Joseph Barbera on the formation of his partnership with William Hanna, and on the creation of Tom and Jerry
09:36
Joseph Barbera on the creation of Hanna-Barbera Productions, and on creating The Huckleberry Hound Show and The Yogi Bear Show
04:26
Joseph Barbera on the sudden success of Hanna-Barbara Productions, and on its quick expansion
02:25
Joseph Barbera on producing limited animation, and on the then-current state of animation on television
03:29
Joseph Barbera on training his animators at Hanna-Barbera Productions, and on the fact that Hanna-Barbera owned their characters and merchandising rights
04:19
Joseph Barbera on how he went about selling his shows, and on Hanna-Barbera being sold to Taft Broadcasting in 1966
02:33
Ralph M. Baruch on syndicating shows for CBS internationally
04:34
Ralph M. Baruch on becoming Head of International Sales at CBS and dealing with sales in Australia
08:07
Ralph M. Baruch on dealing with various European countries as Head of International Sales at CBS
05:55
Ralph M. Baruch on the distinction between CBS Network and CBS Television
02:18
Ralph M. Baruch on the FCC's regulation of syndication
06:59
Ralph M. Baruch on the formation of CBS Films and the company's problems
09:24
Ralph M. Baruch on how CBS Films impacted his job selling shows
02:41
Ralph M. Baruch on CBS dealing with FCC regulations and the creation of Cinema Center Films
08:29
Ralph M. Baruch on disharmony between the various CBS divisions
07:00
Ralph M. Baruch on the creation of Viacom
08:44
Ralph M. Baruch on his first actions at the then-newly spun off Viacom
05:14
Ralph M. Baruch on running Viacom day-to-day
05:58
Ralph M. Baruch on Viacom's early television station acquisitions and original productions
03:08
Ralph M. Baruch on Viacom acquiring cable channels
03:55
Ralph M. Baruch on Viacom acquiring cable systems and lobbying the FCC and congress, and being sued by the Justice Department
06:09
Ralph M. Baruch on the continued growth of Viacom in the early '70s with original productions and syndication
02:29
Ralph M. Baruch on Viacom's biggest syndicated programs
06:26
Ralph M. Baruch on Viacom suing the FCC
08:36
Ralph M. Baruch on the creation of Showtime and MTV Networks
11:57
Ralph M. Baruch on acquiring Cable Health Network and Sumner Redstone's takeover of Viacom
14:58
Ralph M. Baruch on his feelings about being forced out of Viacom and being on the Carnegie Hall Board of Directors
09:42
Ralph M. Baruch on the greatest success stories of Viacom
01:54
Ralph M. Baruch on the then-current state of television
04:34
Ralph M. Baruch on the then-future of television and cable
03:15
Ralph M. Baruch on television reaching its potential
01:45
Ralph M. Baruch on the buyout of CBS by Viacom
01:05
Ralph M. Baruch on the then-current state of syndication
01:19
Ralph M. Baruch on the then-current state of television news
02:27
Ralph M. Baruch on advice to aspiring television executives
01:07
Walter Bernstein on screenwriter Ben Maddow testifying (and naming names) before the House Un-American Activities Committee (HUAC)
02:04
Walter Bernstein on being listed in Red Channels, his subsequent blacklisting, and how it affected his career
10:42
Walter Bernstein on "The Hollywood Ten"
01:12
Walter Bernstein on sponsor involvement on Danger
00:12
Walter Bernstein on sponsor involvement on Danger during the Blacklist
01:51
Walter Bernstein on using a pseudonym and "fronts" to write for Danger and You Are There during the Blacklist
28:30
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
25:32
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
05:53
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
01:46
Walter Bernstein on the role government should play in television
00:44
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
02:27
Kevin Bright on Bright/Kauffman/Crane developing shows for Warner Bros., and the challenge of networks wanting Dream On for network (which was impossible)
01:31
Kevin Bright on an objection from executive Don Ohlmeyer to "Monica" sleeping with her date on the first episode of Friends
00:52
Kevin Bright on Friends streaming on Netflix and its popularity with young people
01:25
Kevin Bright on being the Founding Director of Emerson College Los Angeles
04:22
Kevin Bright on the hardest thing to teach about directing and producing for comedy
01:39
Kevin Bright on the best advice he's received about comedy and show business
00:58
Kevin Bright on how the industry has changed throughout the course of his career
02:14
Kevin Bright on advice to aspiring television professionals
01:21
Charles Cappleman on how CBS in Los Angeles was structured in the 1950s
01:30
Charles Cappleman on the stages at CBS Television City
03:08
Charles Cappleman on the Hollywood Blacklist
04:59
Charles Cappleman on the various stages at CBS Television City
03:15
Charles Cappleman on where CBS produced their shows before Television City
01:00
Charles Cappleman on William S. Paley
03:04
Charles Cappleman on Frank Stanton
02:21
Charles Cappleman on James T. Aburey and Robert D. Wood
03:19
Charles Cappleman on William S. Paley's management style
01:07
Charles Cappleman on the consolidation of Viacom, CBS, and Infinity, and on Mel Karmazin and Leslie Moonves
04:31
Charles Cappleman on how Television City has changed over the years
05:25
Charles Cappleman on the emergence of new media
05:00
Charles Cappleman on his advice to aspiring television executives
01:32
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
06:10
Margaret Cho on network notes she got on All-American Girl -- that she was too fat
04:51
Margaret Cho on advice from other comedians that she's taken to heart
01:13
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
02:39
Margaret Cho on doing remote shows and connecting with fans during the COVID-19 pandemic
00:34
Margaret Cho on what she wishes she had known when she first started her career
00:18
Margaret Cho on advice for young women entering the industry
00:31
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
03:10
Ann Curry on the Comcast-NBC merger, and on her interactions with new executives at NBC and NBC News
02:37
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
