds to make Samaritan operational.




The Machine creates new identities for the Team so that they can fly beneath Samaritan’s radar.

The Machine

The Machine is an artificially intelligent mass surveillance system that is able to accurately predict premeditated violent crime by monitoring and analyzing all surveillance cameras and electronic communications worldwide.

It divides those crimes based on whether they are relevant to national security; those relevant cases are handled by the U.S. government, while the non-relevant cases in New York City are the focus of the show.

Built by Harold Finch following the events of 9/11, it was originally housed in two unoccupied floors of IFT, the company run by Harold and Nathan Ingram (his best friend from college).

When Finch discovered that the Machine was tracking all premeditated crimes (Episode 2, “Ghosts”), he programmed it to delete the personal, non-relevant cases every night at midnight, explaining to Ingram that the Machine is not built “to save somebody, we built it to save everybody.”

When delivered to the government, the finished Machine was installed in a fake nuclear reactor in Washington State.




During season two, it moved itself, piece by piece, to an unknown location or locations, and by the end of season four it is shown to have distributed itself to control boxes on utility poles.

An intense believer in privacy rights, Finch originally programmed the Machine so that it would be a complete black box, able to provide only the Social Security Number of people involved with the crime.

While this meant that the government was not able to use it without regard for privacy, it means that numbers Finch and his associates received could belong to a victim or a perpetrator.

Originally unknown to Finch, however, Nathan Ingram created a routine called “Contingency”, on the eve of the government handover, to access the non-relevant data (shown accessed in the Season 2 episode “Zero Day”). Finch is appalled that Ingram has the data sent directly to him and shuts down the routine, before reactivating it after Ingram’s death. To minimize detectability, The Machine feeds him numbers in coded messages through public telephones.




Within the ISA, the program responsible for The Machine was known as Northern Lights before—after being leaked to the public, Northern Lights was shut down.

The private technology firm Decima Technologies steals some of the Machine’s original code and builds Samaritan, in season three, and replaces Northern Lights in supplying information to the government. Samaritan takes a much more active role in shaping society, and The Machine and its human associates go underground, spending season four under cover.

Much of the series is from the point of view of The Machine, with flashbacks framed as The Machine reviews past tapes in real time.

Over the course of the series, the internal workings of The Machine are shown, including the prediction models and probability trees it uses. In the Machine-generated perspective, individuals are marked by dashed boxes with different colors indicating, for example, what the person’s status is in relation to The Machine and whether they pose a threat. Season four features Samaritan’s point of view, using a different UI—though some episodes jump back and forth between the two UIs.

The Machine in its current iteration started running on January 1, 2002, following 42 failed attempts. During the season 4 episode “Prophets”, a previous generation of The Machine’s source code was shown on screen, which was that of the Stuxnet worm. It generated the first relevant number on February 8, 2005, following three years of training by Finch.


Jim Caviezel: John Reese

Michael Emerson: Harold Finch

Kevin Chapman: Lt Lionel Fusco

Amy Acker: Samantha « Sam » Groves Aka « Root »

Sarah Shahi : Sameen Shaw




Sources Wikipedia


The Sound of Music is a 1965 American musical drama film produced and directed by Robert Wise and starring Julie Andrews and Christopher Plummer.


The film is an adaptation of the 1959 Broadway musical The Sound of Music, composed by Richard Rodgers with lyrics by Oscar Hammerstein II. The film’s screenplay was written by Ernest Lehman, adapted from the stage musical’s book by Howard Lindsay and Russel Crouse.

Based on the memoir The Story of the Trapp Family Singers by Maria von Trapp, the film is about a young Austrian woman studying to become a nun in Salzburg in 1938 who is sent to the villa of a retired naval officer and widower to be governess to his seven children.

After bringing love and music into the lives of the family through kindness and patience, she marries the officer and together with the children they find a way to survive the loss of their homeland through courage and faith.

The original Rodgers and Hammerstein stage musical score was enhanced by two new songs by Richard Rodgers.

Arranger and conductor Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming, and later adapted instrumental underscore passages based on the songs.

Choreographers Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out all new choreography sequences that incorporated many of the Salzburg locations and settings. The Sound of Music was filmed from March 26 through September 1, 1964, with external scenes shot on location in Salzburg, Austria, and the surrounding region, and interior scenes filmed at the 20th Century Fox studios in California.

Sound of music team

The team before and nowadays


The movie was photographed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing and six-track sound recording.

The film was released on March 2, 1965 in the United States, initially as a limited roadshow theatrical release. The critical response to the film was widely mixed, with Bosley Crowther of The New York Times calling it “romantic nonsense and sentiment”, and Philip K. Scheuer of the Los Angeles Times describing it as “three hours of visual and vocal brilliance”.

