Christmas just isn't Christmas without Christmas on TV. Whether it's the made-for-television specials of Rudolph the Red-Nosed Reindeer and Frosty the Snowman, a M*A*S*H* Christmas in Korea, Kramer playing Santa on Seinfeld, or the annual holiday disaster on The Simpsons or South Park, television's many representations of this beloved holiday have become as essential a part of our holiday season as lights, gifts, or mistletoe. In this entertaining chronicle of television and the Christmas season, former Television Critics Association President Diane Werts weaves discussion of the many programs that have appeared during the holiday season throughout the years with interviews with writers, producers, and stars. Not only are readers given a chance to re-live their favorite holiday moments on TV, but also to gain illuminating cultural insights into the increasingly strong bond that unites these two American traditions.Diane Werts's book is the first to cover the entire history of the depiction of Christmas on television, and includes a discussion of programs that celebrate Hanukkah, Kwanzaa, and the winter solstice. An introductory overview helps readers to understand the basis on which television's success with the holidays is based, and chronological chapters go on to consider the many different ways in which the season has been celebrated in variety shows, sitcoms, specials, and dramas of the past six decades.

Crime dramas have been a staple of the television landscape since the advent of the medium. Along with comedies and soap operas, the police procedural made an easy transition from radio to TV, and starting with Dragnet in 1952, quickly became one of the most popular genres. Crime television has proven to be a fascinating reflection of changes and developments in the culture at large. In the '50s and early '60s, the square-jawed, just-the-facts detectives of The Untouchables and The FBI put police work in the best light possible. As the '60s gave way to the '70s, however, the depictions gained more subtle shading, and The Streets of San Francisco, The Rockford Files, and Baretta offered conflicted heroes in more complex worlds. This trend has of course continued in more recent decades, with Steven Bochco's dramas seeking a new realism through frank depictions of language and sexuality on television. In chronicling these developments and illustrating how the genre has reflected our ideas of crime and crime solving through the decades, author Douglas Snauffer provides essential reading for any fan.This work provides a comprehensive history of detective and police shows on television, with, among other elements, production histories of seminal programs, and interviews with some of the most important writers and producers of crime television. Besides the shows listed above, this volume will also discuss such programs as: Peter Gunn, The Mod Squad, Hawaii Five-O, Columbo, Starsky and Hutch, Charlie's Angels, Magnum P.I., Miami Vice, T.J. Hooker, Remington Steele, Cagney and Lacey, Murder, She Wrote, The Commish, Homicide: Life on the Street, Monk, and many more.

Since late evening cartoons first aired in 1960, prime-time animated series have had a profound effect on American television and American culture at large. The characters and motifs from such shows as The Flintstones and The Simpsons are among the best-known images in world popular culture; and tellingly, even series that have not done well in prime time—series like The Jetsons, for instance—have yielded similarly iconic images. The advent of cable and several new channels devoted exclusively to animated programming have brought old series back to life in syndication, while also providing new markets for additional, often more experimental animated series. Even on the conventional networks, programs such as The Flintstonesand The Simpsons, not to mention Family Guy and King of the Hill, have consistently shown a smartness and a satirical punch that goes well beyond the norm in network programming. Drawn to Television traces the history of prime-time animation from The Flintstones initial extension of Saturday mornings to Family Guy and South Park's late-night appeal in the 21st century. In the process, it sheds a surprising light on just how much the kid inside us all still has to say.Drawn to Television describes the content and style of all the major prime-time animated series, while also placing these series within their political and cultural contexts. It also tackles a number of important questions about animated programming, such as: how animated series differ from conventional series; why animated programming tends to be so effective as a vehicle for social and political satire; what makes animated characters so readily convertible into icons; and what the likely effects of new technologies (such as digital animation) will be on this genre in the future.

When you first heard it, you couldn't believe it: Jerry Mathers, from TV's Leave It To Beaver, had been killed in Vietnam. Then word came that Abe Vigoda, the actor who played the curmudgeonly cop Fish on Barney Miller, was dead; and that Mikey, who would eat anything as the Life Cereal tyke, had eaten too many Pop Rocks and exploded. Besides exposing us to things we couldn't otherwise believe, television can convince us of things that never actually happened. But how did these outrageous TV legends get started? How did they spread from classrooms to boardrooms across North America and beyond? And, most important, what do these rumors, so quickly transformed into facts and common knowledge, reveal about our relationship to reality through the medium of television? Put in other words, what exactly is it that were doing when were dealing in these fabulous rumors—are we chasing after surprising truths or simply more incredible entertainment?To take one telling example: Jerry Mathers was not actually killed in Vietnam—but the basic sense of this lie wasn't far removed from the emotions factually expressed in the two-page spread of the faces of the dead in Time magazine. In the course of this compelling work—which is supplemented with interviews with many of the people implicated in these rumors—author Bill Brioux exposes the reality behind the many stories that currently circulate in our culture. Through these stories (both true and false), he sheds a revealing light on just what role these rumors play in contemporary society—and what role our society plays in regard to these rumors as well.