03:03
Ann Curry on the public's perception of broadcast news, and on how and why it is has changed over time
02:47
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
01:40
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
06:19
Ann Curry on her PBS docuseries We'll Meet Again
04:07
Ann Curry on advice for aspiring journalists
03:12
James Day on being hired by KQED in San Francisco
08:08
James Day on his initial duties at KQED (the Bay Area Educational Television Association)
08:07
James Day on initial funding efforts of KQED
04:08
James Day on garnering viewer support in the early days of KQED
05:33
James Day on choosing the call letters for KQED and the early technical aspects and operations of the station
10:03
James Day on KQED's early programming
08:05
James Day on the role of the Educational Television and Radio Center in the early years of KQED and public television
02:15
James Day on network programming in San Francisco during KQED's early years and KQED's community-based programming
04:08
James Day on moderating the series Kaleidoscope
09:51
James Day on the financial turning point for KQED
02:54
James Day on early corporate funding of KQED
06:44
James Day on a Fidel Castro documentary and other KQED programming from the '60s
05:07
James Day on the state of KQED in 1962
08:06
James Day on the Carnegie Commission on Educational Television
08:13
James Day on the Public Broadcasting Act of 1967 and becoming President of National Educational Television (NET)
06:05
James Day on KQED's Newspaper of the Air
08:30
James Day on the KQED series News Room
05:08
James Day on working with Fred Friendly on Public Broadcasting Laboratory
05:43
James Day on becoming President of NET in New York
03:30
James Day on the establishment of the Public Broadcasting Service (PBS)
08:07
James Day on becoming President of WNET and supervising production of The Great American Dream Machine
06:07
James Day on the process of program creation at WNET
02:08
James Day on The Great American Dream Machine and other programs from his time at WNET
03:10
James Day on programming The 51st State
04:57
James Day on his tenure as President of WNET
05:21
James Day on Richard Nixon vetoing funds for public broadcasting in 1973
01:32
James Day on resigning from WNET
04:30
James Day on the establishment of the Children's Television Workshop
02:16
James Day on producing Day at Night
05:30
James Day on various people he worked with during his career
13:13
James Day on the then-current state of PBS and the marginalization of public television
04:55
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
03:50
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
03:47
Rebecca Eaton on Netflix acquiring The Crown, and how this affected Masterpiece (because Netflix's budgets are so much larger than PBS')
02:30
Rebecca Eaton on how funding for Masterpiece has changed over time, especially after Mobil ceased to be the sponsor
14:10
Rebecca Eaton on the controversy surrounding the Masterpiece Theatre program "Portrait of a Marriage", which featured love scenes between two women
03:03
Rebecca Eaton on how streaming and DVRs changed viewing habits, and how that affected Masterpiece
01:17
Rebecca Eaton on the social media response to Downton Abbey
03:38
Rebecca Eaton on advice to aspiring producers, particularly women
02:29
Ruth Engelhardt on how the various departments at William Morris got along and interacted, and how actors regarded television
02:37
Ruth Engelhardt on her mentors and on attending law school while at William Morris
07:11
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
05:39
Ruth Engelhardt on the early structure of the William Morris Agency, and what she liked about the company
05:21
Ruth Engelhardt on the early competitors of the William Morris Agency, and on working with company head Abe Lastfogel
04:07
Ruth Engelhardt on the William Morris Agency mailroom, and on her mentor, Samuel Sacks
02:32
Ruth Engelhardt on the various offices of William Morris working together, and on the focus on the West Coast operation
05:02
Ruth Engelhardt on the shift in television from sponsors to networks
04:23
Ruth Engelhardt on actors walking out of shows in order to get raises, and on the issue of piracy of movies and television
04:08
Ruth Engelhardt on the Hollywood Blacklist
10:05
Ruth Engelhardt on the Quiz Show Scandals
01:27
Ruth Engelhardt on the Quiz Show Scandals, and how they impacted the sponsors
02:42
Ruth Engelhardt on William Morris' relationship with ABC, and various other studios and networks
03:26
Ruth Engelhardt on working on the Writers Guild of America's live agreement of 1958
02:15
Ruth Engelhardt on becoming a vice president at William Morris, and later becoming an agent
04:30
Ruth Engelhardt on the formation of CAA, and the comings and goings at William Morris Agency
05:07
Ruth Engelhardt on being head of business affairs for television at William Morris
02:38
Ruth Engelhardt on advice to an aspiring agent
01:42
Ruth Engelhardt on the legacy of the William Morris Agency
04:03
Ruth Engelhardt on the Quiz Show Scandals, and how they impacted the sponsors
02:42
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
03:39
Rod Erickson on subjects that were taboo on Proctor & Gamble's serials and getting Proctor & Gamble into television
03:58
Rod Erickson on Procter & Gamble's initial reluctance to sponsor television programs
06:47
Rod Erickson on going to work for Young & Rubicam and putting We, The People on television
04:25
Rod Erickson on pushing his clients into advertising on television while at Young & Rubicam, and on reading the television ratings of the day
05:24
Rod Erickson on how early advertising on television worked and on broadcasting We, The People
03:08
Rod Erickson on dealing with Gulf, the sponsor of We, The People
04:29
Rod Erickson on Gulf sponsoring The Gulf Road Show and dealing with guest star Billie Holiday
06:45
Rod Erickson on delegating responsibility for We, The People and The Gulf Road Show
02:56
Rod Erickson on how Holiday Hotel, sponsored by Packard, got on the air produced by Felix Jackson
03:13
Rod Erickson on how commercials were inserted into shows in the early days of television
