TV Guide Research Articles

Capitalistic Ideology as an 'Interpersonal Game'

Capitalistic Ideology as an 'Interpersonal Game'

Conditional Assertions and “Biscuit” Conditionals

1. “Biscuit” Conditionals~1! There are biscuits on the sideboard if you want some~2! If you’re interested, there’s a good documentary on PBS tonightand~3! Oswald shot Kennedy, if that’s what you’re asking me,as they’d typically be used, are examples of what are often called “biscuit” con-ditionals, after J.L. Austin’s example ~~1!, above; see Austin, 1970, p. 212!.Amark of such a conditional is that, after it has been uttered, it can only be a certainkind of joke to ask what is the case if the antecedent is false—“And where are thebiscuits if I don’t want any?”, “And what’s on PBS if I’m not interested?”, “Andwho shot Kennedy if that’s not what I’m asking?”. With normal indicative con-ditionals like,~4! There are biscuits on the sideboard if Bill hasn’t moved them~5! If the TV Guide is accurate, there’s a good documentary on PBS tonightand~6! Oswald shot Kennedy, if there hasn’t been an enormous conspiracy,

Getting Lucky with The Wars

I am teenager in Toronto suburb. It is the winter of 1978-79. As far as I can tell, no one around here fights for ideals or dies for passion or even has sex for the hell of it. I'm 18, late to books compared to many, but suddenly, wholly besotted. Nothing in my happy split-frame house, my street-hockeyed, garbage-binned block, my Toronto Star and TV Guide neighbourhood, can possibly compare with the Joads along the road to California or the magical goings on in Macondo. Colonel Benido is tied to tree for century! Sarah Joad offers her teat to dying old man! (Too much, that one. My English teacher passes over the image in silence.) Sweat-palmed and astonished, I lay siege to the paperback shelves Fiction and Canadiana carefully distinguished - at the nearby Coles. More Marquez and Steinbeck, Graham Greene and Gunter Grass, Hemingway (of course) and Muriel Spark (go figure): I read and read, in part for the stories, in part for the characters, in part simply for the hardness, the don't-look-away, the thisis-how-things-really-are. Canadiana, where picture books on geese mingle freely with Pierre Burton hardcovers, is pillaged with less avidity. An early group purchase, half-dozen dreary paperbacks from the New Canadian Library, ended unhappily. I've much good to say now about Morley Callaghan and Ethel Wilson (there's still no defending Ernest Buckler), but that winter, they just weren't doing it. Who has Seen the Wind, studied at school, has left positive but vague impression - a tremendous amount of wheat, as Woody Allen joked about Russian epics in Love and Death - and Fifth Business, while obviously of quality, feels too posh and decanted, too Brit. Then I notice paperback cover. A crimson poppy. Soldiers stepping through barbed wire. A blunt title - The Wars - bluntly boldfaced. (It takes half reading to notice the plural. It takes second reading to begin to fathom the complexity of that s.) Another poppy on the back, set in pure black, some blurbs and copy, and an author name in modest caps. A man named Findley. From Toronto. A former actor. Writes lot for TV. I buy The Wars for $2.50. In my basement bedroom, Jean Beliveau skating towards me from an old poster, CFRB drifting down from the kitchen radio overhead, I step into mad scene with horses and dog and young man called Robert Ross. A man about my age, but an officer in the Canadian army in France. A man (boy?) who lived with his parents until enlisting. A man/boy from mid-town Toronto, albeit more than half century before. Not so far from my bunker bedroom, I decide. Not so far from my suburb. I don't read The Wars in one sitting. I also don't ever quite leave the story - or is it the feeling of story that we carry around? - even when the book is out of my hands. By the time Findley provides the gravestone inscription: EARTH AND AIR AND FIRE AND WATER ROBERT R. …