Prime time soaps are often revered long after their runs on television have ended, as Dallas, Twin Peaks, and Beverly Hills 90210 readily demonstrate. Due to their profound impact, it's easy to forget how recently the genre itself was born. Dallas premiered in 1978, and was originally intended to air solely as a five-part mini-series. Then, in 1981, producer Aaron Spelling stepped in and introduced his own ultra-glitzy entry Dynasty. Between these two mega-hits, the era of the nighttime soap was born. Soaps soon spun off into non-traditional avenues as well, in sitcoms like Filthy Rich and the supernatural drama Twin Peaks. Then, with the arrival of the more youth-oriented Fox Network, producers were able to hook an entirely new generation on programs such as Beverly Hills, 90210, Melrose Place, and Party of Five. Pay-cable channels have also stepped into the picture and now act as trendsetters with hits like Sex and the City, Six Feet Under, The Sopranos, and The L Word. Now, from the spiritually themed 7th Heaven to the naughty neighbors of ABC's Desperate Housewives, soaps dominate prime time. Prime Time Soaps covers all the major shows within the soap-opera genre, and also investigates all the ways that soaps have contributed to the development of more general television trends. Interviews with producers, actors, and other artistic collaborators also supplement this revealing and entertaining account.Even outside of their genre, these shows continue to influence current programming. Few series on TV today are purely episodic, instead containing on-going storylines involving the personal dilemmas of their characters. Another very recognizable contribution from soaps occurred on the evening of March 21, 1980, when Dallas finished out its third year with J.R. Ewing being shot by an unknown assailant, leaving fans to wait until the fall for the resolution. This was the beginning of the cliffhanger endings that are now implemented by just about every series on television. Prime Time Soaps covers all the major shows, and also investigates all the ways that soaps have contributed to the development of more general television trends. Interviews with producers, actors, and other artistic collaborators supplement this revealing and entertaining account.

For half a century, television spies have been trained professionals, reluctant heroes, housewives, businessmen, criminals, and comedians. They have by turns been glamorous, campy, reflective, sexy, and aloof. This is the first book-length treatment of one of TV's oldest and most fascinating genres. Britton's comprehensive guide provides readers, from casual viewers to die-hard fans, with behind-the-scenes stories to this notable segment of television entertainment.From the early 1960s, in which television spies were used essentially as anti-Communist propaganda, through the subsequent years that both built upon and parodied this model, and finally to today's gadget-laden world of murky motives and complex global politics, spy television has served as much more than mere escapism. From the beginning, television spies opened doors for new kinds of heroes. Women quickly took center stage alongside men, and minority leads in spy programs paved the way for other kinds of roles on the small screen. For half a century, television spies have been trained professionals, reluctant heroes, housewives, businessmen, criminals, and comedians. They have by turns been glamorous, campy, reflective, sexy, and aloof. This is the first book-length treatment of one of TV's oldest and most fascinating genres.

Science fiction series have remained a staple of American television from its inception: classic programs such as The Twilight Zone, The Outer Limits, and Star Trek, along with recent and current series including Babylon 5 and Stargate SG-1, have been some of the most enduring and influential of all television shows. In this chronological survey, author M. Keith Booker examines this phenomenon and provides in-depth studies of the most important of these series. Science Fiction Television traces the development of the genre as a distinct cultural phenomenon within the context of broader developments in American culture as a whole.In the process, it offers a unique and informative guide for television fans and science fiction fans alike, one whose coverage is unprecedented in its scope and breadth. A must-read for anyone interested in its subject or in American popular culture, Science Fiction Television is a perceptive and entertaining history of one of television's most lasting forms of entertainment.

