Here are 76 books that Horizontal Hold fans have personally recommended if you like
Horizontal Hold.
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I am a self-taught guy, having started in my first job at IBM Oslo, when I was 18 years old, as punched card machine operator, and plug-board ‘programmer'. I did night studies in sociology/philosophy for 10 years at University of Oslo. I read about 30 books a year, and I’m 82 in 2023. I have spent most of my career as an independent international consultant to corporations and governments, while building up my ideas of useful methods to solve problems. In retirement, I love to spread my ideas, and learn more. I also write about 5 new books a year, when at my Oslofjord Summer cabin. They're all digital and free or free samples.
From my notes after I read it, “Great content and organization. Triggered me to write and plan a 2022 Book.”
There was specific practical content like removing vacation policy, removing travel and expenses policy. An opening the books, which showed the practices behind the no rules idea, and their consequent results in the business. As a consultant, these give me a tool for discussion with clients. What if you did the same?
Again a great leader, and successful businessperson, using persistence and imagination to deal with the forces against change.
Hard work is irrelevant. Be radically honest. Adequate performance gets a generous severance. And never, ever try to please your boss.
These are some of the ground rules if you work at Netflix. They are part of a unique cultural experiment that explains how the company has transformed itself at lightning speed from a DVD mail order service into a streaming superpower - with 125 million fervent subscribers and a market capitalisation bigger than Disney.
Finally Reed Hastings, Netflix Chairman and CEO, is sharing the secrets that have revolutionised the entertainment and tech industries. With INSEAD business school professor Erin…
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.
Most of those curious about the history of television have heard of the boy who invented it: Philo Farnsworth. He was just 14 years old when he conceived the idea that led to the first televised image less than a decade later. Farnsworth died penniless and unwell despite a life spent devoted to what became one of the most influential inventions of his lifetime and ours. That journey is a large part of the story the Tube authors unfold, but there are several additional key players who factor into the medium’s early years, and that, along with what will feel like some prescient thoughts about the current state of the television industry, make for an insightful, delightful read in this 1996 tome.
Traces the progress of the diverse group of iconoclasts including an Idaho farm boy, an eccentric Scotsman, and two Russian Americans from the laboratory prototypes that drew public laughter to the vicious courtroom battles for control of what would become an enormous market power. With devilish character sketches, compelling stories, and scientific explanations that are easy to follow, the Fishers capture the brilliance, vision, and frustration behind the invention of television. Annotation c. by Book News, Inc., Portland, Or.
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.
Film historian and professor Bogle does a deep dive on the history of Black characters and series on television, from the early days of the medium and stereotyped portrayals on series like Amos ‘n’ Andy through groundbreaking ‘70s shows like Sanford & Son and The Jeffersons, ‘80s juggernaut The Cosby Show, and the sitcoms of UPN and The WB in the mid-1990s. Bogle shares his opinions throughout the compelling chronicle, and does not suffer foolish performances or material gladly, making this a must read for any TV fan seeking a truly comprehensive account of TV history.
Analyzing four decades of African Americans in television, the author traces the history of black characters and themes, covering Amos 'n' Andy, The Mod Squad, Sanford and Son, Good Times, The Cosby Show, L.A. Law, The Fresh Prince of Bel Air, Martin, and other groundbreaking shows.
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…
The short version: I just really love television! The slightly longer version is that, in my career, I’ve had a very unusual perspective on both entertainment and activism. My first jobs out of college were at companies like Lucasfilm and The Jim Henson company, where I saw first-hand just how important pop culture and fandom can be for audiences. And I also worked extensively on queer causes, eventually making activism my full-time job when I joined the team that brought marriage equality to the US Supreme Court. Through that work, I became more and more interested in the ways that pop culture – particularly television – has been a tool for advancing civil rights.
Although this book is about film, rather than television, it’s impossible to understand the TV landscape without also understanding what was happening at the movies.
And then there’s Vito Russo’s incredible research and activism, which made this book possible – an inspiration for anyone interested in how media can make the world a better place.
Praised by the Chicago Tribune as "an impressive study" and written with incisive wit and searing perception--the definitive, highly acclaimed landmark work on the portrayal of homosexuality in film.
Gina Meyers is well known for her popular culture television trivia and cooking expertise books related to Harry Potter, Twilight, and the iconic television show Bewitched and I Dream of Jeannie. Gina's Love At First Bite, The Unofficial Twilight Cookbook was featured on the NBC hit show, The Office. Gina's goal is to reignite the spark of imagination and creativity in the kitchen, introducing youth, teens, and fans of magical sitcoms to the culinary arts.