A Prayer Before Dining

HAPPY HOLIDAYS-fROM THE MANTIDS!! IF YOU STOP ALMOST ANY AVERAGE CITIZEN ON the street and ask him or her to provide you with three facts about insects, odds are good that one of those facts will be that the female praying mantis is a cannibal that is not above eating her own mates or children. Absolutely everyone seems to know this particular bit of insect lore and it's practically celebrated in popular culture. It's been featured in The Far Side cartoons (I don't know what you're insinuating, Jane, but I haven't seen your Harold all day-besides, surely you know I would only devour my own husband!) (Larson 1987) and it's even provided the plot for at least one episode of Buffy the Vampire Slayer on television (the one called Teacher's Pet, which, according to TV Guide, features a male high school student nearly seduced by a voluptuous substitute science teacher who transforms into a large praying mantis ... [And] what's more embarrassing than almost getting devoured by a femme fatale insect teacher? ) (Appelo and Williams 1999). Even people who can't keep straight in their minds the concept that spiders aren't insects seem comfortably fluent with the notion that praying mantids are unreconstructed sexual cannibals. Although it's true that consuming offspring is fairly widespread in the animal kingdom (Morris 1991) (as anyone who has tried to raise gouramis in a fish tank that's too small can attest), the sexual cannibalism thing is a source of particular fascination. Mantids are by no means the only arthropods that are reputed to engage in the practice-spiders, scorpions, amphipods, copepods, crickets, grasshoppers, antlions, and ground beetles are known to indulge from time to time. But mantids seem to hold a special place in the pantheon of sexual cannibals. After all, it's not pictures of cannibal copepods you see in the introductory biology textbooks. Figure 55-14b in Helena Curtis' Biology (Curtis 1983, p. 1032), for

Broadcasting and Processing of Program Guides for Digital TV

From the consumer's point of view, the transition from analog to digital TV comes in two flavors: quantity and quality. First, the number of services increases significantly, and, second, there are new service types to come. Paper TV guides with their linear and nonhierarchical presentation of program information are unlikely to be used any longer in service and program event selection; instead, electronic program guides (EPGs) will provide an interactive user interface offering comfortable and fast program browsing functions. Unlike in the computer world, the desired schedule information will virtually be served from a local random access database, and it will mostly be fetched from the current transmission. Caching techniques will be applied; however, they are restricted due to the lack of sufficient local storage media. This makes the development of transmission, processing, and buffering strategies a difficult task, bearing in mind that users expect fast and random access, whereas the service provider wants to keep the transmission bandwidth allocated for this type of data as small as possible. Starting with an outline of the digital video broadcasting (DVB) standard for service information (SI) and an example EPG, this paper will analyze SI transmission schemes and SI caching and processing strategies. Typical hardware and software constraints of consumer set-top boxes (STBs) are taken into account.

The role of television advisories and ratings in parent‐child discussion of television viewing choices

This study examined the effect of violence advisories and MPAA ratings on both parent‐child television viewing choices and on their verbal interactions while making those choices. Seventy parent‐child dyads were videotaped while reading, discussing and filling out a TV Guide booklet. There were several pages in the booklet. One set of choices contained program descriptions of 3 violent shows with no advisory or rating; one set of descriptions contained 3 violent programs, one of which had an advisory; and a third set of program descriptions contained 3 violent programs, one of which had a “PG‐13” rating, while the other two had a “PG” rating. Parent‐child dyads disproportionately avoided programs with either advisories or more restrictive MPAA ratings. Parents mainly made negative comments about the advisories and restrictive ratings whereas children, especially older children, were more likely to make positive comments about the advisories and ratings. In addition, the presence of an advisory or MPAA rating appeared to place stress on the decision‐making process. Parents used more negative affect and less positive affect when discussing sets of violent programs where one program had an advisory or rating than when discussing violent programs where no advisory or rating was present. Children, on the other hand used more negative affect when discussing violent programs where one had an advisory or more restrictive MPAA rating but also used more positive affect when discussing programs with a restrictive MPAA rating.

Stories, Coupons, and the TV Guide: Relationships Between Home Literacy Experiences and Emergent Literacy Knowledge

Stories, Coupons, and the TV Guide: Relationships Between Home Literacy Experiences and Emergent Literacy Knowledge

On Cracked Codes, Cell Walls & Human Fungi

The code-the correspondence between DNA base triplets and acids-was deciphered in the early 1960s. Then why, oh why, are we bombarded with headlines and articles extolling the wonders of presentday efforts to break the code? From People magazine to TV Guide, Science to The New England Journal of Medicine, and even in this respected journal, misuse of the term genetic is appallingly frequent. The dictionary defines code as a system of signals used to represent or numbers in transmitting messages. Substitute amino acids for letters or numbers, and you have an approximation of the code. Monroe Strickberger's classic genetics text, well-worn from my longago college days, defines code as a table of all the code words or codons that specify acids. The book's copyright is 1968.