05:22
Rod Erickson on creating a commercial for Goodyear Tires
03:01
Rod Erickson on advertisers discovering that television was a great sales tool
01:44
Rod Erickson on the process of pairing advertisers with shows and attempting to pair Whitman Chocolates with The Red Skelton Show
02:41
Rod Erickson on the sponsorship of I Love Lucy by Phillip Morris and later by Jello
03:36
Rod Erickson on the preferred networks of sponsors in the 1950s
02:36
Rod Erickson on working with David Sarnoff at NBC and William S. Paley at CBS
01:56
Rod Erickson on the notion of networks providing a public service
02:23
Rod Erickson on the reasons companies have for sponsoring a television show
04:50
Rod Erickson on the types of shows that sponsors generally preferred
03:03
Rod Erickson on working on The Silver Theater
01:48
Rod Erickson on the construction of ABC's studios for Paul Whitman's Goodyear Revue
01:30
Rod Erickson on working on The Fred Waring Show sponsored by General Electric
06:24
Rod Erickson on working on The Arrow Show, sponsored by Arrow Shirts
03:03
Rod Erickson on working on Hopalong Cassidy
04:32
Rod Erickson on the advent of packaging television shows by William Morris Agency and MCA
04:42
Rod Erickson on being involved in a lawsuit with MCA
07:12
Rod Erickson on networks being paid off by agencies to carry their packaged programs
01:36
Rod Erickson on his dealings with Desi Arnaz
02:55
Rod Erickson on his trips to California to meet clients
02:25
Rod Erickson on ad men dealing with the mob
05:58
Rod Erickson on advertising being a "people business" and the role of alcohol in the business
02:19
Rod Erickson on the factors that go into the decision to advertise on a show and the importance of the writer
02:34
Rod Erickson on turning down Danny Thomas' Make Room for Daddy
01:05
Rod Erickson on the advertisers control over time slot and other factors dealing with a show
02:21
Rod Erickson on the dearth of black actors on television in the 1950s and 1960s and anti-Semitism in the ad industry
03:51
Rod Erickson on the Hollywood Blacklist's effect on television advertising
13:33
Rod Erickson on the ethics of advertising cigarettes on television
02:41
Rod Erickson on product placement in television and movies
02:04
Rod Erickson on the shift away from sponsors owning a whole show
07:12
Rod Erickson on reading the Neilson ratings and predicting people's television viewing habits on given nights of the week
06:38
Rod Erickson on ad agencies getting out of the business of producing shows and how his job changed as a result
01:19
Rod Erickson on the effectiveness of commercials
03:16
Rod Erickson on the research involved in making effective commercials and on the psychology of commercials
03:16
Rod Erickson on the power of television and on violent television programming
01:53
Rod Erickson on retiring from the advertising industry in 1961
00:44
Rod Erickson on how the advertising industry had changed since he retired
02:49
Rod Erickson on the then-current state of television advertising
03:34
Rod Erickson on television ratings and demographics, and going to work for the American Research Bureau
04:40
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
01:53
Jeff Fager on changes at CBS when Laurence Tisch became CEO in 1986, and conflicts between him and Don Hewitt
07:33
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
04:02
Jeff Fager on network input into 60 Minutes stories
00:56
Jeff Fager on being executive producer of CBS Evening News with Dan Rather at a time when news was becoming more sensational
03:18
Jeff Fager on the creation of 60 Minutes Overtime, 60 Minutes' online companion and the 60 Minutes app
07:11
Jeff Fager on what has changed about news since he started in the business
02:16
Jeff Fager on the public's perception of the news media
01:24
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"
03:22
Jeff Fager on the best advice he received on producing a story, from Don Hewitt
01:42
Jeff Fager on advice for young journalists
01:34
Jeff Fager on the lifestyle of being a journalist
01:28
Ray Forrest on announcing at TV's first political convention in 1940 - the Republican convention in Philadelphia
06:05
Ray Forrest on announcing that NBC was now a commercial station, WNBT, and no longer W2XBS
00:31
Ray Forrest on rumblings about television when he worked in NBC radio
01:31
Ray Forrest on getting hired to work for NBC experimental television (1939-1942)
03:24
Ray Forrest on his sign-on for NBC experimental television -- before commercial television in 1941
00:58
Ray Forrest on a typical broadcast day on experimental NBC TV from 1939-1942
01:46
Ray Forrest on the advent of commercial television -- July 1, 1941
00:31
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
01:57
Ray Forrest on how commercials changed television in 1941 -- until the beginning of World War II
00:45
Ray Forrest on NBC TV becoming more professional once it went commercial
01:00
Ray Forrest on returning to NBC TV (WNBT) after World War II and how the station had changed
02:16
Ray Forrest on the business of television after World War II
00:27
Ray Forrest on a photo of the first on-air, live commercial for television -- for Adam Hats on July 4, 1941
00:57
Albert Freedman on television in its infancy
01:35
Albert Freedman on raising money for the defense fees for those on trial during the Hollywood Blacklist
01:58
Albert Freedman on his dealings with Twenty One contestant James Snodgrass during the Quiz Show Scandals
03:02
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
00:51
Albert Freedman on becoming a producer on Twenty One, coaching contestants, and casting Charles Van Doren on the program
29:12
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
07:41
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
07:41
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
28:55
Albert Freedman on Charles Van Doren becoming a celebrity because of his appearances of Twenty One and Freedman realizing the power of television
02:48
Albert Freedman on Charles Van Doren becoming a celebrity because of his appearances of Twenty One and Freedman realizing the power of television
