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Male • 12 weeks
Puppy ID #654083
DOB July 30, 2020
Available I'm ready today!
Color Black & White
Mom's Weight 4 - 4 1/2 lbs
Dad's Weight 3 1/2 - 4 lbs
Registry Not registered
4/4 steps complete
Bonded with Mom
Old Enough
Weighs Enough
This popular mix is a combination of a Maltese and a Poodle. Known for their fun, devoted, and affectionate nature, these adorable dogs make wonderful pets for all kinds of families and living spaces. They are clever and quick to learn, and come in a variety of colors. The Maltipoo will charm your socks off, and then curl up on your feet to keep your toes warm!Read More
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The Vertigo Green Chevrolet Beat three door hatchback is meant to evoke a micro version of the import tuner cars.
Chevrolet Beat Concept: Micro Import Tuner
Injo Kim was inspired by everyday heroes when he led the team that designed the Chevrolet Beat concept.
�Every morning when you wake up, you yearn to be a hero that day,� says Kim, assistant manager of the minicar exterior design team at GM's Design Centre in Inchon , South Korea . And in Kim's mind, that hero is driving the Beat, Chevrolet's concept interpretation of a micro import tuner that's �simple, free and casual, with a strong heart.�
The Chevrolet Beat is a front-wheel-drive, three-door hatchback wrapped in a bright Vertigo Green exterior finish that exudes energy and extends into the interior. The overall mood of the exterior and interior design is that of a high-performance, high-tech micro tuner car, with fascias, rocker panels, lamps and wheels enhanced for personalisation, a strong trend among buyers in this market.
The Beat exterior lines convey speed, with a fast, dramatic, sloping rake from the top of the rear spoiler down to the hood, and elongated front LED headlamps that seem to extend from the base of the twin-port grille to the A-pillar. Integrated door handles set flush within the B-pillar give the doors a clean, uncluttered look. Big, bold, 17-inch wheels are pushed to the corners, and brake callipers in matching Vertigo Green provide a dash of drama at the wheels. The rear fascia carries Chevrolet's trademark twin taillamps; these LED lamps are set vertically, extending just under the rear glass.
The high energy continues inside the Tachyon Black/Titanium interior with a wraparound dash in Vertigo Green, and a dashboard that features colour-coordinated fabric. The green is further pulled through with contrasting stitching on the fabric and mesh seats. The black headliner features fibre-optic lights that create a �star� effect.
Young buyers expect technology, and the Beat delivers, with a centre console that has a pop-up feature. When pushed up, the door reveals a navigation system and when pushed down it reveals a useful centre storage compartment. The premium Alpine sound system features six speakers and a boot-mounted subwoofer.
�The sound system and the pop-up juke box will always make you the life of the party,� said Sungtae Baek, interior designer for the Chevrolet Beat.
Keeping the Beat on the move is a 1.2-liter turbocharged petrol engine mated to an automatic transmission.

subset: commoncrawl


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Six Days to Takeoff
We're hoping for about six of these. The good news is Nick Baratta has joined up as photographer. He will travel from New York on the 26th to brief with the flight crew in Duxford on the 27th. If weather cooperates, Grumpy will leave Duxford on the morning of the 29th with a bit of ceremony from the locals and the RAF. The destination that day will be Reykjarvik, Iceland (BIRK). Subsequent planned stops include Goose Bay (CYYR), Dryden (CYHE), Cutbank (KCTB) and Paine Field (KPAE). In Canada, a stop or two may be added to honor groups of WW II aviation veterans. It should be a good trip provided Hurricane Bill lives a short life.
Tomorrow's the Day
Ignoring jet lag, the crew assembled to consider ditching on water and ice. Quite an ice breaker. Morale is high. The weather today suggests autumn but prospects for tomorrow are good. A bit of convective activity robbed our wee hotel of its internet capability so we have migrated to nearby Cambridge and reliable resources. The immersion suits fit so we need not visit the RAF supply house tonight. Tomorrow we rendezvous at 8 a.m. for a 9 a.m. departure. The runway length at Duxford is minimal given our takeoff weight, so we're skipping dessert. For the first two-plus hours, we will fly above England and Scotland with Kirkwall in Orkney being a point to consider fuel burn rates and range. The total flight time to Iceland will be just short of seven hours. Without intending to offend the Weather Gods, we have booked hotel rooms in Iceland.
