A guide to Marvel Studios' action-packed Disney+ series, featuring Sam Wilson and Bucky Barnes. Includes interviews with the cast and crew of Marvel Studios' The Falcon and the Winter Soldier, along with exclusive photos and art. This special collector's edition focuses on Captain America's fighting companions, Sam Wilson and Bucky Barnes, played by Anthony Mackie and Sebastian Stan.

TV shows that retain their popularity over the years do so for obvious reasons: good production values, good acting, and compelling storylines. But detective stories in particular also endure because they appeal to the gumshoe in all of us. America is obsessed with crime solving. Nancy Grace on "CNN Headline News," Greta Van Susteren on Fox, and the seemingly annual recurrence of the courtroom sensation all testify to this fact. And these people and cases are able to reach their phenomenal status not simply because of the media-the media only demonstrates the enormous national appetite for this material. Rather, "Cold Case, CSI," and "Law & Order" have achieved their current popularity because they all respond to the same national craving for crime, and do so with great skill and creativity. "Round Up the Usual Suspects" provides a comparison of the crime fighting models and justice proceedings of each of these TV series.

Each series has its own special crime-fighting niche, and each approaches its job with a different set of values and different paradigms of discovery and proof. Their separate approaches are each firmly grounded in different components of human nature -- analytical reasoning, for instance, in "CSI," memory in "Cold Case," and teamwork in "Law & Order." After examining each of the individual series in depth, Ruble goes on to investigate some of the historical antecedents in classical TV detective series such as "The FBI "and "Dragnet." It is interesting to note that these crime fighting methodologies are extensions of the way we all process information about the world. Ray Ruble here aims to increase our appreciation for the ingenious manner in which fictional cases are broken and convictions convincingly secured, and also illuminates the deeper human elements that lie under a more implicit spotlight in these runaway hits.

- There has been a strong shift towards industry studies within advanced undergraduate courses in television in recent years and this book responds to this shift with its industry-based perspective. -The book's novel use of the channel for its modular structuring logic and its organization of short, accessible chapters is an ideal approach, especially in the classroom setting, making focused and grouped reading assignments easy to manage across the syllabus. - A wide range of contemporary and classic case studies, covering variety of global networks and streaming services, make the material easy to grasp and a comprehensive resource for students.

The loving yet brutally honest memoir of the daughter of comedy legend Richard PryorRain Pryor was born in the idealistic, free-love 1960s. Her mother was a Jewish go-go dancer who wanted a tribe of rainbow children, and her father was Richard Pryor, perhaps the most compelling and brilliant comedian of his era.In this intimate, harrowing, and often hilarious memoir, Rain talks about her divided heritage, and about the forces that shaped her wildly schizophrenic childhood. In her father's house, she bonded with Richard's grandmother, Mamma, a one-time whorehouse madam who never tired of reminding Rain that she was black. In her mother's house, and in the home of her Jewish grandparents, Rain was a "mocha-colored Jewish princess," learning how to cook everything from kugel to beef brisket.It seemed as if Rain was blessed with the best of both worlds, but it didn't quite work out that way. Life at Mom's was unstable in the extreme, while at Richard's place Rain was exposed to sex and drugs before she had even learned to read. "Daddy," she told her father one day, sitting down to Thanksgiving dinner at the advanced age of eight, "the whores need to be paid." Jokes My Father Never Taught Me is both lovingly told and painfully frank: the story of a girl who grew up adoring her father even as she feared him--and feared for him--as his drug problems grew worse. In 1980 Pryor tried to kill himself by setting himself on fire, then joked that it had been an accident: "No one ever told me you couldn't mix cookies with two types of milk!" In his later years, Pryor succumbed to multiple sclerosis, and Rain watched in tears as her father became a shell of his former self. Once, in an unusually introspective mood, Pryor asked his daughter, "Why do you love me, Rainy, when I can be so mean?" Jokes My Father Never Taught Me answers that poignant question and many more. It is an unprecedented look at the life of a legend of comedy, told by a daughter who both understood the genius and knew the tortured man within.

This is the first in-depth look at the development of the television newscast, the most popular source of news for over forty-five years. During the 1940s, most journalists ignored or dismissed television, leaving the challenge to a small group of people working above New York City's Grand Central Terminal. Without the pressures of ratings, sponsors, company oversight, or many viewers, the group refused to recreate newspapers, radio, or newsreels on the new medium. They experimented, argued, tested, and eventually settled on a format to exploit television's strengths. This book documents that process, challenging common myths - including the importance of a popular anchor, and television's inability to communicate non-visual stories - and crediting those whose work was critical in the formation of television as a news format, and illustrating the pressures and professional roadblocks facing those who dare question journalistic traditions of any era.

