101E

Desilu, I Love Lucy, and the Rise of Network TV: Thomas Schatz

I Love Lucy

The independents: Mark Alvey

"50/50 Rule" MTMS

Red Channels

"The report of communist influence in radio and TV". Published in 1950, an anti-Communist publication that accused 151 people in the entertainment industry of communist activities. Essentially blacklisted all these people and they were unemployable because of political beliefs, history, etc. This was issued by the right-wing journal Counterattack.

7. How have advertisers and networks changed the ways in which they relate to the female audience? Using at least 2 readings, discuss how women's status in American society and their role as consumers has impacted the television industry and played out in terms of programming, network formation, scheduling and advertising. How have women's changing roles in American culture been reflected in these elements of television?

"Womens Work" why was domestic labor (undervalued work) an issue for feminists? Work in domestic space is not valued and men's work is valued. Men coming home to the women's workplace where women do not leave, men had to be the bread winners. -The industry was constructing modes of spectatorship...teaching women how to be consumers of products and consumers of TV itself -Somewhat educated in how to use them -Ads are watching them watch you! "Domestic Space" -Concerned mother, takes issues seriously. Father cares less, but is ultimate authority (Goldbergs, Leave it to Beaver, Ozzie and Harriet) gender dynamics -Ozzie and Harriet: 2 sons get hired by private eye to make a delivery and Mother is worried, Father tries to help them because he has a bad dream. Boys hired because of wrestling and karate -Divorce rate going up, but not shown in TV -Women in networks: MTM, Desilu

3. How has American television addressed/represented race on screen from the 1950s through the 1970s? You can discuss sit-coms, news, drama, music shows, and any other genre we have looked at in class. You should reference at least 2 screenings and 2 readings in your answer.

~Amos n Andy, I Love Lucy -Domestic Space: making these new suburbias called for racial lines or "zoning". It was a way of excluding black members from the community and making it only a white suburbia. -Southern Discomforts: Fictional and entertaining TV was the best way to promote issues during the time periods. Activists in Jackson, MS through shows such as Bonanza. Employed invisible tactics that disrupted hegemonic practices-c&c. Activism revealed the coercive powers of segregation and disabled the consensus necessary to white power -Bonanza refused to show up in a segregated audience, agitation committee sent them letters and they sympathized. Mississippians believed they were influenced by liberal Hollywood and snubbed loyal fans—now the mayor wanted to "blackout" Bonanza. Their uprising was what the activists wanted, when they didn't do anything that's how segregation was taken care of. -70s: Viewers started wanting to see more diversity. Race, ethnicity, fashion, women had a stronger role, started to sound different (Archie Bunker-All in the Family)

Disneyland

-1954-58 on ABC. Originally hosted by Walt Disney himself, the Disney series presented animated cartoons and other material (some original, some pre-existing) from the studio library. -Disneyland also had an impact with the New Frontier and the fantastic sitcom. With the space race happening, Disneyland created different lands like Tomorrowland and Frontierland in relation to these historical events occurring.

1. Describe and analyze the changing relationship between program producers, television networks and commercial sponsors from the late 1940s to the late 60s. Who created and controlled the content of television programs at different historical moments? How did the programming change/evolve because of this dynamic? How did the shift in sponsorship paradigms affect relations between producers, networks, and advertisers? Discuss at least one reading and screening or clip in your answer and use specific examples to illustrate your points.

-40s: Big 3 (NBC,CBS,ABC), live, NY. Dramas, news, sitcoms -50s: shift, began being stable. Consolidation of network power, less power in sponsors and new program formats. Telefilm turning point! I Love Lucy, Dragnet, etc. Multiple sponsors now with Classic Network Era -60s: Independents. Independent producers had a significant role in telefilm in the 60s. Telefilm was dominated by independent production as the "packaging" series, major studios as the financers and distributors "Independents" article, Father Knows Best—Screen Gems offered this through coproduction. Offering wholly shows gave more variety

5. In the 1950s and 60s, television was often a political platform and/or part of various political struggles that were playing out in American culture and society. Discuss three specific political events, movements and causes that were affected by television. Use examples from at least 2 readings and 3 screenings (including clips) in your answer.