Crime dramas have been a staple of the television landscape since the advent of the medium. Along with comedies and soap operas, the police procedural made an easy transition from radio to TV, and starting with Dragnet in 1952, quickly became one of the most popular genres. Crime television has proven to be a fascinating reflection of changes and developments in the culture at large. In the '50s and early '60s, the square-jawed, just-the-facts detectives of The Untouchables and The FBI put police work in the best light possible. As the '60s gave way to the '70s, however, the depictions gained more subtle shading, and The Streets of San Francisco, The Rockford Files, and Baretta offered conflicted heroes in more complex worlds. This trend has of course continued in more recent decades, with Steven Bochco's dramas seeking a new realism through frank depictions of language and sexuality on television. In chronicling these developments and illustrating how the genre has reflected our ideas of crime and crime solving through the decades, author Douglas Snauffer provides essential reading for any fan.This work provides a comprehensive history of detective and police shows on television, with, among other elements, production histories of seminal programs, and interviews with some of the most important writers and producers of crime television. Besides the shows listed above, this volume will also discuss such programs as: Peter Gunn, The Mod Squad, Hawaii Five-O, Columbo, Starsky and Hutch, Charlie's Angels, Magnum P.I., Miami Vice, T.J. Hooker, Remington Steele, Cagney and Lacey, Murder, She Wrote, The Commish, Homicide: Life on the Street, Monk, and many more.

Since late evening cartoons first aired in 1960, prime-time animated series have had a profound effect on American television and American culture at large. The characters and motifs from such shows as The Flintstones and The Simpsons are among the best-known images in world popular culture; and tellingly, even series that have not done well in prime time—series like The Jetsons, for instance—have yielded similarly iconic images. The advent of cable and several new channels devoted exclusively to animated programming have brought old series back to life in syndication, while also providing new markets for additional, often more experimental animated series. Even on the conventional networks, programs such as The Flintstonesand The Simpsons, not to mention Family Guy and King of the Hill, have consistently shown a smartness and a satirical punch that goes well beyond the norm in network programming. Drawn to Television traces the history of prime-time animation from The Flintstones initial extension of Saturday mornings to Family Guy and South Park's late-night appeal in the 21st century. In the process, it sheds a surprising light on just how much the kid inside us all still has to say.Drawn to Television describes the content and style of all the major prime-time animated series, while also placing these series within their political and cultural contexts. It also tackles a number of important questions about animated programming, such as: how animated series differ from conventional series; why animated programming tends to be so effective as a vehicle for social and political satire; what makes animated characters so readily convertible into icons; and what the likely effects of new technologies (such as digital animation) will be on this genre in the future.

When you first heard it, you couldn't believe it: Jerry Mathers, from TV's Leave It To Beaver, had been killed in Vietnam. Then word came that Abe Vigoda, the actor who played the curmudgeonly cop Fish on Barney Miller, was dead; and that Mikey, who would eat anything as the Life Cereal tyke, had eaten too many Pop Rocks and exploded. Besides exposing us to things we couldn't otherwise believe, television can convince us of things that never actually happened. But how did these outrageous TV legends get started? How did they spread from classrooms to boardrooms across North America and beyond? And, most important, what do these rumors, so quickly transformed into facts and common knowledge, reveal about our relationship to reality through the medium of television? Put in other words, what exactly is it that were doing when were dealing in these fabulous rumors—are we chasing after surprising truths or simply more incredible entertainment?To take one telling example: Jerry Mathers was not actually killed in Vietnam—but the basic sense of this lie wasn't far removed from the emotions factually expressed in the two-page spread of the faces of the dead in Time magazine. In the course of this compelling work—which is supplemented with interviews with many of the people implicated in these rumors—author Bill Brioux exposes the reality behind the many stories that currently circulate in our culture. Through these stories (both true and false), he sheds a revealing light on just what role these rumors play in contemporary society—and what role our society plays in regard to these rumors as well.

Reality programming—a broad title for unscripted shows that involve non-actors—is really an updated version of a classic television genre that had its first successes decades before The Real World or Survivor made their premieres. NBC launched Try and Do It, a show in which audience members attempted to complete tasks such as whistling with a mouthful of crackers, in 1949. In the 1950s Queen for a Day crowned the most down-trodden of its four contestants, draping her in a sable-trimmed robe and granting a previously declared wish. The wild success reality television has achieved of late has pushed the envelope of such programming ever further away from the genre's innocuous beginnings. The time is now ripe for a look back on how this genre has developed, what it reveals about us, and what has transformed it into one of the most powerful forms of entertainment on television today.Reality programming—a broad title for unscripted shows that involve non-actors—is really an updated version of a classic television genre that had its first successes decades before The Real World or Survivor made their premieres. NBC launched Try and Do It, a show in which audience members attempted to complete tasks such as whistling with a mouthful of crackers, in 1949. In the 1950s Queen for a Day crowned the most down-trodden of its four contestants at the end of each show, draping her in a sable-trimmed robe and granting a previously declared wish. The wild success reality television has achieved of late has pushed the envelope of such programming ever further away—from the genre's innocuous beginnings. The time is now ripe for a look back on how this genre has developed, what it reveals about us, and what has transformed it into one of the most powerful forms of entertainment on television today.Using interviews with network insiders, reality producers, and other experts, Richard Huff supplies fascinating insights into the diverse content and often erratic development of reality television programming, augmenting this information with illuminating general connections between the past and present forms these shows assume. From Queen for a Day through Extreme Makeover, from Cops to Fear Factor, the genre is placed before us in this exhaustive and many-sided account, an account that uncovers the foundations and the future potential of the compelling and dominating phenomenon that is reality television.