02:48
Albert Freedman on the beginning of the Quiz Show scandals in 1958 - Ed Hilgemeier going to the press about the fixing of Dotto
07:26
Albert Freedman on Charles Van Doren contacting him when the D.A.'s office announced an investigation into the quiz shows (including Twenty One)
01:22
Albert Freedman on the sequence of events that led to the press scrutinization of TV and the explosion of the Quiz Show Scandals
01:43
Albert Freedman on how he got embroiled in the investigations surrounding the Quiz Show Scandals; on how he was counseled by lawyers
02:57
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
04:00
Albert Freedman on not giving names to prosecutor Joseph Stone when he was questioned during the Quiz Show Scandals
02:28
Albert Freedman on being indicted for perjury after his testimony during the Quiz Show Scandals; on recanting his testimony and perjuring himself again
11:23
Albert Freedman on being blacklisted because of the Quiz Show Scandals and getting stranded in Mexico
05:30
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
02:57
Albert Freedman on CBS allegedly paying off the Harris Commission, Charles Revson perjuring himself, and other testimony at the Congressional hearings
02:26
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
02:49
Albert Freedman on Robert Redford's movie "Quiz Show" and whether or not the film was accurate
06:21
Albert Freedman on who the "bad guys" were in the Quiz Show Scandals
03:01
Albert Freedman on the impact of the Quiz Show Scandals on the medium of television - the end of the intelligent era of live TV
03:00
Albert Freedman on what the quiz shows were really about - making education respectable via entertainment
01:01
Albert Freedman on whether today's quiz shows are affected by the Quiz Show Scandals
01:46
Chuck Fries on the profitability of Ziv Productions and on their most successful shows (Sea Hunt and Highway Patrol)
03:15
Chuck Fries on the history of Screen Gems
02:01
Chuck Fries on Columbia (Screen Gems) being a family business and how the company was run
04:30
Chuck Fries on Harry Ackerman, Vice President of Production at Screen Gems and on trouble Screen Gems had early on
03:04
Chuck Fries on John Mitchell, President of Screen Gems, and on how Bill Dozier ran the company
02:47
Chuck Fries on the staff and politics at Screen Gems
02:32
Chuck Fries on Screen Gems focusing on comedy programming
02:15
Chuck Fries on Screen Gems' relationship with ABC and Leonard H. Goldenson
01:59
Chuck Fries on going to work for Metromedia and what the company did
07:11
Chuck Fries on the role talent agencies play on television, and on William Morris Agency President Abe Lastfogel
07:40
Chuck Fries on creating Fries Entertainment
04:30
Chuck Fries on the early associates of Fries Entertainment
04:28
Chuck Fries on the duties of an executive producer on a made-for-television movie
02:09
Chuck Fries on producers dealing with television ratings
02:06
Chuck Fries on Fries Entertainment going public
01:34
Chuck Fries on Fries Entertainment going public
01:58
Chuck Fries on the bankruptcy of Fries Entertainment in 1991
01:47
Chuck Fries on the then-current state of independent television producers
02:39
Chuck Fries on taking an active role in industry affairs
01:53
Chuck Fries on how television changed during his career regarding censorship of content
04:16
Chuck Fries on the impact of cable on the television industry
01:41
Michael Fuchs on HBO branching out beyond movies
04:23
Michael Fuchs on HBO's early business model
03:45
Michael Fuchs on the networks' and movie studios' early reaction to HBO, and HBO's reaction to home video
06:44
Michael Fuchs on the advent of "multiplexing" programming
02:10
Michael Fuchs on the merger of Warner Bros. and Time Inc.
08:15
Michael Fuchs on HBO's foray into international programming and the use of satellites to deliver programming
03:11
Michael Fuchs on the effect of the Time Inc./Warner Bros. merger on HBO's programming
03:15
Michael Fuchs on HBO's brand and advertising
10:44
Michael Fuchs on the future of television
11:25
Larry Gelbart on the new challenges of television, and how the shows were shot in "legitimate" houses
01:48
Larry Gelbart on the differences between television in the UK versus the US in the '60s
01:45
Larry Gelbart on balancing CBS's concerns and censorship issues on M*A*S*H -- specifically with the "virgin" episode
01:54
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
00:44
Larry Gelbart on the effect the Writer's Guild Strike in 1973 had on the production of M*A*S*H
00:33
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
03:14
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'
03:18
Lesli Linka Glatter on directing nude scenes on NYPD Blue
01:27
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
03:20
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
04:39
Lesli Linka Glatter on mostly being focused on television in her career, but also occasionally working in film
01:02
Lesli Linka Glatter on how the television industry has changed since she started
01:32
Lesli Linka Glatter on advice to aspiring directors
00:41
Lesli Linka Glatter on advice to aspiring producers
01:01
Leonard H. Goldenson his deal with Edward J. Noble (head of Lifesavers) to purchase NBC's Blue network, which became ABC
05:48
Leonard H. Goldenson on convincing Paramount's board members to buy ABC
03:06
Leonard H. Goldenson on his programming ideas for ABC and making a deal with Walt and Roy Disney
02:13
Leonard H. Goldenson on making a deal with Jack Warner
00:40
Leonard H. Goldenson on changing the sponsorship model for television
02:09
Leonard H. Goldenson on his most important decisions at ABC
03:26
Leonard H. Goldenson on getting into cable television
02:01
Leonard H. Goldenson on acquiring ESPN and starting A&E
02:09
Leonard H. Goldenson on merging with Capital Cities
02:04
Leonard H. Goldenson on Disney acquiring ABC
00:29
Herb Granath on working in sales for NBC
07:02
Herb Granath on the start of the Lifetime cable channel
04:57
Herb Granath on the birth of The History Channel
03:59
Herb Granath on the birth and management of CBS cable
04:23
