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
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
Walter Bernstein on screenwriter Ben Maddow testifying (and naming names) before the House Un-American Activities Committee (HUAC)
Walter Bernstein on being listed in Red Channels, his subsequent blacklisting, and how it affected his career
Walter Bernstein on "The Hollywood Ten"
Walter Bernstein on sponsor involvement on Danger
Walter Bernstein on sponsor involvement on Danger during the Blacklist
Walter Bernstein on using a pseudonym and "fronts" to write for Danger and You Are There during the Blacklist
Walter Bernstein on the subversive subtext of You Are There; on Edward R. Murrow's See It Now denouncing Senator McCarthy; on the use of "fronts" during the Blacklist and how he was cleared to work on movies, but not television
Walter Bernstein on the end of his blacklisting in the film industry -- and on being one of the first people cleared; on how Europeans felt about the Blacklist; on what he would have sad had he been subpoenaed
Walter Bernstein on what the industry should/could learn from the Blacklist and advice to others who might find themselves in a similar situation to what he went through
Walter Bernstein on the role government should play in television
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
Charles Cappleman on how CBS in Los Angeles was structured in the 1950s
Charles Cappleman on the stages at CBS Television City
Charles Cappleman on the Hollywood Blacklist
Charles Cappleman on the various stages at CBS Television City
Charles Cappleman on where CBS produced their shows before Television City
Charles Cappleman on William S. Paley
Charles Cappleman on Frank Stanton
Charles Cappleman on James T. Aburey and Robert D. Wood
Charles Cappleman on William S. Paley's management style
Charles Cappleman on the consolidation of Viacom, CBS, and Infinity, and on Mel Karmazin and Leslie Moonves
Charles Cappleman on how Television City has changed over the years
Charles Cappleman on the emergence of new media
Charles Cappleman on his advice to aspiring television executives
Margaret Cho on the groundbreaking and controversial aspects of All-American Girl -- the first representation of a Korean-American family on U.S. primetime television
Margaret Cho on network notes she got on All-American Girl -- that she was too fat
Margaret Cho on advice from other comedians that she's taken to heart
Margaret Cho on playing a North Korean general on the 72nd Golden Globe Awards, hosted by Amy Poehler and Tina Fey, and on criticism of the character
Margaret Cho on doing remote shows and connecting with fans during the COVID-19 pandemic
Margaret Cho on what she wishes she had known when she first started her career
Margaret Cho on advice for young women entering the industry
Ann Curry on her feelings on the responsibility of journalists, and on how this influences her reporting and other choices, including tweeting about the need for Doctors Without Borders to be allowed into Haiti after the 2010 earthquake
Ann Curry on the Comcast-NBC merger, and on her interactions with new executives at NBC and NBC News
Ann Curry on how the advent of new technology and digital outlets impacted editorial and broadcast decisions on Today when she was co-anchor, and on the then-future of television
Ann Curry on the public's perception of broadcast news, and on how and why it is has changed over time
Ann Curry on how the press should respond to President Trump's assertion that they are "the enemy of the people", and on past presidents' relationships with the press
Ann Curry on the impact of the public getting their news from social media and other free sources, and on the importance of the public subscribing to news outlets, and on the possibilities of the then-future of journalism
Ann Curry on her PBS docuseries We'll Meet Again
Ann Curry on advice for aspiring journalists
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
Rebecca Eaton on the atmosphere at PBS in the early 1970s when she began working there, and how it reflected the political and protest movements happening in the United States at the time
Rebecca Eaton on how she dealt with Mobil, which was the sponsor of Masterpiece Theatre when she first began at PBS in the early 1970s
Rebecca Eaton on Netflix acquiring The Crown, and how this affected Masterpiece (because Netflix's budgets are so much larger than PBS')
Rebecca Eaton on how funding for Masterpiece has changed over time, especially after Mobil ceased to be the sponsor
Rebecca Eaton on the controversy surrounding the Masterpiece Theatre program "Portrait of a Marriage", which featured love scenes between two women
Rebecca Eaton on how streaming and DVRs changed viewing habits, and how that affected Masterpiece
Rebecca Eaton on the social media response to Downton Abbey
Rebecca Eaton on advice to aspiring producers, particularly women
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
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
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
Ray Forrest on announcing at TV's first political convention in 1940 - the Republican convention in Philadelphia
Ray Forrest on announcing that NBC was now a commercial station, WNBT, and no longer W2XBS
Ray Forrest on rumblings about television when he worked in NBC radio
Ray Forrest on getting hired to work for NBC experimental television (1939-1942)
Ray Forrest on his sign-on for NBC experimental television -- before commercial television in 1941
Ray Forrest on a typical broadcast day on experimental NBC TV from 1939-1942
Ray Forrest on the advent of commercial television -- July 1, 1941
Ray Forrest on the coming of commercial television and announcing the very first commercial (for Bulova) - July 1, 1941, and the first on-camera commercial
Ray Forrest on how commercials changed television in 1941 -- until the beginning of World War II
