Groupon shares priced at $20 each for its IPO

Because of the anti-corporate nature of the movement, an Occupy Wall Street stock portfolio is somewhat of an oxymoron. Many of the protesters seem to think the economic and capital systems are broken, and investing in companies in many ways would be contrary to the tenets of the movement.
With that said, there are ways to screen for companies that are not the biggest violators of some of the principles that appear to be important to members of Occupy Wall Street. Specifically, it’s possible to find companies with the lowest-paid executives and also the companies that have added the most people in 2010.Salaries paid to executives are a source of discontent with the Occupy Wall Street crowd. And certainly, CEOs are some of the most highly paid people in society. Median CEO pay among the largest companies analyzed by USA TODAY in 2010 rose 27% to $9 million. That came at a time of high unemployment and layoffs among the rank and file.But some CEOs are paid well below the median, at least in 2010. The CEOs with the lowest total compensation in 2010, according to USA TODAY analysis, include:
Another aspect of the economy upsetting Occupy Wall Street followers is the low level of hiring at many companies.There are some companies that are adding employees. But many of the companies that are adding the most to their employee ranks are doing so by buying other companies. The net result of such moves is typically a reduction in total jobs.
A few examples of companies that are actually adding to their staffs by hiring, include: Molex (MOLX), (CRM) and First Solar (FSLR).Below is a list of the members of the S&P 500 with the greatest percentage increase in total employees between 2009 and 2010. Just remember some of these increases might not be due to hiring of U.S. workers. They might include mergers with other companies or expansion in overseas plants.NCIS (CBS, 8 ET/PT). For many viewers, NCIS is the must-see show of the week. For others, the forced banter and quirky-character interactions overwhelm whatever pleasure there is to be had in the performers and the plots. Considering how popular it is, and how long it has been popular, you owe it to yourself to find out where you fall.
New Girl (Fox, 9 ET/PT). In September, this new sitcom seemed essential. In November, it’s barely a “potential,” thanks to a supporting cast that isn’t offering enough support (oh, how this show misses Damon Wayans Jr.) and writers who seem to think it’s enough to put Zooey Deschanel in front of a camera with the direction “be adorable.” Even though she is, it isn’t.
Covert Affairs (USA, 10 ET/PT). Affairs may be a step below the best of the USA “blue skies” series, the currently absent White Collar, but it’s better than most of the rest — and more enjoyable than its three broadcast competitors. And you can drop in at will, without feeling like you need a makeup class to catch up.
The Middle (ABC, 8 ET/PT). This already wonderful family comedy just keeps getting better. Compared to Parks and Recreation, which treats the Midwest like it’s some kind of flyover freak show, The Middle cherishes and respects its middle-class Indiana family while still using them as a treasure trove of humor. And compared to the unconvincing teen at the heart of its slot mate Suburgatory,Eden Sher offers one of the most believable, lovable teenagers ever to grace a home screen.
Modern Family (ABC, 9 ET/PT). TV viewers are a nervous lot, having been taught by the networks to expect disappointment. So on those rare occasions when a show reaches the creative heights of Modern Family, we monitor each episodic heartbeat, waiting for the decline we’ve come to assume is inevitable. For now, put those worries away and enjoy what is, once again, the best series running on any network in any genre.
Revenge (ABC, 10 ET/PT). It makes absolutely no sense (how can no one in town recognize this child?), and that does not bode well for its long-term health. But in the short term, Revenge offers a great deal of satisfying, kick-the-rich fun.
CSI (CBS, 10 ET/PT). This genre-defining high-tech procedural is showing its age. But it no longer feels like it’s on death’s door — and for that, you and CBS can thank Ted Danson.
ThursdayThe Big Bang Theory (CBS, 8 ET/PT). Who knew adding two more women to this already funny show about four seemingly undatable guys would make it even funnier? The writers have used the additional actors to tell new stories and explore new character combinations without losing track of their original characters or the terrific trio at the show’s center: Johnny Galecki, Kaley Cuoco and Jim Parsons.Community (NBC, 8 ET/PT). Blazingly smart, blindingly funny and often surprisingly warm, Community has just about everything a sitcom needs, except an audience. Part of the problem is that it’s often too clever for its own good: The joke is always worth the wait, but some viewers clearly don’t like the games it plays in between. Still, the larger problem is it’s stuck on a network with no actual hits and no nurturing time slots.
