Here are 14 books that Freaks, Gleeks, and Dawson's Creek fans have personally recommended if you like
Freaks, Gleeks, and Dawson's Creek.
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Kimberly Potts is a TV and pop culture journalist and author who believes television is not only the ultimate entertainment medium, but is also the ultimate cultural common denominator. She has written for The New York Times, Entertainment Weekly, Vulture, The Hollywood Reporter, TV Guide, The Los Angeles Times, Yahoo, Variety, People.com, US Weekly, E! Online, Thrillist, Esquire.com, AOL, Movies.com, and The Wrap. Kimberly also co-hosts the Pop Literacyand #Authoring podcasts, and is a member of the Television Critics Association, Critics Choice Association, Authors Guild, and American Society of Journalist and Authors.
The most important aspect of television history is, of course, the shows. And though there have been hundreds, at least, more series that will need to be added to the book since it was published in 2015, it is a gorgeously designed collection of viewing suggestions. And like any great guidebook, it’s also just a fun way for any TV fan to revisit the best series of the past, arranged by decades, and including American and international programming.
The most groundbreaking and important must-see shows from the 1950s to today’s golden age of television. This latest addition to the best-selling and highly acclaimed 1001 series showcases the best programs produced for television from its inception to the bumper crop of great shows being produced in today’s era of original cable programming and digital streaming. Offering a critical evaluation of the most important and groundbreaking TV programs ever created, this book tracks television’s evolution through decades of social, cultural, and stylistic change. Included are shows that broke new ground, influenced the future, and left a lasting mark, ranging from…
I like understanding television as culturally situated. Television is constructed along a number of sites: cultural, institutional, ideological, historical, or via the different ways audiences understand it. Interrogating television and what it does as a medium was historically relevant because it was a mass medium. But how can we evaluate the medium in times of highly fragmented audiences? Because of this, exploring Netflix as a new form of ‘television’ has become so important to me. The authors all try to get to terms with how television has changed over its short existence. This helps us understand the medium better, as well as our current moment.
Dunleavy explores what complexity means for contemporary ‘quality’ TV. She focusses on the narrative structures, creative strategies, and style of contemporary television.
For me, what stands out about this book is how it explores the interrelationship between recent technological changes and what we understand as television. This results in a redefinition of television.
When writing the second edition of my book, I found the different ways people have conceptualized contemporary television especially important.
This book examines the creative strategies, narrative characteristics, industrial practices and stylistic tendencies of complex serial drama. Exemplified by shows like HBO's The Sopranos, AMC's Mad Men and Breaking Bad, Showtime's Dexter, and Netflix's Stranger Things, complex serials are distinguished by their conceptual originality, narrative complexity, transgressive lead characters and serial allure. As a drama form that continues to expand and diversify in today's television, HBO's Boardwalk Empire and Game of Thrones, Netflix's Orange Is the New Black and Hulu's The Handmaid's Tale provide further examples. Dunleavy investigates the strategies that underpin the innovations, influence and success of complex serial…
Becoming a mother reshaped me in ways I’m still wondering at now, two decades on. I’ve had to find ways to resist the repressive cultural mythology surrounding motherhood—the pressure I felt to suddenly become a perfect, self-sacrificing vessel for my children’s optimized development. When I read stories about flawed mothers—women, queer and straight, struggling beneath the magnitude of the job, yet fiercely loving their children all the way through—I felt I could breathe a little bit, could handle the task with a little more good humor and forgiveness, for myself, my partner, and my kids. Read a book, bust a myth, go hug your mom.
I devoured Ferrante’s Neapolitan Quartet (four novels that trace a lifetime friendship between two women living in a deeply patriarchal mid-twentieth-century Italy) in a single summer a few years back, and when I got to the end of those few thousand pages, I felt as though I wanted to start right over at the beginning again. Those Who Leave and Those Who Stay is the third novel in the series, and I name it here because it’s the novel in which Elena—the book’s protagonist, and a writer herself—becomes a mother. Elena has a modern marriage compared to her friend Lina’s, but still, she finds the expectations and demands of motherhood difficult to reconcile with her own creative ambitions. Ferrante represents that central struggle with arresting honesty—a captivating read.
My mother called me a “television junkie.” In graduate school, where TV was not yet considered a worthwhile scholarly endeavor, I became enthralled by Twin Peaks and Roseanne. Rebelliously, I thought both had so much to say about gender studies and theories of postmodernism. Absent of an official curriculum, I started reading and writing about television history, medium specificity, genre theory and seriality. I got my PhD and published articles on film, TV, and my book. Since 1992, I have developed several television studies courses for our small media studies department: Crime Drama, Reality TV, Gender and Genre on Television, Transmedia Adaptations, and Media Rituals.
