Television Industry


The Academy of Television Arts & Sciences Foundation Presents

02:26

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Interviewees discuss various aspects of the television industry.

Highlights
Hugh Downs on what he considers the best of television
June Foray on how animation has changed over the years
Beth McCarthy-Miller on how television has changed since she started working in it
Susan Whiting on what she learned about cable television in its early years
Richard Frank on the ever-changing landscape of television and dealing with Standards and Practices
Jane Curtin on how the medium of television has changed since she started
Who talked about this topic

Berle Adams

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Berle Adams on Ronald Reagan, President of the Screen Actors Guild, granting a waiver allowing MCA to function as both an agency and a production company, creating the first residual payments for actors and writers
Berle Adams on how he dealt with the Hollywood Blacklist
Berle Adams on how he structured deals for clients while an agent at MCA
Berle Adams on packaging television shows as an agent at MCA
Berle Adams on advice to aspiring agents

Robert Adler

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Robert Adler on how televisions received remote control signal
Robert Adler on advice to aspiring television scientists and inventors

Mary V. Ahern

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Mary V. Ahern on how television has changed since her time in the industry
Mary V. Ahern on advice to an aspiring television producer, and on then-current shows she admires
Mary V. Ahern on Joseph N. Welch (who stood up to Senator Joseph McCarthy at the Army-McCarthy hearings) being involved with the Omnibus series on the Constitution

Chris Albrecht

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Chris Albrecht on digital distribution for Starz
Chris Albrecht on advice to aspiring television executives

Jason Alexander

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Jason Alexander on advice to aspiring actors

Steve Allen

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Steve Allen on network involvement with Tonight
Steve Allen on censorship on The Tonight Show
Steve Allen on creating Meeting of Minds and running into censorship problems
Steve Allen on censorship on Meeting of Minds
Steve Allen on how television has changed over the years and appealing to the public good

John Amos

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John Amos on celebrity
John Amos on advice to an aspiring actor

Alex Anderson

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Alex Anderson on going to work for an advertising agency in the 1950s
Alex Anderson on the network dealings and sponsorship of Crusader Rabbit
Alex Anderson on the progress of television animation

Howard Anderson, Jr.

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Howard Anderson Jr. on advice to aspiring visual effects professionals 
Howard Anderson Jr. on how the business changed since he started

Charlie Andrews

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Charlie Andrews on the role of ad agencies in early television
Charlie Andrews on what he learned working in Chicago television that prepared him for New York television
Charlie Andrews on the decline in the quality of television from the 1950s to the 1960s
Charlie Andrews on working with Walter Cronkite and Dick Van Dyke on The Morning Show and his experience with the Hollywood Blacklist
Charlie Andrews on what represents television at its best
Charlie Andrews on the then-future of television

John Aniston

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John Aniston on how the industry has changed since he got involved in it
John Aniston on advice to aspiring actors

Lucie Arnaz

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Lucie Arnaz on the Desilu Studios

James Arness

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James Arness on the amount of violence on Gunsmoke

Beatrice Arthur

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Beatrice Arthur on her advice to aspiring actors

Dick Askin

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Dick Askin on cable television encroaching on local broadcasting in the '80s and the programming he sold at KNBC
Dick Askin on advice to aspiring television executives
Dick Askin on the establishment of the Runaway Production committee at the Television Academy and new media

Edward Asner

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Ed Asner on being identified with Lou Grant and his fame
Ed Asner on his celebrity

Larry Auerbach

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Larry Auerbach on William Morris signing Elvis Presley
Larry Auerbach on the Hollywood Blacklist
Larry Auerbach on the Quiz Show Scandals

Hank Azaria

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Hank Azaria on censorship issues on The Simpsons
Hank Azaria on advice to an aspiring actor

Thomas Azzari

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Thomas Azzari on how the business of television has changed
Thomas Azzari on how the process of creating television has changed
Thomas Azzari on technological developments in television since he started his career
Thomas Azzari on the importance of unions in the television industry

Bob Banner

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Bob Banner on how fans approached TV star Dinah Shore versus movie star Bette Davis
Bob Banner on his advice to an aspiring television producer or director
Bob Banner on the then-current state of television 
Bob Banner on how the television audience changed during his career

Joseph Barbera

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Joseph Barbera on the formation of his partnership with William Hanna, and on the creation of Tom and Jerry
Joseph Barbera on the creation of Hanna-Barbera Productions, and on creating The Huckleberry Hound Show and The Yogi Bear Show
Joseph Barbera on the sudden success of Hanna-Barbara Productions, and on its quick expansion
Joseph Barbera on producing limited animation, and on the then-current state of animation on television
Joseph Barbera on training his animators at Hanna-Barbera Productions, and on the fact that Hanna-Barbera owned their characters and merchandising rights
Joseph Barbera on how he went about selling his shows, and on Hanna-Barbera being sold to Taft Broadcasting in 1966

Paris Barclay

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Paris Barclay on the state of television advertising when he worked in it
Paris Barclay on rarely seeing African Americans in production when he worked in television advertising
Paris Barclay on how television has changed
Paris Barclay on the television audience

Richard Bare

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Richard L. Bare on directing Petticoat Junction a nd shooting episodes in color
Richard L. Bare on narrating B-roll footage, on winning a Director's Guild Award for his TV movie,  All Our Yesterdays in 1958

Erik Barnouw

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Erik Barnouw on the role of advertising agencies in controlling content on radio programs
Erik Barnouw on working on a radio ad campaign for Camel cigarettes and his criticism of advertising's impact on broadcasting in his subsequent writings
Erik Barnouw on the Hollywood Blacklist
Erik Barnouw on the importance of the Hollywood Blacklist to understanding the history of broadcasting and on Edward R. Murrow's denunciation of Senator Joseph McCarthy
Erik Barnouw on the quiz show scandals of the 1950s
Erik Barnouw on some of the conclusions be came to about television advertising in his book "A History of Broadcasting in the United States"
Erik Barnouw on his feelings about media consolidation

Rona Barrett

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Rona Barrett on becoming a celebrity herself
Rona Barrett on advice to aspiring gossip reporters

Cliff Barrows

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Cliff Barrows on Billy Graham's response to the threat of Communism

Bonnie Bartlett

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Bonnie Bartlett on how the industry has changed since she started
Bonnie Bartlett on advice to an aspiring actress

Ralph M. Baruch

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Ralph M. Baruch on syndicating shows for CBS internationally
Ralph M. Baruch on becoming Head of International Sales at CBS and dealing with sales in Australia
Ralph M. Baruch on dealing with various European countries as Head of International Sales at CBS
Ralph M. Baruch on the distinction between CBS Network and CBS Television
Ralph M. Baruch on the FCC's regulation of syndication
Ralph M. Baruch on the formation of CBS Films and the company's problems
Ralph M. Baruch on how CBS Films impacted his job selling shows
Ralph M. Baruch on CBS dealing with FCC regulations and the creation of Cinema Center Films
Ralph M. Baruch on disharmony between the various CBS divisions
Ralph M. Baruch on the creation of Viacom
Ralph M. Baruch on his first actions at the then-newly spun off Viacom
Ralph M. Baruch on running Viacom day-to-day
Ralph M. Baruch on Viacom's early television station acquisitions and original productions
Ralph M. Baruch on Viacom acquiring cable channels
Ralph M. Baruch on Viacom acquiring cable systems and lobbying the FCC and congress, and being sued by the Justice Department
Ralph M. Baruch on the continued growth of Viacom in the early '70s with original productions and syndication 
Ralph M. Baruch on Viacom's biggest syndicated programs
Ralph M. Baruch on Viacom suing the FCC
Ralph M. Baruch on the creation of Showtime and MTV Networks
Ralph M. Baruch on acquiring Cable Health Network and Sumner Redstone's takeover of Viacom
Ralph M. Baruch on his feelings about being forced out of Viacom and being on the Carnegie Hall Board of Directors
Ralph M. Baruch on the greatest success stories of Viacom
Ralph M. Baruch on the then-current state of television
Ralph M. Baruch on the then-future of television and cable
Ralph M. Baruch on television reaching its potential
Ralph M. Baruch on the buyout of CBS by Viacom
Ralph M. Baruch on the then-current state of syndication
Ralph M. Baruch on the then-current state of television news
Ralph M. Baruch on advice to aspiring television executives

Joe Behar

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Joe Behar on the future of the soap opera genre

William Bell

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William Bell on NBC executives trusting him with storylines on Days of Our Lives

Donald Bellisario

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Donald Bellisario on Magnum P.I.'s ratings and going up against The Cosby Show

Dick Berg

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Dick Berg on his experiences with the Hollywood Blacklist
Dick Berg on the end of anthology shows on network television and becoming President of The Academy of Television Arts & Sciences (Television Academy)
Dick Berg on advice to aspiring producers

Lowell Bergman

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Lowell Bergman on advice to an aspiring journalist
Lowell Bergman on the then-current state of the network nightly news programs and cable news networks

Ted Bergmann

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Ted Bergmann on early TV's relationship between the network, sponsor, and ad agency
Ted Bergmann on what sponsors looked for in a show and how DuMont stayed competitive 
Ted Bergmann on the fixed game show Twenty-One
Ted Bergmann on how the Quiz Show Scandals affected the advertising agencies
Ted Bergmann on the Hollywood Blacklist

Milton Berle

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Milton Berle on the Texaco Star Theater theme song and its strong ties to the show's sponsor
Milton Berle on his thoughts on the future of television in the 21st century

Shelley Berman

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Shelley Berman on working during the Hollywood Blacklist
Shelley Berman on coming up with new material for his 22 Ed Sullivan Show performances and on dealing with censors on live television
Shelley Berman on his advice to an aspiring performer

Rick Berman

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Rick Berman on advice to an aspiring producer

Barbara Billingsley

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Barbara Billingsley on the Hollywood Blacklist

Bruce Bilson

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Bruce Bilson on ageism in the television industry

Wade Bingham

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Wade Bingham on how the methods of reporting stories changed over the years
Wade Bingham on how the perception of network news changed over the course of his career
Wade Bingham on the benefits provided to the country by network news

Robert Blackman

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Robert Blackman on advice to an aspiring costume designer
Robert Blackman on how the television business has changed since he started

Linda Bell Blue

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Linda Bell Blue on the public's fascination with Michael Jackson and covering the Royal Family
Linda Bell Blue on interviewing Charles Manson for KCBS in Los Angeles
Linda Bell Blue on star quality and covering entertainment worldwide 
Linda Bell Blue on covering the death of Michael Jackson
Linda Bell Blue on the biggest story of her career, covering Anna Nicole Smith for Entertainment Tonight

Sam Bobrick

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Sam Bobrick on how the television industry has changed since he started
Sam Bobrick on career achievements and regrets
Sam Bobrick on advice to an aspiring writer and on how he'd like to be remembered

George Bodenheimer

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George Bodenheimer on ESPN's business model
George Bodenheimer on the culture of ESPN
George Bodenheimer on the reasoning behind launching ESPN2
George Bodenheimer on extending the ESPN brand with the radio network and ESPN.com
George Bodenheimer on how the TV industry has changed over the years

Haskell Boggs

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Haskell Boggs on advice to aspiring directors of photography

Vin Di Bona

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Vin Di Bona on advice given to him by Dick Clark
Vin Di Bona on how social media and YouTube have affected America's Funniest Home Videos
Vin Di Bona on advice to an aspiring producer
Vin Di Bona on the then-future of user-generated content on television 

Pat Boone

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Pat Boone on his first experiences being mobbed by fans

Al Borden

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Al Borden on advice to aspiring propmasters
Al Borden on how being a propmaster has changed over the years

Anthony Bourdain

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Anthony Bourdain on the impact of Anthony Bourdain: No Reservations, the end of the show, and moving to CNN
Anthony Bourdain on using social media to promote his shows
Anthony Bourdain on advice to aspiring writers and television personalities

Peter Boyle

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Peter Boyle on fan mail he receives
Peter Boyle on advice for aspiring actors

Eric Braeden

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Eric Braeden on how fans took to his Young and the Restless character, "Victor Newman"
Eric Braeden on how fans react to his Young and the Restless character, "Victor Newman"
Eric Braeden on being recognized as "Victor Newman" on The Young and the Restless and encounters with fans

Joshua Brand

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Joshua Brand on his great success in the television industry
Joshua Brand on dealing with censorship issues

Kevin Bright

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Kevin Bright on producing cable comedy specials in the 1980s and how the cable environment allowed him to create a niche for himself as a new kind of producer
Kevin Bright on Bright/Kauffman/Crane developing shows for Warner Bros., and the challenge of networks wanting Dream On for network (which was impossible)
Kevin Bright on an objection from executive Don Ohlmeyer to "Monica" sleeping with her date on the first episode of Friends
Kevin Bright on Friends streaming on Netflix and its popularity with young people
Kevin Bright on being the Founding Director of Emerson College Los Angeles
Kevin Bright on the hardest thing to teach about directing and producing for comedy
Kevin Bright on the best advice he's received about comedy and show business
Kevin Bright on how the industry has changed throughout the course of his career
Kevin Bright on advice to aspiring television professionals

Bernie Brillstein

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Bernie Brillstein on the difference between a manager and an agent

David Brinkley

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David Brinkley on Senator Joseph McCarthy's "list" of 205 alleged Communists
David Brinkley on becoming a spokesman for Archer Daniels Midland

Vivian Brown

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Vivian Brown on NBC acquiring The Weather Channel
Vivian Brown on advice to aspiring meteorologists 

Alton Brown

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Alton Brown on one scene Food Network asked him to remove from Good Eats
Alton Brown on what being on the Food Network has meant for his career and being a "cable-ebrity"

Harvey Bullock

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Harvey Bullock on advice to aspiring writers and comedy writers

Mark Burnett

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Mark Burnett on sponsorship and advertising on Survivor

Allan Burns

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Allan Burns on running the story idea of "Mary Richards" being divorced on The Mary Tyler Moore Show by CBS (response - American audiences won't tolerate 4 things on TV: people from New York, divorce, Jews, and mustaches)
Allan Burns on placing the main setting of The Mary Tyler Moore Show in a newsroom and "Mary Richards" not being a married woman

Ken Burns

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Ken Burns on his celebrity

Robert Butler

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Robert Butler on directing a Defenders episode where an actor was deemed "unacceptable" due to the Blacklist
Robert Butler on advice to aspiring directors

Dann Cahn

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Film editor Dann Cahn on the Blacklist era and Lucille Ball facing accusations of being a communist

Vince Calandra

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Vince Calandra on controversy over a Rolling Stones performance on The Ed Sullivan Show
Vince Calandra on controversy over Jim Morrison not changing his lyrics for a performance on The Ed Sullivan Show
Vince Calandra on advice to aspiring talent executives - return phone calls and don't book through email

David Canary

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David Canary on advice to aspiring actors
David Canary on how fame has affected him
David Canary on how television has changed since he first started in the business

Reuben Cannon

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Reuben Cannon on how the business of casting has changed since he started as the first black casting director
Reuben Cannon advice to aspiring casting directors
Reuben Cannon on advice to aspiring producers

Jim Cantore

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Jim Cantore on NBC's acquisition of The Weather Channel
Jim Cantore on his fans' perceptions of him
Jim Cantore on his celebrity from The Weather Channel
Jim Cantore on advice to aspiring weather forecasters

George Carlin

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George Carlin on the origin of his famous routine "Seven Dirty Words"
George Carlin on the material he was forced to censor when appearing on The Ed Sullivan Show

Steve Carlin

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Steve Carlin on getting Revlon to sponsor The $64,000 Question and developing the show
Steve Carlin on the start of the Quiz Show scandals
Steve Carlin on the Congressional Investigation into the game show Twenty-One
Steve Carlin on testifying to the grand jury investigating quiz shows

Kevin Carlisle

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Kevin Carlisle on how the industry has changed since he started, and on the then-future of choreography on television

Glenn Gordon Caron

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Glenn Gordon Caron on tricks he used on Moonlighting to try to get around the censors; on how you can't say "frig" on television
Glenn Gordon Caron on plugging "Memoirs Of A Geisha" on Medium (and the plight of being created by the parent company of one network and airing on another network)
Glenn Gordon Caron on advice to aspiring writers
Glenn Gordon Caron on how television has changed since he started in the business

Marcy Carsey

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Marcy Carsey on investing in the Oxygen network
Marcy Carsey and Tom Werner on problems with Roseanne on the set of Roseanne and how fame changed her
Marcy Carsey and Tom Werner on negotiations with networks for a joint venture upon the end of the fin-syn rules

Thomas Carter

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Thomas Carter on advice to aspiring television directors

Dick Cavett

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Dick Cavett on interviewing John Lennon and Yoko Ono and problems with the network
Dick Cavett on fame

Tucker Cawley

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Tucker Cawley on advice to aspiring writers

Marge Champion

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Marge Champion on how audiences had changed since she started on television 
Marge Champion on how performers have changed since she started in the business 
Marge Champion on how the medium of television changed during her active years
Marge Champion on the Hollywood Blacklist
Marge Champion on advice to aspiring dancers
Marge Champion on the then-future of television 

Cyd Charisse

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Cyd Charisse on the Hollywood Blacklist
Cyd Charisse on dance styles on television and how the television audience has changed over the years

Glen Charles

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Glen and Les Charles on dealings with the network and Standards and Practices on Taxi

Les Charles

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Glen and Les Charles on dealings with the network and Standards and Practices on Taxi

RuPaul Charles

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RuPaul Charles on advice anyone starting out in the entertainment industry

Tony Charmoli

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Tony Charmoli on his awareness of the Blacklist in the 1950s

David Chase

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David Chase on how HBO decided to take a chance on The Sopranos; on the creative freedom he had there

Michael Chiklis

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Michael Chiklis on the fans of The Commish
Michael Chiklis on advice to aspiring actors
Michael Chiklis on changes in the industry and "binge watching"

Julia Child

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Julia Child on the advent of The Food Network and her "teaching" her audience

Ed Christie

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Ed Christie on designing for international productions of Sesame Street
Ed Christie on advice to aspiring puppet designers

Roy Christopher

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Roy Christopher on how production design has changed since he started, and on how computers have impacted the job
Roy Christopher on advice to aspiring production designers

Roy Clark

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Roy Clark on his early agents and managers

Ron Clark

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Ron Clark on working with Tom and Dick Smothers on The Smothers Brothers Comedy Hour  and the censorship the show faced
Ron Clark on The Smothers Brothers Comedy Hour  tackling current events and the language on the show
Ron Clark on advice to an aspiring television writer

