TV serials, says Richard Beck, self-consciously set out from the very beginning to get us to take them seriously. From
Hill Street Blues to
The West Wing to
The Sopranos and
The Wire,
how the television series convinced us that it was art — and now, why
Lost's achievement of success via casual genre mixing and narrative derangement might signal that there's no future creative ground left within the old limits of serial drama.
posted by hat
on May 24, 2010 -
120 comments
Winner of an Emmy for best dramatic series in 1988, thirtysomething (ABC, 1987-1991) represented a new kind of hour-long drama, a series which focused on the domestic and professional lives of a group of young urban professionals-- a socio-economic category of increasing interest to the television industry. The series attracted a cult audience of viewers who strongly identified with one or more of its eight central characters, a circle of friends living in Philadelphia. And its stylistic and story-line innovations led critics to respect it for being "as close to the level of an art form as weekly television ever gets," as the New York Times put it. -
Museum of Broacast Communications [more inside]
posted by Joe Beese
on Jun 9, 2009 -
75 comments
During the latter half of the twentieth century, Liverpool writers made an enormous contribution to television drama. Writers like
Willy Russell and
Jimmy McGovern have been hugely influential. But the daddy of them all was unarguably
Alan Bleasdale, whose television dramas dominated our screens during the latter half of the 20th century in a manner that was unmatched by anybody besides the late
Dennis Potter.
[more inside]
posted by PeterMcDermott
on Dec 14, 2007 -
30 comments
The Simpsons Get Respectable in this play where all the characters from the show act out Hamlet? It's a one-man show in New Jersey, but I'd pay to see this. It proves Hamlet's weird universality, but seeing Apu as "the first murderer" has got to be a rush.
(via TV Tattle)
posted by rev-
on Aug 3, 2001 -
20 comments