I was curious about the differences between British and U.S. crime dramas. Sure, some of them were obviously connected to the differences in justice systems and police infrastructures, but this book explores not only the historical development of the two countries’ crime dramas but also why each resulted in different gender representations and aesthetic formats, along with different avenues towards viewer engagement.
I loved Turnbull’s foundational text for its clarity, breadth, and readability.
This title maps the development of the crime drama on international television. The television crime drama has been a constant of the television landscape since it first migrated from film and radio onto the small screen in the 1950s. Since then, from Dixon of Dock Green to The Wire, from Minder to The Sopranos or Cracker to Dexter, the crime drama has continued to attract large audiences even as the depiction of the crime, the perpetrators and the investigators has changed. This book provides an historical analysis of the TV crime series as a genre by paying close attention not…
I’m a humor writer and stand-up comedian. I spend much of my time trying to get my comedy into the shortest form possible so it can “go viral,” but I’d rather work on projects that have space to breathe, like books. I don’t think enough people appreciate how funny books can be. Often, humor seems like the purview of more visual mediums. However, while books are quieter than TV shows and live performances, they have just as much capacity for humor. When a book truly makes me laugh out loud, I want to tell everyone. And the following five books do.
Spoiled Bratsfeels like the all-encompassing humor book about millennials. There’s no avocado-related stone Rich leaves unturned in his quest to mock his generation. As a millennial, I felt very seen by this book, but it also made me felt-conscious about all my participation trophies. I mean, I earned those trophies, didn’t I?
This edited collection examines organizational conflict and how it is handled in seven different countries (and cultures) around the globe: France, Japan, the Netherlands, Norway, South Africa, Spain, and Turkey. Experts on each country discuss how various social, cultural, and economic forces affect conflict management; how managerial styles differ with regard to organizational and interpersonal conflict management; alternative dispute mechanisms available in each country for the resolution of conflict; and how general managerial effectiveness can be improved with respect to organizational conflict.
We tell stories for many reasons, but one of the best reasons is to teach our kids (or remind ourselves!) how to navigate in the world. We’ve all read Aesop’s Fables and at the end, the moral lesson is spelled out. This ruins the conversations you can have with someone else about what the story was about. Instead of feeling entertained, we feel like we were being told what to think and how to feel. As a writer, I love to include multiple themes in a book so that, depending on the age of the reader, or how many times the story is read, new ideas jump out of the book and into your brain.
I like to chat, and like most other people, whether it’s because I’m thinking about something else, or busy, or just simply not paying attention, sometimes I “listen,” but I don’t “hear.” Wordy Birdy is a fun read with a great reminder about why it is so important to listen to others and pay attention to our surroundings.
Meet Wordy Birdy, a very chatty bird who talks WAY more than she listens! A hilarious new story from Tammi Sauer, beloved author of Nugget & Fang, Chicken Dance, and My Alien.
Wordy Birdy LOVES to talk. “Hello, sunrise. Hello, pink sky. Hello, orange sky!” But does she love to listen? NOPE. One day, while she’s walking through the forest, her gift of the gab gets her into hot water: “That’s a pretty tree and that’s a pretty tree and that’s a pretty danger sign and that’s a pretty tree. . . .” Will this inattentive bird walk right into…
I'm perhaps the inevitable result of a lifetime spent on a steady diet of magical realism, literary fiction, science-fiction, and Spider-Man comics. Fortunately I’ve been able to channel my simultaneous loves of storytelling and structure into a life as a developmental editor. And where my own work is concerned, I’ve been able to do a lot of those things my childhood self might have hoped for: a novel inThe Listeners, a feature film in Ape Canyon, and a litany of strange and usually distressing short stories. These days I do those things from my Washington, D.C. apartment with my wife and our two cats with a combined seven legs.
Richard Matheson is a horror legend for good reason, and most casual viewers of genre films and TV would probably be surprised at how much of his work they’ve encountered in some form or another. The Will Smith movie I Am Legendis adapted from his work. Steven Spielberg’s first film, Duel, as well. The paranoid Nightmare at 20,000 Feet is best known as a classic Twilight Zone episode, referenced and parodied numerous times in the decades since, but Matheson’s original reflects everything that’s great about his work: a fairly practical, everyman sort of protagonist (for the 1960s anyway) undone by an impossible situation.
Personally selected by Richard Matheson, the bestselling author of I Am Legend and What Dreams May Come, the stories in Nightmare at 20,000 feet more than demonstrate why Matheson's regarded as one of our most influential horror writers.