Once the airplane checked-out and the crew had its time together, we took possession of the Pooley Sword and looked about the magnificent projects around Duxford Airport (including a certain Mk. IX Spit bound for Seattle next Spring). Take a look at the Photo Gallery and share the love. The crew of Grumpy wishes all of you a safe and warm Saturday.
Day 1 (Flight Time: 6.2 hours)
I'm reflecting on a special day. It began eighteen hours ago with preparations for take-off from Duxford. At the appointed hour, families and friends of the Duxford-based crew members appeared in happy anticipation. It was as close to a carnival mood as immersion suits would allow. Thanks to all of you who have given so much to make this trip possible. Following takeoff into a clear blue sky, we flew a couple of photo passes before heading for the Highlands. The English countryside was summer glorious until Liverpool when the North Sea weather we expected began to fulfill our expectations. Scotland lived up to its reputation. In dodging clouds we went as low as 1,000 and tried to get above at 5,000, somewhat successfully. There's about a two hour interval in the North Atlantic when you're outside the radio range of air traffic control unless a friendly airliner agrees to pass along a position report. For us, this period concluded with the clear words "Iceland Radio." As if reading the same script, the clouds got thinner and the seas, calmer. By the time we reached our destination the day was crystal clear and the headwinds had gone on holiday. One unfortunate episode occurred shortly after landing. A taildragger pilot taxied to see the B-25 without noticing a police car in its path. On impact, the wooden propeller turned to toothpicks. Happily, the only other loss was pilot pride. I guess Grumpy is quite a distraction. Pilots and crew to bed. "Goose" tomorrow (Goose Bay). Enjoy the pictures.
Day 2 (Flight Time: 7.1 hours)
Today began with a spectacular sunrise over Iceland. A gathering of aviation enthusiasts traded part of Sunday for our takeoff.
A note about our aircraft as you may have an interest in engineering and operations. Thus far, the aircraft has performed very well. During the first day's flight of six hours' duration, the right engine required three gallons more oil than the left while burning cooler than the left. We're monitoring the situation today in the seven-plus hours it will take us to get to Goose Bay. It may not be anything (each engine holds 28 gallons of oil), but the asymmetry deserves attention.
Crew compatibility might be better, but I'm not sure how. All five of us have a passion, four for aviation and one for photography. When you lose track of time, you know passion. Conversations touch on loved ones, aircraft for sale and "characters we have known." There's a fair bit of humor and occasional, casual brilliance.
The coast of Greenland provided this day's highlights. Five votes in favor. The forecast for tomorrow suggests a delay in our departure. Environment Canada has an excellent web site if you want to learn our situation. Whatever the weather, tomorrow will be good because we have reached the stage of the trip when we can pack away our water-ditch survival gear.
Tonight the crew voted to include Edmonton on our itinerary as a group of dedicated B-25 fans based there needs a boost for a museum and B-25 restoration project. After that we hope to head south and share Grumpy with those who live in Western Washington.
Several pictures have been added to the "Photo Gallery" including a few crew favorites Nick took yesterday.
Day 3 (Flight Time: 10.9 hours)
The support we received at Goose Bay was first rate. Preparing to leave, we decided to attempt Edmonton rather than spend Monday night in Dryden. Our intermediate fuel stop, Churchill, does not pump aviation gas from a fixed location as many of the aircraft in the North have converted to turbine power (requiring jet fuel). Consequently, when we arrive Churchill we will be afforded a teambuilding opportunity in filling a Mitchell from drums. More shades of WWII.
Weather out of Goose was marginal. We carried ice for the first hour as it was impossible to dodge all the clouds. Grumpy gave up about 20 mph due to additional weight, change of wing shape and reduced engine performance; all in all, not bad. She didn't miss a stroke. Then, as conditions improved, the ice fell off, some of it hitting our tail. No doubt anti-aircraft explosions provided similar jolts.
My English friends are impressed by the beauty and enormity of Canada, now that we can see it. They wonder why more people have not settled the North. I reminded them of certain small aviators at lower altitudes, and the average annual temperature. One pilgrim was fishing next to his de Havilland Beaver, noticed us, and called us on his radio. He properly identified us as a B-25 Mitchell. And he thought he would enjoy solitude! We then crossed the Hudson Bay in well over two hours (about 500 miles).