Dick Clark

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Dick Clark on producing the TV Movie, "The Woman Who Willed a Miracle"
Dick Clark on being targeted in the music -payola- investigation

Robert Clary

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Robert Clary on how the industry has changed since he started
Robert Clary on advice to an aspiring actor

Alf Clausen

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Alf Clausen on advice to an aspiring television composer

Bob Claver

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Bob Claver on working with the kids of The Partridge Family  and how they dealt with celebrity
Bob Claver on the way sitcoms have changed since he started
Bob Claver on advice to an aspiring television director
Bob Claver on advice to aspiring television producers

Art Clokey

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Art Clokey on his advice to young animation producers

Nick Clooney

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Nick Clooney on how TV affected the movie business
Nick Clooney on television's effect on radio in the 1950s
Nick Clooney on how television has changed since he first started in the business

William Clotworthy

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William Clotworthy on language he was allowed to use in an episode of General Electric Theater that he wrote, dealing with therapeutic abortion

Andy Cohen

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Andy Cohen on Queer Eye for the Straight Guy and his first experience with "regular people" becoming stars
Andy Cohen on Barry Diller offering him the opportunity to be Vice President of Original Programming at the cable channel, TRIO
Andy Cohen on the importance of social media to Bravo programming
Andy Cohen on his contribution to television and his legacy as a television host
Andy Cohen on his biggest contribution to Bravo
Andy Cohen on advice to aspiring television executives
Andy Cohen on advice to aspiring television hosts

Hugh Hefner with Emerson College

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Hugh Hefner on the then-current state of censorship in media, and on the government's role
Hugh Hefner on fame and celebrity, and on the importance of laughter

Doug Herzog with Emerson College

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Doug Herzog on helping to create Comedy Central's identity, and on the creation of The Daily Show
Doug Herzog on the evolving standards of Comedy Central, and on South Park and The Daily Show

Betty White with Emerson College

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Betty White on words of wisdom for aspiring television performers

Bill Dana with Emerson College

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Bill Dana on evolving standards for subject matter and language in comedy

Tony Roberts with Emerson College

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Tony Roberts on Zero Mostel and the Hollywood Blacklist

Charles Grodin with Emerson College

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Charles Grodin on the business end of show business, and on dealing with agents and managers
Charles Grodin on how his goals in the industry have changed over the years

Shecky Greene with Emerson College

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Shecky Greene on the then-current state of comedy, and on Lenny Bruce
Shecky Greene on the then-current state of comedy, and on Lenny Bruce
Shecky Greene on the role of agents and managers in his career, and on the importance of being prepared

Lewis Black with Emerson College

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Lewis Black on longevity in a comedian's career
Lewis Black on working out his stand-up routine in front of audiences

Jack Riley with Emerson College

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Jack Riley on advice to aspiring performers, and on his song writing

Shelley Berman with Emerson College

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Shelley Berman on creatives ways comedians used to get around language or subject restrictions in the early days of television, and on Janet Jackson's Super Bowl "nipplegate"
Shelley Berman on the then-future of comedy, and on his great admiration for Larry David, and David's work on Curb Your Enthusiasm
Shelley Berman on the importance in comedy of the audience relating to the comedian, and on the evolution of comedy in terms of explicit language

Hal Kanter with Emerson College

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Hal Kanter on how the business has changed since he started
Hal Kanter on the rise of "blue" humor
Hal Kanter on advice to aspiring comedy writers

Carlos Mencia with Emerson College

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Carlos Mencia on advice to aspiring comedians

Dick Gregory with Emerson College

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Dick Gregory on advice to aspiring comedians, and on profanity in comedy

Paul Rodriguez with Emerson College

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Paul Rodriguez on advice to an aspiring comedian
Paul Rodriguez on the drug scene in stand-up comedy in the 1980s, and on dealing with celebrity
Paul Rodriguez on how he defines success, and on various then-recent celebrity scandals

Robert Conrad

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Robert Conrad on the violence on The Wild, Wild West
Robert Conrad on being under contract at Warner Bros. Television

John Conte

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John Conte on his experience with the Hollywood Blacklist
John Conte on his ownership of KMIR-TV, an NBC-affiliated UHF station in the Palm Springs–Rancho Mirage market 
John Conte on owning televison station KMIR in Palm Springs, California
John Conte on advice to aspiring performers
John Conte on government's role in broadcasting
John Conte on the then-future of television

Richard Coogan

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Richard Coogan on his fame
Richard Coogan on the business of acting
Richard Coogan on changes in the television industry

Jeanne Cooper

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Jeanne Cooper on receiving her Lifetime Achievement Award from the Academy; on highlights of her career working in television

Anderson Cooper

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Anderson Cooper on utilizing social media on-air at CNN
Anderson Cooper on the then-current state of CNN and dealing with ratings
Anderson Cooper on advice to aspiring television journalists 

Hal Cooper

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Hal Cooper on censorship issues on I Dream of Jeannie and in his career

Barbara Corday

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Barbara Corday on leaving ABC and starting her own production company
Barbara Corday on the shows produced by her production company and being appointed President of Columbia Pictures Television
Barbara Corday on the kinds of programs that were produced when she was at Columbia Pictures Television
Barbara Corday on becoming Chief Operating Office of Columbia/Embassy Television and on leaving Columbia
Barbara Corday on becoming Executive Vice President for Prime Time Programming at CBS
Barbara Corday on advice to aspiring television writers
Barbara Corday on advice to aspiring television executives

Fred de Cordova

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Fred de Cordova on television's perceived second class status in the '50s
Fred de Cordova on the then-future of television and how he'd like to be remembered 
Fred de Cordova on issues with standards and practices on The Tonight Show Starring Johnny Carson

Pierre Cossette

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Pierre Cossette on dealing with Standards and Practices with The Grammys  and how the show has changed over the years
Pierre Cossette on advice to an aspiring producer

Bob Costas

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Bob Costas on how the business of televised sports has changed

Alexander Courage

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Alexander Courage on his memories of the Hollywood Blacklist
Alexander Courage on advice to aspiring film and TV composers

Douglas S. Cramer

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Douglas S. Cramer on advice to aspiring television producers
Douglas S. Cramer on the then-current state of television

Richard Crenna

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Richard Crenna on the Hollywood Blacklist
Richard Crenna on advice to aspiring actors

Walter Cronkite

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Walter Cronkite on how the Hollywood Blacklist affected him and the news industry, specifically the writers on the dramatic program You Are There: Abe Polonsky, Walter Bernstein, and Charles Collingwood
Walter Cronkite on the circumstances of being replaced by Jack Paar on The Morning Show; and what it taught him about how the television industry works 
Walter Cronkite on getting fired a second time from The Morning Show; allegedly for insulting new host Dick Van Dyke on-air

Hume Cronyn

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Hume Cronyn on the Hollywood Blacklist

Judy Crown

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Judy Crown on advice to aspiring hair stylists, and on how she'd like to be remembered
Judy Crown on how the television industry has changed since she started

Robert Culp

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Robert Culp on his first work for television on You Are There and on how his being new to television during the Blacklist period got him started in television

Jane Curtin

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Jane Curtin on advice to aspiring actors
Jane Curtin on dealing with celebrity and fame
Jane Curtin on how the medium of television has changed since she started

Bill Daily

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Bill Daily on the biggest change he's seen in television over the years
Bill Daily on challenges in the TV industry as a dyslexic
Bill Daily on enjoying fame and celebrity

William Daniels

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William Daniels on advice to an aspiring actor

Tony Danza

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Tony Danza on advice to an aspiring actor

Bill Davis

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Bill Davis on advice to aspiring television directors
Bill Davis on how television has changed since he started

Elias Davis

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Elias Davis and David Pollock on advice to an aspiring television writer

Ossie Davis

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Ossie Davis on the effect of the Blacklist on him and fellow performers and on being called to testify at the HUAC

Richard Dawson

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Richard Dawson on censorship on The New Dick Van Dyke Show

James Day

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James Day on being hired by KQED in San Francisco 
James Day on his initial duties at KQED (the Bay Area Educational Television Association)
James Day on initial funding efforts of KQED
James Day on garnering viewer support in the early days of KQED
James Day on choosing the call letters for KQED and the early technical aspects and operations of the station
James Day on KQED's early programming 
James Day on the role of the Educational Television and Radio Center in the early years of KQED and public television
James Day on network programming in San Francisco during KQED's early years and KQED's community-based programming
James Day on moderating the series Kaleidoscope
James Day on the financial turning point for KQED
James Day on early corporate funding of KQED
James Day on a Fidel Castro documentary and other KQED programming from the '60s
James Day on the state of KQED in 1962
James Day on the Carnegie Commission on Educational Television 
James Day on the Public Broadcasting Act of 1967 and becoming President of National Educational Television (NET)
James Day on KQED's Newspaper of the Air
James Day on the KQED series News Room
James Day on working with Fred Friendly on Public Broadcasting Laboratory 
James Day on becoming President of NET in New York
James Day on the establishment of the Public Broadcasting Service (PBS)
James Day on becoming President of WNET and supervising production of The Great American Dream Machine 
James Day on the process of program creation at WNET
James Day on The Great American Dream Machine  and other programs from his time at WNET
James Day on programming The 51st State
James Day on his tenure as President of WNET
James Day on Richard Nixon vetoing funds for public broadcasting in 1973
James Day on resigning from WNET
James Day on the establishment of the Children's Television Workshop
James Day on producing Day at Night
James Day on various people he worked with during his career
James Day on the then-current state of PBS and the marginalization of public television 

Joe DeTullio

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Joe DeTullio on working with the basic lack of budget restrictions for production design on Saturday Night Live
Joe DeTullio on advice to aspiring television production designers

John Debney

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John Debney on advice to an aspiring film and television composer

Milton Delugg

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Milton Delugg on NBC exec Pat Weaver's idea to have morning, noon and night shows on NBC, and on becoming bandleader on the night show Broadway Open House (precursor to The Tonight Show)
Milton Delugg on the censorship issues on The Gong Show

Kelley Dixon

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Kelley Dixon on advice to aspiring editors

Phil Donahue

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Phil Donahue on how the television industry was affected by the Quiz Show Scandals
Phil Donahue on how syndication allowed him to cover more controversial topics than if he aired as a network owned show
Phil Donahue on the controversial topics covered on Donahue and complaints by individual stations
Phil Donahue on the deterioration of daytime television

Sam Donaldson

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Sam Donaldson on his coverage of Watergate and how the later growth of cable fragmented news audiences

Louis Dorfsman

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Louis Dorfsman on the Hollywood Blacklist
Louis Dorfsman on how the networks design and art departments have changed over the years
Louis Dorfsman on his advice to aspiring Art Designers

David Dortort

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David Dortort on the Hollywood Blacklist

Hugh Downs

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Hugh Downs on Jack Paar's famous walk out on The Tonight Show on February 11, 1960 and the censored joke that provoked it
Hugh Downs on the role of advertisers on The Tonight Show
Hugh Downs on what he considers the best of television
Hugh Downs on the future of television

Charles Dubin

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Charles S. Dubin on being called to testify before the House Un-American Activities Committee and being blacklisted for five years
Charles S. Dubin on directing Twenty One produced by Dan Enright just before the Quiz Show Scandals broke, and on being called to testify about it
Charles S. Dubin on summing up his career including proudest achievement, advice, collaborating with writers, mentors, and how he'd like to be remembered

Patty Duke

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Patty Duke on how her managers gave her the answers for the $64,000 Challenge; on testifying before Congress during the Quiz Show Scandals
Patty Duke on what fans of The Patty Duke Show said/say to her
Patty Duke on her opinion on fame and getting recognized
Patty Duke on advice to an aspiring actor

Betty Cole Dukert

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Betty Cole Dukert on how Meet the Press  dealt with McCarthyism and partisan politics
Betty Cole Dukert on advice to aspiring news producers

Roger Ebert

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Roger Ebert on how his fame affected his work

Ralph Edwards

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Ralph Edwards on the effect of the Quiz Show scandals on Truth or Consequences

Michael Eisner

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Michael Eisner on the theories of ownership of programs on the major networks in the 1960s
Michael Eisner on lessons learned about broadcasting from his tenure at ABC

Hector Elizondo

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Hector Elizondo on the fame that resulted from his co-starring on Chicago Hope
Hector Elizondo on how the industry has changed since he started
Hector Elizondo on advice to an aspiring actor

Peter Ellenshaw

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Peter Ellenshaw on advice to aspiring artists 
Peter Ellenshaw on how effects have changed since he started in the business 
Harrison Ellenshaw on how visual effects have changed since he began working
Harrison Ellenshaw on advice for aspiring visual effects professionals 

Ed Begley, Jr. with Emerson College

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Ed Begley, Jr. on advice for aspiring performers

Dick Enberg

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Dick Enberg on advice to an aspiring sportscaster

Ruth Engelhardt

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Ruth Engelhardt on how the various departments at William Morris got along and interacted, and how actors regarded television
Ruth Engelhardt on her mentors and on attending law school while at William Morris
Ruth Engelhardt on the role of the advertiser in the early days of packaging television shows, and on controversy over The Dick Van Dyke Show and The New Dick Van Dyke Show
Ruth Engelhardt on the early structure of the William Morris Agency, and what she liked about the company
Ruth Engelhardt on the early competitors of the William Morris Agency, and on working with company head Abe Lastfogel
Ruth Engelhardt on the William Morris Agency mailroom, and on her mentor, Samuel Sacks
Ruth Engelhardt on the various offices of William Morris working together, and on the focus on the West Coast operation
Ruth Engelhardt on the shift in television from sponsors to networks
Ruth Engelhardt on actors walking out of shows in order to get raises, and on the issue of piracy of movies and television
Ruth Engelhardt on the Hollywood Blacklist
Ruth Engelhardt on the Quiz Show Scandals
Ruth Engelhardt on the Quiz Show Scandals, and how they impacted the sponsors
Ruth Engelhardt on William Morris' relationship with ABC, and various other studios and networks
Ruth Engelhardt on working on the Writers Guild of America's live agreement of 1958
Ruth Engelhardt on becoming a vice president at William Morris, and later becoming an agent
Ruth Engelhardt on the formation of CAA, and the comings and goings at William Morris Agency
Ruth Engelhardt on being head of business affairs for television at William Morris
Ruth Engelhardt on advice to an aspiring agent
Ruth Engelhardt on the legacy of the William Morris Agency

Jeannie Epper

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Jeannie Epper on advice to an aspiring stunt person

Danny Epstein

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Danny Epstein on advice to aspiring music professionals who want to work in television

Rod Erickson

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Rod Erickson on going to work for the advertising agency Foote, Cone & Belding as executive director of the radio version of "Your Hit Parade" on behalf of American Tobacco
Rod Erickson on subjects that were taboo on Proctor & Gamble's serials and getting Proctor & Gamble into television
Rod Erickson on Procter & Gamble's initial reluctance to sponsor television programs
Rod Erickson on going to work for Young & Rubicam and putting We, The People on television
Rod Erickson on pushing his clients into advertising on television while at Young & Rubicam, and on reading the television ratings of the day
Rod Erickson on how early advertising on television worked and on broadcasting We, The People
Rod Erickson on dealing with Gulf, the sponsor of We, The People
Rod Erickson on Gulf sponsoring The Gulf Road Show  and dealing with guest star Billie Holiday
Rod Erickson on delegating responsibility for We, The People and The Gulf Road Show
Rod Erickson on how Holiday Hotel, sponsored by Packard, got on the air produced by Felix Jackson
Rod Erickson on how commercials were inserted into shows in the early days of television
Rod Erickson on creating a commercial for Goodyear Tires
Rod Erickson on advertisers discovering that television was a great sales tool
Rod Erickson on the process of pairing advertisers with shows and attempting to pair Whitman Chocolates with The Red Skelton Show
Rod Erickson on the sponsorship of I Love Lucy by Phillip Morris and later by Jello
Rod Erickson on the preferred networks of sponsors in the 1950s
Rod Erickson on working with David Sarnoff at NBC and William S. Paley at CBS
Rod Erickson on the notion of networks providing a public service
Rod Erickson on the reasons companies have for sponsoring a television show
Rod Erickson on the types of shows that sponsors generally preferred
Rod Erickson on working on The Silver Theater
Rod Erickson on the construction of ABC's studios for Paul Whitman's Goodyear Revue
Rod Erickson on working on The Fred Waring Show sponsored by General Electric 
Rod Erickson on working on The Arrow Show, sponsored by Arrow Shirts
Rod Erickson on working on Hopalong Cassidy
Rod Erickson on the advent of packaging television shows by William Morris Agency and MCA
Rod Erickson on being involved in a lawsuit with MCA
Rod Erickson on networks being paid off by agencies to carry their packaged programs
Rod Erickson on his dealings with Desi Arnaz
Rod Erickson on his trips to California to meet clients
Rod Erickson on ad men dealing with the mob
Rod Erickson on advertising being a "people business" and the role of alcohol in the business
Rod Erickson on the factors that go into the decision to advertise on a show and the importance of the writer
Rod Erickson on turning down Danny Thomas' Make Room for Daddy
Rod Erickson on the advertisers control over time slot and other factors dealing with a show
Rod Erickson on the dearth of black actors on television in the 1950s and 1960s and anti-Semitism in the ad industry
Rod Erickson on the Hollywood Blacklist's effect on television advertising
Rod Erickson on the ethics of advertising cigarettes on television
Rod Erickson on product placement in television and movies
Rod Erickson on the shift away from sponsors owning a whole show
Rod Erickson on reading the Neilson ratings and predicting people's television viewing habits on given nights of the week
Rod Erickson on ad agencies getting out of the business of producing shows and how his job changed as a result
Rod Erickson on the effectiveness of commercials
Rod Erickson on the research involved in making effective commercials and on the psychology of commercials
Rod Erickson on the power of television and on violent television programming
Rod Erickson on retiring from the advertising industry in 1961
Rod Erickson on how the advertising industry had changed since he retired
Rod Erickson on the then-current state of television advertising
Rod Erickson on television ratings and demographics, and going to work for the American Research Bureau

Nanette Fabray

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Nanette Fabray on the Hollywood Blacklist
Nanette Fabray on good advice she's gotten regarding her acting in her career
Nanette Fabray on advice to aspiring actors