This is an exciting inside look at the professional careers of America's leading cultural TV directors. Merrill Brockway, Kirk Browning, and Roger Englander have directed some of television's most memorable programming, including Dance in America, the Arturo Toscanini concerts, Amahl and the Night Visitors, Live from Lincoln Center, and the Young People's Concerts with Leonard Bernstein. Together, they revolutionized the way television covers music, dance, opera, and theater. In interviews with TV historian Brian Rose, they offer an engaging survey of five decades of American television. The challenges they faced as cultural directors are brought vividly to life, particularly the difficult task of translating works created for one medium to another. They discuss what it was like to make concert music resonate for the home viewer, how to squeeze grand opera onto the small screen, and what steps to take in choreographing cameras to film ballet. The interviews in Televising the Performing Arts reveal the complexities of television production as seen from the vantage point of the director. In detailed examples, Merrill Brockway, Kirk Browning, and Roger Englander illustrate the formidable operations involved in shooting large-scale events like a live concert or staging an opera in the narrow confines of a TV studio. They also explore their collaborations with some of the great artists of our time, including George Balanchine, Martha Graham, Leonard Bernstein, and Gian Carlo Menotti. In addition to its analysis of the production process, Televising the Performing Arts also documents the pressures--both economic and creative--in network television and the significant changes over the years at CBS, NBC, PBS, and the cable networks. Through his critical introductions, Brian Rose provides a historical context to understanding the evolution of cultural programming and the lasting achievements of each of the three directors.

From The Real Housewives of Atlanta to Flavor of Love, reality shows with predominantly black casts have often been criticized for their negative representation of African American women as loud, angry, and violent. Yet even as these programs appear to be rehashing old stereotypes of black women, the critiques of them are arguably problematic in their own way, as the notion of ""respectability"" has historically been used to police black women's behaviors. The first book of scholarship devoted to the issue of how black women are depicted on reality television, Real Sister offers an even-handed consideration of the genre. The book's ten contributors - black female scholars from a variety of disciplines - provide a wide range of perspectives, while considering everything from Basketball Wives to Say Yes to the Dress. As regular viewers of reality television, these scholars are able to note ways in which the genre presents positive images of black womanhood, even as they catalog a litany of stereotypes about race, class, and gender that it tends to reinforce. Rather than simply dismissing reality television as ""trash"", this collection takes the genre seriously, as an important touchstone in ongoing cultural debates about what constitutes ""trashiness"" and ""respectability"". Written in an accessible style that will appeal to reality TV fans both inside and outside of academia, Real Sister thus seeks to inspire a more nuanced, thoughtful conversation about the genre's representations and their effects on the black community.

This book is the first to explore the composition of television ratings in a cross-cultural, comparative manner. Using both communication history and the sociology of quantification, Television Audiences Across the World illuminates why the whole television industry, and television audiences themselves, refer to ratings as the main way to represent the television-watching public. It shows how a specific technology, the peoplemeter, has become the 'state of the art' in very different cultural contexts, including major non-Western countries. It analyses how television audience measurement succeeds in homogenizing diverse ways of watching television among different populations, creating 'apparent nations', and at times ignoring entire regions or parts of the population. The chapters in this volume discuss why television audience measurement has become the dominant model for the evaluation of popularity in the post-modern world, the true 'voice of the masses', still powerful in supposedly fragmented societies.

Each show depicts the church and its leaders and compares it to actual church history. Sister Bertrille, Father Dowling, and Reverend Camden - these three characters span the history of television's depiction of church leaders, from "The Flying Nun (1967-1970)" to "The Father Dowling Mysteries (1989-1990)" and "7th Heaven (1996-2007)". Each exemplifies one of three trends in television's chronicle of the church, from shows of the 1960s-70s that focus on internal conflicts in the church, to those of the 1980s and early 1990s that illustrate the church's struggle for relevance in the modern world, and finally those of the 1990s through today that portray the church in the family context. Along the way, the book discusses the programs' depiction of various issues facing the church of their times, including: the role of women in the church; clerics reconsidering their call; the sexuality of clerics; the ecumenical movement; and the church's response to abortion, homosexuality, racial injustice and illegal immigration. "The Church on TV" looks at American broadcast network programs that focused regularly and principally on church leaders. It takes a historical-critical approach, discussing seventeen programs in-depth and looking not only at how each depicted the church and its leaders but also comparing this depiction to actual church history. What trends emerged? Why? How accurate was the portrayal? What does the depiction say about American popular culture and its view of religion in American society? It's these probing questions and answers that bring the current research up to date.