The film was a major commercial success, becoming the number one box office movie after four weeks, and the highest-grossing film of 1965.

By November 1966, The Sound of Music became the highest-grossing film of all-time—surpassing Gone with the Wind—and held that distinction for five years. The film was just as popular throughout the world, breaking previous box-office records in twenty-nine countries.

Following an initial theatrical release that lasted four and a half years, and two successful re-releases, the film sold 283.3 million admissions worldwide and earned a total worldwide gross of $286,214,076. Adjusted for inflation, the film earned $2.366 billion at 2014 prices—the fifth highest grossing film of all time.

The Sound of Music received five Academy Awards, including Best Picture and Best Director.



Julie Andrews & Christopher Plummer (The sound of Music )

The film also received two Golden Globe Awards, for Best Motion Picture and Best Actress, the Directors Guild of America Award for Outstanding Directorial Achievement, and the Writers Guild of America Award for Best Written American Musical.

In 1998, the American Film Institute (AFI) listed The Sound of Music as the fifty-fifth greatest American movie of all time, and the fourth greatest movie musical.

In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it “culturally, historically, or aesthetically significant”.



Sound of music team











“Sources Wikipedia”


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Adrian James “A.J.” Croce (born September 28, 1971 in Bryn Mawr, Pennsylvania) is an American singer-songwriter. He is the son of singer-songwriters Jim Croce and Ingrid Croce.

Shortly before his father’s death in a 1973 plane crash, Croce’s family moved west to San Diego, California, where he was raised by his mother, Ingrid Croce.

At the age of four Croce was completely blinded as the result of serious physical abuse by his mother’s boyfriend. Between the ages of four and ten, Croce gradually regained vision in his left eye. It was during this difficult time in Croce’s life that he began to play the piano. “I learned to play music by listening and playing along to the radio and to records…” Croce says, “At some point I was given the music of Ray Charles and Stevie Wonder as inspiration, which it was, and has been ever since.”

Croce’s first paying gig was at the age of 12, when he was paid $20 to perform at a Bar Mitzvah party. By the age of 16, Croce was performing regularly at San Diego nightclubs as a sideman and band leader. Croce reflected, “I was into every kind of music… you might say I was unfocused, but I consider an eclectic taste in music to be the foundation of versatility.” His house burned down when he was age 15.

Croce and his wife Marlo have two children, daughter Camille and son Elijah.

Ron Goldstein and Peter Bauman of Private Music signed Croce to his first recording contract at age 19.




He recorded two albums for Private Music: his self-titled debut, A. J. Croce, produced by T-Bone Burnett and John Simon, and That’s Me in the Bar, produced by Jim Keltner, and featuring artists such as Ry Cooder, David Hidalgo, and Keltner himself. Croce is also the owner/operator of his own record label, Seedling Records.

Croce’s third release, Fit to Serve, was recorded in Memphis, and produced by Jim Gaines, who had previously produced Van Morrison, Santana, and The Steve Miller Band. Croce then took a musical turn with the release of his album Transit. He explained, “I had been playing blues-based music for a long time, and I was ready to try something new.

“Transit was compared by critics to the work of John Lennon, Elvis Costello, Bob Dylan, and Van Morrison. Glen Starkey of New Times labeled Croce “a song crafter of the first order”.

Croce’s next three albums were self-produced. Adrian James Croce (Croce’s only pop-oriented album) was the only independently produced album of 2004 to chart in Top 40 charts in America. In Europe it was on the charts for six months, sitting in between songs by U2 and Coldplay. That same year Adrian James Croce won Best Pop album at the San Diego Music Awards.

His 2006 release Cantos on his own label Seedling Records notably features Ben Harper. In 2009, his album Cage of Muses was released on Seedling Records, garnering a 4-start review from Rolling Stone Magazine.

In 2013, Croce signed with Compass Records and has since released his latest album, Twelve Tales. Croce considers Twelve Tales to be his most ambitious recording project to date. He recorded two songs with each of six legendary producers in five U.S. cities throughout a year long period, at the same time releasing one song per month exclusively on iTunes in 2013.

The full album was released on CD and LP in 2014. The album’s producers are: the late ‘Cowboy’ Jack Clement, famous for his work with Elvis Presley and Johnny Cash; Rock n’ Roll Hall of Famer Allen Toussaint, notable producer of classic New Orleans recordings by artists such as Dr. John and Irma Thomas; Golden Globe-nominated Mitchell Froom, whose work includes Randy Newman and Crowded House; Grammy winning engineer and producer Kevin Killen, who has produced multiple albums by Elvis Costello; Notable A&R executive and record producer Tony Berg whose sessions have included Bob Dylan and Fiona Apple; and Greg Cohen, avant-garde bass player and producer, known for his work with Tom Waits.