Jeff Fager

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Jeff Fager on resistance from the network on CBS Evening News reporting on certain stories, with the example of a story about Palestinian refugee camps
Jeff Fager on changes at CBS when Laurence Tisch became CEO in 1986, and conflicts between him and Don Hewitt
Jeff Fager on a conflict between then-CEO of CBS Laurence Tisch and 60 Minutes creator Don Hewitt over the story of tobacco industry whistleblower Jeffrey Winger, who alleged that the tobacco industry knew the addictive and deadly nature of cigarettes
Jeff Fager on network input into 60 Minutes stories
Jeff Fager on being executive producer of CBS Evening News with Dan Rather at a time when news was becoming more sensational
Jeff Fager on the creation of 60 Minutes Overtime, 60 Minutes' online companion and the 60 Minutes app
Jeff Fager on what has changed about news since he started in the business
Jeff Fager on the public's perception of the news media
Jeff Fager on the biggest problem facing the news media and the choices that are being made in response to digital media and the search for "clicks"
Jeff Fager on the best advice he received on producing a story, from Don Hewitt
Jeff Fager on advice for young journalists
Jeff Fager on the lifestyle of being a journalist

Edie Falco

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Edie Falco on violence on The Sopranos
Edie Falco on winning an Emmy for Nurse Jackie in 2010 and her feelings about the series being classified as a comedy
Edie Falco on her interactions with network executives
Edie Falco on how the television industry has changed since she started out
Edie Falco on how roles for women have changed since she started out in television and how she relates to her characters as a woman
Edie Falco on advice to aspiring actors

Jerry Falwell

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Jerry Falwell on his purchase of the Liberty Broadcasting Cable Network
Jerry Falwell on what defines television at its best
Jerry Falwell on advice to aspiring televangelists 

Jamie Farr

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Jamie Farr on cross-dressing as "Klinger" on M*A*S*H and reaction from fans from the "Big Mac" episode
Jamie Farr on difficulties with the original format of The Gong Show
Jamie Farr on memorable episodes of The Gong Show with Jaye P. Morgan

Ruth Duskin Feldman

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Ruth Duskin Feldman on the sponsors of Quiz Kids
Ruth Duskin Feldman on her advice to parents with children in the public eye

Julian Fellowes

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Julian Fellowes on advice to those starting out in the television business 

Mike Fenton

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Mike Fenton on the craft and technique of casting for television and on the Hollywood Blacklist
Mike Fenton on the then-current state of casting for television 
Mike Fenton on advice to aspiring casting directors

Tom Fontana

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Tom Fontana on dealing with censorship issues and the head of Broadcast Standards at NBC during his time on Homicide: Life on the Street
Tom Fontana on the then-innovative Internet presence of Homicide: Life on the Street  and using new media to supplement his subsequent shows
Tom Fontana on writing Oz  with no network censorship 
Tom Fontana on advice to aspiring television writers and producers

Horton Foote

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Horton Foote on the Hollywood Blacklist
Horton Foote on what represents television at its best
Horton Foote on his thoughts on the golden age of television

June Foray

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June Foray on how animation has changed over the years

John Forsythe

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John Forsythe on the Hollywood Blacklist
John Forsythe on Bachelor Father  switching between the three networks and on the sponsorship of the show
John Forsythe on advice to aspiring actors

Sonny Fox

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Sonny Fox on the Quiz Show Scandals

Richard Frank

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Richard Frank on the failed Paramount Television Service
Richard Frank on the ever-changing landscape of television and dealing with Standards and Practices
Richard Frank on seeing the future of new media and vertical integration
Richard Frank on the effect of the internet on programming now and in the future

Reuven Frank

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Reuven Frank on the Senator Joseph McCarthy hearings
Reuven Frank on the biggest changes in television news during his career
Reuven Frank on the pressure to cut costs in television news
Reuven Frank on how well television news serves the people, and on the then-differences between the three network newscasts

Dennis Franz

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Dennis Franz on being voted "Villain of the Year" by TV Guide

Albert Freedman

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Albert Freedman on television in its infancy
Albert Freedman on raising money for the defense fees for those on trial during the Hollywood Blacklist
Albert Freedman on his dealings with Twenty One contestant James Snodgrass during the Quiz Show Scandals
Albert Freedman on the most difficult pre-test of all the quiz shows - on Twenty One - and how producers selected which answers to give contestants
Albert Freedman on becoming a producer on Twenty One, coaching contestants, and casting Charles Van Doren on the program
Albert Freedman on the head of Geritol (Twenty One's sponsor) wanting Herbert Stempel off the program and how Freedman convinced Charles Van Doren to become a contestant
Albert Freedman on the head of Geritol (Twenty One's sponsor) wanting Herbert Stempel off the program and how Freedman convinced Charles Van Doren to become a contestant
Albert Freedman on Charles Van Doren becoming a celebrity because of his appearances of Twenty One; on the beginning of the Quiz Show Scandals; on not wanting to implicate Charles Van Doren
Albert Freedman on Charles Van Doren becoming a celebrity because of his appearances of Twenty One and Freedman realizing the power of television
Albert Freedman on Charles Van Doren becoming a celebrity because of his appearances of Twenty One and Freedman realizing the power of television
Albert Freedman on the beginning of the Quiz Show scandals in 1958 - Ed Hilgemeier going to the press about the fixing of Dotto
Albert Freedman on Charles Van Doren contacting him when the D.A.'s office announced an investigation into the quiz shows (including Twenty One)
Albert Freedman on the sequence of events that led to the press scrutinization of TV and the explosion of the Quiz Show Scandals
Albert Freedman on how he got embroiled in the investigations surrounding the Quiz Show Scandals; on how he was counseled by lawyers
Albert Freedman on being poorly coached by lawyers for the Grand Jury testimony for the Quiz Show Scandals; on realizing he was being set up for an indictment
Albert Freedman on not giving names to prosecutor Joseph Stone when he was questioned during the Quiz Show Scandals
Albert Freedman on being indicted for perjury after his testimony during the Quiz Show Scandals; on recanting his testimony and perjuring himself again
Albert Freedman on being blacklisted because of the Quiz Show Scandals and getting stranded in Mexico
Albert Freedman on Charles Van Doren being persuaded to testify before the House Committee after Van Doren had seen the notes from the original Grand Jury testimony; on returning from Mexico to testify
Albert Freedman on CBS allegedly paying off the Harris Commission, Charles Revson perjuring himself, and other testimony at the Congressional hearings
Albert Freedman on testifying before the Grand Jury for a third time during the Quiz Show Scandals and his indictment finally being dropped after four years
Albert Freedman on Robert Redford's movie "Quiz Show" and whether or not the film was accurate
Albert Freedman on who the "bad guys" were in the Quiz Show Scandals
Albert Freedman on the impact of the Quiz Show Scandals on the medium of television - the end of the intelligent era of live TV
Albert Freedman on what the quiz shows were really about - making education respectable via entertainment
Albert Freedman on whether today's quiz shows are affected by the Quiz Show Scandals

Jonathan Frid

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Jonathan Frid on advice to an aspiring actor

Gerald Fried

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Composer Gerald Fried on blacklisted musicians
Gerald Fried on censorship in his music
Gerald Fried on the business side of television music

Ron Friedman

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Ron Friedman on how the industry has changed since he started
Ron Friedman on advice to aspiring writers, and on his children who are writers

Harry Friedman

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Harry Friedman on advice to an aspiring producer
Harry Friedman on advice to an aspiring game show host
Harry Friedman on how television has changed over the years

Chuck Fries

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Chuck Fries on the profitability of Ziv Productions and on their most successful shows (Sea Hunt and Highway Patrol)
Chuck Fries on the history of Screen Gems
Chuck Fries on Columbia (Screen Gems) being a family business and how the company was run
Chuck Fries on Harry Ackerman, Vice President of Production at Screen Gems and on trouble Screen Gems had early on
Chuck Fries on John Mitchell, President of Screen Gems, and on how Bill Dozier ran the company
Chuck Fries on the staff and politics at Screen Gems
Chuck Fries on Screen Gems focusing on comedy programming
Chuck Fries on Screen Gems' relationship with ABC and Leonard H. Goldenson
Chuck Fries on going to work for Metromedia and what the company did
Chuck Fries on the role talent agencies play on television, and on William Morris Agency President Abe Lastfogel
Chuck Fries on creating Fries Entertainment
Chuck Fries on the early associates of Fries Entertainment
Chuck Fries on the duties of an executive producer on a made-for-television movie
Chuck Fries on producers dealing with television ratings
Chuck Fries on Fries Entertainment going public
Chuck Fries on Fries Entertainment going public
Chuck Fries on the bankruptcy of Fries Entertainment in 1991
Chuck Fries on the then-current state of independent television producers 
Chuck Fries on taking an active role in industry affairs
Chuck Fries on how television changed during his career regarding censorship of content
Chuck Fries on the impact of cable on the television industry

Murray Fromson

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Murray Fromson on the then-current state of television news
Murray Fromson on advice to aspiring journalists

Pamela Fryman

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Pamela Fryman on how the industry has changed since she started, and on women in the industry
Pamela Fryman on advice to aspiring directors and producers

Michael Fuchs

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Michael Fuchs on HBO branching out beyond movies
Michael Fuchs on HBO's early business model
Michael Fuchs on the networks' and movie studios' early reaction to HBO, and HBO's reaction to home video
Michael Fuchs on the advent of "multiplexing" programming
Michael Fuchs on the merger of Warner Bros. and Time Inc.
Michael Fuchs on HBO's foray into international programming and the use of satellites to deliver programming
Michael Fuchs on the effect of the Time Inc./Warner Bros. merger on HBO's programming
Michael Fuchs on HBO's brand and advertising 
Michael Fuchs on the future of television

Eileen Fulton

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Eileen Fulton on her acting style, and on advice to aspiring actors
Eileen Fulton on the extent of Proctor & Gamble's involvement with As the World Turns, and on her distaste of focus groups

James Garner

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James Garner on public reaction to Maverick and his fame

Betty Garrett

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Betty Garrett on how the Hollywood Blacklist impacted her and her husband, Larry Parks
Betty Garrett on finally being removed from the Blacklist, and on meeting Senator Joseph McCarthy
Betty Garrett on advice to aspiring performers

Greg Garrison

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Greg Garrison on the Hollywood Blacklist and how it impacted actor Jack Gilford and others
Greg Garrison on dealing with the network and Standards & Practices on The Dean Martin Show
Greg Garrison on the then-future of television

Mitzi Gaynor

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Mitzi Gaynor on her final television special, Mitzi... What's Hot, What's Not and dealing with censors
Mitzi Gaynor on how show business and television have changed over the years
Mitzi Gaynor on how celebrity has affected her

Larry Gelbart

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Larry Gelbart on the new challenges of television, and how the shows were shot in "legitimate" houses
Larry Gelbart on the differences between television in the UK versus the US in the '60s

Michael Gelman

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Michael Gelman on advice to an aspiring producer

David Gerber

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David Gerber on what a television packager does and shows he packaged at Famous Artists Agency
David Gerber on making money from television packaging deals
David Gerber on doing television deals at 21 and The Polo Lounge
David Gerber on advice to an aspiring producer

Marla Gibbs

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Marla Gibbs on ageism in the television industry
Marla Gibbs on advice to an aspiring actor

Herschel Burke Gilbert

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Herschel Burke Gilbert on the Hollywood Blacklist

Vince Gilligan

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Vince Gilligan on his interaction with Standards & Practices and what he was able to show on The X-Files versus Breaking Bad - he couldn't show a gun held to a head during a game of Russian Roulette
Vince Gilligan on pitching the idea of a middle-aged family man cooking a meth lab to cable networks

Paul Michael Glaser

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Paul Michael Glaser on advice to aspiring actors

Lesli Linka Glatter

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Lesli Linka Glatter on directing nude scenes on NYPD Blue
Lesli Linka Glatter on working around the budget restrictions of basic cable while directing Mad Men, and on the dynamics between the characters on the show
Lesli Linka Glatter on directing the Freaks and Geeks episode "Kim Kelly Is My Friend," and on the issues Standards & Practices had with the episode
Lesli Linka Glatter on mostly being focused on television in her career, but also occasionally working in film
Lesli Linka Glatter on how the television industry has changed since she started
Lesli Linka Glatter on advice to aspiring directors
Lesli Linka Glatter on advice to aspiring producers

Sharon Gless

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Sharon Gless and Barney Rosenzweig on getting recognized by and interacting with fans
Sharon Gless on being hugged by fans, and the impact of Queer as Folk

Gary David Goldberg

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Gary David Goldberg on how television has changed since he started in the business

Leonard Goldberg

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Leonard Goldberg on working for advertising agency BBD&O
Leonard Goldberg on the deal with Ford on Starsky and Hutch
Leonard Goldberg on issues with Standards & Practices and complaints from the lead actresses on Charlie's Angels
Leonard Goldberg on censorship issues on Charlie's Angels
Leonard Goldberg on fighting Standards & Practices on the incest in the TV movie Something About Amelia
Leonard Goldberg on the future of television
Leonard Goldberg on the future of the big three networks
Leonard Goldberg on advice to aspiring producers and executives

Leonard H. Goldenson

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Leonard Goldenson his deal with Edward J. Noble (head of Lifesavers) to purchase NBC's Blue network, which became ABC
Leonard Goldenson on convincing Paramount's board members to buy ABC
Leonard Goldenson on his programming ideas for ABC and making a deal with Walt and Roy Disney
Leonard Goldenson on making a deal with Jack Warner
Leonard Goldenson on changing the sponsorship model for television
Leonard Goldenson on his most important decisions at ABC
Leonard Goldenson on getting into cable television
Leonard Goldenson on acquiring ESPN and starting A&E
Leonard Goldenson on merging with Capital Cities
Leonard Goldenson on Disney acquiring ABC

Jerry Goldsmith

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Jerry Goldsmith on advice to aspiring composers

Lewis Gomavitz

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Lewis Gomavitz on the Hollywood Blacklist
Lewis Gomavitz on getting into advertising

Julian Gomez

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Julian Gomez on Big Brother and CBS Standards and Practices

Louis Gossett, Jr.

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Louis Gossett, Jr. on how the industry has changed since he started

Curt Gowdy

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Curt Gowdy on broadcasters becoming celebrities

Herb Granath

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Herb Granath on working in sales for NBC
Herb Granath on the start of the Lifetime cable channel
Herb Granath on the birth of The History Channel
Herb Granath on the birth and management of CBS cable
Herb Granath on the growth of ESPN and the launch of ESPN 2
Herb Granath on the birth of ESPN
Herb Granath on the formation of Eurosport
Herb Granath on becoming Co-Chairman of the Hallmark Network
Herb Granath on his involvement with the Television Academy

Lee Grant

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Lee Grant on her relationship with Arnold Manoff and their experiences with the Hollywood Blacklist
Lee Grant on testifying before the House Un-American Activities Committee
Lee Grant on her friends and co-workers reaction to having been blacklisted, and on what her life was like when she was on the blacklist
Lee Grant on the fate of her then-husband Arnold Manoff, who'd been blacklisted, and on how other writers and actors dealt with the Hollywood Blacklist
Lee Grant on her feelings on those who named names to the House Un-American Activities Committee like Elia Kazan, and on the end of the blacklist
Lee Grant on how the Hollywood Blacklist affected television as a whole
Lee Grant on advice to aspiring actors
Lee Grant on the then-future of television
Lee Grant on appearing on Search for Tomorrow and on being fired because of the blacklist

Walon Green

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Walon Green on NYPD Blue and ABC Standards and Practices
Walon Green on paying attention to things like ratings for the shows he wrote on, and on the cancellation of Law & Order: Trial by Jury
Walon Green on writing for Law & Order: Criminal Intent which was airing on the USA cable network
Walon Green on advice to an aspiring writer

Andy Griffith

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Andy Griffith on the then-best of television, and on the then-future of the television

Donald Hall

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Donald Hall on the formation of Hallmark Entertainment and The Hallmark Channel
Donald Hall on Hallmark's television commercials 
Donald Hall on television's mission

Robert Halmi, Sr.

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Robert Halmi, Sr. on producing the 1979 television movie My Old Man and financing it directly through advertisers, rather than the networks
Robert Halmi, Sr. on his commitment to family entertainment
Robert Halmi, Sr. on how cable has affected the TV landscape
Robert Halmi, Sr. on advice to aspiring producers

Jon Hamm

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Jon Hamm on what he would want to tell his younger self when starting out in the business

Earl Hamner, Jr.