-The Great Debates The Civil Rights Movement—Southern Discomforts. Ignoring racism, WLBT -Space Race—Domestic Space -Debates clip, Red Scare trials, I Dream of Jeannie/Bewitched

The Classic Network Era

-Vertically-integrated oligopoly -Tight production control by networks Ownership of programming, syndication rights, stations. Control over independent producers that could be dropped so they demanded whatever they wanted -Multiple sponsors, limited advertiser influence -Filmed programming from Hollywood -Deficit financing in the late 60s -Rumbling critics—HW indies, reformers, activists, public TV, cable -Minimal regulatory oversight (whorehouse era) -TV as a national mass medium Shows: I Love Lucy, Disneyland, Adventures of Ozzie and Harriet, Dragnet, Hillbillies, Green Acres

The Smothers Brothers Comedy Hour

-inter generational wars—smothers brothers. Younger people bearing 60s values like anti authoritarianism, desire for something real, rejection of paternal authority and starts to be challenged. Deal with baby boomers coming of age in 70s -Want to see people like themselves on TV—draw in younger generation and newer non-traditional audience Comedy show aired by CBS from 1967-69 by the Smothers Brothers. This show appealed to the youth viewers because of its satirical nature and humor. The show had musical guests on it, aswell as extending the boundaries for what was appropriate to satirically broadcast. Specific targets were racism, the President and the Vietnam war. This defined the shows content and eventually lead to its demise. The brothers were at censor wars with CBS and not meeting deadlines before airdates. Despite the shows cancellation, it won an Emmy for best writing ironically.

Quiz-show scandals

1958-59. Shows were rigged by sponsors in order to receive higher ratings with contestants whom they perceived as "more marketable". Networks were frustrated with ad agencies so they wanted to control content and sell programs to advertisers. Resulted in the Networks taking control by commissioning pilots, approving scripts and casting, pre-screening episodes, and allowing advertisers to merely buy ad spots. This marked the end of single

Quiz-show scandals

1958-59. Shows were rigged by sponsors in order to receive higher ratings with contestants whom they perceived as "more marketable". Networks were frustrated with ad agencies so they wanted to control content and sell programs to advertisers. Resulted in the Networks taking control by commissioning pilots, approving scripts and casting, pre-screening episodes, and allowing advertisers to merely buy ad spots. This marked the end of singlesponsorship, advertisers can only control ads not content but can pull ads if they don't like content. -Quiz Shows and magazine type advertising= sponsor lose power -64,000 Question (CBS) and Twenty One (NBC) -Fraud perpetrated on American Public

8. How has the television industry's conceptualization of the audience evolved and how has that affected television programming? What industrial and cultural factors have contributed to this change? What are the results in terms of advertising, scheduling, and programming? In addition to lecture notes, use at least 2 readings to support your answer and two clips/screenings from class as examples.

50s: sitcom attracted to white middle class for awhile. "Meaning of Memory" -watching TV shows from pre 1950s era, all this ethnic diversity and you see all these themes and families struggling. Advertisements wanting you to buy new things and live the American Dream -Don't see ethnic diversity in the suburbs. Isn't reflected in the advertisements. Conflict between the past and the present -LOP programming, new audience that doesn't have to think. Gilligan's Island & Beverly Hillbillies/ Fantastic sitcoms -Domestic Space: no solutions but highlight the problems going on! QUALITY AUDIENCE "jiggle TV" -Quality Demographics the shift from mass to class (target market). Categories based on race and age, income, gender, common place in TV industry. -Quality = young urban adults 18-49. Prime consumers of goods on TV, income matters

The Carnegie Commission

67 Carnegie Commission Report—mission or blueprint for federally charted non-profit non-govt corporation. Drawing on BBC. Keep public TV independent of sponsors, govt appointure procedures. Enhance educational TV, extend and improve public TV, support local programming, improvement of programming/research.