Television has always augmented its dramatic and variety programming with sports. After covering wrestling and boxing matches for several years, ABC added the hugely popular Roller Derby between 1949 and 1951, and later, college and pro football. Today, there is a multitude of pay and cable networks devoted exclusively to baseball, football, golf, hockey, tennis, ice-skating, and auto racing. Rather than focusing on live sports broadcasts, however, this book chronicles the history of sports-themed comedies and dramas, to see how our national fictions have affected our authentic sports experiences, and vice versa.Sports dominate the television landscape today, and still the demand for more is so great that pay and cable networks continue to find funding and success, even when devoted exclusively to a single sport. But this is really nothing new: television has always augmented its dramatic and variety programming with sports. Live sports have had a tremendous impact on what we see on television, and on how we see it. Rather than focusing on live sports broadcasts, however, this book takes a critical look at sports-themed comedies and dramas, to see how our authentic sports affect our national fictions as well. From the character studies that supplement Olympic coverage, to nightly highlight reels, to reality programming on ESPN, sports both echo and help shape the myths that pervade our culture. Sports on Television covers the changing relationship between live sports broadcasts and television dramas, as well as the important technological developments and cultural shifts that have changed the way we view the reality of sports.In 1949, after covering wrestling and boxing matches for several years, ABC added the hugely popular Roller Derby, and later moved on to college and pro football, where humble beginnings have since developed into a national obsession. In the early sixties Jimmy Stewart played a disgraced baseball player in Flashing Spikes-which was also one of the rare ventures into television for veteran director John Ford. On HBO the Yankees have been the subject of both 61* - about Roger Maris's quest to top Babe Ruth's home run record - and The Bronx Is Burning, about the 1977 Yankees team. And there have been sports-themed TV sitcoms as well, such as Sports Night, Aaron Sorkin's critically lauded but commercially unsuccessful project, which preceded his work on The West Wing. Meanwhile American Gladiators—a strange blend of canned programming and authentic athletic endeavor that in effect puts television audiences in an arena with what amounts to professional athletes—is quickly becoming one of the most popular shows on primetime. Here, Marill gives due time to all of these unique projects.

Prime time soaps are often revered long after their runs on television have ended, as Dallas, Twin Peaks, and Beverly Hills 90210 readily demonstrate. Due to their profound impact, it's easy to forget how recently the genre itself was born. Dallas premiered in 1978, and was originally intended to air solely as a five-part mini-series. Then, in 1981, producer Aaron Spelling stepped in and introduced his own ultra-glitzy entry Dynasty. Between these two mega-hits, the era of the nighttime soap was born. Soaps soon spun off into non-traditional avenues as well, in sitcoms like Filthy Rich and the supernatural drama Twin Peaks. Then, with the arrival of the more youth-oriented Fox Network, producers were able to hook an entirely new generation on programs such as Beverly Hills, 90210, Melrose Place, and Party of Five. Pay-cable channels have also stepped into the picture and now act as trendsetters with hits like Sex and the City, Six Feet Under, The Sopranos, and The L Word. Now, from the spiritually themed 7th Heaven to the naughty neighbors of ABC's Desperate Housewives, soaps dominate prime time. Prime Time Soaps covers all the major shows within the soap-opera genre, and also investigates all the ways that soaps have contributed to the development of more general television trends. Interviews with producers, actors, and other artistic collaborators also supplement this revealing and entertaining account.Even outside of their genre, these shows continue to influence current programming. Few series on TV today are purely episodic, instead containing on-going storylines involving the personal dilemmas of their characters. Another very recognizable contribution from soaps occurred on the evening of March 21, 1980, when Dallas finished out its third year with J.R. Ewing being shot by an unknown assailant, leaving fans to wait until the fall for the resolution. This was the beginning of the cliffhanger endings that are now implemented by just about every series on television. Prime Time Soaps covers all the major shows, and also investigates all the ways that soaps have contributed to the development of more general television trends. Interviews with producers, actors, and other artistic collaborators supplement this revealing and entertaining account.