Grey’s Anatomy (ABC, 9 ET/PT). Sometimes, all we want to do after a hard day at work is settle in with old friends. If you’ve never felt that way toward the doctors on Grey’s, fondness for them is unlikely to bloom this late in the game. But if you once did and the feeling faded, try again. The characters and the stories are currently virtually annoyance-free, and the performances are as strong as ever. And the show still has its edge, pulling off an abortion plotline that was as well-told and true as it was rare.Person of Interest (CBS, 9 ET/PT). Some advice for this promising but still-wobbly new series: Cut back on the time-filler spy-cam shots, find a less clumsy way to deliver the exposition, and bring back Paige Turco’s Zoe, the first Person of Interest to spark a bit of life in her protector.
Bones (Fox, 9 ET/PT). The only reason this highly enjoyable mystery is a potential rather than an essential is a lack of evidence: It just returned to the air. It’s too soon to say how Bones and Booth’s new relationship (moving in together) — and new baby — will affect the viewing dunk highs The Office (NBC, 9 ET/PT). If you loved Steve Carell and can’t imagine how the show could work without him, for you it probably won’t. If you saw Carell’s performance as a weak point, odds are you’ll be very happy with Ed Helms as office manager.
The Mentalist (CBS, 10 ET/PT). Simon Baker is as appealing as ever — and that alone is often enough to make up for the laziness that has crept into much of the plotting.
Fringe (Fox, 9 ET/PT). There was a time Fringe fans spent a lot of energy hoping more people would watch this incredibly well written and acted fantasy, even wishing it would simplify its stories to draw new viewers. Well, that airship has sailed. Fringe has doubled-down on its alternate-universe story, creating more conflicting back stories than even a computer could count. Love it for what it is, while it dunk highA Gifted Man (CBS, 8 ET/PT). Granted, the potential has been awfully hard to spot of late, but it’s still there in the extremely talented cast. So just how long is CBS planning to let all that talent go to waste?
The Walking Dead (AMC, 9 ET/PT). Zombies walk and munch among us on TV’s scariest series, but only until the end of the month. After that, you have to wait until February for another bracing dose of Dead, which is a frightening prospect indeed.
The Good Wife (CBS, 9 ET/PT): As a viewer, I want Kalinda and Alicia to be friends again. (I like the people I like to like each other. Shoot me.) As a critic, I have nothing but praise for what is easily broadcast’s best drama. You’ll find no smarter exploration of politics, office and otherwise, and no better portrayal of a middle-aged woman facing workplace demands while embracing her sexual prime.
Homeland (Showtime, 10 ET/PT). Claire Danes continues to shine in TV’s best current drama as a damaged CIA agent dead-set on proving Damian Lewis’ Marine hero is a traitor. Danes is so good in the role, you forget that she’s probably too young for it. And Lewis is so good he makes you think his character might be innocent, even when everything you know about TV is telling you he isn’t. cheap nike dunk highs on sale Once Upon a Time (ABC, 8 ET/PT). Unlike most of the season’s easily forgotten new shows, Once has the potential to be something truly special. It still seems like that “something” is more miniseries than series, but wish upon a star and hope for the best.Over coffee on a fall afternoon, Breslin is showing off her sleek black acoustic guitar in the courtyard at the Greenwich Hotel. “It’s the same one Bon Jovi has,” she says proudly.
The instrument signifies a new, admittedly nerve-racking frontier for the 15-year-old actress, who famously nabbed an Oscar nomination at age 10 for her precocious role in Little Miss Sunshine.
With a roster of successful movies to her name, including Nim’s Island, Zombieland, My Sister’s Keeper and Rango, it was indie flick Janie Jones, available on video-on-demand and expanding into more theaters this weekend, that inspired the teenager to think outside the camera lens.
“I really like that Janie kind of channels all her negativity into her songwriting,” says Breslin, who plays a musically gifted child whose ex-groupie mother (Elisabeth Shue) dumps her in the lap of her bewildered father, a fallen rocker (Alessandro Nivola) in the middle of a failing tour.
“I started (singing) a few months before I did this movie,” says Breslin, who took the stage to sing at the after-party of the film’s New York premiere. “I’d been doing a few vocal lessons just for fun. This movie came around, and I did it more.”buy nike sb dunks Two years after shooting the film, the home-schooled New York City native has parlayed her vocal breakout into a band named CABB, started with her best friend, actress Cassidy Reiff (the band’s name blends Cassidy and Breslin’s nickname, “Abb”).