Feminist Enterprise? "Star Trek: The Next Generation" and the Occupation of Femininity

Regenerations: Texts and Viewers, Television and Television Studies. Recently, there has been a lot of action from those corners of galaxy where, as story goes, no one had gone before: amid both speculation and dismay, Star Trek: The Next Generation ended its seven-year run as most successful firstrun dramatic series in history of TV syndication; Star Trek: Generations, first Star Trek movie to pair classic characters with those of the next generation, was released on big screen in November 1994 and immediately (though briefly) soared to number one at box office; and a new television series, Star Trek: Voyager, has been launched, pulling in its wake a new network (the United Paramount Network) and introducing Star Trek's first female captain in a starring role. This historic event (for television and for women) provides just one motivation for my discussion of representation of women in Star Trek universe, particularly in relationship to Star Trek: The Next Generation-the series which, arguably, reignited Trek phenomenon bringing Gene Roddenberry's vision back to small screen and so paving way for other spin-offs. In addition to this topical justification is a theoretical one. For despite all of attention that it has yielded, it is difficult to assess implications of everexpanding Star Trek universe for understandings of both television and, as I hope to show, gender. Consider, for instance, treatment of Trekdom in TV Guide, a magazine devoted to mediating (and masking) potential divide between television industry and television audiences and thus a telling cultural index. TV Guide frequently features Star Trek and its various spin-offs, and stars from original series, The Next Generation, Deep Space Nine, and Voyager have graced its covers (once for issue in which TV Guide initiated its special column on science fiction, spurred, they claim, by small-screen supernova known as 'Star Trek' ).1 Yet Star Trek's place within television industry has also been disapprovingly noted-not for any failure on producers' part but rather for way in which programs, especially The Next Generation, have been regularly

Remote Reading for Visually Impaired People: A New Application for Telecommunications

During a typical day, a sighted person routinely opens mail; reads instructions and recipes, TV guides, and correspondences; selects tapes; examines invoices and biUs; and looks at pictures and graphs. The blind individual has routine access to few, if any, of these. All of these printed materials are being made accessible on demand by the remote human reader system of the type we are developing, using fax machines or other telecommunications technologies to transmit images of the material to a remotely located sighted reader. Jte have made significant progress toward implementing nonlax video image compression/transmission for an interactive remote reading system. The goal is to approach as closely as possible the ideal remote reader-one that would function in the same way as having a live reader in the same room as the user. Such a system would, for all practical purposes, allow the remote reader to look over the shoulder of the blind user. Another telecommunications option to remote reading under development is to augment the human reader with an automated optical character recognition system. The output of the system is converted into speech and stored in the voice mail system on the reader:~ computer. The sender then caUs the computer to retrieve the spoken text.

Don't discard last week's TV Guide!

Don't discard last week's TV Guide!