Christmas just isn't Christmas without Christmas on TV. Whether it's the made-for-television specials of Rudolph the Red-Nosed Reindeer and Frosty the Snowman, a M*A*S*H* Christmas in Korea, Kramer playing Santa on Seinfeld, or the annual holiday disaster on The Simpsons or South Park, television's many representations of this beloved holiday have become as essential a part of our holiday season as lights, gifts, or mistletoe. In this entertaining chronicle of television and the Christmas season, former Television Critics Association President Diane Werts weaves discussion of the many programs that have appeared during the holiday season throughout the years with interviews with writers, producers, and stars. Not only are readers given a chance to re-live their favorite holiday moments on TV, but also to gain illuminating cultural insights into the increasingly strong bond that unites these two American traditions.Diane Werts's book is the first to cover the entire history of the depiction of Christmas on television, and includes a discussion of programs that celebrate Hanukkah, Kwanzaa, and the winter solstice. An introductory overview helps readers to understand the basis on which television's success with the holidays is based, and chronological chapters go on to consider the many different ways in which the season has been celebrated in variety shows, sitcoms, specials, and dramas of the past six decades.

Crime dramas have been a staple of the television landscape since the advent of the medium. Along with comedies and soap operas, the police procedural made an easy transition from radio to TV, and starting with Dragnet in 1952, quickly became one of the most popular genres. Crime television has proven to be a fascinating reflection of changes and developments in the culture at large. In the '50s and early '60s, the square-jawed, just-the-facts detectives of The Untouchables and The FBI put police work in the best light possible. As the '60s gave way to the '70s, however, the depictions gained more subtle shading, and The Streets of San Francisco, The Rockford Files, and Baretta offered conflicted heroes in more complex worlds. This trend has of course continued in more recent decades, with Steven Bochco's dramas seeking a new realism through frank depictions of language and sexuality on television. In chronicling these developments and illustrating how the genre has reflected our ideas of crime and crime solving through the decades, author Douglas Snauffer provides essential reading for any fan.This work provides a comprehensive history of detective and police shows on television, with, among other elements, production histories of seminal programs, and interviews with some of the most important writers and producers of crime television. Besides the shows listed above, this volume will also discuss such programs as: Peter Gunn, The Mod Squad, Hawaii Five-O, Columbo, Starsky and Hutch, Charlie's Angels, Magnum P.I., Miami Vice, T.J. Hooker, Remington Steele, Cagney and Lacey, Murder, She Wrote, The Commish, Homicide: Life on the Street, Monk, and many more.

Since late evening cartoons first aired in 1960, prime-time animated series have had a profound effect on American television and American culture at large. The characters and motifs from such shows as The Flintstones and The Simpsons are among the best-known images in world popular culture; and tellingly, even series that have not done well in prime time—series like The Jetsons, for instance—have yielded similarly iconic images. The advent of cable and several new channels devoted exclusively to animated programming have brought old series back to life in syndication, while also providing new markets for additional, often more experimental animated series. Even on the conventional networks, programs such as The Flintstonesand The Simpsons, not to mention Family Guy and King of the Hill, have consistently shown a smartness and a satirical punch that goes well beyond the norm in network programming. Drawn to Television traces the history of prime-time animation from The Flintstones initial extension of Saturday mornings to Family Guy and South Park's late-night appeal in the 21st century. In the process, it sheds a surprising light on just how much the kid inside us all still has to say.Drawn to Television describes the content and style of all the major prime-time animated series, while also placing these series within their political and cultural contexts. It also tackles a number of important questions about animated programming, such as: how animated series differ from conventional series; why animated programming tends to be so effective as a vehicle for social and political satire; what makes animated characters so readily convertible into icons; and what the likely effects of new technologies (such as digital animation) will be on this genre in the future.

When you first heard it, you couldn't believe it: Jerry Mathers, from TV's Leave It To Beaver, had been killed in Vietnam. Then word came that Abe Vigoda, the actor who played the curmudgeonly cop Fish on Barney Miller, was dead; and that Mikey, who would eat anything as the Life Cereal tyke, had eaten too many Pop Rocks and exploded. Besides exposing us to things we couldn't otherwise believe, television can convince us of things that never actually happened. But how did these outrageous TV legends get started? How did they spread from classrooms to boardrooms across North America and beyond? And, most important, what do these rumors, so quickly transformed into facts and common knowledge, reveal about our relationship to reality through the medium of television? Put in other words, what exactly is it that were doing when were dealing in these fabulous rumors—are we chasing after surprising truths or simply more incredible entertainment?To take one telling example: Jerry Mathers was not actually killed in Vietnam—but the basic sense of this lie wasn't far removed from the emotions factually expressed in the two-page spread of the faces of the dead in Time magazine. In the course of this compelling work—which is supplemented with interviews with many of the people implicated in these rumors—author Bill Brioux exposes the reality behind the many stories that currently circulate in our culture. Through these stories (both true and false), he sheds a revealing light on just what role these rumors play in contemporary society—and what role our society plays in regard to these rumors as well.