Marty

A 1953 teleplay by Paddy Chayefsky. It was telecast live May 24, 1953, on The Philco Television Playhouse. Tells the story of a decent, hard-working Bronx butcher, pining for the company of a woman in his life but despairing of ever finding true love in a relationship, was produced by Fred Coe.

Quality Demographics

A network programming strategy that separated mass from class. This was the first time that networks started to appeal to different groups. Quality was seen as young urban adults ages 18-49. MTM was instrumental in this process.

Least Objectionable Programming theory

A network strategy developed by Paul Klein that believes putting on shows that "go down easily" is the most effective way to maximize your audience. Also, this strategy assumes that people only watch television to relax; and not to be challenged, disturbed, or left to deal with worldly problems. The viewer is not supposed to find something they like, but instead supposed to find something that isn't offensive enough to make them switch channels. Channels should remain "cliché, formulaic, and familiar" Example: Gilligan's Island & Beverly Hillbillies/ Fantastic sitcoms. Understanding mass audience and changing of the sitcom, along with homogenized and shaping programming.

Anthology Dramas

A popular form of early TV programming that brought live dramatic theater to television; influenced by stage plays and the NY theater, they offered new teleplays, casts, directors, writers and sets from week to week. New plays each week, intimate. TV seen as art with serious content. Ex: Marty- Goodyear TV Playhouse (NBC 1953), Chayevsky (Marty), Sterling (Requiem for a Heavyweight), Rose (12 Angry Men)

Screenings:

Adventures of Ozzie and Harriet: 2 sons get hired by private eye to make a delivery and Mother is worried, Father tries to help them because he has a bad dream. Boys hired because of wrestling and karate Marty: long episode, NY maybe live. Can't get a date, goes to a dance, guy tries to pay him $20 to take his ugly date, other guy is an ******* Marty to the rescue. Tries to kiss her, rejected, then takes her on a date (kiss). Aunt moves in and corrupts Mom I Love Lucy: wants to do live commercial in the middle of her husbands show. Alcohol is in it, keep making her do takes and she gets drunk. Live commercial she's drunk. Tricks other actress telling her its cancelled See It Now, HUAC Hearings, Good Luck and Goodnight (Clooney), Dragnet, Gunsmoke Bewitched: Just moved in. Plants garden, fixes with magic. Neighbors come over and are stuck up, Mom is questioning daughter on why she's being controlled by husband (without magic). Trying to convince her to be who she is. 3 little kids are tied up—not possible. Calls husband and phone isn't connected but works, drives her crazy. Argument between all 3 about magic I Dream of Jeannie: NASA pilot washes up on an island. Brings the Jeannie home, she wants to go to work with him. Jeannie is in love with him, uses magic to try and make him happy. Gets female secretary, Jeannie pops in to work and is worried about secretary. Hides in the closet and watches Dick Van Dyke show, Beverly Hillbillies, Twilight Zone, Johnny Cash Show, Smothered, Mary Tyler Moore Show, Charlie's Angels, Wonder Woman

Edward R. Murrow

American broadcast journalist. He became popular with his series of radio shows broadcasted during WWII. He was one of journalisms most influential figures because of his integrity and honesty when it came to the news. He presented daily radio reports for CBS until 1951-59. He began his TV career with end stories (special events) on CBS Evening News, which is where his radio show Hear It Now shifted to See It Now in 1951. See It Now focused on controversial issues, especially McCarthyism.

Ziv

An American television syndication and production company, producer of popular syndicated TV programs in the 1950s. Founded by Frederick Ziv and the company produced pre-recorded programs and sold them to local TV stations. Filled TV channels outside of "prime time". Big 3 began to take over, so Ziv joined with United Artists. Today, rights owned by MGM.