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Earl Hamner on writing spec scripts for The  Alfred Hitchcock Hour and The Andy Griffith Show
Earl Hamner on the effect of the Blacklisting era

Jonathan Harris

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Jonathan Harris on advice to aspiring actors

Don Hastings

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Don Hastings on the set and costumes of Captain Video and His Video Rangers, and on the DuMont Television Network
Don Hastings on advice to an aspiring actor

Jeffrey Hayden

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Jeffrey Hayden on the Hollywood Blacklist and how he helped actor Will Geer

Dwight Hemion

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Dwight Hemion on advice to an aspiring director

Florence Henderson

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Florence Henderson on working on Today when Charles Van Doren was a correspondent

Skitch Henderson

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Lyle "Skitch" Henderson on the popularity of Steve Allen's Tonight, and on network interference or censorship with the show
Lyle "Skitch" Henderson on the Hollywood Blacklist
Lyle "Skitch" Henderson on advice to aspiring musicians to desire to work in television

Marilu Henner

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Marilu Henner on doing commercials early in her career
Marilu Henner on how the industry has changed since she started
Marilu Henner on advice to an aspiring actor

Danette Herman

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Danette Herman on the Academy Awards  and social media
Danette Herman on advice to aspiring talent executives

Winifred Hervey

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Winifred Hervey on censorship on The Golden Girls
Winifred Hervey on her biggest challenge in the business - being female and a minority
Winifred Hervey on advice to aspiring writers and producers

Don Hewitt

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Don Hewitt on early sponsorship of network news programs

Arthur Hiller

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Arthur Hiller on the list of "don't dos" they had from the sponsors and the network on NBC Matinee Theater, and a near-controversy when he cast an African American actor as a doctor
Arthur Hiller on the "don't dos" list from the sponsors and the networks in early television
Arthur Hiller on the Hollywood Blacklist
Arthur Hiller on the status of a feature director versus the status of a television director
Arthur Hiller on advice to aspiring directors
Arthur Hiller on his then-current life and projects and on ageism in the industry

Martin Hoade

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Martin Hoade on describing NBC Television in 1945
Martin Hoade on how he feels about the networks' responsibility to provide religious programming
Martin Hoade on what he feels the mission of television should be

Leslie Hoffman

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Leslie Hoffman on advice to aspiring stunt people

Hal Holbrook

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Hal Holbrook on advice to an aspiring actor

Ellen Holly

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Ellen Holly on her difficulties renewing her One Life to Live contract after the first year
Ellen Holly on Agnes Nixon selling One Life to Live to ABC
Ellen Holly on what she learned from her time on One Life to Live, including advice she would give to young actors about the business-end of television

Silvio Horta

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Silvio Horta on the presentation of Ugly Betty  at the upfront presentations to advertisers
Silvio Horta on advice to aspiring writers

Stanley Hubbard

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Stanley Hubbard on growing up around the radio and television business
Stanley Hubbard on the radio community's reaction to early television and Jack L. Warner's reaction to television
Stanley Hubbard on his father's radio and television stations competing with newspapers
Stanley Hubbard on KSTP's ratings in the '50s and wrestling on the station
Stanley Hubbard on Hubbard Broadcasting acquiring television stations in the '50s
Stanley Hubbard on his father pursuing technological innovation in television, and the stations making the transition to color
Stanley Hubbard on becoming Vice President of Hubbard Broadcasting in 1962, and his increasing responsibilities at the company
Stanley Hubbard on hiring Frank Magid as a consultant for his news broadcasts
Stanley Hubbard on his stations switching affiliations from NBC to ABC
Stanley Hubbard on the relationship between the network and the affiliate, and affiliates dealing with demographics and ratings
Stanley Hubbard on the then-current state of HBO and Hubbard Broadcasting's acquisition of United States Satellite Broadcasting Company and Direct Broadcast Satellite
Stanley Hubbard on the growth of satellite television in the '80s and '90s
Stanley Hubbard on his 1991 agreement with DIRECTV
Stanley Hubbard on the death of his father and creating a satellite news gathering truck
Stanley Hubbard on creating a satellite news gathering truck (CONUS)
Stanley Hubbard on KSTP starting to broadcast a digital signal in 1999
Stanley Hubbard on the technical aspects of switching over to digital television and the then-future of interactive television
Stanley Hubbard on the then-current state of television advertising and DVR technology
Stanley Hubbard on the then-future of television advertising and the impact of the internet on television
Stanley Hubbard on the government's role in broadcasting and dealing with FCC regulations
Stanley Hubbard on the then-current push toward deregulation in broadcasting
Stanley Hubbard on the then-current state of Hubbard Broadcasting

Felicity Huffman

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Felicity Huffman on the immediate success of Desperate Housewives
Felicity Huffman on ABC's hands-off approach to American Crime
Felicity Huffman on live-tweeting during the broadcasts of American Crime
Felicity Huffman and William H. Macy on the challenges of being a guest star on a hit TV series
Felicity Huffman and William H. Macy on how parenthood has affected their opinion of television and the messages it sends to women, in particular
Felicity Huffman and William H. Macy on which television shows they are currently watching
Felicity Huffman and William H. Macy on how they've used their celebrity to champion causes

Roy Huggins

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Roy Huggins on joining the Communist Party
Roy Huggins on how his communist leanings impacted the work he was doing as a novelist
Roy Huggins on writing the feature film "Hangman's Knot" and being placed on the Hollywood Blacklist
Roy Huggins on writing and directing the feature "Hangman's Knot" despite being blacklisted 
Roy Huggins on being subpoenaed by the House Un-American Activities Committee (HUAC) and naming names
Roy Huggins on going to Universal Television 
Roy Huggins on how changes in television led to him leaving Universal Television 
Roy Huggins on his career and his biggest contribution to television

Kim Hunter

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Kim Hunter on the impact of the Hollywood Blacklist on television
Kim Hunter on being blacklisted in the 1950s
Kim Hunter on advice to aspiring actors

Eddie Foy III

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Eddie Foy III on the Hollywood Blacklist

Frank Inn

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Frank Inn on advice to aspiring Hollywood animal trainers

David Isaacs

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Ken Levine and David Isaacs on advice to aspiring writers

Seaman Jacobs

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Seaman Jacobs on the Hollywood Blacklist
Seaman Jacobs on how audiences have changed since he started
Seaman Jacobs on the then-future of television
Seaman Jacobs on how television writers are treated, and on the importance of preserving television history

Alan Jaggs

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Alan Jaggs on advice to aspiring editors

Al Jean

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Al Jean on broadcast standards and The Simpsons
Al Jean on advice for aspiring writers and for those who want to get into animation

Herb Jellinek

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Herb Jellinek on the dire financial state of ABC when he first arrived, and how it eventually emerged as a competitor due to Leonard H. Goldenson
Herb Jellinek on the financial specifics of ABC in the '50s, and the shows on the air there at the time
Herb Jellinek on ABC's coverage of the Senator Joseph McCarthy hearings
Herb Jellinek on how ABC created the business model for television networks
Herb Jellinek on becoming assistant director of sales service for ABC in 1958
Herb Jellinek on becoming cost control administer at ABC and on moving to Los Angeles
Herb Jellinek on organizing the budgets for ABC
Herb Jellinek on ITT's attempted takeover of ABC
Herb Jellinek on becoming head of production at ABC Circle Films and on working with Barry Diller
Herb Jellinek on the vision of ABC Circle Films and on the various programming it produced including Love Among the Ruins starring Katharine Hepburn and Laurence Olivier
Herb Jellinek on overseeing production for ABC Motion Pictures, ABC's then-feature film division, and on the feature "Young Doctors in Love"
Herb Jellinek on the ABC Motion Pictures' production "Prizzi's Honor," and on their business model
Herb Jellinek on various ABC Motion Pictures features including "The Flamingo Kid," "Silkwood," and "Space Camp"
Herb Jellinek on being vice president in charge of entertainment for ABC in the 1980s
Herb Jellinek on the sale of ABC to Capital Cities in 1985, and on his retirement from ABC
Herb Jellinek on Leonard H. Goldenson's role at ABC after the sale to Capital Cities
Herb Jellinek on the nature of the competition between the networks during his tenure at ABC

Joseph Jennings

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Joseph Jennings on the Hollywood Blacklist
Joseph Jennings on the then-new technologies in art direction and how production design has changed over the years
Joseph Jennings on advice to an aspiring art director

Geri Jewell

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Geri Jewell on the challenges she faced when her manager stole the money she earned from The Facts of Life and how the show's producer Al Burton tried to help her
Geri Jewell on her experience with "overnight fame" and the impact of her visibility as a person with a disability
Geri Jewell on her feelings about actors without disabilities playing characters with disabilities
Geri Jewell on advice for aspiring actors

Lamont Johnson

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Lamont Johnson on working with Fay Wray, and on the Hollywood Blacklist
Lamont Johnson on being on the Hollywood Blacklist, and on producer Albert McCleery disregarding it to hire him
Lamont Johnson on dealing with the Hollywood Blacklist, and later directing many issue-oriented shows like My Sweet Charlie
Lamont Johnson on advice to an aspiring director
Lamont Johnson on advice to an aspiring actor

Russell Johnson

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Russell Johnson on being questioned about his politics because of his name
Russell Johnson on the critics' reactions to Gilligan's Island
Russell Johnson on advice to aspiring actors

Robert Johnson

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Robert Johnson on the early reaction of broadcast networks to cable
Robert Johnson on starting BET
Robert Johnson on John Malone's role in creating BET
Robert Johnson on the early business plan and promotional activity of BET
Robert Johnson on coming up with the name BET
Robert Johnson on Viacom's acquisition of BET

Shirley Jones

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Shirley Jones on how the industry has changed since she started and on continuing to work
Shirley Jones on advice to an aspiring actress, and on how she'd like to be remembered

Sidney M. Katz

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Sidney M. Katz on dealing with Hollywood Blacklist
Sidney M. Katz on editing Edward R. Murrow's See It Now  series and the episode on Joseph McCarthy
Sidney M. Katz on advice to aspiring editors

Elodie Keene

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Elodie Keene on Steven Bochco dealing with network censorship issues surrounding the language and nudity on NYPD Blue
Elodie Keene on how the television industry has changed since she started, and on how directing for television has changed
Elodie Keene on having creative freedom as a director in television, and on getting notes from networks and studios
Elodie Keene on her work being watched on new media
Elodie Keene on advice that has helped her as a director

Bob Keeshan

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Bob Keeshan on the industry's responsibility to children
Bob Keeshan on the network and Captain Kangaroo  and the Hollywood Blacklist
Bob Keeshan on what represents the best in television

Asaad Kelada

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Asaad Kelada on working with the young cast of The Facts of Life and how they handled fame
Asaad Kelada on how "The Dinner Party," an episode of The Office was delayed due to the Writers' Strike

H. Wesley Kenney

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H. Wesley Kenney on controversial Days of Our Lives storylines and dealing with Standards and Practices

Roger King

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Roger King on the King World merger with CBS/Viacom, and on working with Sumner M. Redstone to make the deal
Roger King on creating and distributing The Roseanne Show starring Roseanne, and on how King World dealt with failure
Roger King on how the business of television syndication has changed since he started, and on the emergence of cable and the internet
Roger King on the then-future of television, syndication, and King World
Roger King on advice to an aspiring television executive

Michael King

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Michael King on the success of Wheel of Fortune and the business of selling the show
Michael King on maintaining the ratings for Wheel of Fortune and Jeopardy! and the various promotions for the shows
Michael King on the financial expansion of King World
Michael King on King World's merger with CBS/Viacom
Michael King on his role at King World after the CBS/Viacom merger
Michael King on the then-future of broadcasting
Michael King on advice to someone entering the television business

Ernest Kinoy

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Ernest Kinoy on the McCarthy era and the Blacklist episode of The Defenders
Ernest Kinoy on the Hollywood Blacklist and The Defenders
Ernest Kinoy on the Hollywood Blacklist and Red Channels 
Ernest Kinoy on the then-future of television
Ernest Kinoy on advice to aspiring writers

Jeff Kisseloff

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Jeff Kisseloff on interviewing former president of CBS Frank Stanton about the Hollywood Blacklist
Jeff Kisseloff on covering controversial topics like the Blacklist for his book "The Box: An Oral History of Television, 1929-1961"
Jeff Kisseloff on Edward R. Murrow and Fred Friendly's See It Now "A Report on Senator Joseph R. McCarthy"
Jeff Kisseloff on his interview with Twenty-One producer Al Freeman, Jr. and attempting to interview Charles Van Doren
Jeff Kisseloff on the emergence of podcasts
Jeff Kisseloff on maintaining his website and on the emergence of the Internet as a journalistic force

Jack Klugman

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Jack Klugman on the Hollywood Blacklist
Jack Klugman on "The Blacklist" episode of The Defenders and winning an Emmy for the role

Arnie Kogen

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Arnie Kogen on how the television industry has changed since he started and on his then-current television favorites
Arnie Kogen on advice to an aspiring writer

Bernie Kopell

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Bernie Kopell on how television has changed since he started

Ted Koppel

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Ted Koppel on media consolidation and its impact on the news

Mario Kreutzberger

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Mario Kreutzberger on the future of television as driven by content

Marty Krofft

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Sid and Marty Krofft on sage advice from Walt Disney
Sid and Marty Krofft on problems with Standards & Practices on H.R. Pufnstuf
Sid and Marty Krofft on advice to aspiring puppeteers

Sid Krofft

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Sid and Marty Krofft on sage advice from Walt Disney
Sid and Marty Krofft on problems with Standards & Practices on H.R. Pufnstuf
Sid and Marty Krofft on advice to aspiring puppeteers

Steve Kroft

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Steve Kroft on interviewing Clarence Thomas for 60 Minutes and dealing with criticism of his interviews
Steve Kroft on the movement toward more celebrity-driven news

Lisa Kudrow

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Lisa Kudrow on the sudden popularity of Friends and the cast's appearance on Oprah Winfrey's show
Lisa Kudrow on how fame affected the cast members of Friends; on not being able to go out in public after their success hit
Lisa Kudrow on the "overexposure" of the cast of Friends

Sheila Kuehl

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Sheila Kuehl on her interaction with fans of The Many Loves of Dobie Gillis and how they reacted to her character "Zelda Gilroy"
Sheila Kuehl on advice to aspiring actors and politicians

Jack LaLanne

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Jack LaLanne on syndicating The Jack LaLanne Show
Jack LaLanne on censorship on The Jack LaLanne Show and words he could not say; on how standards have changed over the years
Jack LaLanne on television critics' and viewer responses to The Jack LaLanne Show
Jack LaLanne on his advice to aspiring television fitness professionals

Paul LaMastra

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Paul LaMastra on advice to someone starting out in the television editing field

Susan Lacy

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Susan Lacy on the challenges of funding the American Masters documentary series and negotiating rights for such a series

Perry Lafferty

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Perry Lafferty on working the 1952 political conventions, and subsequent conventions
Perry Lafferty on making the transition from producer to executive when he became a vice president at CBS
Perry Lafferty on Robert D. Wood, CBS's purge of rural programming in the early 1970s, and line of succession of CBS Presidents
Perry Lafferty on Grant Tinker and MTM Productions
Perry Lafferty on leaving CBS for Filmways
Perry Lafferty on being in charge of movies and miniseries at NBC in the 1980s, and on Brandon Tartikoff turning around the fortunes of NBC
Perry Lafferty on leaving NBC to become a producer
Perry Lafferty on how television audiences have changed since he began his career, and on the then-future of television

Rita Lakin

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Rita Lakin on how television had changed since she started

Brian Lamb

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Brian Lamb on the inception of C-SPAN
Brian Lamb on coming up with the idea for C-SPAN
Brian Lamb on his initial pitch for C-SPAN
Brian Lamb on putting C-SPAN together and the politics involved in C-SPAN's development
Brian Lamb on C-SPAN's first day of broadcast and early lack of programming
Brian Lamb on the creation of C-SPAN 2 and getting the Senate televised and C-SPAN 3

Angela Lansbury

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Angela Lansbury on being asked to curtail violence on TV

Ring Lardner, Jr.

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Ring Lardner, Jr. on being called before the House Un-American Activities Committee
Ring Lardner, Jr. on the experience of testifying before the House Un-American Activities Committee
Ring Lardner, Jr. on the experience of testifying before the House Un-American Activities Committee
Ring Lardner, Jr. on being cited for contempt by the House Un-American Activities Committee and going to jail, and on the Hollywood Ten
Ring Lardner, Jr. on writing under pseudonyms after being blacklisted
Ring Lardner, Jr. on serving time for contempt of Congress
Ring Lardner, Jr. on his experiences writing for The Adventures of Robin Hood under a pseudonym during the Hollywood Blacklist era
Ring Lardner, Jr. on the McCarthy hearings, and on the end of the Hollywood Blacklist
Ring Lardner, Jr. on the fear and paranoia of the Hollywood Blacklist, and on writing various feature films
Ring Lardner, Jr. on why he believes the Hollywood Blacklist happened
Ring Lardner, Jr. on how his experience with the Hollywood Blacklist shaped his writing, and on how he'd like to be remembered

Jack Larson

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Jack Larson on the instant popularity of "Jimmy Olsen" and being typecast as an actor

Peter Lassally

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Peter Lassally on advice to aspiring producers
Peter Lassally on advice to aspiring talk show hosts

Louise Lasser

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Louise Lasser on the second season of Mary Hartman, Mary Hartman, and on the show's critique of television
Louise Lasser on advice to an aspiring actor

Piper Laurie

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Piper Laurie on her experiences with the Hollywood Blacklist

Lucy Lawless

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Lucy Lawless on censorship of Xena: Warrior Princess
Lucy Lawless on dealing with her fame from Xena: Warrior Princess  and being a feminist icon
Lucy Lawless on the action scenes and censorship of Spartacus
Lucy Lawless on her advice to an aspiring actor
Lucy Lawless on how celebrity has affected her

Norman Lear

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Norman Lear on how he turned down requests to be a front for blacklisted writers during the Hollywood Blacklist
Norman Lear on creating pilots for television sitcoms that never aired
Norman Lear on how William Tankersley, then head of Standards & Practices at CBS, fought him over a line on Maude
Norman Lear on the culture of profit-making in television to the detriment of the medium, and his dislike of ratings
Norman Lear on what he sees as the best of television, from the days of Edward R. Murrow and the "golden age" of television

Michael Learned

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Michael Learned on advice to aspiring actors
Michael Learned on how things have changed for actresses since she started acting

Jim Lehrer

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Jim Lehrer on drafting a new code of Standards and Practices for PBS news
Jim Lehrer on advice to aspiring broadcast journalists

Jack Lemmon

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Jack Lemmon on how the Hollywood Blacklist impacted his friends and colleagues
Jack Lemmon on appearing on the series Heaven for Betsy  and the Hollywood Blacklist 
Jack Lemmon on his overall opinion of television programming
Jack Lemmon on the then-future of television

Ken Levine

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Ken Levine and David Isaacs on advice to aspiring writers

Barry Levinson

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Barry Levinson on the "Diner" television pilot, which he wrote and directed
Barry Levinson on Homicide: Life on the Street's web series: "Second Shift"
Barry Levinson on the political climate in 2016 and how it related to the media climate of the time
Barry Levinson on the role of television in our lives, the danger of contemporary people's comfort in front of the camera, and the way in which television creates disillusionment
Barry Levinson on the experience of working with HBO on TV movies and how they make films that won't get made for theatrical release
Barry Levinson on the importance of characters in storytelling, and how there is now more room for strong, interesting characters in television than in movies
Barry Levinson on new opportunities in television and why talented actors are flocking to TV over movies
Barry Levinson on the best advice he's received about the business
Barry Levinson on working with his son on HBO's The Wizard of Lies and advice he gave him

Al Lewis

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Al Lewis on advice to an aspiring actor

Jerry Lewis

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Jerry Lewis on creative control on The Colgate Comedy Hour
Jerry Lewis on celebrity

Richard Lewis

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Richard Lewis on producing Who's There, starring Arlene Francis and Melvyn Douglas, who was blacklisted
Richard Lewis on the different between television production in New York and in Los Angeles in the 1950s
Richard Lewis on MCA's relationship with the television networks
Richard Lewis on the deals that get made between networks and studios, and on producing the series Checkmate
Richard Lewis on the power of the networks in the 1950s and early 1960s, and the networks wresting control from producers
Richard Lewis on Revue/MCA becoming Universal Televison
Richard Lewis on testifying to Congress about violence in television Westerns
Richard Lewis on the then-future of television

