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new title edition. 337 pages. 9.00x5.75x0.75 inches. In Stock.

Time has settled things, the fossils of Frontier Ruckus? first records remain, but a new rolling house has been built upon it by the band, as if pulled from show to show, tour stop to tour stop. Matthew Milia and company arent stopping. There's some place to be. Now 6 years on from their first full length, lauds from NPR, Paste, Rolling Stone, and Daytrotter in the rear-view, and remnants of tours to Europe and each corner of these United States scattered in fanny-packs and hollow-body guitar c

Behind every great television show is a group of professionals working at the top of their games—but no one is more important than the writers. And while writing comedy, especially good comedy, is serious business—fraught with actor egos, demanding producers, and sleepless nights—it also can result in classic lines of dialogue.Sitcom Writers Talk Shop: Behind the Scenes with Carl Reiner, Norman Lear, and Other Geniuses of TV Comedy is a collection of conversations with the writers responsible for some of the most memorable shows in television comedy. The men and women interviewed here include series creators, show runners, and staff writers whose talent and hard work have generated literally millions of laughs. In addition to Reiner (The Dick Van Dyke Show) and Lear (All in the Family), this book features in-depth interviews with:James L. Brooks (The Mary Tyler Moore Show, The Simpsons)Al Jean (The Simpsons, The Critic)Leonard Stern (The Honeymooners, Get Smart)Treva Silverman (The Mary Tyler Moore Show)Ken Estin (Cheers)Matt Williams (Roseanne, Home Improvement)Dava Savel (Ellen)Larry Charles (Seinfeld)David Lee (Frasier)Phil Rosenthal (Everybody Loves Raymond)Mike Reiss (The Simpsons)From these conversations, readers will learn that the business of writing funny has never been all laughs. Writers discuss the creative process, how they get unstuck, the backstories of iconic episodes, and how they cope with ridiculous censors, outrageous actors, and their own demons and fears. Sitcom Writers Talk Shop will appeal to fans of all of these shows and may serve as inspiration to anyone considering a life in comedy.

Behind every great television show is a group of professionals working at the top of their games—but no one is more important than the writers. And while writing comedy, especially good comedy, is serious business—fraught with actor egos, demanding producers, and sleepless nights—it also can result in classic lines of dialogue.Sitcom Writers Talk Shop: Behind the Scenes with Carl Reiner, Norman Lear, and Other Geniuses of TV Comedy is a collection of conversations with the writers responsible for some of the most memorable shows in television comedy. The men and women interviewed here include series creators, show runners, and staff writers whose talent and hard work have generated literally millions of laughs. In addition to Reiner (The Dick Van Dyke Show) and Lear (All in the Family), this book features in-depth interviews with:James L. Brooks (The Mary Tyler Moore Show, The Simpsons)Al Jean (The Simpsons, The Critic)Leonard Stern (The Honeymooners, Get Smart)Treva Silverman (The Mary Tyler Moore Show)Ken Estin (Cheers)Matt Williams (Roseanne, Home Improvement)Dava Savel (Ellen)Larry Charles (Seinfeld)David Lee (Frasier)Phil Rosenthal (Everybody Loves Raymond)Mike Reiss (The Simpsons)From these conversations, readers will learn that the business of writing funny has never been all laughs. Writers discuss the creative process, how they get unstuck, the backstories of iconic episodes, and how they cope with ridiculous censors, outrageous actors, and their own demons and fears. Sitcom Writers Talk Shop will appeal to fans of all of these shows and may serve as inspiration to anyone considering a life in comedy.