CATV

CATV Community Antenna TV. Way to provide broadcast television to remote areas. People that live in rural areas get it early, that's what it was designed to do. "cable TV" -70s-FCC: no phone or broadcast as owners. 1/6th of US phones wired for cable -National Cable TV Association vs. National Association of Broadcast -"New Technology"—alternative to broadcast

Fred Silverman

Chief programmer at CBS in 1970-71; architect of rural purge, nurtured many MTM and Lear Shows. Took over ABC in 1975, gave America "Jiggle TV" (Charlie's Angels). Became President and CEO of NBC in 1978. Known as the "man with the golden gut"; knew what people wanted to see, and gave it to them. -president at NBC 78-81. Spinoffs gave him a chance to use his talent and plunge hand into a series and rework the elements

CPB

Corporation for Public Broadcasting. Private non-profit corp, created by an act of congress and funded by federal govt in order to promote public broadcasting and public media. New power and money in the hands of the stations themselves. It doesn't produce programming, but helps support the production of broadcast programs. Distributes federal funds. Wanted to facilitate program diversity, giving the local ones a chance and increasing the service of broadcasting across the country

Desilu

Desilu helped shape the institutional, technological, and economic practices of 50s TV. Production company run by Lucille Ball & Desi Arnaz; one of the first production companies to pioneer 3-camera set up simultaneously filming. Editing device watching at the same time and cut in post-production, standard for sitcoms. Assisted by former Ufa cameraman & DP of Metropolis, Karl Freund. Helped shape what the sitcom is. Able to do it in a cheaper and more efficient way. Shot at LA sound stage at a studio (not like NY). Networks demanded one thing which was the live audience. Mimick the live feel from NY, had towatch it because it was an event. Simulation of a live feel ~article

Fin-Syn

Financial and Interest and Syndication Rule developed in 1971 by the FCC. States that whoever produces the show can no longer have financial interest in most of the shows they put on the air. Limits networks ability to create own programs and benefit from resale rights. Opens up TV to more independent producers, and now the Big 3 aren't the only ones owning the prime time programming and cannot monopolize the broadcast landscape. Television far exceeds movies in making people wealthy because TV can go into syndication. Golden era of independent TV for companies like MTM enterprises (Mary Tyler Moore) -Networks barred from owning more than 50% of prime-time nonnews programming, prohibiting them from owning interest in independently run shows

I Love Lucy

First show pre-filmed (vs. live) so: used multiple cameras, had the first major female star on TV, and the first Latin star, first scripted TV show performed in front of a audience. It was seen as transformational for sitcoms. 1951-57 CBS, one of the most popular shows on American TV and continues to be.

6. Discuss the changing aesthetics, ideology and formats/genres of programming from the Golden Age of Television through the Age of Relevance. Be sure to address the variety show, sitcom, and one other genre covered in class (e.g. news, drama) and refer to specific programs and readings in your answer.

Golden Age: "Women at Work" Spigel Gender roles. Women at home Leisure/private space vs. work/public space Spatial divisions IN the home, social hierarchies all affected how TV was received. Female spectators were also workers in the home -Shown in shows/ads at this time -Moving more towards fantastic sitcoms (Jeannie, Adams Family) different family dynamics: extended, no kids, divorce wasn't shown but single parents was more common Age of Relevance: focus on the quality demographics, marketing niches, separation of audiences into specific groupings. Younger more accepting generation. "Jiggle TV" , new highly sexual and independent women. Smothers Brothers, Johnny Cash show, Wonder Woman

From Domestic Space to Outer Space: Lynn Spigel

I Dream of Jeannie; Bewitched

Public Broadcasting Act of 1967

Johnson understood power of TV. 1st president to sign bills on live TV. Appeared on TV many times, tried and failed to control NEWS/ All TV White House tried to define the WAR. TV became a huge PR problem for the White House 1965 CBS Showed Marines lighting huts aflame. First images of soldiers destroying villages. Johnson "Frank are you trying to **** Me" to head of CBS Walter Cronkite special report from Vietnam Riots at Democratic Convention Chicago 1968 "The Whole World is Watching" -Set up public broadcasting: CPB, PBS, and NPR. Johnson said it was going to be a stronger voice to educational radio and TV by providing new funds to broadcast facilities. Smaller networks now had a larger range of audience, which they didn't have because of their budgets. They now got the audience they wanted!