Prime time soaps are often revered long after their runs on television have ended, as Dallas, Twin Peaks, and Beverly Hills 90210 readily demonstrate. Due to their profound impact, it's easy to forget how recently the genre itself was born. Dallas premiered in 1978, and was originally intended to air solely as a five-part mini-series. Then, in 1981, producer Aaron Spelling stepped in and introduced his own ultra-glitzy entry Dynasty. Between these two mega-hits, the era of the nighttime soap was born. Soaps soon spun off into non-traditional avenues as well, in sitcoms like Filthy Rich and the supernatural drama Twin Peaks. Then, with the arrival of the more youth-oriented Fox Network, producers were able to hook an entirely new generation on programs such as Beverly Hills, 90210, Melrose Place, and Party of Five. Pay-cable channels have also stepped into the picture and now act as trendsetters with hits like Sex and the City, Six Feet Under, The Sopranos, and The L Word. Now, from the spiritually themed 7th Heaven to the naughty neighbors of ABC's Desperate Housewives, soaps dominate prime time. Prime Time Soaps covers all the major shows within the soap-opera genre, and also investigates all the ways that soaps have contributed to the development of more general television trends. Interviews with producers, actors, and other artistic collaborators also supplement this revealing and entertaining account.Even outside of their genre, these shows continue to influence current programming. Few series on TV today are purely episodic, instead containing on-going storylines involving the personal dilemmas of their characters. Another very recognizable contribution from soaps occurred on the evening of March 21, 1980, when Dallas finished out its third year with J.R. Ewing being shot by an unknown assailant, leaving fans to wait until the fall for the resolution. This was the beginning of the cliffhanger endings that are now implemented by just about every series on television. Prime Time Soaps covers all the major shows, and also investigates all the ways that soaps have contributed to the development of more general television trends. Interviews with producers, actors, and other artistic collaborators supplement this revealing and entertaining account.

For half a century, television spies have been trained professionals, reluctant heroes, housewives, businessmen, criminals, and comedians. They have by turns been glamorous, campy, reflective, sexy, and aloof. This is the first book-length treatment of one of TV's oldest and most fascinating genres. Britton's comprehensive guide provides readers, from casual viewers to die-hard fans, with behind-the-scenes stories to this notable segment of television entertainment.From the early 1960s, in which television spies were used essentially as anti-Communist propaganda, through the subsequent years that both built upon and parodied this model, and finally to today's gadget-laden world of murky motives and complex global politics, spy television has served as much more than mere escapism. From the beginning, television spies opened doors for new kinds of heroes. Women quickly took center stage alongside men, and minority leads in spy programs paved the way for other kinds of roles on the small screen. For half a century, television spies have been trained professionals, reluctant heroes, housewives, businessmen, criminals, and comedians. They have by turns been glamorous, campy, reflective, sexy, and aloof. This is the first book-length treatment of one of TV's oldest and most fascinating genres.

Science fiction series have remained a staple of American television from its inception: classic programs such as The Twilight Zone, The Outer Limits, and Star Trek, along with recent and current series including Babylon 5 and Stargate SG-1, have been some of the most enduring and influential of all television shows. In this chronological survey, author M. Keith Booker examines this phenomenon and provides in-depth studies of the most important of these series. Science Fiction Television traces the development of the genre as a distinct cultural phenomenon within the context of broader developments in American culture as a whole.In the process, it offers a unique and informative guide for television fans and science fiction fans alike, one whose coverage is unprecedented in its scope and breadth. A must-read for anyone interested in its subject or in American popular culture, Science Fiction Television is a perceptive and entertaining history of one of television's most lasting forms of entertainment.

