Forget

Forget may refer to:

People

Nota bene: this surname is pronounced fɔʁʒɛ in French, and is not to be confused with the English verb fɔɹˈɡɛt.

Places

Music

Television

Forget (The Walking Dead)

"Forget" is the 13th episode of the fifth season of the post-apocalyptic horror television series The Walking Dead, which aired on AMC on March 8, 2015. The episode was directed by David Boyd and written by Corey Reed. The events of the episode adapt material from Issue #72 of the comic book series of the same name. In this episode, Rick and the others try to settle in with the community of Alexandria at Deanna Monroe's party. However, some of the characters are unable to adjust to new life after their struggles on the road such as Sasha Williams, who suffers from post-traumatic stress disorder over her losses. Meanwhile, Carol Peletier devises a plan to steal back the group's weapons undercover.

This episode marks the first appearance of Spencer Monroe portrayed by Austin Nichols, a prominent character from the graphic novels. It also features the introductions of Tobin, a member of the construction crew from the graphic novels. 'Forget' also marks the final appearance of Beth Greene and Tyreese, who appears briefly in a flashback to Sasha.

Forget (album)

Forget is the debut album by Twin Shadow. The album was produced in Brooklyn, New York by Chris Taylor (Grizzly Bear). Pitchfork Media placed it at number 26 on its list "The Top 50 Albums of 2010".

Track listing

All songs written by Twin Shadow.

Personnel

References

Typecasting

Typecast or typecasting may mean:

Type conversion

In computer science, type conversion, typecasting, and coercion are different ways of, implicitly or explicitly, changing an entity of one data type into another. This is done to take advantage of certain features of type hierarchies or type representations. One example would be small integers, which can be stored in a compact format and converted to a larger representation when used in arithmetic computations. In object-oriented programming, type conversion allows programs to treat objects of one type as one of their ancestor types to simplify interacting with them.

Each programming language has its own rules on how types can be converted. In general, both objects and fundamental data types can be converted. In most languages, the word coercion is used to denote an implicit conversion, either during compilation or during run time. A typical example would be an expression mixing integer and floating point numbers (like 5 + 0.1), where the integers are normally converted into the latter. Explicit type conversions can either be performed via built-in routines (or a special syntax) or via separately defined conversion routines such as an overloaded object constructor.

Typecasting (acting)

In television, film, and theatre, typecasting is the process by which a particular actor becomes strongly identified with a specific character; one or more particular roles; or, characters having the same traits or coming from the same social or ethnic groups. There have been instances in which an actor has been so strongly identified with a role as to make it difficult for him or her to find work playing other characters.

Alternatively, a director may choose to cast an actor "against type" (i.e., in a role that would be unusual for that actor, to create a dramatic or comedic effect).

Typecasting also occurs in other performing arts. An opera singer who has a great deal of success in one role, such as Denyce Graves as Carmen, may become typecast in that role.

Actor selection

Actors are selected for their roles either by a casting director, typically found in small productions, or, in larger productions such as motion pictures, through casting agencies. Extras and stand-ins are often drawn from the company Central Casting, a company so influential since its 1925 start, that some people refer to all cast as coming from "central casting". The concept of "central" casting was also widespread during the studio-dominated era (from the 1920s through the 1940s) when each studio had a larger number of actors on contract who were assigned to whatever films were being made at the time by that studio. Such centralized casting was made more efficient by placing an actor in subsequent similar character roles after his or her first success, especially if an actor was particularly well received in that role by the audience or by critics.