Herb Granath on the growth of ESPN and the launch of ESPN 2
17:53
Herb Granath on the birth of ESPN
19:34
Herb Granath on the formation of Eurosport
07:29
Herb Granath on becoming Co-Chairman of the Hallmark Network
06:01
Herb Granath on his involvement with the Television Academy
06:20
Lee Grant on her relationship with Arnold Manoff and their experiences with the Hollywood Blacklist
15:07
Lee Grant on testifying before the House Un-American Activities Committee
09:08
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
04:23
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
03:37
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
07:53
Lee Grant on how the Hollywood Blacklist affected television as a whole
01:28
Lee Grant on advice to aspiring actors
01:06
Lee Grant on the then-future of television
02:00
Lee Grant on appearing on Search for Tomorrow and on being fired because of the blacklist
04:45
Stanley Hubbard on growing up around the radio and television business
02:00
Stanley Hubbard on the radio community's reaction to early television and Jack L. Warner's reaction to television
02:54
Stanley Hubbard on his father's radio and television stations competing with newspapers
01:35
Stanley Hubbard on KSTP's ratings in the '50s and wrestling on the station
01:55
Stanley Hubbard on Hubbard Broadcasting acquiring television stations in the '50s
07:39
Stanley Hubbard on his father pursuing technological innovation in television, and the stations making the transition to color
05:39
Stanley Hubbard on becoming Vice President of Hubbard Broadcasting in 1962, and his increasing responsibilities at the company
03:54
Stanley Hubbard on hiring Frank Magid as a consultant for his news broadcasts
06:02
Stanley Hubbard on his stations switching affiliations from NBC to ABC
06:17
Stanley Hubbard on the relationship between the network and the affiliate, and affiliates dealing with demographics and ratings
03:45
Stanley Hubbard on the then-current state of HBO and Hubbard Broadcasting's acquisition of United States Satellite Broadcasting Company and Direct Broadcast Satellite
05:58
Stanley Hubbard on the growth of satellite television in the '80s and '90s
01:57
Stanley Hubbard on his 1991 agreement with DIRECTV
02:36
Stanley Hubbard on the death of his father and creating a satellite news gathering truck
03:22
Stanley Hubbard on creating a satellite news gathering truck (CONUS)
03:28
Stanley Hubbard on KSTP starting to broadcast a digital signal in 1999
04:41
Stanley Hubbard on the technical aspects of switching over to digital television and the then-future of interactive television
04:31
Stanley Hubbard on the then-current state of television advertising and DVR technology
03:32
Stanley Hubbard on the then-future of television advertising and the impact of the internet on television
03:05
Stanley Hubbard on the government's role in broadcasting and dealing with FCC regulations
05:11
Stanley Hubbard on the then-current push toward deregulation in broadcasting
02:36
Stanley Hubbard on the then-current state of Hubbard Broadcasting
01:37
Felicity Huffman on the immediate success of Desperate Housewives
01:16
Felicity Huffman on ABC's hands-off approach to American Crime
00:46
Felicity Huffman on live-tweeting during the broadcasts of American Crime
04:31
Felicity Huffman and William H. Macy on the challenges of being a guest star on a hit TV series
01:25
Felicity Huffman and William H. Macy on how parenthood has affected their opinion of television and the messages it sends to women, in particular
01:23
Felicity Huffman and William H. Macy on which television shows they are currently watching
01:33
Felicity Huffman and William H. Macy on how they've used their celebrity to champion causes
01:36
Felicity Huffman and William H. Macy on the challenges of being a guest star on a hit TV series
01:25
Felicity Huffman and William H. Macy on how parenthood has affected their opinion of television and the messages it sends to women, in particular
01:23
Felicity Huffman and William H. Macy on which television shows they are currently watching
01:33
Felicity Huffman and William H. Macy on how they've used their celebrity to champion causes
01:36
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
09:59
Herb Jellinek on the financial specifics of ABC in the '50s, and the shows on the air there at the time
03:15
Herb Jellinek on ABC's coverage of the Senator Joseph McCarthy hearings
04:34
Herb Jellinek on how ABC created the business model for television networks
02:29
Herb Jellinek on becoming assistant director of sales service for ABC in 1958
06:22
Herb Jellinek on becoming cost control administer at ABC and on moving to Los Angeles
07:07
Herb Jellinek on organizing the budgets for ABC
03:45
Herb Jellinek on ITT's attempted takeover of ABC
01:26
Herb Jellinek on becoming head of production at ABC Circle Films and on working with Barry Diller
03:27
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
08:38
Herb Jellinek on overseeing production for ABC Motion Pictures, ABC's then-feature film division, and on the feature "Young Doctors in Love"
05:25
Herb Jellinek on the ABC Motion Pictures' production "Prizzi's Honor," and on their business model
02:59
Herb Jellinek on various ABC Motion Pictures features including "The Flamingo Kid," "Silkwood," and "Space Camp"
01:17
Herb Jellinek on being vice president in charge of entertainment for ABC in the 1980s
02:46
Herb Jellinek on the sale of ABC to Capital Cities in 1985, and on his retirement from ABC
05:42
Herb Jellinek on Leonard H. Goldenson's role at ABC after the sale to Capital Cities
01:52
Herb Jellinek on the nature of the competition between the networks during his tenure at ABC
02:05
Perry Lafferty on working the 1952 political conventions, and subsequent conventions
06:49
Perry Lafferty on making the transition from producer to executive when he became a vice president at CBS
04:09
Perry Lafferty on Robert D. Wood, CBS's purge of rural programming in the early 1970s, and line of succession of CBS Presidents
02:33
Perry Lafferty on Grant Tinker and MTM Productions
01:44
Perry Lafferty on leaving CBS for Filmways
03:58
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
