Soap The Inside Story Of The Sitcom That Broke All The Rules

This is the story of two sisters, Jessica Tate and Mary Campbell, and the world that their two families made. From its tumultuous beginnings in 1977 to its end by firing squad, onscreen and off, Soap was as passionate and controversial as the times in which it was made. During its four-year run, it tackled the subjects of sex, death, depression, infidelity, family, and the absurdities of the human condition, all with a wit and gentleness never before seen on American screens. Throughout that time, a vocal minority hounded the sitcom and its parent network, ABC, over its perceived irreverence toward the mores of a declining generation, even as the real world was convulsed by terrorism, energy crises and fallout from the Vietnam conflict and Watergate. Though continued pressures from these groups would bring about an early end to the series, its cast and crew would go on to change the face of American entertainment, earning Soap an enduring place in American culture. Go behind the scenes of the making of this classic show, from the producers’ battles with network censors over an earlier series to the creation of enduring story lines, such as the death of Peter Campbell and Corinne and Tim’s devil baby. Based on interviews with nearly thirty members of the cast and crew, including creator Susan Harris, Katherine Helmond (Jessica) and directors Jay Sandrich and J. D. Lobue, and awash with extensive examination of every episode. Discover the answer to the question of what really led to the series’ premature demise.

The idea of metatextuality is frequently framed as a recent television development and often paired with the idea that it represents genre exhaustion. US television, however, with its early “live” performances and set-bound sitcoms, always suggested an element of self-awareness that easily shaded into metatextuality even in its earliest days. Meta Television thus traces the general history of US television’s metatextuality throughout television’s history, arguing that TV’s self-awareness is nothing new—and certainly not evidence of a period of aesthetic exhaustion—but instead is woven into both its past and present practice, elucidated through case studies featuring series from the 1970s to the present day—many of which have not been critically analyzed before—and the various ways they deploy metatext to both construct and deconstruct their narratives. Further, Meta Television asserts that this re- and de-construction of narrative and production isn’t just a reward to the savvy and/or knowledgeable viewer (or consumer), but seeks to make broader points about the media we consume—and how we consume it. This book explores the ways in which the current metatextual turn, in both the usual genres in which it appears (horror and sci-fi/fantasy) and its movement into drama and sitcom, represents the next turn in television’s inherent self-awareness. It traces this element throughout television’s history, growing from the more modest reflexivity of programs’ awareness of themselves, as created objects in a particular medium, to the more significant breaking of the fictive illusion and therefore the perceived distance between the audience and the series. Erin Giannini shows how the increased currency of metatextual television in the contemporary era can be tied to a viewership well-versed in its stories and production as well as able and willing to “talk back” via social media. If television reflects culture to a certain extent, this increased reflexivity mirrors that “responsive” audience as a consequence of the lack of distance that metafiction embraces. As Robert Stam traced the use—and implications—of reflexivity in film and literature, this book does the same for television, further problematizing John Ellis’s glance theory in terms of both production and spectatorship.

From I Love Lucy to Will & Grace, this book looks at the television comedies that have tackled social issues, facilitated discussion, or in some other way have broken down barriers. Other landmark shows discussed here include All in the Family, Ellen, The Golden Girls, Good Times, The Jeffersons, Maude, Modern Family, Roseanne, and Soap.

Delve into the files of the 12th Precinct and learn more than you ever imagined about Barney, Wojo, Nick, Harris, and the rest of the gang in that dingy little squad room in Greenwich Village. With producer Danny Arnold at the helm, this intelligently written workplace narrative provided audiences with one of the most realistic, sensitive, and hilarious sitcoms in a decade of revolutionary TV comedy. In these ÿ les are the stories of the actors who brought the 12th Precinct to life as well as the numerous oddball victims, criminals, and visitors that passed through over eight laugh-filled seasons. Also included are little known facts about the behind-the-scenes struggles as well as never-before-seen photos of the cast and crew in action. All in all, a plethora of evidence for fans to peruse and enjoy. “Thanks for the memories, and for a lot I didn’t remember, and for a lot I never knew. You plugged into the “funny.” As actors we plugged into the “real,” and let the “funny” happen. What is amazing is that after forty plus years, it’s still relevant and courageous!” Hal Linden “Wonderfully researched and written, Otto’s straightforward sharing of what he has learned comes from a deep and genuine curiosity and appreciation for collaborative creativity whether it’s on the baseball diamond, the music bandstand, or the film and television studio.” Max Gail

This three-volume set is a valuable resource for researching the history of American television. An encyclopedic range of information documents how television forever changed the face of media and continues to be a powerful influence on society. What are the reasons behind enduring popularity of television genres such as police crime dramas, soap operas, sitcoms, and "reality TV"? What impact has television had on the culture and morality of American life? Does television largely emulate and reflect real life and society, or vice versa? How does television's influence differ from that of other media such as newspapers and magazines, radio, movies, and the Internet? These are just a few of the questions explored in the three-volume encyclopedia TV in the USA: A History of Icons, Idols, and Ideas. This expansive set covers television from 1950 to the present day, addressing shows of all genres, well-known programs and short-lived series alike, broadcast on the traditional and cable networks. All three volumes lead off with a keynote essay regarding the technical and historical features of the decade(s) covered. Each entry on a specific show investigates the narrative, themes, and history of the program; provides comprehensive information about when the show started and ended, and why; and identifies the star players, directors, producers, and other key members of the crew of each television production. The set also features essays that explore how a particular program or type of show has influenced or reflected American society, and it includes numerous sidebars packed with interesting data, related information, and additional insights into the subject matter.

"An uproarious behind-the-scenes account of the creation of the hit television series describes how comedians Larry David and Jerry Seinfeld dreamed up the idea for an unconventional sitcom over coffee and how, despite network skepticism and minimal plotlines, achieved mainstream success, "--NoveList.

The Improv Handbook is the most comprehensive, smart, helpful and inspiring guide to improv available today. Applicable to comedians, actors, public speakers and anyone who needs to think on their toes, it features a range of games, interviews, descriptions and exercises that illuminate and illustrate the exciting world of improvised performance. First published in 2008, this second edition features a new foreword by comedian Mike McShane, as well as new exercises on endings, managing blind offers and master-servant games, plus new and expanded interviews with Keith Johnstone, Neil Mullarkey, Jeffrey Sweet and Paul Rogan. The Improv Handbook is a one-stop guide to the exciting world of improvisation. Whether you're a beginner, an expert, or would just love to try it if you weren't too scared, The Improv Handbook will guide you every step of the way.