Their sound? “It’s kind of like pop-rock but kind of retro at the same time,” she says, naming influences ranging from Britney Spears and Fleetwood Mac to Ingrid Michaelson and Florence + The Machine.
Not quite as retro? Breslin’s whip-fast mastery of the guitar.
“I just looked up guitar chords on YouTube, and then I taught myself the whole Taylor Swift Speak Now album.” She says she memorized the chords over four days: “I barely ate. I probably lost 10 pounds. I was strung out beyond belief.”
Today, she’s seemingly following the Bieber blueprint: Although a label has yet to sign her, CABB’s first single, Well Wishes, is up on YouTube, the band has a manager, and its members are halfway through recording a first album. Breslin says she “definitely” wants to take her music to a professional level.
Chipper and youthful despite nude platform 5-inch heels (“I’m vertically challenged” at 5-foot-1, she says), Breslin appears unconcerned about a record contract hurting her acting career.
With good reason: Breslin’s next movie is the star-packed holiday flick New Year’s Eve, which reunites her with director Garry Marshall (Raising Helen, Princess Diaries 2). In it, she plays Sarah Jessica Parker’s belligerent daughter, who is aiming for a first kiss on the big night. Parker “is just so nice,” Breslin says. “We kind of bonded over American Idol on set. We’re both huge American Idol people.”nike sb dunks No stranger to A-list encounters — she has worked with the likes of Johnny Depp, Steve Carell and Jodie Foster — Breslin had her own fan moment on NYE’s set when she ran into co-star Lea Michele of Glee. “I totally geeked out because I love Glee with a severe passion. And she was just the sweetest person ever.”
Next year, Breslin retunes her résumé with The Class Project. Based on a true story, it stars Breslin as an abused teen who coerces her classmates in a plot to drown her alcoholic mother. “It’s definitely the darkest role that I’ve ever done.”
But at the Breslin house, there’s still one standing rule. “I won’t be in a coffin in a scene. My parents do not want to see me in a coffin, so I’m not allowed, but that’s pretty much it.”This is a series, after all, where the ad tag line is “Blood will be spilled; lives will be lost; men will be ruined.” If that’s the come-on, just imagine what joys they’re keeping hidden.
No one, of course, should expect a Western-revival series about the building of the Transcontinental Railroad to be all sunshine and lollipops. But you might hope for an approach that was bit more thoughtful and complex, instead of a hell-bent-for-leather, heavy-handed collection of Old West clichés that’s about as subtle as a sledgehammer driving home an iron dunks sb shoe If nothing else, Hell, which premieres Sunday on AMC (10 p.m. ET/PT), does declare its intentions from the outset. Shortly after the end of the Civil War, a Union soldier passes a Catholic church and decides to confess his participation in a murderous raid on a small Southern town.
So what does this tell you? Cullen will go to any lengths to track down his wife’s killers. Hell, like most cable dramas, is going to hold explicit violence in its warm embrace.
And like many such dramas, it doesn’t give a lick about common sense, as it feels no need to explain how exactly Cullen knew that particular soldier was going to enter that particular confessional booth. Which is why it won’t surprise you when the writers later revert to one of the hoariest plot devices of them all: the person who is murdered just as he’s about to tell Cullen the name of the man behind his wife’s death. That trick was ancient when they were digging canals, let alone building railroads.
But look close, and you won’t see a character who doesn’t seem to have wandered in from some stock Western company, from the evil entrepreneur (Colm Meaney, who might as well been given a handlebar mustache to twirl), to the spunky widow (Dominique McElligott), to the lucky-charm Irish brothers (Ben Esler and Phil Burke).
The only newish characters are two who seem to be visiting from another century: Common as Elam Ferguson, ex-slave turned civil rights activist, and Christopher Heyerdahl as a Scandinavian enforcer who looks like a cross between Lurch and Ingmar Bergman’s vision of Death.
They’re all bound together to cheap dunk high build this railroad (the Eastern half, which explains the absence of Chinese workers), dodging disease, embracing prostitutes and battling Native Americans along the way. And of course, there’s Cullen, who has tracked the remaining members of the death squad to the railroad crew.

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