Featuring the story "Duel," a nail-biting tale of man versus machines that inspired Steven Spielberg's first film.
Remember that monster on the wing of the airplane? William Shatner saw it on The Twilight Zone, John Lithgow saw it in the movie-even Bart Simpson saw it. "Nightmare at 20,000 Feet" is just one of many classic horror stories by Richard Matheson that have…
I started reading and listening to memoirs in preparation for writing my own, and they inspired me to be honest and vulnerable about my story in ways that helped me overcome sexual shame. I lived a fascinating lifestyle as a sugar daddy for a few years, but talking about it was scary as hell. Reading other men who admitted their fears and failings gave me the courage to be radically honest and lay it all out there. Writing the book was cathartic in ways decades of therapy failed!
What a shame Will’s fascinating and vulnerable reflections on the demons on his back have been disgraced by his famous slap.
But once you read (or even better listen) to him, you’ll understand where that slap came from, as Will opens up about his poor relationship with his abusive father that led to a lifetime of hidden anger and, well, a desire to slap anybody he sees as a threat!
The Instant Sunday Times Bestseller The Instant #1 New York Times Bestseller
PRAISE FOR WILL 'The best memoir I ever read' Oprah Winfrey 'If you read one book this year, make it this one' Jay Shetty 'Incredible' Idris Elba 'The book is awesome. So candid and considered...fascinating' Chris Evans 'A triumph...really inspiring, so well written, vulnerable and deep. I highly recommend it' Mindy Kaling 'It's fantastic...very moving' Zoe Ball 'Incredibly honest...inspiring' Greg James 'A wild ride' New York Times 'Raw, comedic, inspirational' GQ
One of the most dynamic and globally recognized entertainment forces of our time opens up fully about…
Julian Friedmann is co-owner of the Blake Friedmann Literary Agency and was the publisher of ScriptWriter magazine. At the agency, he has represented both book and scriptwriters for over 40 years and also acts as Executive Producer for and with clients. Julian is a TEDx speaker and is the author of the Make Money Screenwriting series, co-author of The Insider’s Guide to Writing for Television, and editor of two volumes on Writing Long-Running Television series.
He has taught at universities and film schools all over the world. He designed the MA in Television Scriptwriting at De Montfort University, and PILOTS (for developing long-running television series) for the EU MEDIA Programme.
No-nonsense book about what makes a good script. Writers find it particularly difficult avoiding flashbacks and voice-overs, and can’t always find ways of showing rather than telling. Michael demonstrates how to build the obstacles so your sympathetic character has increasing problems battling against the odds before they finally achieve their goal.
“No one is better than Michael Hauge at finding what is most authentic in every moment of a story.” —Will Smith
“Michael Hauge is a story master, and this book is an absolute must have for anyone serious about telling great stories for the screen.” —DeVon Franklin, Vice-President of Production, Columbia Pictures
Concise, authoritative, and comprehensive, Writing Screenplays that Sell is the most complete guide available on the art, craft, and business of screenwriting for movies and television. Renowned Hollywood story consultant Michael Hauge—considered “one of the most sought after lecturers and script consultants in the U.S.” by Scriptwriter magazine—covers…
There’s nothing I love more than a good thriller, especially one with a locked room setting. I’m fascinated by how people react to psychological pressure, and what it would take for any of us to behave in extreme ways. With The Elevator, I wanted to push that locked room scenario to its limits: two characters, trapped together in a tiny space. This might also be the book that’s been gestating inside me for longest – my mum was trapped in a lift when she was pregnant with me! I hope some of the books on this list appeal to you, and that you enjoy them as much as I did.
The Birthday Reunion combines the classic elements of a locked room thriller with a look at the dynamics of female friendships, a topic I always find fascinating.
It’s set on an exotic and remote tropical island, with some glamorous characters. I read it on a couple of typically grey days in London, and could almost feel the sunshine. It proves locked room thrillers don’t always have to be set on dark and stormy nights!
‘I was utterly gripped’ ⭐⭐⭐⭐⭐ ‘Definitely one of the best books this year’ ⭐⭐⭐⭐⭐ ‘Had me glued to my Kindle!’ ⭐⭐⭐⭐⭐ ‘Six stars!... I absolutely adored this book!’ ⭐⭐⭐⭐⭐
Four friends. One dream getaway. But who will make it out alive?
When the gold-rimmed invitations arrive through the doors of best friends Simone, Hannah and Vicky they’re instantly taken aback. Their ex-friend Jodie is inviting them to a lavish Mediterranean villa to celebrate her birthday. They haven’t spoken in years since she betrayed them in the worst way. So how did they make the guestlist?