Book Reviews

The Journal of Popular CultureVolume 27, Issue 4 p. 211-231 Book Reviews First published: Spring 1994 https://doi.org/10.1111/j.0022-3840.1994.2704_211.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Abstract Lives Together/World Apart: Mothers and Doughters in Popular Culture. Suzanna Danuta Walters. Melodramatic Formations: American Theatre and Society, 1820-1870. Bruce McConachie. Mass Communications in the Caribbean. John A. Lent. Audacious Kids: Coming of Age in America's Classic Children's Books. Jerry Griswold. Private Screenings: Television, and the Female Consumer. Lynn Spigel and Denise Mann, editors. Lynda S. Boren and Sara DeSaussure Davis, eds. Kate Chopin Reconsidered: Beyond the Bayou Nazi-Retro Film. Robert C. and Carol J. Reimer. Prime Time and Misdemeanors: Investigating the 1950s TV Quiz Scandal—A D.A.'s Account. Joseph Stone and Tim Yohn. Changing Channels: America in TV Guide. Glenn Co. Altschuler and David I. Grossvogel. The Ideological Octopus: An Exploration of Television and Its Audience. Lewis Justin. Popular Television in Britain: Studies in Cultural History. John Corner (editor). Acts of Supremacy: The Britsh Empire and the Stage, 1790-1930. J.S. Bratton, Richard Allen Cave, Breandon Gregory, Heidi J. Holder, and Michael Pickering. Sports and Recreation Fads. Frank W. Hoffmann and William G. Bailey. World Encyclopedia of Organized Crime. Jay Robert Nash. Dictionary of Crime, Criminal Justice, Criminolgoy & LAw Enforcement. Compiled by Jay Robert Nash. Popular Culture in Modern France: A Study of Cultural Discourse. Brian Rigby. The Making of Middle Brow Culture. Joan Shelley Rubin. The Printed Image and the Transformation of Popular Culture 1790–1860. Patricia Anderson. Haven't I See You Somewhere Before? Remakes, Sequels, and Series in Motion Pictures, Videos and Television, 1896–1990. James L. Limbacher. On Coon Mountain: Scenes from a Childhood in the Oklahoma Hills. Glen Ross. Listening to Old Voices: Folklore, Life Stories, and the Elderly. Patrick B. Mullen. James Stewart: A Bio-Bibliography. Gerard Molyneaux. Popular Fiction in England 1914–1918. Harold Orel. Partial Visions: Culture and Politics in Britain, Canada and the United States. Richard M. Merelman. Volume27, Issue4Spring 1994Pages 211-231 RelatedInformation

Changing Channels: America in TV Guide.

Changing Channels: America in TV Guide.

Relationships among Ratings of Motion Pictures by Viewers and Six Professional Movie Critics

Moderate to high correlations (.43 to .73) were found among the ratings of 568 motion pictures by viewers as indicated in Consumer Reports and by six professional movie critics, (a) Mick Martin and Marsha Porter, (b) Leonard Maltin, (c) Steven H. Scheuer, (d) Roger Ebert, (e) TV Guide, and (f) the Editors of Consumer Guide and Jay A. Brown. All six critics showed good agreement in their evaluations of 41.4% of the films. At least five critics showed good agreement for 66.0% of the movies, and at least four critics showed good agreement for 91.9% of the films. However, the critics showed little or no consensus for the remaining 8.1% of the movies. Viewers agreed most often with those critics who (like themselves) tended to evaluate movies highly.

Open End : A Mirror of the 1960s

David Susskind on the set of Open End. Photograph courtesy of the UCLA Archive. Film & History, Vol. XXI, Nos. 2 & 3, May/September 199171 Open End: A Mirror of the 1960s Mary Ann Watson After carefully reading a recent special commemorative edition of TV Guide, "TV's Legends Then & Now," I was disappointed, but not surprised, to find the name David Susskind is mentioned nowhere in the text-not even in the section labelled "TV's Greatest Creators." Despite the fact that Susskind has been inducted into the Television Academy Hall of Fame, and the Producers Guild of America presents an annual David Susskind Lifetime Achievement Award, his legacy has been largely overlooked in the popular and scholarly literature of broadcast history. Perhaps a 1963 issue of TV Guide provides a clue as to why this is so. "David Susskind is the least controversial man in show business," it was reported, "because nearly everybody hates his guts." Part messiah, part megalomaniac, Susskind had a special talent to annoy. While his professional accomplishments were staggering, his personal frailties were profound. The production company Talent Associates, formed in 1948, at the dawn of commercial television, by Susskind and his partner Al Levy, yielded a remarkable body of television programming that illuminates the evolution of broadcasting and popular culture in post-World War II America. From Mr. Peepers to Armstrong Circle Theatre, from the highbrow Play of the Week to the tawdry game show Supermarket Sweep, from the camp spy spoof Get Smart to the lavish mini-series Eleanor and Franklin, Susskindproduced television was omnipresent on American airwaves. He worked with a galaxy of stars and the pantheon of directing and scriptwriting talent. When David Susskind died in 1987 at the age of 66, he was the most prolific producer in the history of the medium. Most people who remember David Susskind today, though, don't think of him as the producer of hundreds of live dramas, mini-series, and specials such as the Hallmark Hall ofFame productions. Susskind was best known to the public as host of the spirited talk show Open End. This afternoon I'd like to introduce you, or reintroduce you, to Open End and try to make a case for its significance not only as a program that transformed the talk show format, but as a program that was in a very real way a Social barometer. I believe Open End is a perfect case study of the way in which artifacts of broadcast history can inform and enlighten American history. Not only the existing tapes, but the paper documents as well are rich veins to mine for those involved in chronicling the contemporary American experience. Mary Ann Watson is Associate Professor of Communication at Eastern Michigan University. She is the author of The Expanding Vista: American Television in the Kennedy Years (1990). 72 Mary Ann Watson Open End's syndication began in 1958 and it quickly became the forum of choice for movers and shakers. Guests like Norman Mailer, Adlai Stevenson, Robert Dore Schary, Truman Capote and Leroi Jones were probed while seated around a coffee table in a sparse studio set with ladders and kleig lights visible in the background. Ashtrays and coffee cups littered the tabletop. Culture, politics, entertainment, science-no subject intimidated Susskind. This confidence and range were instilled in childhood. His father, a successful insurance salesman who fell on hard times during the Depression, made sure his son was mentally stimulated. "My father had a voracious desire for learning," Susskind recalled. "From age eleven to seventeen, absolutely every Sunday, he used to take me to hear lectures. At the Ford Hall Forum in Boston, we listened to Harold Laski, Felix Frankfurter, Bertrand Russell, John Maynard Keynes-everybody."1 In high school, Susskind's facile mind allowed him to earn nearly straight A's without taking the time to study. Instead, he worked on the school paper, belonged to the debating team and wrote a weekly column for the newspaper in his hometown of Brookline, Massachusetts, a wealthy suburb of Boston that became known as a "hotbed for overachievers." (His Brookline contemporaries included Leonard Bernstein, John Kennedy and Mike Wallace. A few years later, Barbara Walters...

