24: The House Special Subcommittee's Findings at CTU by Marc Cesarini, Alice Alfonsi

By Marc Cesarini, Alice Alfonsi

Final season, CIA agent Jack Bauer, performed by way of Golden Globe award-winning actor Keifer Sutherland, had us glued to our TVs and cursing the time clock as he exposed a plot to assassinate presidential nominee, David Palmer. With simply 24 hours to spot the killer, Bauer additionally needed to take care of the abduction of his spouse and daughter and the lifestyles of a mole on the agency.

This season he's at it back, assisting President David Palmer store l. a. from nuclear ravage.

Lest you're thinking that Jack had a few down time among life-altering stories, try out 24: the home designated Subcommittees Findings at CTU. It's a brand new booklet offering a riveting account of Jack's grueling visual appeal prior to our government's such a lot inquiring minds in the course of their probe into alleged wrongdoings at CTU that first fateful 24 hour interval. The testimony from those closed hearings was once leaked to investigative journalist Marc Cerasini, who then ran with it to writer HarperCollins.

With the various best reporting noticeable considering Woodward's insurance of the Pentagon Papers, this booklet contains:

- Jack Bauer's whole Grand Jury Testimony
- Press statements from President-elect David Palmer
- Transcribed debriefings with different key CTU agents
- formerly sealed records on Bauer's comparable undercover activities
- The arrest, detainment and delivery files for Victor Drazen
- Teri Bauer's scientific records
- post-mortem reports
- crusade finance records
- observation from the Beltway's so much celebrated political pundits
- Theories as to how and why key avid gamers inside of CTU became.

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Extra info for 24: The House Special Subcommittee's Findings at CTU

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15 In effect, each box of these theatres became a mini-stage designed to frame the elite spectators within small prosceniumsstages which often competed successfully with the actors for audience attention. Competition between actors and spectators in the theatre, of course, was nothing new. The American patriciate followed in the tradition of Renaissance princes, Restoration rakes, and eighteenth-century patriarchs in performing socially sanctioned roles for all to see when they went to the playhouse.

Paternalism centers authority in upper-class, mature males; it defines them as protectors, judges, and benefactors, and those under their control as socially irresponsible children. For most of the eighteenth century, paternalism provided much of the moral justification for familial, economic, and political forms of authority, binding wives to husbands, servants to masters, and colonists (later citizens) to local elites. Even into the early nineteenth century, paternalistic belief and behavior retarded the development of more democratic and competitive social relations.

The extravagant lobbies and saloons served as more than pleasant passageways for entering and leaving the theatre or for grabbing a quick drink at intermission. Elite theatres of the twenties and thirties pampered the active entrepreneur of the period by providing semiprivate coffee rooms and saloons where business could be discussed, friends met, and assignations with the women of the third tier discreetly arranged. During an evening's entertainment, the typical businessman might spend almost as much time chatting with friends as he would watching the performers, especially when, as often happened, the actors were doing a show he had seen a few times before.

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