Landing in Churchill, we executed a fueling of eight barrels in less than an hour. This year when the weather turned warm following a wet spring, the no-see-ums, black flies and sand bugs all joined the world at once. They created the only dark clouds in the sky. So we really didn't see much of Churchill, looking about for polar bears and whales as we overflew the grain terminal defining that settlement's architecture. Perhaps we will explore the area again some day, before or after bug season.
Setting course for the Alberta Aviation Museum in Edmonton, we witnessed the remarkable transition from the Hudson Bay waterways to the farms of the prairie. John Romain attempted to rationalize from the air, cabin location decisions every 50 miles or so when we saw someone's favorite get-away. There's a connection one feels with the planet in such a flight as this. The astronauts speak about it. Of course they ponder in relative silence while we contemplate life between what sounds like two happy jackhammers.
On entering Edmonton air space, the tower at Edmonton International Airport requested a low pass. We delivered. Then we made another low pass at City Centre Airport to be greeted by a large crowd of enthusiasts and media. Tuesday we will work with the Alberta Aviation Museum to advance its agenda. Photos as soon as the Photography Department awakens.
Day 4 (Flight Time: 0 hours)
This day was spent with the wonderful staff of the Alberta Aviation Museum. We viewed their B-25 restoration and the many excellent displays. Executive Director Tom Hinderks exudes the kind of infectious enthusiasm necessary for a vintage aviation institution to thrive. Our arrival gave a boost to the volunteer corps. The evening meal at the most wonderful Coast Hotel gave us an opportunity to present pictures and tales of our journey to a distinguished audience of Edmontonians. We also displayed the Pooley sword we have carried in honor of the lost bomber crews. The visit was featured on the CBC "National" news.
In the afternoon, a distinguished gentleman (Tony Cashman) asked if I would visit a B-25 pilot who at 89 had suffered a fracture of a back bone and was consequently hospitalized. It was a pleasure later that afternoon to meet Mr. Stout. Despite his pain, he flashed a truly brilliant smile. He had been waiting all day in his hospital bed to meet a member of Grumpy's crew. He told stories of the three B-25s he ferried to Europe during WWII along with five other bombers, presumably B-17s but I can't say for sure as we never got beyond talking about B-25s. Apparently planes were in such short supply that he returned home by ship after each flight, no doubt anxious about the U-boats that might get in the way. This explains why Stout ferried only eight bombers in two years. A contributing factor was the weather. He spent the entire month of January, 1945, in Goose Bay when nine feet of snow covered the first floor of his barracks. We exchanged ideas about how to fly the B-25 and he and his friend Tony (who joined me) related to one another as the best friends they are. While I've had more than my share of visits to hospitals, this one was truly gratifying. What a wonderful gentleman. I told him we would be taking off at 10 sharp on Wednesday morning and would dogleg over his hospital room so he could hear Grumpy. (Since the hospital is directly beneath the flight path, I knew we would deliver.) He will be in my thoughts during the flight to Abbotsford on Wednesday.
As this was a "zero flight time" day, we will share more of the pictures already taken. Nick takes about 600 pictures per day.
Day 5 (Flight Time: 3.3 hours)
We decided to fly to Abbotsford as issues linger concerning reimportation of an ex-military bomber. The weather forecast indicated morning fog in the valleys with burn-off likely. On arriving at the airport, we were again honored by aviation enthusiasts and members of the media. We departed on schedule at 10 a.m., proceeding south over Mr. Stout's room in the general direction of Calgary. Generally avoiding air space issues around Calgary, we followed charted roads and railroad tracks into the mountains via Banff, Lake Louise, Golden, then on to Kamloops.
For those of you who have not yet had the pleasure of experiencing the provincial border area (Alberta/British Columbia), it is hard to imagine a more spectacular landscape. His confidence in the pilots now at a high point, photographer Nick spent the entire flight in the nose taking wonderful pictures, occasionally sharing his enthusiasm over the intercom. Leaving nothing to chance, John Romain and Lee Proudfoot also drew small cameras from pockets in their flight suits and began clicking away. It was my job to spot mountain goats and sheep as we flew near the majestic peaks. Memories of climbing and skiing expeditions north of our flight path returned to the present tense. As you will see in the pictures, only a small area of the overfly area was covered in clouds during our late morning crossing. Expectations of turbulence in the Fraser River canyon did not deter Grumpy, and were not realized, though the combination of mountains and deep valleys around the aptly named towns of Hellsgate and Hope looked like a full recipe for bumps. We descended quickly out of Hope heading west as a ceiling of 2,000 feet was reported at Abbotsford.
