Fans pick 100 books like When Women Invented Television

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.

We have long admired creators Jay Ward and Bill Scott, whose clever, pun-filled, irony-infused, supremely self-aware TV world is a delight to discover at any age.

Here, author Keith Scott (himself a voice artist and animation historian, and no relation to Bill) spins the story of Bullwinkle J. Moose, Rocky the Flying Squirrel, and their friends and fiends (Boris and Natasha) and also covers creations before, during, and after the Bullwinkle run.

We have also happily indulged in his fan’s eye for detail in 100 pages of end notes minutiae, including every punny episode title.

We always felt that Mad Men was one of the true gems of the turn of the millennium. Set during the tumultuous Sixties, it adeptly mirrored the various social, political, and cultural changes that marked that decade. On the surface structured like many TV series “companion” books (detailing the plot and major credits for each individual episode), Seitz’s book goes deeper to explain the underlying messages of each episode.

Even when we recall an episode’s story, reading Seitz’s book is like taking a fascinating course on all things Mad Men. About half of the entries are based on episode reviews Seitz wrote for New York magazine and its Vulture website, while the others are new to this book.

When we set out to start writing our TV history book, we didn’t know what we didn’t know about the topic. Fortunately, we found the first edition of this book. It was invaluable to us to describe and explain where radio and television came from and how they came to be as we knew them.

This one-volume book distills the author’s masterful earlier three-volume set on this topic. Barnouw blazed the trail for us by treating broadcasting as worthy of serious historical research and analysis while never failing to make the oft-complex tales engrossing and entertaining reading. The updated second revised edition (from 1990) brings the story up to the era of cable.

In this moving novel, the late great Oakley Hall took me back to World War II era San Diego. What I love about it is it paints a much fuller portrait of the lost city of old than he does in his first San Diego-based novel.

This book is filled with wonder, dread, love, and longing but what makes it noteworthy is its keen eye toward history and the darkness at the heart of the city’s streets and neighborhoods—and at the center of the war itself. 

One of the treasures of American show business is Hazel Scott. A child prodigy on piano who attended Julliard, a headliner at Café Society thanks to Billie Holiday’s mentorship, and eventually the wife of Adam Clayton Powell, Jr., she was the first African American to host her own television show, “The Hazel Scott Show,” in 1950.

A confrontation with the House Un-American Activities Committee prompted the cancellation of her network show, which led her to go into a kind of exile in Paris where she set up a salon that saw as guests everyone from Lester Young to the Beatles.

Karen Chilton vividly documents the life and times of the singer in this book. I love the book because it captures the artistry of a true original. In the future, more attention should be paid to Hazel Scott, who has become show business history’s forgotten genius.

Forrest’s Kate Delafield, a San Francisco homicide detective, is surely the most famous character in lesbian mystery fiction. She is also the first lesbian police officer. Although most of Forrest’s 10 Delafield novels deserve 5-star ratings, The Beverly Malibu goes far beyond the usual whodunit limits in that it revisits the terrible McCarthy era when minorities—including the LGBTQ community—were kicked down at by the elite. This is also the book where Kate meets her long-time lover Aimee. 

Fast ran afoul of the House Committee on Un-American Activities and was sent to prison for contempt of Congress.

To him, as to Karl Marx and others, the gladiator Spartacus, who led history’s best-known slave revolt (73 to 71 B.C.), symbolized the proletariat’s revolution against capitalist oppressors and depraved imperialists.

Despite some dubious history and one distasteful distortion concerning the Romans’ exploitation of slaves, Fast’s 1951 novel is a stirring tale, intended “so that the dream of Spartacus may come to be in our own time.”

When no publisher would touch his book, Fast had it printed and distributed on his own.

The screenplay for Stanley Kubrick’s film adaptation was by Dalton Trumbo, another HUAC victim. His screen credits for Spartacus and, a little earlier, for Exodus ended the blacklist.

When Harry Hopkins, the head of the WPA, needed someone to run the Federal Theater Project, he made a bold choice: Hallie Flanagan, a visionary director, dramatist, and critic. Flanagan is at the center of Furious Improvisation, Quinn’s lively and deeply researched history of the FTP. Quinn’s propulsive narrative never flags, even as she showcases the project’s many triumphs, such as the “Living Newspaper” productions dramatizing current events, or Orson Welles’s so-called “voodoo Macbeth” featuring Black actors. But these productions and others were highly controversial, and the project was eventually attacked by the House Un-American Activities Committee. When a defiant Flanagan told the committee that she was fighting against the “un-American inactivity” imposed by the Depression, they ignored her—but this book stands as a monument to her achievements.   

While several books have offered accounts of the House Committee on Un-American Activities (HUAC) hearings and the blacklist in the entertainment industry, Alan Casty questions liberal perspectives on the subject, and develops a distinctive perspective. In particular he challenges what he sees as an overly simple moral take on the actions of those who cooperated with HUAC and those who did not. He discusses the role of the Communist Party in Hollywood and the impact of Cold War politics— and the politics of Stalin and the Soviet Union—on the decisions that politicians and witnesses took. There is particularly interesting material here on Robert Rossen’s experience, as someone who ‘resisted’ the Committee but later cooperated with it. This Is the best account of those that challenge the dominant perspectives in the literature.