I love this cookbook because it is a collectible and a treasure. Kasey Rogers was Louise Tate, the boss's wife from the television show, Bewitched. I was fortunate to have coordinated a book signing at Barnes and Noble in 2005 with Kasey. I got to hear firsthand knowledge of her memories of being on the set of Bewitched. She actually was able to participate in a lot of cast parties and be invited to the star of the show’s home, so the recipes are authentic. Everyone knows that "Samantha Stephens" didn't have to lift a finger in the kitchen... Now, "Bewitched" fans everywhere can share the kitchen with "Louise Tate" (the boss's wife) as she conjures up the magic that turned "Samantha Stephens" into a household name. In The Bewitched Cookbook, you'll discover "Cousin Serena's" "I-don't-cook" quick-fixes, "Dr. Bombay's" exotic banquets, "Maurice's" special drinks and delicacies, "Endora's" wickedly tasty tricks…
Everyone knows that "Samantha Stephens" didn't have to lift a finger in the kitchen... Now, "Bewitched" fans everywhere can share the kitchen with "Louise Tate" (the boss's wife) as she conjures up the magic that turned "Samantha Stephens" into a household name. Join Kasey Rogers and TV's most eccentric cast of characters for a delectable return to our television heritage - and a delicious reminder of why "Bewitched" still charms and dazzles after thirty years! In The Bewitched Cookbook, you'll discover "Cousin Serena's" "I-don't-cook" quick-fixes, "Dr. Bombay's" exotic banquets, "Maurice's" special drinks and delicacies, "Endora's" wickedly tasty tricks and treats,…
As an immigrant, an Asian American, and a gender-questioning person, I’ve never fit comfortably anywhere. So perhaps it’s no surprise that my writing isn’t easily categorizable either: many have told me that my work is too literary to be considered SF/F and too SF/F to be strictly literary. But what is genre anyway? My favorite books have always been the ones that straddled genres, and every time I read a wonderful book that can’t be easily labeled or marketed, I grow even more sure that the future of literature lies in fluid, boundary-crossing, transgressive texts. Here are some of my favorites—I hope you enjoy them.
Yu’s Interior Chinatown won the National Book Award because it married form and function in the most spectacular way.
Written in part like a screenplay, the novel tells the story of Willis Wu, an actor trying to break out from the role of “Generic Asian Man.” Unless you’ve been living under a rock for the past few years, you’ve probably heard about the push for better Asian representation in Hollywood. That certainly plays a role in the book, but there is also interrogation and critique here.
A novel written in the form of a screenplay could have easily turned into a gimmick. Yu made it art.
NEW YORK TIMES BESTSELLER • NATIONAL BOOK AWARD WINNER • “A shattering and darkly comic send-up of racial stereotyping in Hollywood” (Vanity Fair) and adeeply personal novel about race, pop culture, immigration, assimilation, and escaping the roles we are forced to play.
Willis Wu doesn’t perceive himself as the protagonist in his own life: he’s merely Generic Asian Man. Sometimes he gets to be Background Oriental Making a Weird Face or even Disgraced Son, but always he is relegated to a prop. Yet every day, he leaves his tiny room in a Chinatown SRO and enters the Golden Palace restaurant,…
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.
This is a short book in which Newman explores the changes in what the term ‘video’ means.
The term is closely intertwined with the history of television, describing first television broadcasts and then how taping was used to bridge the time differences between the American east and west coasts. The term then described the ways home video revolutionized how video was used in the private sphere. Today, we receive videos as the digital snippets we see on YouTube or the short clips we post on social media.
I like Newman’s work in general. But this book tells us so much about TV history in the US; I find it an incredibly fascinating work.
Since the days of early television, video has been an indispensable part of culture, society, and moving-image media industries. Over the decades, it has been an avant-garde artistic medium, a high-tech consumer gadget, a format for watching movies at home, a force for democracy, and the ultimate, ubiquitous means of documenting reality. In the twenty-first century, video is the name we give all kinds of moving images. We know it as an adaptable medium that bridges analog and digital, amateur and professional, broadcasting and recording, television and cinema, art and commercial culture, and old media and new digital networks. In…
For almost fifty years, we have been chronicling American television, tracking its history, and following its transformation from the era of three networks to the cornucopia of choices now available through streaming. Along the way, we have appreciated and learned much from other TV books that look at the industry from multiple angles. When we started, there were precious few on this topic. Now, there is a surplus. These are the ones we treasure for their well-told stories.
Rod Serling’s fantasy anthology (where he was narrator and chief writer) was a favorite of ours back then and still is. Despite a skimpy production budget, the show’s quality scripts, acting, and imaginative themes usually transcended the sparse settings.
Having seen most episodes several times, we still turn to Zicree’s handy book to refresh our memories of the show. This was one of the first of the “companion” books to document a memorable TV series, presenting each episode with cast and crew information, airdate, sample photo, the text of Serling’s intro and outro narration, plot summary and revealing analysis, and background details. The expanded 3rd edition (from 2018) also covers the various later revivals of the series.
The Twilight Zone Companion is the complete show-by-show guide to one of television's greatest series. Zicree's well-written account is fascinating reading for even the casual fan. Coverage of each episode includes a plot synopsis, Rod Serling's opening narration, behind-the-scenes stories from the original artists who created the series, and a complete list of cast and credits.
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.
This book came out a few months after the first edition of my book, and I remember being really frustrated because it added so many important ideas.
I still find its interrogation of interfaces and how they interact, open as different tabs, intriguing. Johnson focusses on how online TV functions within an internet ecosystem. This leads to interesting ideas about what TV distributed via the internet means.
With growth in access to high-speed broadband and 4G, and increased ownership of smartphones, tablets and internet-connected television sets, the internet has simultaneously begun to compete with and transform television. Online TV argues that these changes create the conditions for an emergent internet era that challenges the language and concepts that we have to talk about television as a medium.
In a wide-ranging analysis, Catherine Johnson sets out a series of conceptual frameworks designed to provide a clearer language with which to analyse the changes to television in the internet era and to bring into focus the power dynamics of…