Frank Liberman

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Frank Liberman on the Hollywood Blacklist
Frank Liberman on how the field of publicity has changed since he started

Judith Light

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Judith Light on advice to an aspiring actor

Hal Linden

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Hal Linden on doing voiceover for commercials and looping foreign films
Hal Linden on dealing with Standards & Practices on Barney Miller
Hal Linden on advice to aspiring actors

Art Linkletter

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Art Linkletter on the music and sponsors of Art Linkletter's House Party
Art Linkletter on the then-current state of television hosts
Art Linkletter on the then-future of television

Warren Littlefield

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Warren Littlefield on General Electric acquiring NBC in 1986

Barry Livingston

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Barry Livingston on a My Three Sons storyline that co-worker Don Grady disagreed with - separate beds for his married character and his wife
Barry Livingston on censorship issues with cursing on My Three Sons
Barry Livingston on how fans reacted to him when he was on My Three Sons
Barry Livingston on how fame has affected his life
Barry Livingston on advice for aspiring actors

Norman Lloyd

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Norman Lloyd on starting his television career as a director for Lew Wasserman's Revue Productions

John J. Lloyd

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John J. Lloyd on his recollections of the Hollywood Blacklist
John J. Lloyd>  on advice to aspiring art directors>

Kurt Loder

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Kurt Loder on the Internet and the music industry
Kurt Loder on how the Internet has influenced the music industry
Kurt Loder on advice to aspiring music journalists

Loretta Long

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Loretta Long on advice to aspiring actors, and how she'd like to be remembered

James L. Loper

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James L. Loper on getting public television station KCET on the air
James L. Loper on developing instructional television
James L. Loper on the beginnings of the PBS Network of stations
James L. Loper on PBS programming and the mission of PBS
James L. Loper on obstacles to creating PBS and dealing with Washington D.C.
James L. Loper on Hartford Gunn's early role in running PBS and standards in programming

Julia Louis-Dreyfus

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Julia Louis-Dreyfus on there not being censorship issues in "The Contest" episode of Seinfeld
Julia Louis-Dreyfus on advice to aspiring actors

Sam Lovullo

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Sam Lovullo on the Hollywood Blacklist
Sam Lovullo on advice to aspiring producers

Susan Lucci

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Susan Lucci on good advice she's received as an actor
Susan Lucci on her advice to aspiring actors
Susan Lucci on how the television industry and technology have changed since she started her career

Sidney Lumet

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Sidney Lument on the correspondents of You Are There, and on their political affiliations and the Blacklist
Sidney Lumet on his experience with the Hollywood Blacklist
Sidney Lumet on individuals that were targeted by the Hollywood Blacklist, including Walter Bernstein, and on blacklisted writers
Sidney Lumet on various television scripts that were covertly about the Hollywood Blacklist
Sidney Lumet on the then-current state of television
Sidney Lumet on advice to an aspiring television director

Stewart MacGregory

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Stewart MacGregory on live commercials for Kraft Television Theatre
Stewart MacGregory on what represents the best of television 
Stewart MacGregory on the then-current state of NBC
Stewart MacGregory on the Hollywood Blacklist

Robert MacNeil

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Robert MacNeil on critical reaction to The MacNeil Lehrer NewsHour  and various stories they covered

Will Mackenzie

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Will Mackenzie on pilots he wishes had gotten picked up including President of Love, starring Van Johnson
Will Mackenzie on ageism in the television industry
Will Mackenzie on advice to aspiring television directors

William H. Macy

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William H. Macy on his first experiences in film and television
William H. Macy on being proud of the way Shameless deals with sex and his personal objections to the unrealistic way violence is depicted on television
William H. Macy on his advice to actors for reading scripts
William H. Macy on the best advice he's received, and his advice to actors
William H. Macy on advice to aspiring actors

Loring Mandel

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Loring Mandel on the Hollywood Blacklist, and on casting blacklisted actors on Studio One
Lorning Mandel on dealing with censorship in his career on the CBS Playhouse episode "Shadow Game"
Loring Mandel on his criticism of television, and on being president of the Writers Guild
Loring Mandel on advice to aspiring television writers

Abby Mann

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Abby Mann on dealing with the network over the content of Playhouse 90: "Judgement at Nuremberg"
Abby Mann on the process of writing, and on sparring with the network over a line about "gas chambers" in Playhouse 90: "Judgement at Nuremberg"
Abby Mann on the Hollywood Blacklist
Abby Mann on advice to aspiring television writers

Anita Mann

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Anita Mann on witnessing bigotry towards African-American dancers
Anita Mann on how choreography on television has changed since she started
Anita Mann on advice to an aspiring choreographer

Randolph Mantooth

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Randolph Mantooth on advice to aspiring actors
Randolph Mantooth on his fame
Randolph Mantooth on how the television business has changed since he started

Martin Manulis

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Martin Manulis on the Hollywood Blacklist
Martin Manulis on leaving television to produce motion pictures
Martin Manulis on the then-future of television
Martin Manulis on advice to aspiring television producers
Martin Manulis on network and sponsor objections to the Playhouse 90 episode "A Town Has Turned to Dust" (written by Rod Serling), and how they got around them

Ann Marcus

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Ann Marcus on ageism in the television industry
Ann Marcus on how the television industry has changed

Bob Markell

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Bob Markell on challenges of working in television versus the stage

Penny Marshall

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Penny Marshall on how celebrity has affected her
Penny Marshall on her advice to aspiring actors and directors

E. G. Marshall

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E.G. Marshall on The Defenders doing an episode about the Hollywood Blacklist

Dick Martin

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Dick Martin on dealing with the censors on Rowan and Martin's Laugh-In
Dick Martin on the then-current (2002) state of television 

Wink Martindale

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Wink Martindale on producers Jack Barry and Dan Enright and the Quiz Show Scandals
Wink Martindale on the advent of Game Show Network
Wink Martindale on how game shows have changed since he started, and on the then-future of game shows

John A. Martinelli

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John Martinelli on working at the Wakefield-Orloff Company
John Martinelli on the difference between editing commercials and television shows

Leslie H. Martinson

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Leslie H. Martinson on advice to aspiring television directors
Leslie H. Martinson on the Hollywood Blacklist

Jerry Mathers

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Jerry Mathers on the cattle call casting process for Leave It To Beaver
Jerry Mathers on how Leave It To Beaver got picked up as a series after several pilots
Jerry Mathers on the shift from people working in the movie industry to working in television
Jerry Mathers on censorship in television
Jerry Mathers on the challenges of directing a situation comedy and working with children

Bob May

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Bob May on the fan mail he received while on Lost in Space
Bob May on advice to an aspiring performer

Beth McCarthy-Miller

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Beth McCarthy-Miller on advice to aspiring television directors
Beth McCarthy-Miller on how television has changed since she started working in it

Kent McCray

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Kent McCray on how the industry has changed since he started
Kent McCray on advice to aspiring production managers, and on the importance of preparation

Jayne Meadows

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Jayne Meadows on the Quiz Show Scandals
Jayne Meadows on how television has changed since the '50s

Anne Meara

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Anne Meara on her recollections of the Hollywood Blacklist

Bill Melendez

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Bill Melendez on the Hollywood Blacklist
Bill Melendez on his production company
Bill Melendez on opening a production office in London
Bill Melendez on advice to an aspiring animator
Bill Melendez on the then-current state of animation on television
Bill Melendez on Disney animators going on strike in 1941 and Walt Disney's reaction to the strike
Bill Melendez on the Disney animators strike of 1941, on the leader of the strike, and Walt Disney's response to the strike

Lee Mendelson

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Lee Mendelson on then-current projects, and on how producing television documentaries has changed over the years
Lee Mendelson on how animation for television has changed over the years, and the then-new digital way of doing animation, and on doing work that impacts American life
Lee Mendelson on advice to aspiring television producers and animators
Lee Mendelson on how television animation has changed since he began

S. Epatha Merkerson

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S. Epatha Merkerson on censorship on Law & Order
S. Epatha Merkerson on cops and fans approaching her with compliments while she was cast on Law & Order
S. Epatha Merkerson on her fans
S. Epatha Merkerson on advice to an aspiring actor

Tammy Faye Bakker Messner

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Tammy Faye Bakker-Messner on celebrity
Tammy Faye Bakker-Messner on the power of television
Tammy Faye Bakker-Messner on advice to aspiring televangelists

Burt Metcalfe

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Burt Metcalfe on CBS's edicts about showing blood in M*A*S*H
Burt Metcalfe on the laugh track in M*A*S*H

Sig Mickelson

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Sig Mickelson on his experiences with the Hollywood Blacklist at CBS News
Sig Mickelson on the blacklisting of CBS News correspondent Winston Burdett
Sig Mickelson on the atmosphere at CBS News during the period of the Hollywood Blacklist, and his memories of the time
Sig Mickelson on the publication "Red Channels," and on the Hollywood Blacklist
Sig Mickelson on signing a loyalty oath for CBS News and on other issues connected with the Red Scare
Sig Mickelson on television's impact on the political process in the United States
Sig Mickelson on how technological innovation has changed the way news events are covered by networks, and on the government's role in regulating the broadcast industry

David Milch

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David Milch on dealing with the network on NYPD Blue
David Milch on network interference with NYPD Blue
David Milch on advice to aspiring television writers

Walter C. Miller

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Walter C. Miller on advice he gave his children, both in the business, about directing

Mitch Miller

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Mitch Miller on his greatest achievement, and on the power of television
Mitch Miller on music on television
Mitch Miller on his advice to an aspiring music professional

Newton N. Minow

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Former FCC Chairman Newton Minow on the history of the FCC
Former FCC chair Newton Minow on serving on CBS' board (starting in 1983)
Newton Minow on his opinion of the television industry and its failure to remain in the public interest

Vic Mizzy

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Vic Mizzy on not having any involvement with the Hollywood Blacklist
Vic Mizzy on advice to an aspiring composer

John Moffitt

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John Moffitt on censorship of The Rolling Stones on The Ed Sullivan Show

Paul Monash

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Paul Monash on the Hollywood Blacklist
Paul Monash on advice to aspiring television writers
Paul Monash on dealing with Standards & Practices on Peyton Place, and on planning the stories of the show

Bill Monroe

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Bill Monroe on winning a Peabody Award in 1960 for his editorials on school desegregation
Bill Monroe on Senator Joseph McCarthy and the Communist witch hunts of the 1950s
Bill Monroe on how television news has changed since he started
Bill Monroe on how the public's perception of network news has changed since he started
Bill Monroe on the then-future of nightly network newscasts
Bill Monroe on television and the First Amendment

Millie Moore

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Millie Moore on her first film as a full editor, working for Dalton Trumbo on "Johnny Got His Gun"

Thomas W. Moore

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Thomas W. Moore on the Hollywood Blacklist
Thomas W. Moore on the creation of Viacom, and on being hired at ABC by Jim Aubrey
Thomas W. Moore on being vice president in charge of programming at ABC, and on the state of the network when he arrived
Thomas W. Moore on the people who worked for him at ABC when he was head of programming, including Michael Eisner and Barry Diller
Thomas W. Moore on his stint as head of programming at ABC, and on his goals at the time
Thomas W. Moore on his duties at president of ABC
Thomas W. Moore on the government attempting to require public service programming on the networks, and on William S. Paley and General David Sarnoff
Thomas W. Moore on Newton N. Minow's "vast wasteland" speech, critical of television
Thomas W. Moore on what he sees as the FCC's role in broadcasting
Thomas W. Moore on the ban on cigarette advertising on television
Thomas W. Moore on the FCC regulation of the networks being able to own or control the rebroadcast of primetime shows
Thomas W. Moore on the length of commercials and commercial breaks on network television
Thomas W. Moore on networks and their affiliates
Thomas W. Moore on his day-to-day responsibilities as president of ABC

Mary Tyler Moore

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Mary Tyler Moore on restrictions including the objection to her wearing pants on The Dick Van Dyke Show
Mary Tyler Moore on the formation of MTM
Mary Tyler Moore on CBS refusing to allow her character to be a divorcee on The Mary Tyler Moore Show
Mary Tyler Moore on the sale of MTM Productions
Mary Tyler Moore on Grant Tinker's leadership of MTM Productions

Priscilla Morgan

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Priscilla Morgan on television shows she packaged in the '50s

Harry Morgan

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Harry Morgan briefly on the Blacklist (he was neighbors with Lionel Stander in later years)

Howard Morris

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Howard Morris on the Hollywood Blacklist
Howard Morris on advice to aspiring actors and directors

Tad Mosel

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Tad Mosel on the pressures of writing and performing for live television and the decline of live television
Tad Mosel on the programs that have represented the best of television 
Tad Mosel on dealing with network censorship on an NBC adaptation of All the Way Home

Robert Mott

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Robert Mott on the Hollywood Blacklist
Robert Mott on how the sound effects craft has changed since he started and the advent of Foley
Robert Mott on advice to an aspiring sound effects professional
Robert Mott on sound effects that couldn't be used on television 

Tony Mottola

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Tony Mottola on advice to an aspiring musician

Michael Moye

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Michael Moye on network notes on The Jeffersons
Michael Moye on the process of selling the Silver Spoons pilot to the network
Michael Moye on the pilot, initial testing, and network notes for Married...With Children
Michael Moye on Married...With Children 's place on the new FOX network
Michael Moye on critics' reactions to Married...With Children
Michael Moye on FOX executives hating Married...With Children
Michael Moye on "the Rakolta incident" (so called because a woman named Terry Rakolta complained about content on Married...With Children) and FOX withholding fan mail; on subsequent problems with the network
Michael Moye on "the lost episode" ("The Camping Episode") of Married...With Children
Michael Moye on the second "lost episode" of Married...With Children
Michael Moye on FOX's reaction to his proposed spin-off and leaving Married...With Children

E. Roger Muir

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E. Roger Muir on the Quiz Show Scandals and on producing game shows in Canada
E. Roger Muir on advice to an aspiring producer
E. Roger Muir on the then-current state of children's programming

Thad Mumford

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Thad Mumford on being fired from the New York Yankees and on his first television job as an NBC page
Thad Mumford on his advice to aspiring writers and on how he'd like to be remembered

Bill Mumy

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Bill Mumy on doing commercials 

Thomas Murphy

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Thomas Murphy on working at the Kenyon & Eckhardt ad agency
Thomas Murphy on advertising in the early days of television
Thomas Murphy on the role of the advertising agency in the television business in the '50s
Thomas Murphy on Capital Cities partner Frank Smith and acquiring television stations
Thomas Murphy on the growth of Capital Cities
Thomas Murphy on Capital Cities becoming a powerhouse 
Thomas Murphy on taking over as CEO of Capital Cities
Thomas Murphy on acquiring local television stations
Thomas Murphy on Capital Cities acquisition of ABC
Thomas Murphy on the early days of Capital Cities/ABC
Thomas Murphy on Capital Cities getting involved with cable
Thomas Murphy on being a broadcaster
Thomas Murphy on the then-relationship between cable and broadcast outlets
Thomas Murphy on his plans for ABC when Capital Cities took over in 1986
Thomas Murphy on ABC President John Sias
Thomas Murphy on various people who worked under him at ABC
Thomas Murphy on working with affiliates and dealing with talent at ABC
Thomas Murphy on the demographics of ABC and dealing with programming
Thomas Murphy on his instincts regarding programming at ABC
Thomas Murphy on how Disney's acquisition of ABC came about
Thomas Murphy on how the deal with Disney to take over ABC was consummated 

Jonathan Murray

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Jonathan Murray on censorship on The Real World

Frank Nastasi

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Frank Nastasi on the Hollywood Blacklist
Frank Nastasi on the then-current state of television 

Gareth Neame

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Gareth Neame on advice to aspiring producers

Anne Nelson

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Anne Nelson on the Hollywood Blacklist
Anne Nelson on networks losing power and money by losing ownership of shows in the 1970s
Anne Nelson on the advent of packaging in television, and on the power of talent agencies
Anne Nelson on how the industry has changed since she started
Anne Nelson on dealing with unions and strikes
Anne Nelson on advice to aspiring television executives, and on the then-current state of television

Alan Neuman

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Alan Neuman on the Hollywood Blacklist
Alan Neuman on advice to an aspiring television director

Horace Newcomb

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Horace Newcomb on writing about television for the "Baltimore Sun," and on the coming of age of television in the 1970s with shows like All in the Family and The Mary Tyler Moore Show
Horace Newcomb on An American Family, and on the serialization of television which led to shows like Roots and Dallas
Horace Newcomb on the power of television producers and show runners, and on collaborating in television
Horace Newcomb on how Hill Street Blues changed the television industry
Horace Newcomb on The Sopranos being a game changer
Horace Newcomb on Magnum, P.I.'s cumulative narrative
Horace Newcomb on the historic and then-current lack of diversity in television
Horace Newcomb on the rise of new media in regards to television
Horace Newcomb on the then-current television shows he watches, including several foreign shows on new media platforms like Netflix
Horace Newcomb on what he believes the mission of television should be
Horace Newcomb on how television studies have changed since he started his career
Horace Newcomb on advice to aspiring television academics

Bob Newhart

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Bob Newhart on how television has changed over the years
Bob Newhart on advice to aspiring performers
Bob Newhart on how fame has affected his career

Laraine Newman

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Laraine Newman on the on-air personas of the Not Ready for Prime Time Players on Saturday Night Live  and dealing with NBC Standards and Practices 
Laraine Newman on her fame from Saturday Night Live  and who the show appealed to
Laraine Newman on fan encounters during her time on Saturday Night Live
Laraine Newman on advice to aspiring actors

Leonard Nimoy

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Leonard Nimoy on his guest appearances on Sea Hunt, and how this series compared budget and salary-wise to other series produced by syndication giant Ziv Television Programs
Leonard Nimoy on why villains were not allowed to smoke on Ziv Television Programs' syndicated shows, due to sponsorship
Leonard Nimoy on the ups and downs of fame

Agnes Nixon

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Agnes Nixon on sponsor reaction to soap operas moving from radio to television
Agnes Nixon on wanting to write socially relevant stories for soap operas - writing her first cancer story for Guiding Light and getting resistance from sponsor Procter & Gamble
Agnes Nixon on the fan mail for All My Children