05:20
Perry Lafferty on leaving NBC to become a producer
04:11
Perry Lafferty on how television audiences have changed since he began his career, and on the then-future of television
04:41
Ring Lardner, Jr. on being called before the House Un-American Activities Committee
16:16
Ring Lardner, Jr. on the experience of testifying before the House Un-American Activities Committee
07:56
Ring Lardner, Jr. on the experience of testifying before the House Un-American Activities Committee
05:53
Ring Lardner, Jr. on being cited for contempt by the House Un-American Activities Committee and going to jail, and on the Hollywood Ten
08:58
Ring Lardner, Jr. on writing under pseudonyms after being blacklisted
05:35
Ring Lardner, Jr. on serving time for contempt of Congress
04:51
Ring Lardner, Jr. on his experiences writing for The Adventures of Robin Hood under a pseudonym during the Hollywood Blacklist era
08:38
Ring Lardner, Jr. on the McCarthy hearings, and on the end of the Hollywood Blacklist
05:55
Ring Lardner, Jr. on the fear and paranoia of the Hollywood Blacklist, and on writing various feature films
05:54
Ring Lardner, Jr. on why he believes the Hollywood Blacklist happened
02:52
Ring Lardner, Jr. on how his experience with the Hollywood Blacklist shaped his writing, and on how he'd like to be remembered
02:09
Barry Levinson on the "Diner" television pilot, which he wrote and directed
01:01
Barry Levinson on Homicide: Life on the Street's web series: "Second Shift"
00:25
Barry Levinson on the political climate in 2016 and how it related to the media climate of the time
01:37
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
04:24
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
05:07
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
03:36
Barry Levinson on new opportunities in television and why talented actors are flocking to TV over movies
01:41
Barry Levinson on the best advice he's received about the business
03:34
Barry Levinson on working with his son on HBO's The Wizard of Lies and advice he gave him
03:27
Richard Lewis on producing Who's There, starring Arlene Francis and Melvyn Douglas, who was blacklisted
07:44
Richard Lewis on the different between television production in New York and in Los Angeles in the 1950s
02:30
Richard Lewis on MCA's relationship with the television networks
02:59
Richard Lewis on the deals that get made between networks and studios, and on producing the series Checkmate
06:11
Richard Lewis on the power of the networks in the 1950s and early 1960s, and the networks wresting control from producers
04:48
Richard Lewis on Revue/MCA becoming Universal Televison
02:38
Richard Lewis on testifying to Congress about violence in television Westerns
02:33
Richard Lewis on the then-future of television
01:23
Daniel Lipman on going on strike with the Writers Guild early in his career, and on the benefits of the Guild
01:43
Daniel Lipman on advice to aspiring writers
02:29
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
02:24
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
02:05
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
02:46
Ron Cowen and Daniel Lipman on how a scene on Sisters where the main characters were discussing orgasms was dealt with by the network
02:38
Ron Cowen and Daniel Lipman on their battles with Standards & Practices on Sisters
01:26
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
02:02
Ron Cowen and Daniel Lipman on how the industry has changed since they first started writing for television
04:12
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
02:24
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
02:05
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
02:46
Ron Cowen and Daniel Lipman on how a scene on Sisters where the main characters were discussing orgasms was dealt with by the network
02:38
Ron Cowen and Daniel Lipman on their battles with Standards & Practices on Sisters
01:26
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
02:02
Ron Cowen and Daniel Lipman on how the industry has changed since they first started writing for television
04:12
Sig Mickelson on his experiences with the Hollywood Blacklist at CBS News
08:29
Sig Mickelson on the blacklisting of CBS News correspondent Winston Burdett
04:33
Sig Mickelson on the atmosphere at CBS News during the period of the Hollywood Blacklist, and his memories of the time
02:05
Sig Mickelson on the publication "Red Channels," and on the Hollywood Blacklist
04:37
Sig Mickelson on signing a loyalty oath for CBS News and on other issues connected with the Red Scare
05:42
Sig Mickelson on television's impact on the political process in the United States
02:31
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
02:44
Thomas W. Moore on the Hollywood Blacklist
01:04
Thomas W. Moore on the creation of Viacom, and on being hired at ABC by Jim Aubrey
03:12
Thomas W. Moore on being vice president in charge of programming at ABC, and on the state of the network when he arrived
03:28
Thomas W. Moore on the people who worked for him at ABC when he was head of programming, including Michael Eisner and Barry Diller
05:30
Thomas W. Moore on his stint as head of programming at ABC, and on his goals at the time
03:25
Thomas W. Moore on his duties at president of ABC
02:00
Thomas W. Moore on the government attempting to require public service programming on the networks, and on William S. Paley and General David Sarnoff
08:22
Thomas W. Moore on Newton N. Minow's "vast wasteland" speech, critical of television
05:06
Thomas W. Moore on what he sees as the FCC's role in broadcasting
05:26
Thomas W. Moore on the ban on cigarette advertising on television
01:45
Thomas W. Moore on the FCC regulation of the networks being able to own or control the rebroadcast of primetime shows
01:37
Thomas W. Moore on the length of commercials and commercial breaks on network television
04:14
Thomas W. Moore on networks and their affiliates
02:59
Thomas W. Moore on his day-to-day responsibilities as president of ABC
02:48
Michael Moye on network notes on The Jeffersons
01:59
Michael Moye on the process of selling the Silver Spoons pilot to the network
