Erin Giannini - Böcker

Pobody's nerfect" - or whatever the saying might be! As humans we are constantly worried about how our actions may come back to haunt us. The Good Place (2016–2020) is a high-concept American sitcom that brought light to the dark topic of the afterlife, and the show tackled this worry head-on. Although it had a life span of only four seasons, The Good Place made a lasting impact on American television culture and garnered many accolades for producer Michael Schur (also producer of The Office, Parks and Recreation, and Brooklyn Nine-Nine). Author Erin Giannini argues that the show redefines the classic sitcom structure by mixing the genres of fantasy and comedy, while simultaneously teaching the viewers the importance of character development through the analysis of moral and ethical principles. Giannini also analyzes the "not so in your face" political commentary seen in The Good Place, as this show took place during a tumultuous time in American politics. Television studies scholars and fans of the show will enjoy Giannini's analysis of The Good Place as they read about the show's laughs and twists and turns.

The idea of metatextuality is frequently framed as a recent television development and often paired with the idea that it represents genre exhaustion. US television, however, with its early “live” performances and set-bound sitcoms, always suggested an element of self-awareness that easily shaded into metatextuality even in its earliest days. Meta Television thus traces the general history of US television’s metatextuality throughout television’s history, arguing that TV’s self-awareness is nothing new—and certainly not evidence of a period of aesthetic exhaustion—but instead is woven into both its past and present practice, elucidated through case studies featuring series from the 1970s to the present day—many of which have not been critically analyzed before—and the various ways they deploy metatext to both construct and deconstruct their narratives. Further, Meta Television asserts that this re- and de-construction of narrative and production isn’t just a reward to the savvy and/or knowledgeable viewer (or consumer), but seeks to make broader points about the media we consume—and how we consume it.This book explores the ways in which the current metatextual turn, in both the usual genres in which it appears (horror and sci-fi/fantasy) and its movement into drama and sitcom, represents the next turn in television’s inherent self-awareness. It traces this element throughout television’s history, growing from the more modest reflexivity of programs’ awareness of themselves, as created objects in a particular medium, to the more significant breaking of the fictive illusion and therefore the perceived distance between the audience and the series. Erin Giannini shows how the increased currency of metatextual television in the contemporary era can be tied to a viewership well-versed in its stories and production as well as able and willing to “talk back” via social media. If television reflects culture to a certain extent, this increased reflexivity mirrors that “responsive” audience as a consequence of the lack of distance that metafiction embraces.As Robert Stam traced the use—and implications—of reflexivity in film and literature, this book does the same for television, further problematizing John Ellis’s glance theory in terms of both production and spectatorship.

The idea of metatextuality is frequently framed as a recent television development and often paired with the idea that it represents genre exhaustion. US television, however, with its early “live” performances and set-bound sitcoms, always suggested an element of self-awareness that easily shaded into metatextuality even in its earliest days. Meta Television thus traces the general history of US television’s metatextuality throughout television’s history, arguing that TV’s self-awareness is nothing new—and certainly not evidence of a period of aesthetic exhaustion—but instead is woven into both its past and present practice, elucidated through case studies featuring series from the 1970s to the present day—many of which have not been critically analyzed before—and the various ways they deploy metatext to both construct and deconstruct their narratives. Further, Meta Television asserts that this re- and de-construction of narrative and production isn’t just a reward to the savvy and/or knowledgeable viewer (or consumer), but seeks to make broader points about the media we consume—and how we consume it.This book explores the ways in which the current metatextual turn, in both the usual genres in which it appears (horror and sci-fi/fantasy) and its movement into drama and sitcom, represents the next turn in television’s inherent self-awareness. It traces this element throughout television’s history, growing from the more modest reflexivity of programs’ awareness of themselves, as created objects in a particular medium, to the more significant breaking of the fictive illusion and therefore the perceived distance between the audience and the series. Erin Giannini shows how the increased currency of metatextual television in the contemporary era can be tied to a viewership well-versed in its stories and production as well as able and willing to “talk back” via social media. If television reflects culture to a certain extent, this increased reflexivity mirrors that “responsive” audience as a consequence of the lack of distance that metafiction embraces.As Robert Stam traced the use—and implications—of reflexivity in film and literature, this book does the same for television, further problematizing John Ellis’s glance theory in terms of both production and spectatorship.

Mourning in America is a critical examination of what could be considered the midpoint (and perhaps high-point) in the prevalence of the horror anthology format on television: the 1980s. Anthology television series span through different genres, and present a different story and a different set of characters in each episode or season. Despite their 'lowbrow' pedigree as products of a maligned genre in an equally maligned medium, 80's anthology horror series drew equally upon the literary horror tale’s studies of psychological obsession and the vicious morality tales of 'Pulp' subgenres to reveal an American landscape of excessive greed, alienation, and antipathy. Focusing on key programs of the era such as Cliffhangers (1979), Darkroom (1981-82), Tales from the Darkside (1983-88), The Ray Bradbury Theatre (1985-92), Friday the 13th: The Series (1987-90), and the reboots of The Twilight Zone (1985-87) and Alfred Hitchcock Presents (1985-89), Kristopher Woofter and Erin Giannini highlight the persistent subversive themes and production realities of American televisual horror during a period of extreme American exceptionalism, conservatism, xenophobia, and isolationism that parallels the current American political landscape. In doing so, they assert that the undervalued and under-studied Pulp tradition on TV subverted America’s sacrosanct vision of itself.

Screenwriter, director, producer and comic book author Joss Whedon is best known for his television series and films featuring villainous vampires, angry gods and even bloggers who wish to rule the world. Within these works is a prevalent yet commonly overlooked theme--the corporate antagonist.This book examines the effects of this corporate culture on the protagonists of Whedon's most famous works (including Buffy, Roseanne, the Avengers, Agents of S.H.I.E.L.D. and Dollhouse) to reveal explicit sociopolitical commentaries on corporate control in the real world.

