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The simple steps outlined in this book help clarify which television projects are most likely to be written as pilot scripts, produced, and ultimately given a series order. Presenting a new twist on the old notion of formulaic television, this book analyzes the four-component formula that the best television has given us and elaborates upon it for the creation of great comedy and drama in half-hour or miniseries format.
Call it literate fun. Ranging from the 1940's to the 1990's and focusing on 60 programs that will surprise you, Stark comments on TV history in a smart, pithy voice and reveals how as a nation we've moved from Lucy and Ricky to Roseanne and Dan; from Howdy Doody to Sesame Street -- and what that says about us.You may think you know television -- but when Steven Stark is finished pushing your buttons with fighting words and brilliant insights, you'll see what television has done to us as a nation in a whole new way. From Beaver to Roseanne, Ed Sullivan to Oprah, Monday Night Football to MTV, Stark takes us on a guided tour of the tube, providing startling revelations about the power of its sixty most important shows and events in the history of television. He catches in bright focus a hilarious, strange, and compelling image of ourselves as reflected on the small screen, and he shows us, with striking logic, the awesome power of television over our future and our fate.
This all-new edition of the best-selling guide The TV Showrunner’s Roadmap provides readers with the tools for creating, writing, and managing your own hit streaming series. Combining his 30+ years as a working screenwriter and professor, industry veteran Neil Landau expertly unpacks essential insights to the creation of a successful show and takes readers behind the scenes with exclusive and enlightening interviews with showrunners from some of TV’s most lauded series, including Fargo, Better Call Saul, Watchmen, Insecure, Barry, Money Heist, Succession, Ozark, Schitt’s Creek, Euphoria, PEN15, and many more. From conception to final rewrite, The TV Showrunner’s Roadmap is an invaluable resource for anyone seeking to create a series that won’t run out of steam after the first few episodes. This groundbreaking guide features an eResource with additional interviews and bonus materials. So grab your laptop, dig out that stalled spec script, and buckle up. Welcome to the fast lane.
The book's journey into the future of television begins with “You Are Here,” delving into “The Great Convergence” of television and Internet and the vortex of change we all inhabit now. Then, glancing back, we explore “The Old World” of broadcast television to understand how we got to this moment of transition. Next, traveling “Between Worlds,” we visit cable television and see how the boundaries between network, cable, and Internet are mutating. After that, we enter “The New World” that ranges from empires like Netflix and Amazon down to Kickstarter-funded web series, and all the creative expressions that abound. Finally, we look ahead to the “Far Frontier” of interactivity and transmedia and a distant, fantastic future. All these experiences are focused on how a writer, producer, director, or entrepreneur can use the emerging possibilities to create original television now and in the coming decade.
Television today is better than ever. From The Sopranos to Breaking Bad, Sex and the City to Girls, and Modern Family to Louie, never has so much quality programming dominated our screens. Exploring how we got here, acclaimed TV critic David Bianculli traces the evolution of the classic TV genres, among them the sitcom, the crime show, the miniseries, the soap opera, the Western, the animated series, the medical drama, and the variety show. In each genre he selects five key examples of the form to illustrate its continuities and its dramatic departures. Drawing on exclusive and in-depth interviews with many of the most famed auteurs in television history, Bianculli shows how the medium has evolved into the premier form of visual narrative art. Includes interviews with: MEL BROOKS, MATT GROENING, DAVID CHASE, KEVIN SPACEY, AMY SCHUMER, VINCE GILLIGAN, AARON SORKIN, MATTHEW WEINER, JUDD APATOW, LOUIS C.K., DAVID MILCH, DAVID E. KELLEY, JAMES L. BROOKS, LARRY DAVID, KEN BURNS, LARRY WILMORE, AND MANY, MANY MORE
In this book, esteemed television executive and Harvard lecturer Ken Basin offers a comprehensive overview of the business, financial, and legal structure of the U.S. television industry, as well as its dealmaking norms. Written for working or aspiring creative professionals who want to better understand the entertainment industry — as well as for executives, agents, managers, and lawyers looking for a reference guide — The Business of Television presents a readable, in-depth introduction to rights and talent negotiations, intellectual property, backend deals, licensing, streaming platforms, international production, and much more. The book also includes breakdowns after each chapter summarizing deal points and points of negotiation, a glossary, a list of referenced cases, and a wealth of real-world examples to help readers put the material into context.
When television was young . . . Legendary movie producer Darryl Zanuck declared, "People will soon get tired of staring at a plywood box every night. Before 5:30, there were only test patterns. Howdy Doody was the first show of the day. CBS agreed to put I Love Lucy on film only if Desi and Lucy paid part of the production fee. In return, CBS gave them ownership of the shows, including the right to rerun it forever. Kukla, Fran, and Ollie was the first network show broadcast in color. 50,000 fans showed up in a New Orleans department store to meet Hopalong Cassidy. Movie studios would not let motion icture stars appear on television for fear that if people saw the stars on TV, they wouldn't go to the movies. Filled with fascinating stories, When Television Was Young is a hilarious, entertaining, behind-the-scenes look at the world of the small screen.
This book employs actor-network theory in order to examine how representations of crime are produced for contemporary prime-time television dramas. As a unique examination of the production of contemporary crime television dramas, particularly their writing process, Making Crime Television: Producing Entertaining Representations of Crime for Television Broadcast examines not only the semiotic relations between ideas about crime, but the material conditions under which those meanings are formulated. Using ethnographic and interview data, Anita Lam considers how textual representations of crime are assembled by various people (including writers, directors, technical consultants, and network executives), technologies (screenwriting software and whiteboards), and texts (newspaper articles and rival crime dramas). The emerging analysis does not project but instead concretely examines what and how television writers and producers know about crime, law and policing. An adequate understanding of the representation of crime, it is maintained, cannot be limited to a content analysis that treats the representation as a final product. Rather, a television representation of crime must be seen as the result of a particular assemblage of logics, people, creative ideas, commercial interests, legal requirements, and broadcasting networks. A fascinating investigation into the relationship between television production, crime, and the law, this book is an accessible and well-researched resource for students and scholars of Law, Media, and Criminology.
On Television exposes the invisible mechanisms of manipulation and censorship that determine what appears on the small screen. Bourdieu shows how the ratings game has transformed journalism - and hence politics - and even such seemingly removed fields as law' science' art' and philosophy. Bourdieu had long been concerned with the role of television in cultural and political life when he bypassed the political and commercial control of the television networks and addressed his country's viewers from the television station of the College de France. On Television' which expands on that lecture' not only describes the limiting and distorting effect of television on journalism and the world of ideas' but offers the blueprint for a counterattack.
Trick-or-treating has never been more fun—with scary costumes, Charlie Brown, Snoopy, Lucy, Sally, Schroeder, Linus, and, of course, the Great Pumpkin. Since its first airing forty years ago, "It's the Great Pumpkin, Charlie Brown" has become synonymous with Halloween. This collection of remembrances and behind-the-scenes treasures celebrates the timeless television classic with: A full script illustrated with screen art from the show Never-before-seen photographs, storyboard excerpts, and production materials Interviews with the original child actors who were the voices of the Peanuts gang Reminiscences and insider tidbits from executive producer Lee Mendelson and animator Bill Melendez And much more!