All the Style of Famous TV Homes, Now in Yours!From Archie Bunker’s Barcalounger to the framed peephole on Friends, sitcom decor sets the tone of our favorite shows—and defines the lives of its characters. Now Sitcom Style brings you a behind-the-scenes peek inside more than two dozen of the most recognizable homes in American pop culture: the sets of our favorite TV shows from the past half-century.The sets of situation comedies aren’t just a collection of random props that surround the actors; they’re statements of style. They’re designed to convey a particular mood, to both reflect and enhance the personalities of the people who live in them—just like anyone’s home. So Sitcom Style is more than a glimpse into a make-believe world; it’s also a fascinating exploration of how to bring personal style into your own living room. Set designers share their secrets and strategies for creating some of the most thought-out homes in America, and you can learn how to recreate these styles in your own home, complete with shopping resources!What’s more, Sitcom Style is also a nostalgic stroll through the most beloved locations in the American consciousness. From the early days of I Love Lucy, The Addams Family, and I Dream of Jeannie through seventies’ favorites like Three’s Company and Happy Days to the eighties’ The Cosby Show and Roseanne and recent megahits like Friends, Sex and the City, and Will & Grace, Sitcom Style is an at-a-glance look at how America has lived for the past fifty years. And for true TV buffs, each chapter includes information on the set designers, years of production, favorite quotes, and trivia.A completely unique combination of pop culture and interior design, Sitcom Style is a must whether you love the TV world or want to spice up your own decor at home.

Archie Bunker, George Jefferson, Maude-the television sitcom world of the 1970s was peopled by the creations of Norman Lear. Beginning in 1971 with the premier of All in the Family, Lear s work gave sitcoms a new face and a new style. No longer were families perfect and lives in order. Mostly blue-collar workers and their families, Lear s characters argued, struggled, uttered sometimes shocking opinions and had no problem contributing to-or at least, acknowledging the turmoil so shunned by 1960s television. Significantly, not only did Lear address difficult issues, but he did so through successful programming. Week after week, Americans tuned in to see the family adventures of the Bunkers, the Jeffersons, and Sanford and Son. With a thorough analysis of his sitcoms, this volume explores Norman Lear s memorable production career during the 1970s. It emphasizes how Lear s shows reflected the political and cultural milieu, and how they addressed societal issues including racism, child abuse and gun control. The casting, production and behind-the-screen difficulties of All in the Family, Sanford & Son, Maude, Good Times, The Jeffersons and One Day at a Time are discussed. Each show is examined from inception through series finale. Interviews with some of the actors and actresses such as Rue McClanahan of Maude and Marla Gibbs from The Jeffersons are included.

Archie Bunker, George Jefferson, Maude-the television sitcom world of the 1970s was peopled by the creations of Norman Lear. Beginning in 1971 with the premier of All in the Family, Lear s work gave sitcoms a new face and a new style. No longer were families perfect and lives in order. Mostly blue-collar workers and their families, Lear s characters argued, struggled, uttered sometimes shocking opinions and had no problem contributing to-or at least, acknowledging the turmoil so shunned by 1960s television. Significantly, not only did Lear address difficult issues, but he did so through successful programming. Week after week, Americans tuned in to see the family adventures of the Bunkers, the Jeffersons, and Sanford and Son. With a thorough analysis of his sitcoms, this volume explores Norman Lear s memorable production career during the 1970s. It emphasizes how Lear s shows reflected the political and cultural milieu, and how they addressed societal issues including racism, child abuse and gun control. The casting, production and behind-the-screen difficulties of All in the Family, Sanford & Son, Maude, Good Times, The Jeffersons and One Day at a Time are discussed. Each show is examined from inception through series finale. Interviews with some of the actors and actresses such as Rue McClanahan of Maude and Marla Gibbs from The Jeffersons are included.

From two veteran television directors, this is a comprehensive guide to the most popular form of comedy in the world; the television sitcom. Revealed are the rules, the language and the traditions of this popular art form along with a colorful, first person-account of what it feels like to be on the set. Includes insider information that guides many of the key players- actors, directors, writers, casting directors, costume designers, camera operators and editors. Also, information on salary, exercises to learn comedy structure, a comprehensive glossary and a list of every sitcom in television history from 1947 to the present season. Revised and updated from 1st Edition. Three new chapters!