On arrival, we executed our last low pass (again requested by the tower… good attitude) and landed to a welcome by the President, Air Boss and staff of the Abbotsford Air Show. Aircraft of Historic Flight Foundation routinely perform at the August show, so a reunion of friends included an outdoor lunch. Feelings of conclusion touched all of us. After lunch we off-loaded the entire aircraft and sorted those items that might be returned directly to Duxford, perhaps avoiding Customs issues. These included the satellite phone, immersion suits and other survival gear. Each of us then posed with Grumpy one last time before leaving her in the temporary care of the Abbotsford Air Show staff. The last leg to Paine Field will be flown when that airport reopens following the current closure to repair the main runway.
Greg Anders, President of Heritage Flight Museum in Bellingham and P-51 formation mate, took us to that facility for a personal tour. We continued to the Puget Sound area for a wonderful welcome with friends and supporters, and then to a Pacific Northwest seafood dinner.
As we end our flying phase, in honor of my fellow crew members, I would like to share a poem by Robert Service entitled "To the Man of the High North."
My rhymes are rough, and often in my rhyming
I've drifted, silver-sailed, on seas of dream,
Hearing afar the bells of Elfland chiming,
Seeing the groves of Arcadie agleam.
I was the thrall of Beauty that rejoices
From peak snow-diademed to regal star;
Yet to mine aerie ever pierced the voices,
The pregnant voices of the Things That Are.
The Here, the Now, the vast Forlorn around us;
The gold-delirium, the ferine strife;
The lusts that lure us on, the hates that hound us;
Our red rags in the patch-work quilt of Life.
The nameless men who nameless rivers travel,
And in strange valleys greet strange deaths alone;
The grim, intrepid ones who would unravel
The mysteries that shroud the Polar Zone.
These will I sing, and if one of you linger
Over my pages in the Long, Long Night,
And on some lone line lay a calloused finger, Saying:
"It's human-true — it hits me right;"
Then will I count this loving toil well spent;
Then will I dream awhile — content, content.


text: [i:Vibes] :: View topic - Gary K - Vivid Sound Sessions Ep. 020 (DI.FM) Guidelines FAQ Search Memberlist Usergroups Bookmarks Register Profile Log in to check your private messages Log in Main Menu Frontpage News Reviews Interviews Party Reports Artist Profiles Label profiles Diaries Tutorials What is... Links Radio-info Interactive Forum User Stats Info FAQ Crew-info i:Vibes Info Site Updates Gary K - Vivid Sound Sessions Ep. 020 (DI.FM) [i:Vibes] Forum Index -> Radio Broadcasts View previous topic :: View next topic Author Message djgarykWannabe ClubberVibes: 7.91Joined: 24 Sep 2011Member #: 71,848Posts: 33 Post subject: Gary K - Vivid Sound Sessions Ep. 020 (DI.FM) Twentieth episode of Vivid Sound Sessions is now available. You can stream/download it here: https://soundcloud.com/djgaryk/gary-k-vivid-sound-sessions-020 Vivid Sound Sessions Episode 20 track list: 1. Sezer Uysal Le Grand Labyrinthe (Original Mix) 2. Martin Roth Mel (Whomi Remix) 3. Schlepp Geist, Benotmane ft. Jinadu Stuck In My Head (Rampue Remix) 4. Electricano, Diana Payton Make Me See (Donatello Remix) 5. Daniel Dexter Sirens (Whomi Remix) 6. Kydus Free Spirit (Original Mix) 7. Chicco Secci, Fabio B Crosses (Eelke Kleijn Remix) 8. CamelPhat The Act (Extended Mix) 9. Francois Rengare Equilibre (Original Mix) 10. Francois Rengare, Dave Leon Deep Keys (Original Mix) Vivid Sound Sessions airs first Thursday of every month only on http://www.di.fm progressive house channel, at 3 pm EST/12 pm PST. Every month you will hear the latest releases in electronic dance music along with exclusive, unreleased tracks by some of the best producers from all over the world. Hope you can tune in! Keep in touch; I love hearing from you! Connect with me here: Digitally Imported: http://www.di.fm/ Instagram: http://instagram.com/deejaygaryk Facebook: http://www.facebook.com/gary.kolominski VK: http://vk.com/id243643075 Soundcloud: http://soundcloud.com/djgaryk Twitter: https://twitter.com/DeejayGaryK Mixcloud: http://www.mixcloud.com/djgaryk E-mail: email@example.com Post rating: 0 Rate this post: Not logged in Posted: Sat Nov 08, 2014 5:02 am Back to top Display posts from previous: All Posts1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First [i:Vibes] Forum Index -> Radio Broadcasts All times are GMT Page 1 of 1 Jump to: Select a forum Spam----------------Spam posts Music----------------Music discussion (trance, techno, progressive and other genres)EquipmentArtist and Label NewsRadio BroadcastsMusic Production and DJ Mix PromotionClub Listings Non-music related----------------Other discussionBuy & Sell [i:Vibes]----------------Site Feedback and Help Content Discussion----------------News DiscussionReview DiscussionInterview DiscussionTutorial DiscussionWhat is...Party ReportsArtist ProfilesLabel Profiles You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot vote in polls in this forumYou cannot attach files in this forumYou cannot download files in this forum Powered by phpBB © 2001, 2005 phpBB Group