Ray Forrest on NBC TV becoming more professional once it went commercial
Ray Forrest on returning to NBC TV (WNBT) after World War II and how the station had changed
Ray Forrest on the business of television after World War II
Ray Forrest on a photo of the first on-air, live commercial for television -- for Adam Hats on July 4, 1941
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
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
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
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
Larry Gelbart on balancing CBS's concerns and censorship issues on M*A*S*H -- specifically with the "virgin" episode
Larry Gelbart on an infamous script written by Stanley Ralph Ross that was the only one to get rejected by CBS in the entire run of M*A*S*H
Larry Gelbart on the effect the Writer's Guild Strike in 1973 had on the production of M*A*S*H
Larry Gelbart on the 1985 Academy Awards show, which he was asked to write, but during which there was a Writer's Guild strike; on his commitment to the WGA during this time
Larry Gelbart on what to him represented the best of television -- those moments when it brought the country together as a family, as in the Kennedy funeral, or the Challenger launch, and how we're in danger of losing that ability in favor of 'the bottom line'
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
Leonard H. Goldenson his deal with Edward J. Noble (head of Lifesavers) to purchase NBC's Blue network, which became ABC
Leonard H. Goldenson on convincing Paramount's board members to buy ABC
Leonard H. Goldenson on his programming ideas for ABC and making a deal with Walt and Roy Disney
Leonard H. Goldenson on making a deal with Jack Warner
Leonard H. Goldenson on changing the sponsorship model for television
Leonard H. Goldenson on his most important decisions at ABC
Leonard H. Goldenson on getting into cable television
Leonard H. Goldenson on acquiring ESPN and starting A&E
Leonard H. Goldenson on merging with Capital Cities
Leonard H. Goldenson on Disney acquiring ABC
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 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
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
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
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
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
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
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
Daniel Lipman on going on strike with the Writers Guild early in his career, and on the benefits of the Guild
Daniel Lipman on advice to aspiring writers
Ron Cowen and Daniel Lipman on working with NBC Standards & Practices when they were writing the made-for-television movie An Early Frost, which depicted the AIDS crisis
Ron Cowen and Daniel Lipman on a scene in their made-for-television movie An Early Frost, which the network wanted to be cut out because it depicted a grandmother kissing her grandson who had AIDS
Ron Cowen and Daniel Lipman on being told by NBC that they could find another network for Sisters if they made one of the main characters gay, and on another incident of the network pushing back against a storyline involving the father having an affair with an African American woman
Ron Cowen and Daniel Lipman on how a scene on Sisters where the main characters were discussing orgasms was dealt with by the network
Ron Cowen and Daniel Lipman on their battles with Standards & Practices on Sisters
Ron Cowen and Daniel Lipman on the difference between what they could depict in their 1985 made-for-television movie An Early Frost and on Queer as Folk, both of which centered on gay characters
Ron Cowen and Daniel Lipman on how the industry has changed since they first started writing for television
Ron Cowen and Daniel Lipman on working with NBC Standards & Practices when they were writing the made-for-television movie An Early Frost, which depicted the AIDS crisis
Ron Cowen and Daniel Lipman on a scene in their made-for-television movie An Early Frost, which the network wanted to be cut out because it depicted a grandmother kissing her grandson who had AIDS
Ron Cowen and Daniel Lipman on being told by NBC that they could find another network for Sisters if they made one of the main characters gay, and on another incident of the network pushing back against a storyline involving the father having an affair with an African American woman
Ron Cowen and Daniel Lipman on how a scene on Sisters where the main characters were discussing orgasms was dealt with by the network
Ron Cowen and Daniel Lipman on their battles with Standards & Practices on Sisters
Ron Cowen and Daniel Lipman on the difference between what they could depict in their 1985 made-for-television movie An Early Frost and on Queer as Folk, both of which centered on gay characters
Ron Cowen and Daniel Lipman on how the industry has changed since they first started writing for television
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
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
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
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
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
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
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
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
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
Sterling "Red" Quinlan on the creativity of local Chicago television in the '50s and on the local series Home Again
Sterling "Red" Quinlan on the ABC facilities in Chicago in the '50s
Sterling "Red" Quinlan on the local news at WBKB in Chicago
Sterling "Red" Quinlan on the tensions between WBKB in Chicago and ABC in New York and on leaving ABC
Sterling "Red" Quinlan on writing the books Inside ABC and The Merger