From two veteran television directors, here is a comprehensive career handbook to the most popular form of comedy in the world: the television sitcom. Revealed are the rules, the language, and the traditions of this popular art form and how the pacing, jokes, and dialogue in a sitcom differ from those in film and theater. The authors walk readers through a typical, five-day sitcom schedule and offer a colorful, first-person account of what it feels like to be on the set. Most importantly, they offer insider information on how to launch a career in this exciting industry. Included are profiles of several behind-the-scenes careers in television, complete with information about salary, educational requirements, career track, and how to break-in. The Sitcom Career Book will show readers why working on a sitcom is one of the best jobs in Hollywood.

Updated version of an engaging overview of the television situation comedy.This updated and expanded anthology offers an engaging overview of one of the oldest and most ubiquitous forms of television programming: the sitcom. Through an analysis of formulaic conventions, the contributors address critical identities such as race, gender, and sexuality, and overarching structures such as class and family. Organized by decade, chapters explore postwar domestic ideology and working-class masculinity in the 1950s, the competing messages of power and subordination in 1960s magicoms, liberated women and gender in 1970s workplace comedies and 1980s domestic comedies, liberal feminism in the 1990s, heteronormative narrative strategies in the 2000s, and unmasking myths of gender in the 2010s. From I Love Lucy and The Honeymooners to Roseanne, Cybill, and Will & Grace to Transparent and many others in between, The Sitcom Reader provides a comprehensive examination of this popular genre that will help readers think about the shows and themselves in new contexts.For access to an online resource created by Mary Dalton, which includes interviews with contributors and course lectures, visit: The Sitcom Reader: A Companion Website @ https://build.zsr.wfu.edu/sitcomreader

The most beloved, most groundbreaking, and most entertaining TV comedies of all time are celebrated in words and pictures—many of them rare—by the award-winning authors of Broadway Musicals. In 101 lively chapters and lots of special features, the authors of Broadway Musicals explore our favorite form of popular entertainment—the TV situation comedy. Of the many hundreds of shows that have debuted over TV's 60-year history, the authors have carefully selected the most influential, popular, and enduring ones, from Gilligan's Island to Seinfeld, I Love Lucy to Will and Grace, creating a history of the medium that goes beyond stats and trivia to reveal all that goes into the creation of classic television, from the writing and all-important casting to the directing and, of course, the acting. Each chapter of Sitcoms features numerous photos, many rare and behind-the-scenes, along with cast lists, artists' biographies, "off-set" tidbits, critical commentary, and all of the relevant statistics. Special features cover such topics as famous unseen characters, sitcom pets, spin-offs, sitcoms made from movies, and many more. It's a visual and informative feast for TV lovers, from nostalgia buffs to the TV Land generation.

Sitcoms have never been hotter in Hollywood, and the demand for writers has never been greater.With fees starting at $16,000 for a half-hour script, sitcoms can be a lucrative option for freelancers. The hundreds of shows produced every year, each of which needs a team of writers, provide a tremendous opportunity to break into the industry.But successful sitcom writing begins long before Act I, Scene I. Hollywood insider Jurgen Wolff will start you off right. He'll show you why some ideas are promising and some should be rejected immediately, even when they're funny. You'll learn how to analyze and develop characters. And you'll find out how the pros punch up their work with subplots, physical comedy, and timing.The technical ins and outs of the sitcom format are also explained, including act structure, subplots, sets, entrances, and exits. You'll learn the manuscript formats the networks use, so your work will look as professional as it reads. And you'll get solid advice on how to find an agent, take a pitch meeting, and land your script on a producer's desk-- even if you don't live in Los Angeles.Novice and veteran sitcom writers alike keep Jurgen Wolff's book handy. Read it, and you'll see why.

Despite its global reach, longstanding popularity, and immense profitability, sitcom has been repeatedly neglected in theoretical work on television and media. This book demonstrates that this lack needs to be sorely addressed, by dragging analysis of sitcom up to date, with a wealth of contemporary examples, a range of new approaches to the genre, and examination of the roles sitcom and comedy play within society. The book takes as its starting point the variety of ways in which sitcom has traditionally been explored. A chapter on genre examines the history and development of sitcom, and the institutional structures which produce it. There is also analysis of differences between sitcoms produced in a range of countries, and what happens when a programme gets sold abroad and remade. A chapter on representation explores the debates about the ways in which sitcom chooses who to make jokes about and why, and whether this matters. And a chapter on performance argues that this is a vital, and underexplored, aspect of sitcom's funniness, and interrogates the ways in which comic actors make their performance funny. With specific case studies on Will and Grace, The Office, and The Cosby Show, as well as analysis of a broad range of contemporary and historical examples throughout, this book will be of interest to students of sitcom and comedy, as well as those of television and popular culture.