This book is an exploration of the changes in Russian cultural identity in the twenty years after the fall of the Soviet state. Through close readings of a select number of contemporary Russian films and television series, Irina Souch investigates how a variety of popular cultural tropes ranging from the patriarchal family to the country idyll survived the demise of Communism and maintained their power to inform the Russian people's self-image. She shows how these tropes continue to define attitudes towards political authority, economic disparity, ethnic and cultural difference, generational relations and gender. The author also introduces theories of identity developed in Russia at the same time, enabling these works to act as sites of productive dialogue with the more familiar discourses of Western scholarship.

An exploration of the many faces of televangelism in our world today, including Christian, Islamic and Hindu. The collection analyses the correspondences and major differences between global and local televangelism, focusing on the main individuals involved in televangelism, their practices and the social and cultural impact of their ministries.

Let Jareth, Sarah, Hoggle, and other beloved characters from Jim Henson's Labyrinth guide your tarot practice with the official Labyrinth Tarot Deck. Characters from Jim Henson's beloved classic Labyrinth try their hand at tarot in this whimsical take on a traditional 78-card tarot deck, which reimagines Jareth, Sarah, Hoggle, and other denizens of Goblin City in original illustrations based on classic tarot iconography. Featuring both the Major and Minor Arcana, the set also comes with a helpful guidebook with explanations of each card's meaning, as well as simple spreads for easy readings. Packaged in a sturdy, decorative gift box, this stunning deck of tarot cards is the perfect gift for Labyrinth fans and tarot enthusiasts everywhere.

Male and Female Violence in Popular Media brings into focus the apparently symmetrical phenomena of men's violence against women and women's violence against men, explaining the profound differences in their actual features as well as in their representations, which over the last few years have been proliferating in a vast array of global media contents. Elisa Giomi and Sveva Magaraggia consider popular media including crime TV series such as The Killing (Denmark, 2007- 2012), The Fall (UK, 2013-2016) and True Detective (USA, 2015), factual entertainment such as Who the (bleep) Did I Marry? (Investigation Discovery, 2010-2015), and Italian pop music in order to examine popular culture's depictions of men and women in their opposite, yet complementary, roles of perpetrators and victims. They reveal how TV shows, pop-songs, news and commercials that populate global audiences' daily life fuel false beliefs about love and sexuality that either legitimate or stigmatise violence depending on the perpetrators and victims' gender.

An exciting new strand in The Television Series, the 'Moments in Television' collections celebrate the power and artistry of television, whilst interrogating key critical concepts in television scholarship. Each 'Moments' book is organised around a provocative binary theme. Sound / image reassesses the synergy between televisual images, and sounds and music, as a key creative interaction warranting closer attention. Through close scrutiny of visual and sonic elements, the book's chosen programmes are persuasively illuminated in new ways. The book explores an eclectic range of TV fictions, dramatic and comedic. Contributors from diverse perspectives come together to expand and enrich the kind of close analysis most commonly found in television aesthetics. Sustained, detailed programme analyses are sensitively framed within historical, technological, institutional, cultural, creative and art-historical contexts. -- .

Beginning from a poststructuralist position, "Constructing the Child Viewer" examines three decades of U.S. research on television and children. The book concludes that historical concepts of the child television viewer are products of discourse and cannot be taken to reflect objective, scientific truths about the child viewer. Widely disseminated constructs of the passive viewer, the active viewer, the interactive viewer, and the media literate viewer are seen as problematic. Nearly all academic studies published from 1948 to 1979 on the subject are included in this volume. Each receives close textual analysis, making this a useful bibliographic resource and reference book. Methodologically and theoretically, this is the first text of its kind to read the history of research on television and children as an archaeology of knowledge.

"Constructing the Child Viewer" is an extensive bibliographical resource, a preliminary introduction to Foucault's discourse theory, and an experimental application of that theory to one major strand of the discourse of mass communications research. Students of educational psychology, sociology, and communications/media will find this work invaluable.