Sterling "Red" Quinlan on building the local Chicago station WFLD
Sterling "Red" Quinlan on becoming involved with public television
Sterling "Red" Quinlan on comparing working in public television to working in commercial television; on woking with the unions
Sterling "Red" Quinlan on running up against the Catholic church and on dealing with Chicago politicians
Sterling "Red" Quinlan on the then-current state of television news
Sterling "Red" Quinlan on the relationships between networks and affiliates
Sterling "Red" Quinlan on what made him want to get into television and on his books
Sterling "Red" Quinlan on the then-future of public television and on the future of network television
Sterling "Red" Quinlan on the best advice he was ever given
Starling "Red" Quinlan on consulting on starting a television station in Pakistan
Starling "Red" Quinlan on a broadcasting code of ethics
Sterling "Red" Quinlan on the Chicago School of Television
Sterling "Red" Quinlan on Newton N. Minow's comment, "television is a vast wasteland"
Sumner Redstone on the Paramount battle and Viacom becoming the number one software-driven media company in the world
Sumner Redstone on his deal with TiVo
Sumner Redstone on his then-plans for UPN
Sumner Redstone on Viacom's acquisition of CBS, and on dealing with Mel Karmazin
Sumner Redstone on negotiating with John Malone to buy BET
Sumner Redstone on if a media company can get too big
Sumner Redstone on the then future of television
Sumner Redstone on Viacom's stake in New Media in the then-future
Sumner Redstone on wireless and the internet
Sumner Redstone on media consolidation
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
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
Ted Sarandos on his first impression of Netflix co-founder Reed Hastings, and Hastings' predictions for the distribution of entertainment via the internet at the time of their meeting in 1999
Ted Sarandos on the advantage that the "queue" system on Netflix provided over brick and mortar video stores
Ted Sarandos on originally trying to separate out the DVD and streaming services on Netflix when the streaming service first launched by putting the DVD business under Qwikster, and on the backlash to the company offering different prices and services for different users
Ted Sarandos on how Netflix moved into creating original programming, and on their first attempt, the documentary The Comedians of Comedy
Ted Sarandos on Netflix becoming producers of new content, rather than just a streaming service, and on shutting down their original production arm, Red Envelope
Ted Sarandos on Netflix's strategy for developing original content, starting in 2011, and on Netflix streaming House of Cards as its own original series
Ted Sarandos on Netflix not requiring pilots before buying series, beginning with House of Cards, and on how they made a decision to release the first season of House of Cards all at once (allowing viewers to binge watch the show)
Ted Sarandos on Netflix's model of releasing full seasons of shows all at once and how this changed television: "I wasn't consciously breaking the habit, I really felt like I was just enabling access to the programming to more people"
Ted Sarandos on why Netflix's bingeing model has improved viewers' television experience
Ted Sarandos on how Netflix was able to use real, name brand products on Stranger Things
Ted Sarandos on how Netflix walks the line between licensing content from other studios while also competing with those studios with Netflix's own original content, and on Netflix's main competition as networks begin their own streaming services and start reclaiming content from Netflix
Ted Sarandos on Black Mirror: Bandersnatch, which used interactive technology to tell the story
Ted Sarandos on how (or whether) Netflix uses the data it collects from users in order to make programming decisions, and on what kind of data they collect
Ted Sarandos on "taste clusters" on Netflix - the categorization of types of shows the algorithm suggests for a user, and on Netflix's user interface
Ted Sarandos on how and why Netflix decides when to share their ratings and viewership data
Ted Sarandos on Netflix making deals with big names, including Barack and Michelle Obama, Ryan Murphy, and Shonda Rhimes
Ted Sarandos on Netflix's impact on the entertainment industry
Ted Sarandos on what he's learned from television and getting the opportunity to work with some of his heroes, and on his advice for aspiring entertaiment professionals
Ted Sarandos on the best advice he's received in his career
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
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
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 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
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 advice to aspiring writers
Mel Shavelson on a directors strike
Mel Shavelson on writers strikes
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
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
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
John Singleton on representations of violence in his work
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
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
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
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 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
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
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 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 battling The WB
Dean Valentine on the fate of UPN and The CW
Dean Valentine on leaving UPN in 2001
Dean Valentine on advice to an aspiring television executive and to a creator of programming
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
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
