Here are 99 books that See No Evil fans have personally recommended if you like
See No Evil.
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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.
An absolutely exhaustive catalog of queer milestones on television, I’m constantly consulting this amazing book.
There’s no more authoritative examination of the people, shows, and trends that shaped queer representation in broadcast media over the 20th century. Exhaustively researched, it’s not just a must-read – it’s a must-read-multiple-times.
I own two copies, each one jam-packed with bookmarks and notes to myself about the best bits.
Definitive, vibrant, and utterly fascinating, Alternate Channels traces the monumental growth of gay, lesbian, and bisexual images on radio and television from the 1930s to the present. Splashed against the tumultuous backdrop of the McCarthy witch hunts, Stonewall and the gay liberation movement, the birth of the 700 Club and the religious right, the outbreak of AIDS and the arrival of in-your-face queer activism, this chatty, authoritative broadcast history tells the stories of such notorious and noteworthy moments as
- 1947: Radio gays--A bitchy fashion photographer throws fits at the drop of a designer hat on the adaptation of Moss…
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.
This is an utterly spellbinding collection of personal interviews with people who shaped history’s most groundbreaking television.
If there was a boundary to be broken or taboo to be smashed, the story of how it happened can be found here. Every time I flip through this book I find myself rushing to watch the episodes described by the pioneers in its pages.
In the 1950s, Lucille Ball couldn't even say the word “pregnant” on TV. But by the 1990s, Carrie Bradshaw and her posse could say everything there is to say about sex—and demonstrate most of it. How have broadcast standards changed from the dawn of television till today? Through interviews with the creators of landmark shows, author Allan Neuwirth traces that history, revealing how the upheaval of the 1960s led to edgier fare such as The Smothers Brothers Comedy Hour; how counterculture baby boomers made Saturday Night Live-style satire possible; how stand-up comedians changed the sitcom landscape; how UPN and the…
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.
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.
It’s hard to pick just one of Jim Colucci’s books to put on this list, but this one is probably my favorite. (He’s also written excellent books about The Golden GirlsandWill & Grace, among other topics.)
It’s an incredible insider’s look at the making of one of the most important television programs ever made, with lots of original documents, interviews with creators, and insights that yield an even greater appreciation for this groundbreaking show.
Television was changed forever in 1971 with the premiere of All in the Family. Archie Bunker (Carroll O Connor), his wife Edith (Jean Stapleton), daughter Gloria (Sally Struthers), and son-in-law Mike Meathead Stivic (Rob Reiner) instantly became and half a century later still are four of the most iconic characters in television. Here, Norman Lear shares his take on fifty episodes that exemplify why All in the Family remains as funny and relevant as ever. Its boundary-pushing approach to hot-button topics is examined with commentary from its costars, writers, directors, and guest stars. With previously unseen notes from Lear, script…
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 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…
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,…
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 love reading, rereading, and teaching with this book. Whenever I open it, I learn something new or remember crucial aspects that enhance my understanding of television as a medium, my enjoyment of specific shows or genres I watch, and find new ways of engaging with production, representation, and performance aspects.
I have now taught with it since his earlier 2011 volume (Critical Approaches) and am only sad that this one appears to be the final edition. It is chock-full of intriguing case studies and deft explanations of what makes television television.
For over two decades, Television has served as the foremost guide to television studies, offering readers an in-depth understanding of how television programs and commercials are made and how they function as producers of meaning. Author Jeremy G. Butler shows the ways in which camera style, lighting, set design, editing, and sound combine to produce meanings that viewers take away from their television experience.
Highlights of the fifth edition include:
An entirely new chapter by Amanda D. Lotz on television in the contemporary digital media environment.
Discussions integrated throughout on the latest developments in screen culture during the on-demand era-including…
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…
I’m a professional screenwriter with a passion for story structure. I’ve worked on film & TV projects for more than 25 years – not only as a writer for independent producers and studios such as Warner and Universal – but also as a development exec and creative consultant. Over time, I was shocked to see how many talented storytellers felt stuck between prescriptive paradigms and a “seat-of-the-pants” approach. So I set out to fill that void and defined a more flexible yet powerful method in my first book, Screenwriting Unchained, which I’ve now enthusiastically applied to TV series. I hope you enjoy the books on this list as much as I have!
This is the companion book for Des Doyle's acclaimed documentary with
the same title (also highly recommended).
Described as “the first ever
feature-length documentary to explore the world of U.S. television
showrunners and the creative
forces they employ”, the documentary is an insightful overview of the
TV creative process, featuring interviews with some of the best
showrunners in the business.
There is simply nothing that beats this if
you want to get a sense of how the industry works
and measure the stakes, the energy, the pressure, the creativity, the
professionalism, and the humor experienced or displayed by these
awe-inspiring storytellers.
The book features a foreword by Hart Hanson
(Showrunner of
Bones, The Finder, Backstrom), an introduction by Doyle, and expands on the interviews featured in the documentary.
Showrunners is an insider's guide to creating and maintaining a hit show in today's golden age of television. The official companion to the documentary Showrunners, this highly informative book features exclusive interviews with such acclaimed and popular showrunners as Joss Whedon, Damon Lindelof, Ronald D.Moore, Terence Winter, Bill Prady, and Jane Espenson.