MCA Revue Studio

Largest de facto agency-packager in the business. The one constant among the majors during the decade. Near the top of the hierarchy of powerful telefilm producers. Keeps getting bigger, it pioneers hour long shows in the 50s and 90 minute format in the 60s. Hit sitcoms were McHales Navy and The Munsters, dramas were The Name of the Game, It Takes a Thief, Ironside, etc. Greater lock on prime-time hours when it developed mad-for-TV movies for NBC. Stayed powerful with is diversity with programming, distribution methods, and financing/production arrangements.

4. Choose at least three different families we have seen and/or read about in this class and discuss how they have represented the changes in American culture, ideology, and gender roles. Be sure to reference at least two readings in your answer, and discuss specific characters and their relationships, actions, and historical context.

MTM Show: Single 30 year old woman steered away from typical conventions of TV, crazy boss and neighbors. Emphasized the working woman. The characters developed and had life-changing experiences, which prevented thematic repetition. Showed working class woman. "MTM" Feuer -wanted young viewers, relevance was the cycle. Moore, her husband and manager formed MTM Enterprises which was a small independent company. On the Dick Van Dyke show, CBS wanted MTM to create her own show granting her 13 episodes in 1970 -Silverman lined it up perfectly with All in the Family and MTM Show on Saturdays. Controversy between the two -Earned its prime-time slot and stayed for a long time. If it was a pilot it may not have survived FKB: Represents the generic, all-American nuclear family. Father as head patriarch, mother as domestic servant, three children. Challenging role as a woman by wanting to be an engineer "TV as a Cultural Forum" Ex: Father Knows Best. Reproduces dom. Ideology by lulling its audience Raising the ? is as important as answering them. The show raises the sex-discrimination question and closes it in a traditional way. It simply comments on it, without giving conclusions. Oppositional ideas appear The Honeymooners: Constantly threatens domestic violence on his wife, no children, little money, wives are miserable, all they do is backtalk their husbands. Also showed how bringing TV to the house wasn't an easy thing. Lower class family

MTM Enterprises: An Overview, Jane Feuer

MTMS

MTM:Fueur

Mary Tyler Moore article

The Vast Wasteland Speech

Minow and The Vast Wasteland -Attacked networks-focused on content Violence (Untouchables clip) LCD programming -Impact Rhetorically powerful but few actual results Brief flurry of reform and docs TV free to be as bad as it is -Minow continues to attack children's TV, violence, banality but Congress gets in the way -Speech given by FCC Chairman Newton Minow. He was advocating programming for the public interest. Watch TV with no other distractions, "vast wasteland". Few things to be enjoyed. People should be responsible for what they are viewing and programs should provide broadening horizons, entertainment, as well as stimulation and remind viewer of responsibilities towards society. "Best speech" awarded

Mary Tyler Moore Show

On air from 1970-1977 (revisiting stereotypes in the 70s along with All in the Family) The characters developed and had life-changing experiences, which prevented thematic repetition. Showed working class woman.

Texaco Star Theater

One of the biggest hits among variety shows. It had only one sponsor and started as a radio show. It was hosted by Milton Berle, giving him the nickname "Mr. Television". The show was cheap to produce, so NBC decides to sign a 30-year contract in 1951. It was the first number one show that set the bar, the press hated it but the viewers kept watching!

The Honeymooners

One of the first U.S. television shows to portray working-class married couples in a grittier non-idyllic manner living in a run down Brooklyn apartment complex. Ran for 39 episodes. Contrast to suburban sitcoms, flipside of the American Dream which is constantly promoted by TV. Contradictory note—bringing TV into home wasn't a smooth seamless process, required negotiation, husband vs. wife, all types of issues. Also threatens domestic violence on wife, no children, little money

PTAR

Prime Time Access Rule-instituted by FCC in 1970 to limit the network programming the local owned or affiliated stations of a TV network may air during "prime time". ABC, CBS, and NBC dominated the TV programming production market which limited competitors. PTAR was supposed to increase the level of competition and give more diversity of programs.

