Trust (Revenge)

"Trust" is the second episode of the American television series Revenge. It premiered on ABC on September 28, 2011.

The episode was co-written by Mike Kelley and Joe Fazzio and directed by Phillip Noyce.

Plot

Another part of Emily's (Emily VanCamp) plan is set in motion when she goes on her first date with Daniel (Josh Bowman). Also, Victoria's (Madeleine Stowe) suspicions about Emily grow, so she tries to find more information on her new neighbor.

Trust (business)

A trust or corporate trust is an American English term for a large business with significant market power. It is often used in a historical sense to refer to monopolies or near-monopolies in the United States during the Second Industrial Revolution in the 19th century and early 20th century.

History

Originally, the corporate trust was a legal device used to consolidate power in large American corporate enterprises. In January 1882, Samuel C. T. Dodd, Standard Oil’s General Solicitor, conceived of the corporate trust to help John D. Rockefeller consolidate his control over the many acquisitions of Standard Oil, which was already the largest corporation in the world. The Standard Oil Trust was formed pursuant to a "trust agreement" in which the individual shareholders of many separate corporations agreed to convey their shares to the trust; it ended up entirely owning 14 corporations and also exercised majority control over 26 others. Nine individuals held trust certificates and acted as the trust's board of trustees. Of course, one of those trustees was Rockefeller himself, who held 41% of the trust certificates; the next most powerful trustee only held about 12%. This kind of arrangement became popular and soon had many imitators.

Trust (2010 film)

Trust is a 2010 American drama film directed by David Schwimmer and based on a screenplay by Andy Bellin and Robert Festinger, and an uncredited story by Schwimmer. It stars Clive Owen, Catherine Keener, Jason Clarke, Viola Davis and Liana Liberato.

The film is about a teenage girl who becomes a victim of sexual abuse when she befriends a man on the Internet.

Plot

Fourteen-year-old Annie Cameron lives in suburban Chicago. On her birthday, her parents give her a laptop. When she meets Charlie in an online chat room, she establishes an instant connection with him. At first, Charlie states that he is 16 years old. Over time, as the two bond by sending phone text messages and through instant messaging, he bumps his age up to 18, 20, then 25. Annie is taken aback at first, but comes to believe that the two of them are in love.

After two months of communicating electronically, Charlie invites Annie to meet him at the mall. While her parents are dropping off Annie's brother at college, Annie goes to the mall and awaits her first face-to-face meeting with Charlie. When he appears, she discovers that he is a man in his 30s. Annie is upset at first, but he charms her into going with him to a motel. Charlie then has her try on some lingerie which he bought for her and begins to touch her inappropriately. When she tells him no, he pushes her down onto the bed and rapes her, and even films the assault.

Metamatic

Metamatic is an album by John Foxx, released in 1980. It was his first solo album following his split with Ultravox the previous year. A departure from the textured mix of synthesizers and conventional instruments on Systems of Romance, his last album with the band, Metamatic 's hard-edged electronic sound was more akin to Kraftwerk's The Man-Machine (1978), Gary Numan's The Pleasure Principle (1979), and early Human League. The name 'Metamatic' comes from a painting machine by kinetic artist Jean Tinguely, first exhibited at the Paris Biennial in 1959.

Production and style

Recorded in what the composer described as "an eight-track cupboard in Islington", Metamatic was engineered by then-unknown Gareth Jones. Foxx's electronic equipment included ARP Odyssey, an Elka 'String Machine' and a Roland CR-78 drum machine. His keyboard skills were rudimentary at the time, and several of the synth parts were played for him by John Wesley-Barker.

Half a dozen tracks referenced automobiles or motorways, most obviously "Underpass" and "No-One Driving". Foxx re-worked the former track as "Overpass" on the live Subterranean Omnidelic Exotour in 1998 (reissued in 2002 as the second of a 2-disc set, The Golden Section Tour + The Omnidelic Exotour); he also re-used its distinctive riff for the track "Invisible Women" on 2001's Pleasures of Electricity with Louis Gordon. The song "He's a Liquid" was influence by a still from a Japanese horror film depicting a suit draped across a chair in such a way as to suggest that the wearer had liquified; Foxx's lyrics also alluded to the 'fluidity' of human relationships. The final track, "Touch and Go", exhibited psychedelic touches that would increasingly recur in his 1980s work.