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Welcome to Animated Bliss
What does an Animator actually do? It sounds like an interesting job, right? Let's take a peek into what animators do, because you may want to get involved in it.
Animators make 2D and 3D graphics in motion for music videos, commercials, video games, and animated films. They make images, and they make special effects and other kinds of graphic images too, and the employ computer software, film, and video. Some of the top popular software programs that animators use include Ability Photopaint, VectorDesigner, AutoDesk 3DS, and Adobe.
Animator Careers
The Bureau of Labor Statistics say that animators create characters or objects that look lifelike by working with transparency, shadow, texture, color, and light, or they work with static images and manipulate them to make them look like they're in motion. They make three-dimensional and two-dimensional objects, and they depict objects in motion or illustrate a process, and the use a modeling program or computer animation, and they make complex animation and graphics. They use computer equipment, creativity, and independent judgment.
The Bureau of Labor Statistics says that animators work in the following industries: Technical and trade schools, Computer Systems Design and Related Services, and Advertising, Public Relations, and Related Services.
Animators are employed in environments like mobile technology companies, graphic design firms, web design firms, advertising agencies, cartoon networks, gaming companies, film and video production facilities, and animation production studios.
Animator Salaries
The Bureau of Labor Statistics says that the average annual wage for animators was about $62,000 per year. The animators who had the lowest paychecks were making $32,000 per year. The animators with the highest salaries were making $99,000 per year.
It's critical to keep in mind that animator salaries have some serious variation, and they change according to the geographic location, size and type of the company, and experience. For example, a senior animator at Pixar could make more than $100,000 per year. An animator working at some place like Blue Sky Studios could make $58,000 per year. Some animators are self-employed, so there are a lot of factors besides the ones listed above.
The states that pay the most to animators include California, with an average annual wage of $74,000, New York with an average annual wage of $66,000, Oregon with an average annual wage of $62,000, District of Columbia with an average annual wage of $62,000, and Connecticut with an average annual wage of $62,000. Of course, these numbers are approximate, so you have to take that into consideration.
How to become an animator
Most animators have a Bachelor's Degree in animation or fine art. Necessary courses like 3D and 2D animation are part of both degree programs. Animators can study how animals and humans move and also study anatomy too so that they can get a better idea of how to draw things in a more realistic way. Most employers want to have at least two years worth of experience with a support position or internship. Those are for the entry-level positions though. Senior-level positions may need at least five to seven years worth of experience in the industry and maybe an advanced degree of some sort.
Job outlook for animators now
The Bureau of Labor Statistics merges animator careers and multimedia into one. According to the Bureau of Labor Statistics, multimedia artist and animator demand is expected to sharply increase because consumers will continue to require video games that are more realistic, television and movie special effects, and animated movies that are 3D. There is a rising demand for computer graphics because of the massive proliferation of mobile technologies and all the increasing job opportunities, as well as the need for animators in other areas like design services and scientific research.