Pat Weaver

Producer of "Town Hall Tonight", and President of NBC between 1953 and 1955. Believed TV should educate as well as entertain. Popularized late night television, with The Today Show and The Tonight Show -He came up with this magazine type advertising (Quiz Show Scandals) He introduced the practice of networks producing their own television programming, then selling advertising time during the broadcasts. Now had multiple sponsorship!

Fred Friendly

Seen as a champion. He was Murrow's producer and worked at theFord Foundation. Worked at CBS News with Murrow and was the co-creator of his show See It Now. He originated concepts of public-access TV cable TV channels. Show changed publics view of McCarthy and contributed to his fall. Conflict between McCarthy's anti-communist crusade and individual rights. The two continued to work together after the show on CBS Reports. Later did Fred Friendly Seminars, Professor at Columbia, role in establishing PBS, published books. All around A+

Southern Discomforts: Steven Classen

Smothers Brothers, Bonaza

2. Discuss the working relationship that developed between the film industry and the television industry during the late 1940s and 1950s. How did the "Big Three" television networks consolidate their power during this period? What role did telefilm play in this new relationship and how did that transform the broadcasting industry? You should include the argument put forth by Anderson in your analysis.

Studios were struggling to redefine business, HW + TV = win-win~Telefilm -Economic benefit to networks and studios. Hollywood now has the film infrastructure to shoot this. Collaboration and mutual dependence of Hollywood studios and TV networks (TV in general) -Old Hollywood Big 5 studio system. Vertically integrated film industry, film factory model -New Hollywood Different forms of media and conglomeration, more horizontally integrated Get control of programming away from ad agencies Not much control over content of the show. They aren't putting money in it to make it, no stake in it. With telefilm, networks are able to have a say in the type of show being produced for their network Mold the schedule and show now, flow of content. Create a brand for the network and what differentiates them. Networks get a portion of the residuals from syndication (reruns) -Movie Studios New type of production for the new technology. Different strategies, allowed them to make content for this new tech New distribution model—broadcast to millions as many times as they want New forms of audience measurement. Measurement of success (Old = box office sales) new form is TV ratings. Higher ratings = higher pricing for show/advertisements = more valued show New commercial model. Not just selling movie to us, but also selling advertising space/product placement in film New form of revenue. Broadcast TV and syndication New exhibition site—the home now -All happens from telefilm. Sets the stage for a new media ecosystem and new industry in which networks and studios benefit each other mutually -DVDs, video rentals, etc. -Invention and adoption of TV "killed" movies. TV saved movie studios from industrial perspective, can only see movies in the theater. Now there's a whole archive of movies to put on TV

Good Luck

Study Hard

TV as a cultural forum

TV as a legitimate object of study; it is a rich place to look for cultural meaning and struggle where we negotiate our understanding of what it means to be in love, alive, or a hero. This is a place to understand the range of ideological positions circulating in our culture. Society is shaped by what we make of media texts, think about TV as the texts that have dominant meaning behind them. TV emerging from a body of shared concerns. Hall (Encoding) diff range of responses -Innovative forms that use generic bases are most likely to be the most successful shows. Differences in character development but similar issues with different meanings Different range of responses. TV is a public forum embedded in society

TV's Golden Age

TV's Golden Age was in the 50s when TV was first developing. It attracted mass audiences, had a vertically integrated oligopoly of the networks, and had networks delivering audiences to advertisers. The 4 big networks were: NBC, CBS, ABC, and DuMont. These were based in NYC and were live, which was an advantage over Hollywood. Shows at this time were mostly anthology dramas simulating a play-like experience influenced by the NY theater (Ex: Marty, Requiem for a Heavyweight, 12 Angry Men) TV as an art. Also News was popular in the 50s (Ex: Meet the Press! still on today) they used newsreels and provided longer formats. This eventually moved towards the sitcom (Ex: I Love Lucy, The Honeymooners) The end of the golden era occurred because of networks seeking to centralize control over content and schedules and telefilm.

