A fascinating look into what happens when comedy becomes political and politics becomes comedy Satirical TV has become mandatory viewing for citizens wishing to make sense of the bizarre contemporary state of political life. Shifts in industry economics and audience tastes have re-made television comedy, once considered a wasteland of escapist humor, into what is arguably the most popular source of political critique. From fake news and pundit shows to animated sitcoms and mash-up videos, satire has become an important avenue for processing politics in informative and entertaining ways, and satire TV is now its own thriving, viable television genre. Satire TV examines what happens when comedy becomes political, and politics become funny. A series of original essays focus on a range of programs, from The Daily Show to South Park, Da Ali G Show to The Colbert Report, The Boondocks to Saturday Night Live, Lil' Bush to Chappelle's Show, along with Internet D.I.Y. satire and essays on British and Canadian satire. They all offer insights into what today's class of satire tells us about the current state of politics, of television, of citizenship, all the while suggesting what satire adds to the political realm that news and documentaries cannot.

The election of President Barack Obama signaled for many the realization of a post-racial America, a nation in which racism was no longer a defining social, cultural, and political issue. While many Americans espouse a "colorblind" racial ideology and publicly endorse the broad goals of integration and equal treatment without regard to race, in actuality this attitude serves to reify and legitimize racism and protects racial privileges by denying and minimizing the effects of systematic and institutionalized racism.

In The Colorblind Screen, the contributors examine television's role as the major discursive medium in the articulation and contestation of racialized identities in the United States. While the dominant mode of televisual racialization has shifted to a "colorblind" ideology that foregrounds racial differences in order to celebrate multicultural assimilation, the volume investigates how this practice denies the significant social, economic, and political realities and inequalities that continue to define race relations today. Focusing on such iconic figures as President Obama, LeBron James, and Oprah Winfrey, many chapters examine the ways in which race is read by television audiences and fans. Other essays focus on how visual constructions of race in dramas like 24, Sleeper Cell, and The Wanted continue to conflate Arab and Muslim identities in post-9/11 television. The volume offers an important intervention in the study of the televisual representation of race, engaging with multiple aspects of the mythologies developing around notions of a "post-racial" America and the duplicitous discursive rationale offered by the ideology of colorblindness.

In Dining with Madmen: Fat, Food, and the Environment in 1980s Horror, author Thomas Fahy explores America's preoccupation with body weight, processed foods, and pollution through the lens of horror. Conspicuous consumption may have communicated success in the eighties, but only if it did not become visible on the body. American society had come to view fatness as a horrifying transformation-it exposed the potential harm of junk food, gave life to the promises of workout and diet culture, and represented the country's worst consumer impulses, inviting questions about the personal and environmental consequences of excess. While changing into a vampire or a zombie often represented widespread fears about addiction and overeating, it also played into concerns about pollution. Ozone depletion, acid rain, and toxic waste already demonstrated the irrevocable harm being done to the planet. The horror genre-from A Nightmare on Elm Street to American Psycho-responded by presenting this damage as an urgent problem, and, through the sudden violence of killers, vampires, and zombies, it depicted the consequences of inaction as terrifying. Whether through Hannibal Lecter's cannibalism, a vampire's thirst for blood in The Queen of the Damned and The Lost Boys, or an overwhelming number of zombies in George Romero's Day of the Dead, 1980s horror uses out-of-control hunger to capture deep-seated concerns about the physical and material consequences of unchecked consumption. Its presentation of American appetites resonated powerfully for audiences preoccupied with body size, food choices, and pollution. And its use of bodily change, alongside the bloodlust of killers and the desolate landscapes of apocalyptic fiction, demanded a recognition of the potentially horrifying impact of consumerism on nature, society, and the self.

This book explores the theological voice of The Simpsons.Initially shunned by many in the Christian community when it made its television debut almost twenty years ago, after four hundred (and counting) episodes, and a feature-length film, few can deny that The Simpsons exhibits an astute understanding of Christianity in American culture. Its critiques of that culture are worth studying in detail. Jamey Heit's "The Springfield Reformation" investigates how The Simpsons blends important elements of contemporary American religious culture with a clear critique of the institutions and individuals that participate in and uphold that culture. Though The Simpsons is clearly a product of American popular culture, its writers offer up a well-planned, theologically informed religious climate in the cartoon world of Springfield. This world mirrors America in a way that allows the show's viewers to recognize that Christianity can hold together a family and a town that is rife with "sin," while at the same time exposing these very shortcomings.Heit focuses on distinct topics such as: god, the soul/the afterlife, prayer, the Christian ethic, evangelism, science versus religion, and faith (particularly in response to the question of why bad things happen to good people). He also explores the connections between various episodes, discussing how these connections, manifest an honest critique of Christianity in America. Engagingly written and guaranteed to appeal to smart, religiously curious fans of the show, Heit maintains that The Simpsons is not only a legitimate theological voice, but also that this voice offers a valuable addition to discussions about Christianity in America.