There are about 79,000 animators and multimedia artists working today. These people occupy the second biggest group of artists in the world of art. Art directors are the biggest group with 84,000 people. That being said, the job outlook for animators and multimedia artists is higher than in any other art-related field. Multimedia artist and animator employment is expected go up 14% through 2018. Between now and that time, multimedia artist and animator employment is expected to go up to 90,2000.
Even though there are animator positions all over the U.S., there are five states that have the highest employment rate. Those states are Illinois, Texas, Washington, New York, and California. California has the highest number of paid multimedia artist and animator positions in the country. Consider moving to California if you want to be an animator. It's a very creative state.


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For the millions familiar with Ira Levin's best-selling 1967 novel and Roman Polanski's iconic blockbuster film released the following year, Rosemary's Baby may seem like rehashing old territory. But for director Agnieszka Holland, helming NBC's four-part miniseries (beginning Sunday, 9/8c) was a chance to conquer new territory.
"I never did a horror film so when this script landed on my desk, I thought this would be the occasion to try to do something which I really admired," she tells TVGuide.com, "but at the same time, it was also a challenge, and I like challenges."
Best known for her work behind the camera on historical and political fare such as the Oscar-nominated Europa Europa and directing episodes of gritty TV shows like The Wire and Treme, Holland brings a fresh take to Rosemary's Baby in many ways. For one, this take on the story of young wife and mom-to-be Rosemary Woodhouse (Zoe Saldana), who starts to believe that her child is not of this world, moved 3,500 miles from Manhattan to Paris. "It's what I liked because it would have been very difficult for me to redo Manhattan ... because it's so strongly shown in Polanski's film," Holland says. "It will have another color." Subsequently, Roman and Margaux Castevet (Jason Isaacs and Carole Bouquet), the neighbors who befriend Rosemary and help catapult the career of her husband, Guy (Patrick J. Adams), are no longer a "prickly old couple, but they are beautiful, glamorous, charming, cynical people," Holland says. "I found it so much more contemporary that they are glamorous and sophisticated and rich."
Another notable difference is the amped up amount of blood and gore in comparison to Polanski's version — a change Holland says was necessitated more by the times than by her own preferences. "I liked in Polanski's movie that you don't see it, that everything happens off-screen," she says. "I think that the audience is very different today. The audience was much more patient and subtle in the '60s than today."
Thanks in no small part to TV's current blood-soaked landscape (see: Hannibal, American Horror Story, The Walking Dead), Holland didn't get any pushback on upping the violence quota. Instead, she was surprised about the focus on the miniseries' sex scenes. "We had to hide the nipple," she says. "I would think that a nipple is harmless and violence is not, but it works this way here."
The biggest change of all, however, happens to Rosemary herself, in part to differentiate the new miniseries from the film and in part because this two-part, four-hour project devotes more screen time to the character's evolution. "We had the idea to make Rosemary really different from Mia Farrow, who is also an iconic figure," Holland says. "She changes, and she grows from the quiet, innocent little naïve American girl."
Killer hair: An analysis of creepy cuts
Casting the role played a huge role in molding the new Rosemary. Holland says it was her daughter who suggested Saldana, best known for her strong turns in action films like Avatar, Pirates of the Caribbean: The Curse of the Black Pearl and the Star Trek reboot. "When we had the idea of Zoe and she accepted to do it, I was very happy because I knew she would bring a completely different energy and a very contemporary energy," Holland says. "She's not a victim, as Mia was. She's somebody who wants to be active and who is not on the border of hysteria, but tries to break the influence."
Saldana also served as a producer on Rosemary's Baby, which marks her first TV project in seven years. "It was a great collaboration and I'm very happy that she did this with us," Holland says. "I think she gives something quite special to the film."
However, for all of these alterations to make Rosemary's Baby "more edgy and more modern," as Holland puts it, the director still stresses that the story still stays true to the original, thanks in large part to its timeless themes. "Think of the temptation to be successful and to be rich," Holland says in reference to Guy's ruthless ambition, which plays a vital role in the story. "Those themes are very universal things."
Rosemary's Baby airs on Sunday and Thursday at 9/8c on NBC. Watch a sneak peek of the miniseries below:


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