Crime dramas have been a staple of the television landscape since the advent of the medium. Along with comedies and soap operas, the police procedural made an easy transition from radio to TV, and starting with Dragnet in 1952, quickly became one of the most popular genres. Crime television has proven to be a fascinating reflection of changes and developments in the culture at large. In the '50s and early '60s, the square-jawed, just-the-facts detectives of The Untouchables and The FBI put police work in the best light possible. As the '60s gave way to the '70s, however, the depictions gained more subtle shading, and The Streets of San Francisco, The Rockford Files, and Baretta offered conflicted heroes in more complex worlds. This trend has of course continued in more recent decades, with Steven Bochco's dramas seeking a new realism through frank depictions of language and sexuality on television. In chronicling these developments and illustrating how the genre has reflected our ideas of crime and crime solving through the decades, author Douglas Snauffer provides essential reading for any fan.This work provides a comprehensive history of detective and police shows on television, with, among other elements, production histories of seminal programs, and interviews with some of the most important writers and producers of crime television. Besides the shows listed above, this volume will also discuss such programs as: Peter Gunn, The Mod Squad, Hawaii Five-O, Columbo, Starsky and Hutch, Charlie's Angels, Magnum P.I., Miami Vice, T.J. Hooker, Remington Steele, Cagney and Lacey, Murder, She Wrote, The Commish, Homicide: Life on the Street, Monk, and many more.

Since late evening cartoons first aired in 1960, prime-time animated series have had a profound effect on American television and American culture at large. The characters and motifs from such shows as The Flintstones and The Simpsons are among the best-known images in world popular culture; and tellingly, even series that have not done well in prime time—series like The Jetsons, for instance—have yielded similarly iconic images. The advent of cable and several new channels devoted exclusively to animated programming have brought old series back to life in syndication, while also providing new markets for additional, often more experimental animated series. Even on the conventional networks, programs such as The Flintstonesand The Simpsons, not to mention Family Guy and King of the Hill, have consistently shown a smartness and a satirical punch that goes well beyond the norm in network programming. Drawn to Television traces the history of prime-time animation from The Flintstones initial extension of Saturday mornings to Family Guy and South Park's late-night appeal in the 21st century. In the process, it sheds a surprising light on just how much the kid inside us all still has to say.Drawn to Television describes the content and style of all the major prime-time animated series, while also placing these series within their political and cultural contexts. It also tackles a number of important questions about animated programming, such as: how animated series differ from conventional series; why animated programming tends to be so effective as a vehicle for social and political satire; what makes animated characters so readily convertible into icons; and what the likely effects of new technologies (such as digital animation) will be on this genre in the future.

When you first heard it, you couldn't believe it: Jerry Mathers, from TV's Leave It To Beaver, had been killed in Vietnam. Then word came that Abe Vigoda, the actor who played the curmudgeonly cop Fish on Barney Miller, was dead; and that Mikey, who would eat anything as the Life Cereal tyke, had eaten too many Pop Rocks and exploded. Besides exposing us to things we couldn't otherwise believe, television can convince us of things that never actually happened. But how did these outrageous TV legends get started? How did they spread from classrooms to boardrooms across North America and beyond? And, most important, what do these rumors, so quickly transformed into facts and common knowledge, reveal about our relationship to reality through the medium of television? Put in other words, what exactly is it that were doing when were dealing in these fabulous rumors—are we chasing after surprising truths or simply more incredible entertainment?To take one telling example: Jerry Mathers was not actually killed in Vietnam—but the basic sense of this lie wasn't far removed from the emotions factually expressed in the two-page spread of the faces of the dead in Time magazine. In the course of this compelling work—which is supplemented with interviews with many of the people implicated in these rumors—author Bill Brioux exposes the reality behind the many stories that currently circulate in our culture. Through these stories (both true and false), he sheds a revealing light on just what role these rumors play in contemporary society—and what role our society plays in regard to these rumors as well.

Reality programming—a broad title for unscripted shows that involve non-actors—is really an updated version of a classic television genre that had its first successes decades before The Real World or Survivor made their premieres. NBC launched Try and Do It, a show in which audience members attempted to complete tasks such as whistling with a mouthful of crackers, in 1949. In the 1950s Queen for a Day crowned the most down-trodden of its four contestants, draping her in a sable-trimmed robe and granting a previously declared wish. The wild success reality television has achieved of late has pushed the envelope of such programming ever further away from the genre's innocuous beginnings. The time is now ripe for a look back on how this genre has developed, what it reveals about us, and what has transformed it into one of the most powerful forms of entertainment on television today.Reality programming—a broad title for unscripted shows that involve non-actors—is really an updated version of a classic television genre that had its first successes decades before The Real World or Survivor made their premieres. NBC launched Try and Do It, a show in which audience members attempted to complete tasks such as whistling with a mouthful of crackers, in 1949. In the 1950s Queen for a Day crowned the most down-trodden of its four contestants at the end of each show, draping her in a sable-trimmed robe and granting a previously declared wish. The wild success reality television has achieved of late has pushed the envelope of such programming ever further away—from the genre's innocuous beginnings. The time is now ripe for a look back on how this genre has developed, what it reveals about us, and what has transformed it into one of the most powerful forms of entertainment on television today.Using interviews with network insiders, reality producers, and other experts, Richard Huff supplies fascinating insights into the diverse content and often erratic development of reality television programming, augmenting this information with illuminating general connections between the past and present forms these shows assume. From Queen for a Day through Extreme Makeover, from Cops to Fear Factor, the genre is placed before us in this exhaustive and many-sided account, an account that uncovers the foundations and the future potential of the compelling and dominating phenomenon that is reality television.