Nicolas Noxon

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Nicolas Noxon on working on the documentary series Hollywood and the Stars, and coming up against the movie studios' resistance to allowing movies (even just clips) shown on television
Nicolas Noxon on working for MGM in the 1960s and 1970s and the state of the studio at that time
Nicolas Noxon on MGM's attitude toward television during the time he worked there (from the late 1960s to the early 1970s) 
Nicolas Noxon on National Geographic Specials  and its move from ABC to PBS
Nicolas Noxon on the difference between making documentaries for public television versus commercial television
Nicolas Noxon on the changes in documentaries in television over time, including the use of recreations 
Nicolas Noxon on the challenge of creating documentaries for network television, and whether they belong on network television
Nicolas Noxon on his ideas about the then-future state of television
Nicolas Noxon on advice to aspiring documentarians

Bill Nye

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Bill Nye on censorship on the program - the evolution episode and other run-ins with studio executives
Bill Nye on reactions from fans

Carroll O'Connor

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Carroll O'Connor on his theory as to why CBS Chairman William S. Paley never socialized with him

Ed O'Neill

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Ed O'Neill on audience reaction to Married...With Children
Ed O'Neill on censorship issues on Married...With Children and the Terry Rakolta campaign
Ed O'Neill on getting recognized by fans

Edward James Olmos

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Edward James Olmos on advice to aspiring actors

Bernie Orenstein

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Bernie Orenstein on issues with Standards and Practices on Sanford and Son
Bernie Orenstein on his opinion of then-current television
Bernie Orenstein on advice for aspiring writers
Bernie Orenstein on advice for aspiring producers

Gail Parent

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Gail Parent on advice to aspiring television writers

Fess Parker

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Fess Parker on advice to an aspiring actor

Estelle Parsons

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Estelle Parsons on advice to an aspiring actor, and on what makes a good director

Marty Pasetta

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Marty Pasetta on directing the controversial final season of The Smothers Brothers' Comedy Hour
Marty Pasetta on how television has changed due to technology and business

Timothy Van Patten

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Timothy Van Patten on his fame after The White Shadow

Dick Van Patten

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Dick Van Patten on his memories of the Hollywood Blacklist

Jane Pauley

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Jane Pauley on the current and future role of the news anchors
Jane Pauley on her dislike of "the get"

Arthur Penn

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Arthur Penn on what represents the best of television
Arthur Penn on advice he has given his son about directing
Arthur Penn on the then-future of television, and how he'd like to be remembered

Alan Perris

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Alan Perris on advice to aspiring television executives

Bill Persky

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Bill Persky on why he cancelled Kate & Allie

Regis Philbin

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Regis Philbin on syndicating his local New York morning show nationally

Frederick S. Pierce

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Frederick S. Pierce on how research affected programming at ABC
Frederick S. Pierce on the Nielsen ratings system
Frederick S. Pierce on ratings sweeps periods and the programming and news departments
Frederick S. Pierce on becoming President of ABC and the structure of the network
Frederick S. Pierce on his relationship with ABC Standards and Practices 
Frederick S. Pierce on network ownership of series and movies
Frederick S. Pierce on the formation of ABC Video and ABC's acquisition of ESPN and other cable networks
Frederick S. Pierce on Capital Cities buyout of ABC and leaving the network
Frederick S. Pierce on his opinion of the then-current state of ABC and the networks in general
Frederick S. Pierce on television's responsibility to its audience 
Frederick S. Pierce on advice to aspiring television executives 

Suzanne Pleshette

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Suzanne Pleshette on being a "movie star" who appeared on television

Pam Polifroni

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Pam Polifroni on getting into casting on The Loretta Young Show, and on the Hollywood Blacklist
Pam Polifroni on her advice to an aspiring casting director, and on how she would like to be remembered
Pam Polifroni on how casting has changed since she started

David Pollock

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David Pollock on his father being on the Hollywood Blacklist
Elias Davis and David Pollock on advice to an aspiring television writer

Abraham Polonsky

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Abraham Polonsky on the Hollywood Blacklist
Abraham Polonsky on testifying before the House Un-American Activities Committee
Abraham Polonsky on Elia Kazan's testimony before the House Un-American Activities Committee, and on working in the aftermath
Abraham Polonsky on using pen names during the Hollywood Blacklist
Abraham Polonsky on his career after the Hollywood Blacklist
Abraham Polonsky on advice to aspiring writers, and on his dislike of the internet
Abraham Polonsky on Elia Kazan, if the Hollywood Blacklist could happen again, and on his and his family's politics

Mike Post

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Mike Post on how the business of television scoring has changed since the '70s

Tom Poston

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Tom Poston on the Hollywood Blacklist
Tom Poston on advice to an aspiring actor

Maury Povich

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Maury Povich on Metromedia becoming FOX
Maury Povich on criticisms of his talk show Maury

Carroll Pratt

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Carroll Pratt on the Hollywood Blacklist
Carroll Pratt on television critics reaction to the laugh track, and on the purpose of the laugh track
Carroll Pratt on his retirement, and on leaving his company in good hands

David Pressman

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David Pressman on the Hollywood Blacklist happening again
David Pressman on learning his was blacklisted and being fired from Treasury Men in Action
David Pressman on being blacklisted; on teaching at Boston University from 1954-1959 during his unemployment; on then running the Neighborhood Playhouse; on the end of the blacklist; on trying to get jobs in television during the blacklist period; on David Susskind hiring him for television
David Pressman on how being blacklisted affected him
David Pressman on "secretly" directing The Philip Morris Playhouse  while he was blacklisted

Jeff Probst

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Jeff Probst on the FX cable channel
Jeff Probst on hosting The Jeff Probst Show

Jacques Pépin

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Jacques Pépin on advice to an aspiring television chef

Ward Quaal

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Ward Quaal on getting into management at WGN
Ward Quaal on his duties at WGN and getting WGN on the air
Ward Quaal on the first day of programming at WGN, and on the eventual switch over to color
Ward Quaal on going to work for Crossley Broadcasting Corporation
Ward Quaal on Louis Caldwell, and on the Hoover Commission Executive Broadcasting Task Force
Ward Quaal on his responsibilities at Crossley Broadcasting Corporation
Ward Quaal on the Hollywood Blacklist
Ward Quaal on being appointed the head of WGN Continental Broadcasting in 1960, and on his management style in broadcasting
Ward Quaal on how television programming had evolved by the '70s and '80s, and programming national shows
Ward Quaal on WGN becoming a superstation
Ward Quaal on the then current state of Tribune
Ward Quaal on the impact of cable and new media on the industry
Ward Quaal on advertising clutter
Ward Quaal on how the internet has impacted television
Ward Quaal on role he feels government should play in broadcasting
Ward Quaal on media consolidation

Charlotte Rae

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Charlotte Rae on her experience with the Hollywood Blacklist
Charlotte Rae on how roles for women on television have changed over the years, and on how television has changed since she started
Charlotte Rae on advice to aspiring actors, and how she'd like to be remembered

Jorge Ramos

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Jorge Ramos on the emergence of social media as a tool to connect to the audience directly 
Jorge Ramos on good advice he's received about being a journalist 
Jorge Ramos and Maria Elena Salinas on advice to someone starting a journalism career
Jorge Ramos and Maria Elena Salinas on the then-future of Spanish-language news and Latino journalists 

Joyce Randolph

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Joyce Randolph on Audrey Meadows replacing Pert Kelton in the cast of The Honeymooners

Arthur Rankin, Jr.

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Arthur Rankin Jr. on the beginnings of Rankin/Bass Productions, and on the creation of "Animagic"
Arthur Rankin Jr. on visiting Japan animation studios in 1958, and deciding to focus on animation
Arthur Rankin Jr. on juggling multiple projects
Arthur Rankin Jr. on producing The Cricket on the Hearth with Danny Thomas
Arthur Rankin Jr. on advice to aspiring animators
Arthur Rankin Jr. on the then-current state of animation on television

Marian Rees

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Marian Rees on the state of television when she started working in the industry circa 1952
Marian Rees on the challenges facing independent producers and how distribution has changed
Marian Rees on advice to aspiring female television producers
Marian Rees on ageism in the industry

Frances Reid

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Frances Reid on the Hollywood Blacklist

Carl Reiner

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Carl Reiner on censorship on Caesar's Hour
Carl Reiner on blacklisted writer, Frank Tarloff and his own experience with the Blacklist

Del Reisman

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Del Reisman on the advent of the Hollywood Blacklist, and on being asked to sign a "loyalty oath" for NBC
Del Reisman on how the Hollywood Blacklist impacted him, and on the end of the blacklist era
Del Reisman on working with Rod Serling on Playhouse 90, and how censorship there led to his creation of The Twilight Zone
Del Reisman on breaking into television
Del Reisman on getting an internal memo from CBS with names of writers and actors they were forbidden to hire because of their blacklisted status
Del Reisman on the Screenwriters Guild's participation in the Hollywood Blacklist
Del Reisman on the use of "fronts" to get around the Hollywood Blacklist
Del Reisman on how CBS Standards & Practices influenced or shaped the content of Playhouse 90
Del Reisman on Newton N. Minow's "vast wasteland" speech
Del Reisman on Robert Stack as "Elliott Ness" on The Untouchables, and on the violence of the show
Del Reisman on his association with the Writers Guild of America West
Del Reisman on his involvement with Writers Guild of America West
Del Reisman on the Writers Guild strike of 1988
Del Reisman on the Writers Guild getting restitution for formerly blacklisted writers
Del Reisman on advice to aspiring writers

Gene Reynolds

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Gene Reynolds on the Hollywood Blacklist

Larry Rhine

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Larry Rhine on the Hollywood Blacklist
Larry Rhine on advice to aspiring television writers

Lee Rich

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Lee Rich on how the advertising agencies worked with the television networks and sponsors during early television
Lee Rich on the Hollywood Blacklist
Lee Rich on the Quiz Show Scandals and the subsequent impact on the networks and advertising agencies
Lee Rich on the network creators: David Sarnoff (NBC), William S. Paley (CBS), and Leonard Goldenson (ABC)
Lee Rich on the changing media landscape and consolidation
Lee Rich on criticism about Dallas

John Rich

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John Rich on problems with Standards & Practices on All in the Family

Hank Rieger

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Hank Rieger on United Press covering the Hollywood Blacklist
Hank Rieger on The Television Academy (in Los Angeles) and NATAS (in New York) becoming separate organizations (the splitting of The Television Academy)

Rita Riggs

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Rita Riggs on the Hollywood Blacklist
Rita Riggs on the importance of continuing to work
Rita Riggs on advice to aspiring television costume designers

Joan Rivers

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Joan Rivers on dealing with censorship on television
Joan Rivers on her celebrity and how she'd like to be remembered
Joan Rivers on maintaining longevity in show business
Joan Rivers on how show business has changed since she started

Doris Roberts

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Doris Roberts on advice to aspiring actors

Cliff Robertson

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Cliff Robertson on his recollections of The Hollywood Blacklist
Cliff Robertson on advice to aspiring actors

Fred Rogers

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Fred Rogers on the challenges of live television with his show The Children's Corner

Andy Rooney

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Andy Rooney on his encounter with the Blacklist while he was at CBS
Andy Rooney on the then-current state of television

Mickey Rooney

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Mickey Rooney on how television has changed over the years
Mickey Rooney on advice to aspiring actors

Howard Rosenberg

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Howard Rosenberg on being the first television critic for The Louisville Times
Howard Rosenberg on television critics who influenced him and his preparation to go into the field
Howard Rosenberg on his autonomy as a television critic
Howard Rosenberg on television in the '70s
Howard Rosenberg on the timetable of receiving shows and reviewing them
Howard Rosenberg on how television changed and evolved during the '70s and his thoughts on the Golden Age of Television
Howard Rosenberg on his influence as a critic in Louisville 
Howard Rosenberg on his schedule at the LA Times
Howard Rosenberg on how the process of reviewing shows changed over the years
Howard Rosenberg on reviewing television series and changing his mind about shows
Howard Rosenberg on reader response to his column on 9/11
Howard Rosenberg on sometimes not getting tapes of shows he wanted to review
Howard Rosenberg on winning the Pulitzer Prize in 1985 
Howard Rosenberg on the function of critical writing
Howard Rosenberg on his dealings with people in the television industry
Howard Rosenberg on his editors
Howard Rosenberg on media consolidation
Howard Rosenberg on television comedy
Howard Rosenberg on dramatic series
Howard Rosenberg on late night television
Howard Rosenberg on daytime talk shows
Howard Rosenberg on made-for-television movies, miniseries and specials
Howard Rosenberg on government involvement in television
Howard Rosenberg on his favorite television shows
Howard Rosenberg on television at its worst
Howard Rosenberg on advice to aspiring television critics

Meta Rosenberg

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Meta Rosenberg on being an executive consultant at Universal Television and how things in the industry had changed by 1980
Meta Rosenberg on advice to an aspiring television producer and succeeding in the industry as a woman

Barney Rosenzweig

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Barney Rosenzweig on trying to make a deal with Orion to own the whole run of Cagney & Lacey
Barney Rosenzweig on advice to aspiring producers and how the business has changed
Sharon Gless and Barney Rosenzweig on getting recognized by and interacting with fans
Sharon Gless on being hugged by fans, and the impact of Queer as Folk

Stanley Ralph Ross

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Stanley Ralph Ross on having trouble with ABC Standards & Practices over a Batman script involving "Catwoman," then played by Eartha Kitt
Stanley Ralph Ross on having an issue with one of the actors and Standards & Practices on The Kallikaks
Stanley Ralph Ross on advice to aspiring writers
Stanley Ralph Ross on the then-future of television

Marion Ross

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Marion Ross on her very limited experience of the Hollywood Blacklist
Marion Ross on her desire to continue working, and on ageism in the industry

Mark Rothman

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Mark Rothman on advice to aspiring writers

Aaron Ruben

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Aaron Ruben on the critical role ratings played in show survivals

Thomas Del Ruth

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Thomas Del Ruth on the key to his success and longevity in the business  and career highlights and regrets

Romilly Rutherford

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Romilly Rutherford on Philo T. Farnsworth's feeling about the money making aspect of television and the beginnings of television as a medium
Romilly Rutherford on what he believes Philo T. Farnsworth would think about the then-current state of television and the legacy of his work

Maria Elena Salinas

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Maria Elena Salinas on advice given to her by mentors
Jorge Ramos and Maria Elena Salinas on advice to someone starting a journalism career
Jorge Ramos and Maria Elena Salinas on the then-future of Spanish-language news and Latino journalists

Marlene Sanders

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Marlene Sanders on her recollections of the Hollywood Blacklist
Marlene Sanders on the sponsor of WABD-TV news

Jay Sandrich

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Jay Sandrich on dealing with network interference on The Mary Tyler Moore Show
Jay Sandrich on having fun finding ways to depict sex in a subtle way on Soap
Jay Sandrich on his memories of the Hollywood Blacklist and some colleagues who were affected, and why Lucille Ball was accused of being a Communist 
Jay Sandrich on network interference and how Fred Silverman was a rare TV executive who knew how to leave creative people alone to do their job

Isabel Sanford

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Isabel Sanford on dealing with fame and celebrity

Joseph Sargent

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Joseph Sargent on his experience with the Hollywood Blacklist
Joseph Sargent on advice to aspiring directors
Joseph Sargent on ageism in the industry

Thomas W. Sarnoff

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Thomas W. Sarnoff on his response to criticism of violence on TV while an NBC executive

William Schallert

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William Schallert on his tenure as President of SAG and a strike

Bob Schieffer

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Bob Schieffer on how television news has changed since he started
Bob Schieffer on advice to aspiring journalists

Bob Schiller

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Bob Schiller and Bob Weiskopf on flack for portraying a divorced woman (Vivian Vance's character) on The Lucy Show
Bob Schiller and Bob Weiskopf on network interference on Maude
Bob Schiller and Bob Weiskopf on their recollections of the Hollywood Blacklist

Thomas Schlamme

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Thomas Schlamme on the hierarchy of television

Herbert S. Schlosser

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Herbert S. Schlosser on NBC's negotiations with Universal, and on David Sarnoff
Herbert S. Schlosser on the FCC's role in regulating broadcasting
Herbert S. Schlosser on Saturday Night Live dealing with NBC standards and practices
Herbert S. Schlosser on his involvement in the creation of the A&E cable network, and on the state of cable at the time
Herbert S. Schlosser on the extent to which television has lived up to its potential
Herbert S. Schlosser on advice to an aspiring television executive

Alfred Schneider

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Alfred Schneider on creating, with ABC Executive Jim Stabile, what may have been the very first television package deal -- for The Danny Thomas Show
Alfred Schneider on dealing with the Hollywood Blacklist as an executive at CBS
Alfred Schneider on the Quiz Show and Payola Scandals and his part in writing legislation in response to the scandals
Alfred Schneider on the establishment of the Television Code and its contents
Alfred Schneider on working in Standards & Practices at ABC
Alfred Schneider on working with Producer Leonard Goldberg on his TV movie Something About Amelia, which dealt with incest
Alfred Schneider on his pride in his work on The Day After
Alfred Schneider on allowing nudity to be shown in The Winds of War
Alfred Schneider on a controversial episode of Bus Stop ("A Lion Walks Among Us") and how it led to further inquiries into the effects of violence on television
Alfred Schneider, Standards & Practices executive, on how an advertiser's displeasure with an episode of Howard K. Smith: News and Comment ("The Political Obituary of Richard M. Nixon") led to the formulation of a policy to protect news departments from the interference of sponsors
Alfred Schneider on the difference between how news and entertainment are handled in terms of censorship
Alfred Schneider on why ABC was able to take a risk on Soap and how the network dealt with the show's depiction of controversial topics
Alfred Schneider on the decision not to allow two men to kiss on Thirtysomething
Alfred Schneider on the power of advertisers in decisions made by Standards & Practices
Alfred Schneider on negotiating the depiction of the controversial subject matter of That Certain Summer
Alfred Schneider on meeting with special interest groups and handling their concerns about portrayals of certain groups and depictions of controversial topics on television
Alfred Schneider on regulating portrayals of violence in Roots versus S.W.A.T. and The Six Million Dollar Man
Alfred Schneider on Producer Danny Arnold throwing him off the set of Barney Miller
Alfred Schneider on working with Steven Bochco versus working with Aaron Spelling
Alfred Schneider on how and why portrayals of sexuality and other controversial topics have become more acceptable over time on television
Alfred Schneider on Chair of the Federal Communications Commission, Newton N. Minow's "Vast Wasteland" speech
Alfred Schneider on the role of the government in regulating television content
Alfred Schneider on the criticism he received over the course of his career and being the "conscience of the company"
Alfred Schneider on advice to aspiring Standards & Practices professionals
Alfred Schneider on advice to show creators in dealing with Standards & Practices professionals