Recombinants

Taking a formula that has already been successful in the past, but adding more applicable ideas and reformulating them to fit with the times. -Additive, Silverman did this with The Brady Brides. More successful in the past because people weren't clonishly following the program. Low-risk way of getting by -Economic and cultural pressures must coexist with consistency. Consumers want novelty, desire for change desire for novel goods. Old packages to a magical synthesis. The more familiar the parts the more striking it is as a whole. "Shorthand" popular-Networks intervene at every step of the process

The Meaning of Memory : George Lipsitz

The Honeymooners; Amos 'n Andy

The "Fantastic Family Sitcom"

The fantastic family sitcom was the hybrid of the suburban sitcom and space age imagery (Ex: I Dream of Jeannie, The Jetsons, etc.) Suburban sitcoms no longer matched what was going on in the world. The fantasy shows gave irrational discourse on private life instead of providing scientific discourse on the public sphere. They also did not provide solutions, they just presented similar problems in the suburban life and made them strange. Families were now also different: no kids, extended families, and so on. Being deniedclosure resulted in viewers thinking they themselves were living in their own twilight zone.

The Great Debates

The first ever televised presidential debate, between JFK and Nixon. The impact was that some argue that the debates are what helped propel JFK to victory, and that these debates are the turning point of retail politics to the politics of the mass media. Importance of image over everything in politics. Nixon didn't look good and looked sick, where Kennedy looked amazing.

Amos n' Andy

This show was originally a radio broadcast, but was adapted into a television program by CBS from 1951-53. It was one of the first TV series to use a multi camera set-up, later used in I Love Lucy. This show was highly controversial because it depicted African Americans as dense and naive characters that fit these racial stereotypes. Their speech was also different. Although this show drew in many black viewers, the NAACP immediately began protesting the show and that was a primary reason the show was cancelled, CBS couldn't handle the pressure. Reruns happened up until 66, but eventually it got completely shut down and wasn't shown for 47 years! This was also related to the early sitcom withethnic and working class characters.

See It Now

This was a newscast on NBC well-known for discussing controversial subjects. It challenged the red scare and McCarthyism. Hosted by Edward Murrow and Fred Friendly. Magazine format, many location reports were done abroad, a GI view of war.

WLBT

This was an NBC affiliated station run out of Jackson, Mississippi founded in 1953. High definition UHF channel. During the 50s and 60s this station highly supported racial segregation and was extremely biased. They would ignore the Civil Rights Movement (pretending to have technical problems) while other NBC affiliates reflected on these issues. Groups and churches complained to the FCC about their bias, which eventually brought it to court. Lamar lost in 71 and the control was given to an unbiased non-profit. One of the only channels to have lost licensing to the FCC for violating regulations and fairness. They didn't want to inflame white southerners, which redefined American political landscape ~Emmett Till murder in Mississippi

And That's The Way It Was: Chester Pach

Vietnam War

Spin-off

any narrative work, derived from one or more already existing works, that focuses, in particular, in more detail on one aspect of that original work (e.g. a particular topic, character). Usually means a change in narrative viewpoint from a preexisting storyline. Previous protagonists has a minor cameo, new one comes in. Ex: All in the Family (Archie Bunker) Archie Bunkers Place, Lou Grant MTM Show -The key is longevity. Good show will last several seasons. When characters are "spun off" they usually have a following already. Success may be transferred even if they're different. All the rage in the 70s/80s. Looks like they did better than the average show, lucrative to all.

The Triumph of the Synthetic: Todd Gitlin

gitlin - "synthetic" Economic logic of risk reduction fosters "synthetic" texts+often undercuts its own goal. synthetic-artificail quality in shows -spinoff-established character within a show same narrative set up- single women, moving to a new city to find success return to ethnic based comedy in the 1950s industrial production-seeks efficiency and control, put the least in and get the most back character audience knows already=efficiency and risk reduction, reach new audience episode -copy-formula, Charlie's Angel's = sexy female charters -recombinant-different elements from successes and combining them-bricolage old in a new package. reduce risk of losing money but they usually don't work