Croce co-wrote a few of the songs on Twelve Tales, including one song with legendary songwriter Leon Russell. Croce’s albums have charted on eight radio charts including AAA, Blues, College, Jazz, and Americana.

He has performed as an opening act for artists such as Carlos Santana, Rod Stewart, Aretha Franklin, Dr. John, Lyle Lovett, James Brown, B.B. King, Dave Matthews, Earth, Wind and Fire, Rod Stewart and Ray Charles. Croce has sat in with many notable artists live, including Willie Nelson, Ben Harper, Ry Cooder, the Neville Brothers, Waylon Jennings, and David Hidalgo (Los Lobos). He has also performed on national television, on shows including The Tonight Show with Jay Leno, Late Show with David Letterman, Late Night with Conan O’Brien, The Today Show, Good Morning America, MTV, CNN, and Austin City Limits.

In 2015 Croce’s performance on the show “Music City Roots” began airing nationwide on PBS, including in Los Angeles and Nashville. It will air on 85 stations across the country 2015. It was announced that later this year Compass Records will release a re-issue of Croce’s highly regarded sophomore album, “That’s Me In the Bar” for its 20th anniversary. All of Croce’s 2015 concerts will feature a set from that album.




J. Croce (1993)

That’s Me in the Bar (1995) including  chekin’

Fit to Serve (1998)

Transit (2000)

Adrian James Croce (2004)

Early On – The American Recordings 1993–1998 (2005)

Cantos (2006)

Cage of Muses (2009)

Twelve Tales (2014)












Based in Austin, TX, Dena Taylor is a jazz vocalist who harkens back to the days of smoke filled clubs and smoky voiced chanteuses.


Her sound is solid; without a lot of vocal gymnastics in the Jazz Standards she covers. She inhabits the songs and makes them her own – feeling happiness, anger, joy, sorrow, love and hate. She draws listeners in and allows them to relate to these songs all over again. Dena was named “Best Female Jazz Artist of the Year” by Indie Music Channel in 2014. Her album “The Nearness of You” showcases her vocal talents and reminds us that even though she is a “seasoned” artist singing Standards, these songs don’t lose their ability to move and touch the audience just because they may have fallen out of vogue.


Dena is so full of passion for these songs that her jovial attitude can’t help but be contagious. An engaging personality, Dena wants to share her love of Jazz Standards and the American Songbook with her audience. She has honed her craft over the years – spending 12 years abroad serving her country in the US military and, whenever possible, performing with touring USO shows. Then, upon her return, Dena settled in Florida where she took to the stage as a member of the prestigious Cocoa Village Playhouse “Gold Star” company. She also began to reestablish her solo career and released her cd “Round Midnight” in 2008. With a voice that contains a bit of a knowing edge reminiscent of Gladys Knight in her prime, Dena became a “go to” vocalist for national Jazz and Blues groups touring in Florida.


After relocating to Austin, TX, Dena continued her collaboration with some of the best musicians in the jazz and blues genres including GRAMMYÂź Award Winners guitarist Redd Volkaert and keyboardist Floyd Domino and Gold Record drummer Ernie Durawa. Volkaert and Durawa both worked on her second album, “Certitude” in 2010. One of the tracks from this effort, “Song for My Father,” was rewarded with an IAIRA Certification of “International Top 100 Hit” shortly after its release.The team worked so well together that Dena chose to work with them for her next record in 2014, “The Nearness of You.” She was subsequently named one of the Top Five Vocalists in the SingersUniverse ” Best Vocalist Of The Month” Competition, in addition to the aforementioned IMC 2014 Best Female Jazz Artist of the Year Award.



The path to success hasn’t been an easy one for Dena. In 1999 she suffered a horrific car crash, resulting in a traumatic brain injury. The damage was so severe that it took Dena two years to learn to speak and walk again. She persevered through that and a battle with breast cancer to come out on the other side with an outlook on life that allows her to pursue her music with even more zeal. Learning not to be paralyzed by the fear of what “might happen” has kept Dena moving forward and gives her vocals a ripened maturity that just isn’t found in the pop stars of today.


And, in advance of some serious surgery on her throat, Dena joined forces with Austin powerhouse friends to take a musical walk from her beginnings in country and ending where she most happily lives and that is tucked inside the American Songbook. No last minute throw-together, “You’ve Changed” (scheduled release is January 2016) is a carefully thought out project and, whether it’s the last music she records or not .. it will certainly be one of her best.

dena taylor4

In a pre-release review, Bree Noble (CEO of Women of Substance Radio) said, “With the opening notes of “You’ve Changed,” it’s clear that what has changed is that Dena Taylor has confidently taken the reins of her music career and is making bold, risky decisions that are paying off.”