Enticing Viewers: Sex and Violence in TV Guide Program Advertisements

Enticing Viewers: Sex and Violence in TV Guide Program Advertisements

"No Attempt at Artiness, Profundity, or Significance": "Fireside Theater" and the Rise of Filmed Television Programming

On Tuesday, April 5, 1949, at 9:00 p.m. Eastern Standard Time over the National Broadcasting Company's eastern and midwestern networks, a new television show made its debut. Despite its initially inauspicious critical reception and its varied early formats, this program evolved into a dramatic anthology which was acclaimed for establishing new television production techniques and recognized for its humanitarian efforts. It established itself as early network television's most popular dramatic show, consistently finishing within the Nielsen ratings' top ten between 1949 and 1954. This viewer acceptance particularly gratified the program's sponsor, which, during the show's tenure on NBC, became television's largest and most emulated advertiser. It may surprise those with conventional knowledge of the early days of network television that this program did not showcase the talents of the young medium's brightest and best actors, writers, producers, and directors. Neither did it deal with powerful and provocative issues, nor originate live from New York. Indeed, the program, Procter & Gamble's Fireside Theater, represents the antithesis of those characteristics today associated with the age of American television drama. The series featured virtually unknown talent realizing scripts adapted from the public domain or written by unestablished writers, it was produced on film in Hollywood by former denizens of that town's B-movie lots, and, according to a judgment in an early issue of TV Guide, made no attempt at artiness, profundity, or significance.' The artlessness of Fireside Theater, among the first of the dozens of filmed dramatic anthologies broadcast nationally on the networks and locally in syndication throughout the 1950s, tends to obscure whatever historical importance the program might carry today, especially when compared to the live network drama which has come to signify American television's golden age. Nevertheless, Fireside Theater is significant within American broadcasting history. The progam's appearance represents the coalescence of diverse elements which have had profound effects upon the evolution of the American commercial television industry, including the rise of filmed programming on the networks, the genesis of the television syndication industry, the correlation between sponsors' self-interests and program content, and shifting industry attitudes toward what constituted effective television advertising strategies.