28:49
Michael Moye on the pilot, initial testing, and network notes for Married...With Children
08:09
Michael Moye on Married...With Children 's place on the new FOX network
04:18
Michael Moye on critics' reactions to Married...With Children
01:02
Michael Moye on FOX executives hating Married...With Children
02:41
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
14:01
Michael Moye on "the lost episode" ("The Camping Episode") of Married...With Children
07:29
Michael Moye on the second "lost episode" of Married...With Children
03:50
Michael Moye on FOX's reaction to his proposed spin-off and leaving Married...With Children
08:41
Thomas Murphy on working at the Kenyon & Eckhardt ad agency
03:25
Thomas Murphy on advertising in the early days of television
01:49
Thomas Murphy on the role of the advertising agency in the television business in the '50s
02:39
Thomas Murphy on Capital Cities partner Frank Smith and acquiring television stations
05:36
Thomas Murphy on the growth of Capital Cities
03:59
Thomas Murphy on Capital Cities becoming a powerhouse
04:43
Thomas Murphy on taking over as CEO of Capital Cities
06:02
Thomas Murphy on acquiring local television stations
08:03
Thomas Murphy on Capital Cities acquisition of ABC
07:24
Thomas Murphy on the early days of Capital Cities/ABC
02:23
Thomas Murphy on Capital Cities getting involved with cable
03:41
Thomas Murphy on being a broadcaster
01:29
Thomas Murphy on the then-relationship between cable and broadcast outlets
02:20
Thomas Murphy on his plans for ABC when Capital Cities took over in 1986
06:02
Thomas Murphy on ABC President John Sias
02:58
Thomas Murphy on various people who worked under him at ABC
03:14
Thomas Murphy on working with affiliates and dealing with talent at ABC
02:58
Thomas Murphy on the demographics of ABC and dealing with programming
04:16
Thomas Murphy on his instincts regarding programming at ABC
04:00
Thomas Murphy on how Disney's acquisition of ABC came about
05:39
Thomas Murphy on how the deal with Disney to take over ABC was consummated
06:10
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
07:46
Horace Newcomb on An American Family, and on the serialization of television which led to shows like Roots and Dallas
07:48
Horace Newcomb on the power of television producers and show runners, and on collaborating in television
05:39
Horace Newcomb on how Hill Street Blues changed the television industry
06:33
Horace Newcomb on The Sopranos being a game changer
05:49
Horace Newcomb on Magnum, P.I.'s cumulative narrative
04:56
Horace Newcomb on the historic and then-current lack of diversity in television
04:42
Horace Newcomb on the rise of new media in regards to television
06:34
Horace Newcomb on the then-current television shows he watches, including several foreign shows on new media platforms like Netflix
06:01
Horace Newcomb on what he believes the mission of television should be
03:17
Horace Newcomb on how television studies have changed since he started his career
04:58
Horace Newcomb on advice to aspiring television academics
01:30
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
02:35
Nicolas Noxon on working for MGM in the 1960s and 1970s and the state of the studio at that time
01:41
Nicolas Noxon on MGM's attitude toward television during the time he worked there (from the late 1960s to the early 1970s)
03:10
Nicolas Noxon on National Geographic Specials and its move from ABC to PBS
02:52
Nicolas Noxon on the difference between making documentaries for public television versus commercial television
01:34
Nicolas Noxon on the changes in documentaries in television over time, including the use of recreations
03:21
Nicolas Noxon on the challenge of creating documentaries for network television, and whether they belong on network television
07:26
Nicolas Noxon on his ideas about the then-future state of television
04:31
Nicolas Noxon on advice to aspiring documentarians
01:11
Frederick S. Pierce on how research affected programming at ABC
02:18
Frederick S. Pierce on the Nielsen ratings system
00:53
Frederick S. Pierce on ratings sweeps periods and the programming and news departments
05:11
Frederick S. Pierce on becoming President of ABC and the structure of the network
06:40
Frederick S. Pierce on his relationship with ABC Standards and Practices
02:16
Frederick S. Pierce on network ownership of series and movies
00:55
Frederick S. Pierce on the formation of ABC Video and ABC's acquisition of ESPN and other cable networks
12:20
Frederick S. Pierce on Capital Cities buyout of ABC and leaving the network
06:16
Frederick S. Pierce on his opinion of the then-current state of ABC and the networks in general
02:05
Frederick S. Pierce on television's responsibility to its audience
02:33
Frederick S. Pierce on advice to aspiring television executives
06:03
Abraham Polonsky on the Hollywood Blacklist
04:27
Abraham Polonsky on testifying before the House Un-American Activities Committee
02:42
Abraham Polonsky on Elia Kazan's testimony before the House Un-American Activities Committee, and on working in the aftermath
04:39
Abraham Polonsky on using pen names during the Hollywood Blacklist
03:48
Abraham Polonsky on his career after the Hollywood Blacklist
00:55
Abraham Polonsky on advice to aspiring writers, and on his dislike of the internet
02:35
Abraham Polonsky on Elia Kazan, if the Hollywood Blacklist could happen again, and on his and his family's politics
06:11
Ward Quaal on getting into management at WGN
02:12
Ward Quaal on his duties at WGN and getting WGN on the air
06:10
Ward Quaal on the first day of programming at WGN, and on the eventual switch over to color
03:39
Ward Quaal on going to work for Crossley Broadcasting Corporation
02:25
Ward Quaal on Louis Caldwell, and on the Hoover Commission Executive Broadcasting Task Force
03:08
Ward Quaal on his responsibilities at Crossley Broadcasting Corporation
06:21
Ward Quaal on the Hollywood Blacklist
01:31
Ward Quaal on being appointed the head of WGN Continental Broadcasting in 1960, and on his management style in broadcasting
06:26
Ward Quaal on how television programming had evolved by the '70s and '80s, and programming national shows