This is the first anthology that examines the TV sitcom in terms of its treatment of gender, family, class, race, and ethnic issues. The selections range from early shows such as I Remember Mama (George Lipsitz’s “Why Remember Mama? The Changing Face of a Woman’s Narrative”) to the more recent Roseanne (Kathleen Rowe Karlyn’s “Roseanne: Unruly Woman as a Domestic Goddess”). The volume also looks unflinchingly at major controversies; for example, the NAACP boycott of the stereotypical yet wildly popular Amos ‘n’ Andy and the queer reading of Laverne and Shirley.These diverse essays constitute a veritable history of postwar American mores. Some are classic, some forgotten, but all indicate the importance of considering text and subtext (social, historic, industrial) in the critical study of television. A final chapter by Joanne Morreale bids sitcoms adieu with the “cultural spectacle of Seinfeld’s last episode.”

Describes the writing method called premise-driven comedy, examines how comedy affects character development and story structure, discusses guidelines on script layouts, and offers advice on establishing a career

This new edition of Writing Television Sitcoms features the essential information every would-be teleplay writer needs to know to break into the business, including: - Updated examples from contemporary shows such as 30 Rock, The Office and South Park - Shifts in how modern stories are structured - How to recognize changes in taste and censorship - The reality of reality television - How the Internet has created series development opportunities - A refined strategy for approaching agents and managers - How pitches and e-queries work - or don't - The importance of screenwriting competitions

As the cable TV industry exploded in the 1980s, offering viewers dozens of channels, an unprecedented number of series were produced. For every successful sitcom--The Golden Girls, Family Ties, Newhart--there were flops such as Take Five with George Segal, Annie McGuire with Mary Tyler Moore, One Big Family with Danny Thomas and Life with Lucy starring Lucille Ball, proving that a big name does not a hit show make. Other short-lived series were springboards for future stars, like Day by Day (Julia Louis-Dreyfus), The Duck Factory (Jim Carrey), Raising Miranda (Bryan Cranston) and Square Pegs (Sarah Jessica Parker). This book unearths many single-season sitcoms of the '80s, providing behind-the-scenes stories from cast members, guest stars, writers, producers and directors.

This book finally casts a spotlight on some short-lived and almost forgotten sitcoms--those which aired for only one single season. Many books have already been written about situation comedies that enjoyed long and storied runs on television but this volume focuses upon the others. Overflowing with fresh facts, interviews, photographs, and stories, nearly 300 short-lived sitcoms over a 32 year span are presented A-to-Z, whether network or syndicated, prime time or Saturday morning.

This book finally casts a spotlight on some short-lived and almost forgotten sitcoms--those which aired for only one single season. Many books have already been written about situation comedies that enjoyed long and storied runs on television but this volume focuses upon the others. Overflowing with fresh facts, interviews, photographs, and stories, nearly 300 short-lived sitcoms over a 32 year span are presented A-to-Z, whether network or syndicated, prime time or Saturday morning.

As the cable TV industry exploded in the 1980s, offering viewers dozens of channels, an unprecedented number of series were produced. For every successful sitcom--The Golden Girls, Family Ties, Newhart--there were flops such as Take Five with George Segal, Annie McGuire with Mary Tyler Moore, One Big Family with Danny Thomas and Life with Lucy starring Lucille Ball, proving that a big name does not a hit show make. Other short-lived series were springboards for future stars, like Day by Day (Julia Louis-Dreyfus), The Duck Factory (Jim Carrey), Raising Miranda (Bryan Cranston) and Square Pegs (Sarah Jessica Parker). This book unearths many single-season sitcoms of the '80s, providing behind-the-scenes stories from cast members, guest stars, writers, producers and directors.