Lew Schneider

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Lew Schneider on advice to an aspiring television writer

Arthur Schneider

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Arthur Schneider on his experience with the Hollywood Blacklist, and on NBC's colorblind test
Arthur Schneider on the then-current state of television editing, and on how computers have changed the quality of editing

Reese Schonfeld

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Reese Schonfeld on an early proposed cable news network before CNN
Reese Schonfeld on meeting Ted Turner, and on the creation of CNN
Reese Schonfeld on staffing CNN along with Ted Turner at its inception
Reese Schonfeld on organizing CNN in secret, at first
Reese Schonfeld on Ted Turner's original idea for CNN, and on how Schonfeld developed it from there
Reese Schonfeld on CNN's innovative operating structure: "bottom/up," rather than "top/down" as network news did at that time
Reese Schonfeld on CNN's schedule when it first went on the air
Reese Schonfeld on CNN's early revenue
Reese Schonfeld on Ted Turner choosing the name "CNN," and on creating the CNN logo
Reese Schonfeld on how CNN covered breaking news around the world in its early days
Reese Schonfeld on Rome being the location of CNN's first main European base
Reese Schonfeld on hiring Ed Turner to be executive vice president of CNN
Reese Schonfeld on hiring Ted Kavanau as CNN's senior producer
Reese Schonfeld on hiring Jim Kitchell as CNN's vice president of production and operations
Reese Schonfeld on Burt Reinhardt's role in the development of CNN
Reese Schonfeld on CNN being completely computerized when it went on the air
Reese Schonfeld on the early technology used by CNN, some of which gave it a leg up on network news
Reese Schonfeld on the "open newsroom" look of the early CNN broadcasts
Reese Schonfeld on CNN getting the FCC to change the rules on live broadcasts
Reese Schonfeld on the early CNN graphics
Reese Schonfeld on CNN launch day, June 1, 1980
Reese Schonfeld on Ted Turner raising the capital to launch CNN, and on their early operating budget
Reese Schonfeld on CNN CFO Bill Bevins being at odds with Ted Turner over CNN investors, and on the potential threat of an early CNN competitor
Reese Schonfeld on striking a deal with Steve Ross at Time Warner to use one of their transponders for CNN
Reese Schonfeld on the challenges CNN faced overing its first big story, the Falklands War between Argentina and the United Kingdom
Reese Schonfeld on Ted Turner being hands-on at CNN in the beginning regarding content
Reese Schonfeld on CNN's initial advertisers
Reese Schonfeld on CNN's initial advertisers when it first went on the air
Reese Schonfeld on finding on-air talent for the first few years of CNN, including Bernard Shaw
Reese Schonfeld on his and Ted Turner's attempt to hire Dan Rather to be the main anchor at the inception of CNN
Reese Schonfeld on hiring Bill Zimmerman, Sandy Freeman, and Lou Dobbs as on-air talent at the start of CNN
Reese Schonfeld on the rules for their initial CNN anchors, including Kathleen Sullivan
Reese Schonfeld on teaching then-new CNN employees about journalism with "CNN College"
Reese Schonfeld on the first stories CNN covered, including an interview with President Jimmy Carter
Reese Schonfeld on the decision to make CNN a non-union shop
Reese Schonfeld on dealing with the FCC on satellite delivery of television
Reese Schonfeld on how the higher-ups at network news like Roone Arledge regarded CNN, and on the impact CNN had on network news
Reese Schonfeld on other news organizations pirating from CNN, which led to the inclusion of the CNN logo in the corner of the screen
Reese Schonfeld on the legacy and missed opportunity of CNN
Reese Schonfeld on the creation of the Food Network
Reese Schonfeld on the creation of the Food Network
Reese Schonfeld on Emeril Lagasse's early Food Network shows
Reese Schonfeld on running Julia Child's old shows on the Food Network, and on trying to position the network for women
Reese Schonfeld on the early personalities of the Food Network
Reese Schonfeld on what made the Food Network a success
Reese Schonfeld on Scripps Howard taking over the Food Network
Reese Schonfeld on advice to someone who wants to start a cable network

Daniel Schorr

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Daniel Schorr on covering the McCarthy hearings
Daniel Schorr on Edward R. Murrow's See it Now commentary on Senator Joseph McCarthy
Daniel Schorr on working for CNN at the creation of the network by Ted Turner

Robert Schuller

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Robert Schuller on how television has changed society

Jan Scott

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Jan Scott on dealing with ageism in the television industry, and on working on feature films
Jan Scott on briefly working in Disney's art department

Joe Sedelmaier

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Joe Sedelmaier on becoming interested in film and getting into advertising
Joe Sedelmaier on working for Young & Rubicam, Clinton Frank, and Leo Burnett
Joe Sedelmaier on the state of television advertising in the '60s
Joe Sedelmaier on incorporating more subtlety into television advertisements 
Joe Sedelmaier on starting his own advertising agency
Joe Sedelmaier on the early days of his advertising agency
Joe Sedelmaier on his early clients
Joe Sedelmaier on Southern Airways putting his agency on the map
Joe Sedelmaier on gaining creative control over his advertisements 
Joe Sedelmaier on buying out his partner and taking control
Joe Sedelmaier on turning down clients and his affinity for comedic commercials
Joe Sedelmaier on his preference to use film in his advertisements 
Joe Sedelmaier on his Alaska Airlines commercials
Joe Sedelmaier on his Federal Express commercials 
Joe Sedelmaier on his famous, fast-talking Federal Express series of commercials 
Joe Sedelmaier on discovering Clara Peller, Wendy's "Where's the Beef?" lady
Joe Sedelmaier on Wendy's "Where's the Beef?" campaign with Clara Peller
Joe Sedelmaier on Wendy's "Russian Fashion Show" commercials 
Joe Sedelmaier on Wendy's "Russian Fashion Show" commercial 
Joe Sedelmaier on Wendy's "Parts is Parts" commercial
Joe Sedelmaier on the effect his ads had on Wendy's
Joe Sedelmaier on structuring his commercial rates and dealing with the heads of the companies
Joe Sedelmaier on Federal Express commercials he created
Joe Sedelmaier on foreign commercials he created
Joe Sedelmaier on creating Mr. Coffee commercials 
Joe Sedelmaier on his Jartran commercials 
Joe Sedelmaier on creating Eyewitness News commercials
Joe Sedelmaier on creating commercials for Valvoline 
Joe Sedelmaier on creating commercials for Texaco Super Unleaded and the process of casting commercials 
Joe Sedelmaier on creating commercials for AAMCO and HP
Joe Sedelmaier on the then-current state of advertising 
Joe Sedelmaier on his style
Joe Sedelmaier on market research 
Joe Sedelmaier on gauging the success of an ad
Joe Sedelmaier on advice to aspiring advertising professionals 
Joe Sedelmaier on his greatest career achievement and how he'd like to be remembered

William Self

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William Self on dealing with the Hollywood Blacklist as a producer
William Self on being named vice president in charge of production for 20th Century Fox Television
William Self on leaving Fox Television to work in features, including "The Shootist" starring John Wayne, and on returning to CBS to head up the West Coast
William Self on being lured back to CBS, and eventually being named vice president in charge of movies and miniseries
William Self on becoming head of the CBS theatrical division
William Self on his retirement from CBS, and on forming a production company with Glenn Close
William Self on how the business changed throughout his career

Ralph Senensky

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Ralph Senensky on censorship when directing Breaking Point and "The Bull Roarer" episode in which a young man thinks he might be gay

John Shaffner

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John Shaffner on advice to aspiring art directors

Richard Shapiro

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Richard and Esther Shapiro on writing the made-for-TV movie Intimate Strangers
Richard and Esther Shapiro on the challenges facing an independent production company

Esther Shapiro

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Richard and Esther Shapiro on writing the made-for-TV movie Intimate Strangers
Richard and Esther Shapiro on the challenges facing an independent production company

Mel Shavelson

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Mel Shavelson on writing around NBC standards and practices for Bob Hope
Mel Shavelson on Bob Hope doing jokes about Senator Joseph McCarthy
Mel Shavelson on the early development of television, and of color television, and on writing an early experimental broadcast with Bob Hope
Mel Shavelson on his experience with the Hollywood Blacklist, and on the societal impact of television
Mel Shavelson on how the television industry has changed since he started
Mel Shavelson on the growth of television
Mel Shavelson on how he'd like to be remembered

David Shaw

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David Shaw on the Hollywood Blacklist
David Shaw on The Defenders dealing with the Hollywood Blacklist
David Shaw on advice to aspiring writers and his proudest career achievement

Jack Shea

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Jack Shea on the Hollywood Blacklist
Jack Shea on the DGA and runaway production

Sid Sheinberg

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Sid Sheinberg on Revue changing its name to Universal Television and MCA's various acquisitions 
Sid Sheinberg on his concerns and goals for Universal Television when he became President in 1971
Sid Sheinberg on becoming President of MCA, and his view of deregulation and media consolidation 
Sid Sheinberg on MCA taking on Betamax and advocating other home video technology
Sid Sheinberg on the emergence of cable and satellite television 
Sid Sheinberg on MCA's syndication and television business in the '80s and the series Law & Order
Sid Sheinberg on NBC's acquisition of Universal 
Sid Sheinberg on media consolidation in the '80s
Sid Sheinberg on Matsushita's acquisition of MCA
Sid Sheinberg on advice to aspiring television executives

Judith Sheindlin

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Judith Sheindlin on the power of television
Judith Sheindlin on advice to an aspiring daytime television personality

James Sheldon

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James Sheldon on changes in the television business in the 1950s that led to directors becoming freelancers rather than employees of advertising agencies or networks
James Sheldon on the Hollywood Blacklist 
James Sheldon on nearly being fired because of a mix up involving another man named James Sheldon during the Hollywood Blacklist era 
James Sheldon on why he doesn't remember many details of the Blacklist era
James Sheldon on advice to an aspiring director

Sidney Sheldon

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Sidney Sheldon on the lack of network interference when he was working in TV versus what he sees in the industry today (2000); on the status of the business
Sidney Sheldon on his recollections of the Hollywood Blacklist
Sidney Sheldon on then-current (2000) television writing and the state of television

David Shore

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David Shore on initial critical reaction and viewer reaction to House and early notes from FOX

John Silva

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John Silva on the future of television

Treva Silverman

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Treva Silverman on advice to aspiring comedy writers

Chet Simmons

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Chet Simmons on the selling of Sports Programs Inc. to ABC, and on his role at ABC Sports
Chet Simmons on leaving NBC Sports for the newly created ESPN
Chet Simmons on being named president of ESPN five weeks before it launched
Chet Simmons on ESPN founders Bill and Scott Rasmussen, and the other people at the network when it started
Chet Simmons on ESPN's early scheduling process
Chet Simmons on ESPN's early primetime schedule
Chet Simmons on the amount of live coverage ESPN did in their early years, and on the number of viewers and cable system at its launch
Chet Simmons on the first moments on the air at ESPN, and on the look and sponsors of the network at the time
Chet Simmons on ESPN's schedule when they first went on the air, and the demographics of the network and early success
Chet Simmons on ESPN's early offices, equipment, technology, and location
Chet Simmons on the growth of ESPN during his tenure
Chet Simmons on how ESPN changed over time in terms of branding
Chet Simmons on ESPN being competitive with broadcast networks, and on ESPN's disadvantages and advantages in competing with the networks
Chet Simmons on how the audience numbers for ESPN over the years
Chet Simmons on why he left ESPN
Chet Simmons on going to work for the USFL
Chet Simmons on advice to an aspiring sports executive

Sam Simon

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Sam Simon on censorship issues on The Simpsons
Sam Simon on his advice to aspiring writers
Sam Simon on how television has changed since he started

Bob Simon

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Bob Simon on advice to aspiring journalists

John Singleton

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John Singleton on being nominated for an Emmy in 2016 and the kinds of opportunities television offers that are different from film
John Singleton on writing for film and television, and feeling it's the same, especially as television becomes more cinematic
John Singleton on what he likes about television now: "it's like I can make a movie every other week"
John Singleton on being nominated for an Emmy for American Crime Story: The People v. O.J. Simpson and the opportunities he sees in television
John Singleton on how opportunities for African Americans in entertainment have changed over the course of his career
John Singleton on his feelings about current television: "I love TV"
John Singleton on the best lessons he's learned over the course of his career

G.E. Smith

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G.E. Smith on the infamous Sinead O'Connor "Pope ripping" incident on Saturday Night Live
G.E. Smith on advice to aspiring musicians

Gary Smith

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Gary Smith on advice to aspiring producers

Dick Smith

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Dick Smith on being warned about the Hollywood Blacklist

Yeardley Smith

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Yeardley Smith on the differences between television/film and theater
Yeardley Smith on the criticism of The Simpsons when it debuted
Yeardley Smith on censorship issues (or the lack thereof) on The Simpsons

Sid Smith

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Sid Smith on directing early television commercials while working for an advertising agency
Sid Smith on differences between working with the major networks and PBS
SiSid Smith on the future of television

Jaclyn Smith

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Jaclyn Smith on being a "Breck Girl" and appearing on McCloud
Jaclyn Smith on her advice to an aspiring actor

Mark Snow

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Mark Snow on dealing with fame and success, especially as he experienced it during the height of The X-Files
Mark Snow on how the television industry has changed during his time in the business
Mark Snow on advice to aspiring television composers

Sanford Socolow

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Sanford Socolow on changes he made during his time at the CBS Washington News Bureau under the Nixon administration - identifying who was asking questions of the President
Sanford Socolow on changes in network news over the years
Sanford Socolow on how cable news affected broadcast news
Sanford Socolow on the biggest problems facing the news media
Sanford Socolow on advice to an aspiring news producer

John Soh

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John Soh on advice to aspiring editors

Aaron Spelling

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Aaron Spelling on network interference when writing for Sammy Davis, Jr. on Dick Powell's Zane Grey Theater

Frank Stanton

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Frank Stanton on CBS getting into television, and the CBS network coverage in the early days
Frank Stanton on the FCC issuing the original licenses to television stations around the country, and CBS' failed color system
Frank Stanton on where CBS stood in relation to NBC in the earliest days of television, and on eventually surpassing them with I Love Lucy
Frank Stanton on the creation of CBS News for television, and Edward R. Murrow's reluctance to do television
Frank Stanton on Edward R. Murrow's commentary on Senator Joe McCarthy
Frank Stanton on the policies invoked at CBS during the blacklist period
Frank Stanton on the Quiz Show Scandals
Frank Stanton on his relationship with Senator John O. Pastore, and dealing with censorship
Frank Stanton on how the networks have changed since he started
Frank Stanton on CBS spinning off Viacom for syndication purposes
Frank Stanton on the rise of cable television, and the then-future of new media
Frank Stanton on the impact of media consolidation on programming
Frank Stanton on the then-current state of television
Frank Stanton on broadcasting and the first amendment, and how it related to CBS Reports: "The Selling of the Pentagon"
Frank Stanton on the downside of media consolidation
Frank Stanton on the then-current state of broadcasting, and on what he felt was most important in broadcasting at the time
Frank Stanton on the creation on the CBS television network, alongside the CBS radio network
Frank Stanton on the news on public television, and on the then-current state of network news
Frank Stanton on the design and construction of CBS Television City in Los Angeles
Frank Stanton on the design and construction of Black Rock in New York City
Frank Stanton on the design and construction of CBS Black Rock
Frank Stanton on the design and creation of the CBS eye logo
Frank Stanton on what he feels is the lack of adequate maintenance of CBS Black Rock, and on what the building meant for CBS
Frank Stanton on what CBS Black Rock meant to CBS
Frank Stanton on the creation of CBS News
Frank Stanton on CBS News' initial roster of correspondents
Frank Stanton on CBS and the Hollywood Blacklist
Frank Stanton on the quiz show scandals

Jean Stapleton

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Jean Stapleton on learning to be open for all projects, as a result of her work on All in the Family
Jean Stapleton on taking a buyout from residuals on All in the Family
Jean Stapleton on John Randolph and others standing up to the Hollywood Blacklist
Jean Stapleton on advice to aspiring actors

Darren Star

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Darren Star on controversial storylines on Beverly Hills, 90210, including "Brenda Walsh" sleeping with "Dylan McKay" in the first season's "Spring Dance" episode
Darren Star on the censorship issues that arose on Melrose Place, particularly involving the character "Matt Fielding," who was gay
Darren Star on trusting your own instincts as a writer and not allowing the audience to influence your choices
Darren Star on a Sex and the City gag that HBO objected to
Darren Star on the challenges of having a show on a network versus cable
Darren Star on not allowing success to inhibit you in your career choices
Darren Star on Younger being on TV Land and the changing landscape of television
Darren Star on advice to aspiring writers

Ben Starr

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Ben Starr on his recollections of the Hollywood Blacklist
Ben Starr on advice to aspiring television writers

Johnny Stearns

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Mary Kay and Johnny Stearns on getting recognized from Mary Kay and Johnny
Mary Kay and Johnny Stearns on incorporating Mary Kay's pregnancy into Mary Kay and Johnny; on what they could and couldn't say on the show
Mary Kay and Johnny Stearns on using their real identities on Mary Kay and Johnny; on not wanting celebrity

Mary Kay Stearns

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Mary Kay and Johnny Stearns on getting recognized from Mary Kay and Johnny
Mary Kay and Johnny Stearns on incorporating Mary Kay's pregnancy into Mary Kay and Johnny; on what they could and couldn't say on the show
Mary Kay and Johnny Stearns on using their real identities on Mary Kay and Johnny; on not wanting celebrity