Now that television shows can live forever as DVD sets, the stories they can tell have changed; television episodes are now crafted as chapters in a season-long novel instead of free-standing stories. This book examines how this significant shift in storytelling occurred. In 1981, NBC's Hill Street Blues combined the cop show and the soap opera to set the model for primetime serial storytelling, which is evident in The Sopranos, The Wire, and Breaking Bad. In 1963, ABC's The Fugitive showed how an anthology series could tell a continuing tale, influencing The X-Files, House, and Fringe. In 1987, NBC's The Days and Nights of Molly Dodd changed the situation comedy into attitudinal comedy, leading to Weeds, Nurse Jackie, and Entourage. The DVD Novel: How the Way We Watch Television Changed the Television We Watch not only examines how American television shows changed, but also what television artists have been able to create. The book provides an alternate history of American television that compares it to British television, and explains the influence of Dennis Potter's The Singing Detective on the development of long-form television and the evolution of drama shows and sitcoms. The work considers a wide range of network and cable television shows, paying special attention to the work of Steven Bochco, David Milch, and David Simon, and spotlighting the influence of graphic novels and literary novels in changing television.

Beginning with the new millennium, reality television exploded both in number of shows and in popularity. The scholarship on reality TV is beginning to catch up, but one of the most enduring questions about the genre--Is it ethical?--has yet to be addressed in any systematic and comprehensive way. Through investigating issues ranging from deception and privacy breeches to community building and democratization of TV, The Ethics of Reality TV explores the ways in which reality TV may create both benefits and harms to society. The edited collection features the work of leading scholars in the field of media ethics and provides a comprehensive assessment of the ethical effects of the genre.

Television, Religion, and Supernatural examines the text of the CW network television series Supernatural, a program based in the horror genre that offers viewers myriad religious-based antagonists through the portrayals of monsters, which its two main characters "hunt" and destroy, as well as storylines based on the Bible. Even as the series' producers claim a nonreligious perspective, the authors contend that story arcs and outcomes of episodes actually forward a hegemonic portrayal of Christianity that portrays a good-versus-evil motif regarding the superiority of Catholicism. The depiction of its protagonist brothers, Dean and Sam Winchester of Lawrence, Kansas, provides a pro-American perspective regarding a more generalized fight against evil in contemporary times.

In this book, Monika Bednarek addresses the need for a systemic analysis of television discourse and characterization within linguistics and media studies. She presents both corpus stylistics and manual analysis of linguistic and multimodal features of fictional television. The first part focuses on communicative context, multimodality, genre, audience and scripted television dialogue while the second part focuses on televisual characterization, introducing and illustrating the novel concept of expressive character identity. Aside from the study of television dialogue, which informs it throughout, this book is a contribution to studying characterization, to narrative analysis and to corpus stylistics. With its combination of quantitative and qualitative analysis, the book represents a wealth of exploratory, innovative and challenging perspectives, and is a key contribution to the analysis of television dialogue and character identity. The volume will be of interest to researchers and students in linguistics, stylistics and media/television studies, as well as to corpus linguists and communication theorists. The book will be a useful resource for lecturers teaching at both undergraduate and postgraduate levels in media discourse and related areas.

In this collection of 22 interviews (with Ralph Bellamy, Angela Cartwright, Barbara Eden, Kathy Garver, Gale Gordon, Don Grady, Linda Kaye Henning, Anne Jeffreys, Meredith MacRae, Gary Owens, Paul Peterson, Kasey Rogers, Rose Marie, James Stacy, Connie Stevens, Deborah Walley, Ray Walston, Julie Newmar, Dawn Wells, Jane Wyatt, Dick York, and Alan Young) some of the biggest stars of 1950s and 1960s television reminisce about their experiences, look at the show's impact on their life, and provide insight into the creative process of those classic television shows.

Can a television show provide insight into the meaning of our lives? "The Myth of Lost" explores a fascinating solution to the mysterious television series and reveals how the show contains startling hidden wisdom that can be used in real life.

From haunting whispers and tropical polar bears, to a shapeless monster and an omnipresent set of numbers, "Lost" has provided a never-ending supply of questions and few answers. Using the characters and themes from the show, Marc Oromaner delves into its complexities while uncovering a simple, yet fulfilling, resolution that can provide meaning for everyone. According to the myth of "Lost," the world we live in is an illusionary wonderland created to challenge us to reach new heights. Through intriguing examples, Oromaner explains how this myth can help us find the clues in our own lives, and ultimately, solve them.

Many of us have been lost at one time or another, yet Oromaner illustrates that we are all connected, and are here to improve ourselves and help others do the same. By deciphering the mysteries of a groundbreaking series, "The Myth of Lost" introduces us to a new way of thinking and shows how we play an integral part in determining our own fate.

(FAQ). Although countless books and articles have been written about Lucille Ball, most people know only the surface details of her personal life and some basic facts about her popular television series. Lucille Ball FAQ takes us beyond the "Lucy" character to give readers information that might not be common knowledge about one of the world's most beloved entertainers. It can be read straight through, but the FAQ format also invites readers to pick it up and dig in at any point. Background information and anecdotes are provided in such categories as * People Lucy found funny * Lucy at home: her various residences throughout the years * Movie/television/radio/theater projects that never materialized * Lucy's off-camera romantic attachments James Sheridan and Barry Monush go beyond the well known facts, making this an indispensable book for all Lucille Ball fans

Introducing the first authoritative guide to cover every aspect of religious broadcasting from its inception in 1921 to the present. "Prime Time Religion" contains over 430 entries chosen for their historical importance, national or international impact, exemplary nature, and longevity in the field of religious broadcasting. The book covers all religious groups who have turned to radio and television to promote their messages.