The story of the making of a classic and groundbreaking TV show, as experienced by its producers, writers, and cast.
When writer-producers James L. Brooks and Allan Burns dreamed up an edgy show about a divorced woman with a career, the CBS executives they pitched replied: "American audiences won't tolerate divorce in a series' lead any more than they will tolerate Jews, people with mustaches, and people who live in New York."
Forty years later, "The Mary Tyler Moore Show "is one of the most beloved and recognizable television shows of all time. It was an inspiration to a generation of women who wanted to have it all in an era when everything seemed possible.
Jennifer Keishin Armstrong's "Mary and Lou and Rhoda and Ted "tells the stories behind the making of this popular classic, introducing the groundbreaking female writers who lent real-life stories to their TV scripts; the men who created the indelible characters; the lone woman network executive who cast the legendary ensemble--and advocated for this provocative show--and the colorful cast of actors who made it all work. James L. Brooks, Grant Tinker, Allan Burns, Valerie Harper, Cloris Leachman, Betty White, Gavin MacLeod, Ed Asner, Ted Knight, Georgia Engel--they all came together to make a show that changed women's lives and television itself. "Mary and Lou and Rhoda and Ted "is the tale of how they did it.

This book deals with the role of television drama in Europe as enabler of transnational, cultural encounters for audiences and the creative community. It demonstrates that the diversity of national cultures is a challenge for European TV drama but also a potential richness and source of creative variation. Based on data on the production, distribution and reception of recent TV drama from several European countries, the book presents a new picture of the transnational European television culture. The authors analyse main tendencies in television policy and challenges for national broadcasters coming from new global streaming services. Comparing cases of historical, contemporary and crime drama from several countries, this study shows the importance of creative co-production and transnational mediated cultural encounters between national cultures of Europe.

This volume brings together perspectives from multimodal stylistics and adaptation studies for a unified theoretical analysis of adaptations of the work of Alice Munro, demonstrating the affordances of the approach in furthering interdisciplinary research at the intersection of these fields The book considers films and television programmes as complex multimodal stylistic systems in and of themselves in order to pave the way for a clearer understanding of screen adaptations as expressions of modal, medial, and aesthetic change. In focusing on Munro, Francesconi draws attention to a writer whose body of work has been adapted widely across television and film for an international market over several decades, offering a diachronic overview and insights into the confluence of socio-cultural contexts, audiences, and dynamics of production and distribution across adaptations. The volume complements this perspective with a microanalysis of the adaptations themselves, exploring the varied creative use of audio-visual dimensions, including sound, light, and movement. The book seeks to overcome simplified fidelity-based understandings of screen adaptations more broadly, showcasing creative multi-layered approaches to a creator's oeuvre to effect true transformation across media and modes. The volume will be of interest to scholars in multimodality, adaptation studies, film studies, and comparative literature.

Since the late 1990s, when broadcasters began adapting such television shows as" Big Brother, Survivor, " and "Who Wants to Be a Millionaire? "for markets around the world, the global television industry has been struggling to come to grips with the prevalence of program franchising across international borders. In "TV Format Mogul," Albert Moran traces the history of this phenomenon through the lens of Australian producer Reg Grundy's transnational career.

Program copycatting, Moran shows, began long before its most recent rise to prominence. Indeed, he reveals that the practice of cultural and commercial cloning from one place to another, and one time to another, has occurred since the early days of broadcasting. Beginning in the late 1950s, Grundy brought non-Australian shows to Australian audiences, becoming the first person to take local productions to an overseas market. By following Grundy's career, Moran shows how adaptation and remaking became the billion-dollar business they are today. An exciting new contribution from Australia's foremost scholar of television, "TV Format Mogul" will be a definitive history of program franchising.

Benedetta Brevini investigates the extent to which a Public Service Broadcasting (PSB) ethos has been extended to the online world in Europe. She examines the most significant policy initiatives carried out by PSBs in Europe on online platforms, and analyzes how the public service philosophy is being reinvented by policy makers (at both the national and European level), by PSB institutions and by their competitors. Brevini examines Denmark, France, Italy, Spain and the UK, where PSB has been the subject of landmark reforms that have changed its legal and policy frameworks. Concurrently, at the European level, the debate about the redefinition and expansion of PSB in the new media has been vigorous. As such, Brevini elaborates on and discusses a normative democratic framework for PSB online in Europe named 'PSB 2.0'. She argues that, if the online world is to be infused with the same public service ethos which characterizes traditional broadcasting, European policy makers and institutions need to understand that a reconfiguration of public service values and principles - in other words, PSB 2.0 - is becoming crucial.