Herbert Stempel

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Herbert Stempel on becoming involved with Twenty-One  via producer Dan Enright
Herbert Stempel on Dan Enright prepping him to "act" and cheat on Twenty-One, and on dealing with host Jack Barry
Herbert Stempel on the format of Twenty-One  and how the game was played
Herbert Stempel on the broadcast facilities and set of Twenty-One, including the "isolation booth"
Herbert Stempel on his first Twenty-One  opponents having been coached as he had been
Herbert Stempel on the aftermath of his first appearance on Twenty-One  and on the scripted banter on the show
Herbert Stempel on his initial lack of recognition from being on Twenty-One, and on meeting with producer Dan Enright before each air time to get instructions and answers
Herbert Stempel on the details of the monetary wins on Twenty-One
Herbert Stempel on telling some friends early on that Twenty-One  was rigged
Herbert Stempel on the other members of the Twenty-One  team including host Jack Barry
Herbert Stempel on the producers inadvertently giving him a wrong answer to a question on Twenty-One
Herbert Stempel on Charles Van Doren, his final "opponent" on Twenty-One
Herbert Stempel on finally being "defeated" by Charles Van Doren on Twenty-One
Herbert Stempel on Dan Enright reneging on his promises to Stempel after his run Twenty-One
Herbert Stempel on contacting the DA's office and testifying about the misconduct on the set of Twenty-One
Herbert Stempel on appearing on the PBS American Experience  episode "The Quiz Show Scandal"
Herbert Stempel on his involvement in Robert Redford's feature film "Quiz Show" in which John Turturro played Stempel
Herbert Stempel on the impact of the Quiz Show Scandals on America and his being asked to return to play on the revived version of Twenty-One,  and on trying out for Jeopardy!
Herbert Stempel on the so-called Stempel law, and his then-current dealings with the public
 Herbert Stempel on the legacy of the Quiz Show Scandals
Herbert Stempel on having his credibility questioned when he testified about misconduct on the set of Twenty-One
Herbert Stempel on the psychological impact the Twenty-One  scandal had on him, and on the public perception of his testimony regarding Charles Van Doren

Jeremy Stevens

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Jeremy Stevens on Charles Rocket saying an expletive live on the air on Saturday Night Live

Nick Stewart

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Nick Stewart on the then-current state of African-Americans on television 
Nick Stewart on advice to those starting in the entertainment industry

Norman Stiles

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Norman Stiles on how children's television has changed since he started in the industry
Norman Stiles on advice to an aspiring children's television writer

Dick Stiles

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Dick Stiles on advice to an aspiring art director

Jerry Stiller

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Jerry Stiller on his memories of the Hollywood Blacklist

Brandon Stoddard

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Brandon Stoddard on television living up to its potential and how the industry has changed

Gale Storm

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Gale Storm on the influence the sponsors had over TV shows, including The Gale Storm Show (aka Oh Susanna)

J. Michael Straczynski

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J. Michael Straczynski on the audience of Babylon 5 and interacting with fans on the internet
J. Michael Straczynski on the series Sense8 for Netflix

John Strauss

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John Strauss on the Hollywood Blacklist
John Strauss on his participation in two union strikes
John Strauss on speaking to newspaper columnist Hedda Hopper on behalf of actor Sterling Hayden when he was suspected of being a Communist
Publicist John Strauss on working with sponsors and ad agencies
John Strauss on the value of both publicity and advertising
John Strauss on advice to someone starting out in public relations
John Strauss on how the industry has changed since he first started in the business

George Sunga

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George Sunga on CBS's reaction to The Smothers Brothers Comedy Hour
George Sunga on Harry Belafonte's controversial performance on The Smothers Brothers Comedy Hour
George Sunga on diversity and discrimination in television

Donald L. Taffner, Sr.

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Donald L. Taffner, Sr. on advice to aspiring television executives
Donald L. Taffner, Sr. on starting his own production and distribution company
Donald L. Taffner, Sr. on how television distribution has changed since the '60s and distributing The Benny Hill Show

George Takei

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George Takei on his advice to aspiring actors

Jeffrey Tambor

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Jeffrey Tambor on the revival of Arrested Development  on Netflix
Jeffrey Tambor on his series Onion News Empire
Jeffrey Tambor on advice to an aspiring actor

William Tankersley

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William Tankersley on his involvement with the CBS loyalty oath and the Hollywood Blacklist
William Tankersley on becoming the Director of Program Practices at CBS Television City
William Tankersley on his process as Director of Program Practices at CBS Television City
William Tankersley on Frank Stanton and William Paley's input on Program Practices at CBS Television City
William Tankersley on Program Practices' involvement with table reads
William Tankersley on instances when shows went against the advice of CBS Program Practices
William Tankersley on how CBS Program Practices handled pregnancy storylines on TV shows in the 1950s
William Tankersley on how CBS Program Practices handled personal hygiene commercials and storylines on TV shows in the 1950s
William Tankersley on how CBS Program Practices handled Civil Rights storylines on TV shows in the 1950s and '60s
William Tankersley on Washington D.C.'s interest in violence on television and dealing with an AFTRA strike
William Tankersley on how CBS Program Practices handled religious storylines on TV shows in the 1950s
William Tankersley on how CBS Program Practices handled storylines involving drugs on TV shows in the 1960s
William Tankersley on CBS' expected limitations of violence on television
William Tankersley on CBS' expected limitations of violence on television
William Tankersley on CBS' guidelines for current affairs and politics on TV in the 1950s
William Tankersley on CBS Standards & Practices not having many issues with daytime soap operas
William Tankersley on CBS Standards & Practices having issues with shows paying for commercial plugs
William Tankersley on CBS Standards & Practices' workings with early TV sponsors
William Tankersley on how the Quiz Show scandals (which started with NBC shows) affected CBS Standards & Practices
William Tankersley on being promoted to Vice President of Program Practices at CBS and dealing with advertisers
William Tankersley on CBS Standards & Practices' problems with advertisers' competitive complaints and false advertising
William Tankersley on CBS Standards & Practices' workings with Playhouse 90 and The Twilight Zone
William Tankersley on CBS Standards & Practices' problems with The Smothers Brothers' Comedy Hour
William Tankersley on CBS Standards & Practices' interactions with news programs 
William Tankersley on CBS Standards & Practices work with Norman Lear on All In The Family, (contd.)
William Tankersley on the role government should play in broadcasting and how cable affected the industry
William Tankersley on how media consolidation has affected the industry
William Tankersley on what represents the best of television

Nina Tassler

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Nina Tassler on television packaging (Ed. Note: Ms. Tassler would like to correct that agencies receive a percentage of the budget, not the license fee)
Nina Tassler on the merger of Lorimar Television and Warner Bros. Television and her concurrent move from Director, Movies and Miniseries to Vice President, Drama Development at the newly merged company
Nina Tassler on the "selling season" for network television and how she pitched shows with writers when she was Vice President, Drama Development at Warner Bros. Television
Nina Tassler on what she looks for when hearing a pitch for a television show
Nina Tassler on the importance of The Late Show with Stephen Colbert and The Late Late Show with James Corden creating digital content and viral clips
Nina Tassler on advice to aspiring television executives 

Studs Terkel

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Studs Terkel on how the Hollywood Blacklist ended his budding career in television
Studs Terkel on his opinion of television
Studs Terkel on being blacklisted and working with gospel singer Mahalia Jackson

Richard Thomas

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Richard Thomas on the differences between New York television and Los Angeles television in the '60s
Richard Thomas on working with Will Geer and Ellen Corby as "Grandma and Grandpa Walton" on The Waltons, and on Will Geer having been a victim of the Hollywood Blacklist
Richard Thomas on advice to an aspiring actor

Tony Thomas

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Tony Thomas on dealing with Standards and Practices regarding Soap
Tony Thomas on battles with Standards and Practices over The Golden Girls

Stanford Tischler

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Stanford Tischler on not knowing any editors affected by the Hollywood Blacklist
Stanford Tischler on censorship issues on M*A*S*H and how decades earlier in the 1950s the word "condominium" was deleted from a script
Stanford Tischler on advice to an aspiring editor

Mel Tolkin

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Mel Tolkin on the Hollywood Blacklist
Mel Tolkin on how television changed and evolved from the 1950s to the 1980s
Mel Tolkin on the benefits of writing with a partner, and on the best of television

Daniel J. Travanti

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Daniel J. Travanti on advice to aspiring actors, and on career highlights and regrets

Robert Trout

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Robert Trout on the Communist blacklist of the 1950s
Robert Trout on the public perception of integrity of news
Robert Trout on advice to aspiring broadcast journalists
Robert Trout on the growth of CNN

Ret Turner

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Ret Turner on how network Standards and Practices affected his wardrobe decisions

Ted Turner

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Ted Turner on creating TCM, Turner Classic Movies
Ted Turner on getting into cable
Ted Turner on the birth of CNN
Ted Turner on the premiere and early budget for CNN
Ted Turner on the budgetary constraints on forming CNN
Ted Turner on network resistance to CNN; on his concept for and naming CNN
Ted Turner on finding advertisers for CNN
Ted Turner on creating CNN II (Headline News)
Ted Turner on acquiring MGM
Ted Turner on merging with Time Warner
Ted Turner on media consolidation and his thoughts on the future
Ted Turner on launching TNT
Ted Turner on purchasing Hanna-Barbera's library and creating the Cartoon Network
Ted Turner on acquiring Castle Rock and New Line Entertainment
Ted Turner on the dangers of media consolidation

Saul Turteltaub

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Saul Turteltaub on his opinion of then-current television shows
Saul Turteltaub on advice to aspiring writers
Saul Turteltaub on advice to aspiring producers

Bill Tush

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Bill Tush on an early TV Guide article about "Superstation" WTCG
Bill Tush on WTCG being beamed via satellite and becoming a "Superstation"
Bill Tush on the advent of CNN
Bill Tush on advice to aspiring television personalities
Bill Tush on the then-current state of entertainment news

Leslie Uggams

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Leslie Uggams on how the industry has changed during the course of her career
Leslie Uggams on advice to an aspiring actress

Dean Valentine

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Dean Valentine on the state of NBC when he worked there in the 1980s
Dean Valentine on his position and his responsibilities in comedy development at NBC
Dean Valentine on leaving NBC and on going to work in development for Disney Television, later Touchstone Television
Dean Valentine on reinventing the television division of Disney with Touchstone Television
Dean Valentine on navigating corporate politics, and becoming president of Touchstone Television
Dean Valentine on the Disney/ABC merger, and on the main players including Michael Eisner and Tom Murphy
Dean Valentine on taking over the Disney Television Animation division
Dean Valentine on leaving ABC/Disney
Dean Valentine on being named president and chief executive of UPN a year after it launched
Dean Valentine on the steps he took as president and chief executive officer of UPN to boost ratings, and on battling The WB
Dean Valentine on the fate of UPN, and on The CW
Dean Valentine on leaving UPN in 2001
Dean Valentine on advice to an aspiring television executive, and to a creator of programming

Robert Vaughn

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Robert Vaughn on his dissertation on The Blacklist

Tony Verna

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Tony Verna on censorship issues with live television
Tony Verna on working with ESPN and how they've changed sports broadcasting
Tony Verna on how television audiences have changed since he started in the business

Bob Vila

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Bob Vila on losing his anonymity 

Helen Wagner

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Helen Wagner on advice to aspiring actresses
Helen Wagner on how television has changed since she started

Jimmie Walker

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Jimmie Walker on how the industry's changed since he started
Jimmie Walker on advice to aspiring comedians

Clint Walker

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Clint Walker on Ty Hardin becoming the lead in Cheyenne when Walker had a contract dispute and Hardin spinning off in Bronco
Clint Walker on fame

Joseph A. Wapner

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Joseph Wapner on becoming famous from being on The People's Court
Joseph Wapner on advice to aspiring TV judges

Malcolm-Jamal Warner

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Malcolm-Jamal Warner on dealing with Standards and Practices on The Cosby Show
Malcolm-Jamal Warner on advice for an aspiring actor
Malcolm-Jamal Warner on how the television business has changed since he started in it

George Watters

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George Watters on advice to aspiring editors

Keenen Ivory Wayans

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Keenen Ivory Wayans on the network's reluctance about his show In Living Color; on News Corp's COO Peter Chernin's suggestions; on the network notes and Wayans' insistence not to change anything
Keenen Ivory Wayans on an In Living Color  sketch about black men being an endangered species and on dealing with censorship at the network
Keenen Ivory Wayans on how television has changed

Matthew Weiner

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Matthew Weiner on the strained relationship between AMC and Mad Men
Matthew Weiner on the "business model" for Mad Men; on differences with the network over sponsors
Matthew Weiner on the gap between seasons four and five of Mad Men  and his contract negotiations with AMC 

Bob Weiskopf

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Bob Schiller and Bob Weiskopf on flack for portraying a divorced woman (Vivian Vance's character) on The Lucy Show
Bob Schiller and Bob Weiskopf on network interference on Maude
Bob Schiller and Bob Weiskopf on their recollections of the Hollywood Blacklist

Lou Weiss

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Lou Weiss on the Hollywood Blacklist
Lou Weiss on the then-current economics of developing a show
Lou Weiss on syndication
Lou Weiss on television distribution

John Wells

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John Wells on issues the ER producers had with some advertisers
John Wells on advice to aspiring writers

Tom Werner

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Marcy Carsey and Tom Werner on problems with Roseanne on the set of Roseanne  and how fame changed her
Marcy Carsey and Tom Werner on negotiations with networks for a joint venture upon the end of the fin-syn rules

Av Westin

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Av Westin on the Public Broadcasting Laboratory
Av Westin on the Capital Cities takeover of ABC

Ellen Wheeler

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Ellen Wheeler on the then-future of the soap opera genre 
Ellen Wheeler on advice to aspiring daytime producers

Susan Whiting

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Susan Whiting on being an inaugural member of Nielsen Research's management training program
Susan Whiting on what she learned about cable television in its early years
Susan Whiting on Nielsen measuring media saturation and multiplexing on various platforms
Susan Whiting on criticism of Nielsen ratings

Tucker Wiard

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Tucker Wiard on the strike in Hollywood and how that affected his work on Murphy Brown
Tucker Wiard on dealing with network interference and censorship

Joseph M. Wilcots

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Joseph M. Wilcots on advice to an aspiring cinematographer

Dan Wilcox

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Dan Wilcox on helping bring the Writers Guild into Sesame Street
Dan Wilcox on his involvement with the Writers Guild
Dan Wilcox on what he likes about writing and advice to an aspiring writer
Dan Wilcox on the television writers strike of 2007

Fred Willard

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Fred Willard on Fernwood 2-Night "going too far"

Cindy Williams

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Cindy Williams on fan reaction to Laverne & Shirley  and the fame that resulted from being on the show
Cindy Williams on how the television industry has changed since she started
Cindy Williams on advice to aspiring actors

Larry Wilmore

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Larry Wilmore on standards and practices notes for The PJs, and on leaving the show after it switched networks
Larry Wilmore on advice, and on information he wished he had when he started in the business

Hugh Wilson

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Hugh Wilson on advice to an aspiring writer and an aspiring director

Ethel Winant

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Ethel Winant on dealing with the network on casting blacklisted actors and minorities on television in the '50s
Ethel Winant on dealing with the Hollywood Blacklist on shows like Armstrong Circle Theatre
Ethel Winant on dealing with the Hollywood Blacklist as a casting director
Ethel Winant on Playhouse 90's productions of "Portrait of a Murderer" and "Judgement at Nuremberg", and on network and sponsor censorship
Ethel Winant on the then-current state of television
Ethel Winant on the then-future of television
Ethel Winant on advice to aspiring casting directors

Terence Winter

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Terence Winter on the buzz surrounding The Sopranos
Terence Winter on the power of television

Ben Wolf

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Ben Wolf on advice to someone starting out in the cinematography business

Perry Wolff

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Perry Wolff on dealing with the Hollywood Blacklist
Perry Wolff on the then-current state of investigative journalism and television documentaries
Perry Wolff on the then-current state of the news media and its biggest challenges
Perry Wolff on the the role of the broadcaster in the then-current climate of television news
Perry Wolff on his greatest achievement and his advice to aspiring television documentary filmmakers 

Bud Yorkin

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Bud Yorkin on dealing with the Hollywood Blacklist and how it impacted Tennessee Ernie Ford Show  writer Roland Kibbee
Bud Yorkin on the then-current state of television 

Leo Yoshimura

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Leo Yoshimura on advice to aspiring production designers
Leo Yoshimura on how the television industry has changed since he started

Lauren Zalaznick

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Lauren Zalaznick on the experience of creating and branding the Trio network
Lauren Zalaznick on programming the Trio network
Lauren Zalaznick on what she learned about programming as the head of Trio
Lauren Zalaznick on being tapped by Jeff Zucker to lead the Bravo network in the wake of the NBC/Universal merger
Lauren Zalaznick on an incident with The RuPaul Show producers Fenton Bailey and Randy Barbato
Lauren Zalaznick on her decision to leave VH1, and on her experiences on 9/11
Lauren Zalaznick on television and society, and how television tends to reflect the national psyche (the topic of her 2011 TED Talk)
Lauren Zalanzick on diversifying the genres on VH1
Lauren Zalaznick on being tapped by Jeff Zucker to lead the Bravo network in the wake of the NBC/Universal merger
Lauren Zalaznick on the challenge of building on the success of Queer Eye for the Straight Guy as head of Bravo, and on shows she programmed early in her tenure there
Lauren Zalaznick on using the Internet as a marketing tool for Bravo's programming, and on the "watch what happens" slogan
Lauren Zalaznick on creating a marketing strategy when she started at Bravo, and on creating the logo
Lauren Zalaznick on the ways in which audiences are consuming content via new media, and how that has impacted Bravo
Lauren Zalaznick on being a board member at GoPro, and her then-current projects
Lauren Zalaznick on the then-current state of television
Lauren Zalaznick on how the television industry has changed since she began
Lauren Zalaznick on valuable advice she has received, and on her advice to aspiring television executives

Frederic Ziv

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Frederic Ziv on rates for radio and television rights before television took off
Frederic Ziv on network reaction to his television syndication
Frederic Ziv on competition from other television syndicators
Frederic Ziv on criticisms of too much violence on television Westerns
Frederic Ziv on international syndication
Frederic Ziv on forming Economy TV and the state of his syndication library in the 1950s
Frederic Ziv on standards he used for the content of his programs
Frederic Ziv on his thoughts on network programming

Jeff Zucker

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Jeff Zucker on following your passion and working hard at what you love
Jeff Zucker on trusting your gut as a Producer and Executive, and not relying solely on research
Jeff Zucker on why television shows are traditionally either thirty or sixty minutes in length
Jeff Zucker on the impact on the network of putting reality programming on NBC
Jeff Zucker on the NBC-Universal merger
Jeff Zucker on dealing with shows that fail, and knowing when to take a show off the air
Jeff Zucker on the development of Hulu and its success up to that time (in 2009)
Jeff Zucker on advice to aspiring television producers and executives

Alan Zweibel

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Alan Zweibel on how the industry has changed since he started
Alan Zweibel on advice to an aspiring television writer
Alan Zweibel on political correctness in comedy

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