While she was initially going to keep her most recent health challenge to herself, she decided to share the journey to her “new” normal through a blog in the hopes that it will encourage others!


Dena continues to share her musical gifts and donates her time to various charities that are close to her heart including her own charity, The Lullaby Project. This charity is supported by the beautiful album, Lullabies, recorded and released in 2015.



Listen to Dena’s songs on RS2 : Every night between Midnight and 03h00 AM ( Paris Time) On & Also on our FREE APPS for smartphones/ tablets.

Pacific   04H00 PM to 07h00 PM

Mountain  05h00 PM to 08H00 PM

Central   06h00 PM to 09h00 PM

Eastern  07h00 PM to 10h00 PM


ANNIVERSARIES : 18th of January

Anniversaires de naissances et décÚs en ce 18 Janvier
Birthdays and death anniversaries on 18th January




18 janvier 1980 ◊ Estelle, chanteuse, rappeuse et productrice britannique (36 ans).
◊ Jason Segel, acteur, scĂ©nariste et musicien amĂ©ricain (36 ans).
18 janvier 1965 ◊ ValĂ©rie Damidot, animatrice tĂ©lĂ© française (51 ans).
18 janvier 1956 ◊ Elli Medeiros, chanteuse uruguayenne, carriùre en France (60 ans).
18 janvier 1955 ◊ Kevin Costner, acteur et rĂ©alisateur amĂ©ricain (61 ans).
18 janvier 1950 ◊ Gilles Villeneuve, coureur automobile quĂ©becois (aurait 66 ans).
† 8 mai 1982
18 janvier 1949 ◊ Franz-Olivier Giesbert, journaliste français (67 ans).
◊ Philippe Starck, Designer et architecte français (67 ans).
18 janvier 1933 ◊ Jean Vuarnet, skieur français (83 ans).
18 janvier 1913 ◊ Danny Kaye, acteur amĂ©ricain (aurait 103 ans).
† 3 mars 1987
18 janvier 1904 ◊ Cary Grant, acteur amĂ©ricain (aurait 112 ans).
† 29 novembre 1986
18 janvier 1892 ◊ Oliver Hardy, acteur amĂ©ricain, Laurel & Hardy (aurait 124 ans).
† 7 aoĂ»t 1957
18 janvier 1881 ◊ Gaston Gallimard, Ă©diteur français (aurait 135 ans).
† 25 dĂ©cembre 1975
18 janvier 1689 ◊ Montesquieu, Ă©crivain philosophe français (aurait 327 ans).
† 10 fĂ©vrier 1755



danny kaye

Danny Kaye


CARY GRANT : here also another article / Voici un autre article

OLIVER HARDY : here also another article / Voici un autre article


DécÚs   Death   18 Janvier 

18 janvier 1988
Il y a 28 ans
† Jean Mitry, co-fondateur de la cinĂ©mathĂšque française (Ă  81 ans).
né le 7 novembre 1907
18 janvier 1986
Il y a 30 ans
† Jean Cassou, Ă©crivain et rĂ©sistant français (Ă  88 ans).
né le 9 juillet 1897
18 janvier 1977
Il y a 60 ans
† Yvonne Printemps, actrice française (à 82 ans).
née le 25 juillet 1894
18 janvier 1936
Il y a 80 ans
† Rudyard Kipling, Ă©crivain britannique (Ă  71 ans).
né le 30 décembre 1865

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Une vidéo que vous partageons avec vous. Vidéo sur CUBA. Vidéo prise de Youtube.

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Just amazing. No way to comment. Watch and enjoy

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Who is Aria Tesolin?   Aria’s songs are currently on light to medium rotation on over 750 commercial FM and internet stations ( on Radio Satellite,  of course )  in 17 countries.  Aria’s new single The Key has been selected on Cool New Music, Hot/Mod/AC on  Both The Key and Dolce were listed on

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PARAMOUNT CHANNEL : CARY GRANT       Wikipedia sources:  Cary Grant (born Archibald Alexander Leach; January 18, 1904 – November 29, 1986) was an English stage and Hollywood film actor who became an American citizen in 1942. Known for his transatlantic accent, debonair demeanor and “dashing good looks”, Grant is considered one of classic Hollywood’s definitive leading men. Notorious (1946), The

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Radio Satellite2

Radio Satellite2. 170 likes · 6 talking about this. Cette page est celle de Radio Satellite2 (RS2)
Radio de variétés musicales ( francophone)

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