Television has always augmented its dramatic and variety programming with sports. After covering wrestling and boxing matches for several years, ABC added the hugely popular Roller Derby between 1949 and 1951, and later, college and pro football. Today, there is a multitude of pay and cable networks devoted exclusively to baseball, football, golf, hockey, tennis, ice-skating, and auto racing. Rather than focusing on live sports broadcasts, however, this book chronicles the history of sports-themed comedies and dramas, to see how our national fictions have affected our authentic sports experiences, and vice versa.Sports dominate the television landscape today, and still the demand for more is so great that pay and cable networks continue to find funding and success, even when devoted exclusively to a single sport. But this is really nothing new: television has always augmented its dramatic and variety programming with sports. Live sports have had a tremendous impact on what we see on television, and on how we see it. Rather than focusing on live sports broadcasts, however, this book takes a critical look at sports-themed comedies and dramas, to see how our authentic sports affect our national fictions as well. From the character studies that supplement Olympic coverage, to nightly highlight reels, to reality programming on ESPN, sports both echo and help shape the myths that pervade our culture. Sports on Television covers the changing relationship between live sports broadcasts and television dramas, as well as the important technological developments and cultural shifts that have changed the way we view the reality of sports.In 1949, after covering wrestling and boxing matches for several years, ABC added the hugely popular Roller Derby, and later moved on to college and pro football, where humble beginnings have since developed into a national obsession. In the early sixties Jimmy Stewart played a disgraced baseball player in Flashing Spikes-which was also one of the rare ventures into television for veteran director John Ford. On HBO the Yankees have been the subject of both 61* - about Roger Maris's quest to top Babe Ruth's home run record - and The Bronx Is Burning, about the 1977 Yankees team. And there have been sports-themed TV sitcoms as well, such as Sports Night, Aaron Sorkin's critically lauded but commercially unsuccessful project, which preceded his work on The West Wing. Meanwhile American Gladiators—a strange blend of canned programming and authentic athletic endeavor that in effect puts television audiences in an arena with what amounts to professional athletes—is quickly becoming one of the most popular shows on primetime. Here, Marill gives due time to all of these unique projects.

Prime time soaps are often revered long after their runs on television have ended, as Dallas, Twin Peaks, and Beverly Hills 90210 readily demonstrate. Due to their profound impact, it's easy to forget how recently the genre itself was born. Dallas premiered in 1978, and was originally intended to air solely as a five-part mini-series. Then, in 1981, producer Aaron Spelling stepped in and introduced his own ultra-glitzy entry Dynasty. Between these two mega-hits, the era of the nighttime soap was born. Soaps soon spun off into non-traditional avenues as well, in sitcoms like Filthy Rich and the supernatural drama Twin Peaks. Then, with the arrival of the more youth-oriented Fox Network, producers were able to hook an entirely new generation on programs such as Beverly Hills, 90210, Melrose Place, and Party of Five. Pay-cable channels have also stepped into the picture and now act as trendsetters with hits like Sex and the City, Six Feet Under, The Sopranos, and The L Word. Now, from the spiritually themed 7th Heaven to the naughty neighbors of ABC's Desperate Housewives, soaps dominate prime time. Prime Time Soaps covers all the major shows within the soap-opera genre, and also investigates all the ways that soaps have contributed to the development of more general television trends. Interviews with producers, actors, and other artistic collaborators also supplement this revealing and entertaining account.Even outside of their genre, these shows continue to influence current programming. Few series on TV today are purely episodic, instead containing on-going storylines involving the personal dilemmas of their characters. Another very recognizable contribution from soaps occurred on the evening of March 21, 1980, when Dallas finished out its third year with J.R. Ewing being shot by an unknown assailant, leaving fans to wait until the fall for the resolution. This was the beginning of the cliffhanger endings that are now implemented by just about every series on television. Prime Time Soaps covers all the major shows, and also investigates all the ways that soaps have contributed to the development of more general television trends. Interviews with producers, actors, and other artistic collaborators supplement this revealing and entertaining account.