An Evaluation of the Nielsen, Levy and TV Guide Methods for Classifying Television Programs

An Evaluation of the Nielsen, Levy and <i>TV Guide</i> Methods for Classifying Television Programs

The Influence of Reading Content on Students' Perceptions of the Masculinity or Femininity of Reading

This study examined the effect of the content of reading material on students' perceptions of reading as masculine or feminine. Students in this study included 492 pupils (255 females, 237 males) from two suburban school districts. Students were enrolled in kindergarten, grades 2, 4, 6, 8, and high school. Students were shown a slide presentation consisting of 60 slides depicting various children's activities including the following reading activities: reading a book, a TV Guide, a mystery book, the newspaper comics, a science book, a dictionary, an animal book, a running book, and a poetry book. The reading slides were interwoven among nonreading activity slides to mask the emphasis of the study. In the slides, only the hands of the children were shown to prevent identification of the child in each slide as male or female. As each slide was shown, students were directed to respond by circling either “boy” or “girl” on their answer sheets. The total responses of “boy” for each reading item were analyzed for male, female, and total students. The percentages of responses of “boy” were generated and chi square analyses were conducted to determine differences between “boy” versus “girl” responses. The data indicated that the content of the reading material affected students' responses. Depending on the sex and grade level of the students, some reading items were viewed as masculine, some as feminine, and one as equally masculine and feminine. The specific content of the reading materials influenced the way in which reading was perceived.

Using a TV game show format to teach head start staff

In a workshop designed for four hundred Head Start staff members, we used a television show format to focus on nutrition topics that are important for those working closely with low-income, minority preschoolers and their families. After observing that game show devotees can readily spout the prices of mink coats, trips to Hawaii, and new cars, we were confident that our audience could just as easily learn facts about the nutrient values of common foods. With an agenda that read like a page from TV Guide, we brought the allure and exuberance of television game shows into the classroom, and transformed passive viewing into lively participation. We explored basic concepts, including some rather technical information, in lecture and game segments that we titled after familiar television shows. For example, participants examined factors influencing nutrition knowledge and food choices in activities such as What's My Line? and Face the Nation. We discussed nutrient needs throughout the life cycle in Days of Our Lives. And important messages about nutritional claims in advertising were addressed in ... and Now a Word from Our Sponsor. Without question, the highlight of our workshop was the exciting episode Let's Make a Meal! our version of a popular television game show. We randomly chose four contestants to Come On Down! from the audience to place their bids on the amounts of key nutrients in ordinary foods like whole milk, american cheese, liver, and canadian bacon. Since our format was modeled after the Price Is Right TV game show, the contestant who came closest to the actual amount of the nutrient in the food, without going over that amount, was invited on stage to playa more intricate nutrition game. We used the familiar TV devices (raucous buzzers and bells) to signal right and wrong answers. The object of each game was to make correct food choices based on knowledge gained during the lecture segment. We emphasized information on iron, calcium, sodium, and fat. A brief description of each game follows: o Fill 'er Up (calcium)-The contestant is asked to make selections from a group of ten foods exhibited in a display. After each choice is made. the calcium value of the food is revealed. Using a large cardboard model of a drinking glass, fitted with an adjustable white bar graph (representing milk), the player's calcium total is tallied. To win , the contestant must reach 100% of the RDA for calcium, thereby filling the entire bar graph (glass with milk). o Iron ' em Out (iron)-The contestant is presented with a meal that fails to provide onethird of the RDA for iron. This meal must be traded for one of three alternative meals hidden behind a mixing bowl, a cast iron pan, and a wok. The player is shown the foods composing these meals, but not their iron content. If the trade produces a meal higher in iron, the player wins. o In a Pickle (sodium)-The object of this game is to determine the amount of sodium in a dill pickle. First , the player has to make decisions about the amount of sodium in four other foods , one of which is secretly marked with a hidden salt shaker. Two possible sodium values are shown for each food , and the player must choose the correct one. After each selection, the player receives a card showing one digit in the amount of sodium in the pickle (1,928 mg), and places it on a board. After the player arranges the digits in what he or she believes is the correct order, the actual sodium values for the original four foods are revealed. A contestant who has selected the correct sodium value for the secretly marked food is awarded a final opportunity to rearrange the sodium digits on the board . If the digits are ultimately in the correct order, the player wins. o Slim Pickins (fat)-In this game contestants attempt to advance spaces on a miniature golf course to improve their chances of putting a hole-in-one. To advance, they must consider several food pairs and select the food lower in fat (Note 1) for each pair (see figure). For every correct choice, the player advances one space. A hole-in-one wins the game .