Based on the novel by Neil Gaiman and Terry Pratchett, the Amazon Prime series, Good Omens, quickly gained a cult following after debuting in May of 2019. Contained in this story of looming Armageddon are explorations of grief, friendship, good and evil, the Bible, Milton, God and what it means to be human. This book provides thirteen essays that center on various aspects of the show, including theology, fan culture, female gaze, textual elements and more. Also examining Gaiman's sense of obligation to Pratchett, as well as the relationship between Good Omens and the hit series Supernatural, these essays provide a critical analysis of the show and its prominent themes.

A captivating exploration of the television phenomenon that is Supernatural, with insights into characters, plots, and the show’s impact on pop culture. When Supernatural first aired on the CW in 2005, it was dismissed by many for being “pretty guys fighting demons.” Yet Supernatural persisted for 15 seasons to become the anchor of the network’s line-up and the longest running genre series in US television history. In Supernatural: A History of Television's Unearthly Road Trip, Erin Giannini delves into the phenomenon of this cult series and its devoted fan base. Covering all 15 seasons, including the series finale that aired in 2020, this book examines the show’s predecessors, characters, major storylines, and fan activism. It also revisits creator Eric Kripke’s road to creating the series, draws surprising and revealing connections between the show and other series, and discusses the ways Supernatural responded to social and industry changes throughout its long run. Supernatural was the little show that could for 15 years, persisting beyond its original network’s lifespan and surviving the departure of its creator and showrunner, in no small part due to its loyal fans. Inspired by shows such as Buffy the Vampire Slayer and going on to influence many shows that followed, Supernatural offers insight into how a series can adapt and grow to become a mainstay of primetime television.

A captivating exploration of the television phenomenon that is Supernatural, with insights into characters, plots, and the show’s impact on pop culture. When Supernatural first aired on the CW in 2005, it was dismissed by many for being “pretty guys fighting demons.” Yet Supernatural persisted for 15 seasons to become the anchor of the network’s line-up and the longest running genre series in US television history. In Supernatural: A History of Television's Unearthly Road Trip, Erin Giannini delves into the phenomenon of this cult series and its devoted fan base. Covering all 15 seasons, including the series finale that aired in 2020, this book examines the show’s predecessors, characters, major storylines, and fan activism. It also revisits creator Eric Kripke’s road to creating the series, draws surprising and revealing connections between the show and other series, and discusses the ways Supernatural responded to social and industry changes throughout its long run. Supernatural was the little show that could for 15 years, persisting beyond its original network’s lifespan and surviving the departure of its creator and showrunner, in no small part due to its loyal fans. Inspired by shows such as Buffy the Vampire Slayer and going on to influence many shows that followed, Supernatural offers insight into how a series can adapt and grow to become a mainstay of primetime television.

A fun and engaging overview of the popular television series Community as the show fulfills its own prophecy of concluding with six seasons and a movie.Sitcoms are unique to television. In many respects, they define US television from I Love Lucy to Superstore. Given sitcom’s longevity and adaptability, the only surprise is that it took until 2009 for someone to create a series that both skewers and honors the sitcom genre: Community.In Community: Going Back to School with Television's Best Sitcom, Erin Giannini examines the cultural phenomenon that is Community, a series about a community college and, in the series own words, “the goofballs who run around stirring up trouble, and the eggheads that make a big deal out of it.” It’s a meta series with an active fandom (enough to justify a follow-up film) and features an eclectic cast. Created by Dan Harmon based on his brief experience in community college, it appears on the outside to be a typical sitcom: lovable rogue Jeff Winger is forced to go back to college to earn the credentials he lied about and falls in with a motley group of quirky new friends. Yet the series almost immediately deconstructs this by having the character of Abed Nadir tie in the group dynamic to pop culture touchstones, from mafia film Goodfellas to bottle episodes and clip shows.Giannini explores how the series embodies the cusp between traditional television and the streaming era. Highlighting Community’s influence, the way it differentiated itself from other sitcoms and yet embraced the genre, the comedic generational divide embodied by the escalating tension between Chevy Chase and Dan Harmon, the ascendance of Donald Glover, and much more, this is a must-read for fans of the cult-favorite show.

Charts the evolution of musicals on television from song-based shows to the notorious musical episodeThe musical genre has a fraught history on US television, remembered too frequently for spectacular failures than stellar performances. While the first written-for-TV musical aired in 1944, prime-time musical performances on US television were often airings of Broadway shows, made-for-tv adaptations, and occasionally original pieces or the popular variety shows of the 1950s. It was only a matter of time before someone attempted to create a musical series. Breaking into Song traces the history of the musical on television, from its variety show and adaptational beginnings to the rash of single episode and full-on musical series of the 2000s. While the shows come and go, music has been a vital part of US television for decades, even before the debut of MTV. Erin Giannini dives into the many musical series from Cop Rock to Glee and episodes from Buffy the Vampire Slayer, Community and more, while also highlighting the myriad ways music has been used in television, from launching stars such as John Travolta, to synergy in teen programs, and even as characterization and emotional underscoring in dramas.Beginning with Hull High debuting on NBC and Cop Rock on ABC, musicals made their way to television and never looked back. These shows paved the way for today’s popular series such as Zoey’s Extraordinary Playlist and the subversive Crazy Ex-Girlfriend. And while musical-focused series remain a small subset, the late 1990s to the present day have made it so numerous prime-time series across genres incorporate at least a single musical episode into their run. This is a must-read for fans of musicals and television alike, interested in this fascinating subset of pop culture.