03:52
Ward Quaal on WGN becoming a superstation
02:06
Ward Quaal on the then current state of Tribune
02:43
Ward Quaal on the impact of cable and new media on the industry
02:54
Ward Quaal on advertising clutter
02:07
Ward Quaal on how the internet has impacted television
02:19
Ward Quaal on role he feels government should play in broadcasting
02:45
Ward Quaal on media consolidation
06:28
Sterling "Red" Quinlan on the creativity of local Chicago television in the '50s and on the local series Home Again
06:57
Sterling "Red" Quinlan on the ABC facilities in Chicago in the '50s
01:36
Sterling "Red" Quinlan on the local news at WBKB in Chicago
04:24
Sterling "Red" Quinlan on the tensions between WBKB in Chicago and ABC in New York and on leaving ABC
02:48
Sterling "Red" Quinlan on writing the books Inside ABC and The Merger
03:21
Sterling "Red" Quinlan on building the local Chicago station WFLD
02:18
Sterling "Red" Quinlan on becoming involved with public television
04:47
Sterling "Red" Quinlan on comparing working in public television to working in commercial television; on woking with the unions
05:33
Sterling "Red" Quinlan on running up against the Catholic church and on dealing with Chicago politicians
04:21
Sterling "Red" Quinlan on the then-current state of television news
02:00
Sterling "Red" Quinlan on the relationships between networks and affiliates
01:49
Sterling "Red" Quinlan on what made him want to get into television and on his books
04:10
Sterling "Red" Quinlan on the then-future of public television and on the future of network television
05:07
Sterling "Red" Quinlan on the best advice he was ever given
03:54
Starling "Red" Quinlan on consulting on starting a television station in Pakistan
06:04
Starling "Red" Quinlan on a broadcasting code of ethics
01:02
Sterling "Red" Quinlan on the Chicago School of Television
04:22
Sterling "Red" Quinlan on Newton N. Minow's comment, "television is a vast wasteland"
03:43
Sumner Redstone on the Paramount battle and Viacom becoming the number one software-driven media company in the world
08:55
Sumner Redstone on his deal with TiVo
00:27
Sumner Redstone on his then-plans for UPN
01:32
Sumner Redstone on Viacom's acquisition of CBS, and on dealing with Mel Karmazin
05:12
Sumner Redstone on negotiating with John Malone to buy BET
02:17
Sumner Redstone on if a media company can get too big
01:21
Sumner Redstone on the then future of television
01:02
Sumner Redstone on Viacom's stake in New Media in the then-future
00:55
Sumner Redstone on wireless and the internet
02:34
Sumner Redstone on media consolidation
01:33
Tim Reid on advice to aspiring film and television professionals
07:54
Tim Reid on writing the WKRP in Cincinnati episode "A Family Affair" which dealt with race
05:39
Tim Reid on the representation of a Black couple on Snoops and fighting for the representation he wanted
01:22
Tim Reid on the problem of "Hollywood culture"
02:05
Tim Reid on starting a studio in Petersburg, Virginia
03:51
Tim Reid on launching LGCYTV.com, a streaming service designed by and for the African diaspora, during the COVID-19 pandemic and on fostering young talent
07:32
Tim Reid on how opportunities in the television industry have changed since he first started in the business
04:55
Tim Reid on the value of oral history interviews
02:36
Del Reisman on the advent of the Hollywood Blacklist, and on being asked to sign a "loyalty oath" for NBC
02:21
Del Reisman on how the Hollywood Blacklist impacted him, and on the end of the blacklist era
06:15
Del Reisman on working with Rod Serling on Playhouse 90, and how censorship there led to his creation of The Twilight Zone
03:07
Del Reisman on breaking into television
03:57
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
06:58
Del Reisman on the Screenwriters Guild's participation in the Hollywood Blacklist
03:42
Del Reisman on the use of "fronts" to get around the Hollywood Blacklist
05:12
Del Reisman on how CBS Standards & Practices influenced or shaped the content of Playhouse 90
01:46
Del Reisman on Newton N. Minow's "vast wasteland" speech
01:24
Del Reisman on Robert Stack as "Elliott Ness" on The Untouchables, and on the violence of the show
04:27
Del Reisman on his association with the Writers Guild of America West
02:43
Del Reisman on his involvement with Writers Guild of America West
07:25
Del Reisman on the Writers Guild strike of 1988
05:08
Del Reisman on the Writers Guild getting restitution for formerly blacklisted writers
03:56
Del Reisman on advice to aspiring writers
03:53
Pat Robertson on buying WTOV, a local television station in Portsmouth, Virginia, which was the beginning of CBN (Christian Broadcasting Network)
08:21
Pat Robertson on the difficulty he had in maintaining his television station, and getting CBN off the ground
04:15
Pat Robertson on the early programming for his first CBN station
01:59
Pat Robertson on dealing with the early equipment at his first television station
02:17
Pat Robertson on the sources for early CBN programming, and on the start of The 700 Club
02:01
Pat Robertson on the early benefactor of CBN, and on the decision not to accept advertising
02:38
Pat Robertson on boosting the power of his early television station to reach more viewers
04:52
Pat Robertson on bringing CBN to cable
07:18
Pat Robertson on the transition from CBN to The Family Channel
04:45
Pat Robertson on the Standards & Practices of The Family Channel
02:21
Pat Robertson on the great success of The Family Channel, and on its eventual downfall
03:16
Pat Robertson on the power to television in terms of religion
01:33
Pat Robertson on advice to aspiring religious television hosts
01:28
Howard Rosenberg on being the first television critic for The Louisville Times
03:37
Howard Rosenberg on television critics who influenced him and his preparation to go into the field
01:51
Howard Rosenberg on his autonomy as a television critic
03:15
Howard Rosenberg on television in the '70s
03:47
Howard Rosenberg on the timetable of receiving shows and reviewing them
03:16
Howard Rosenberg on how television changed and evolved during the '70s and his thoughts on the Golden Age of Television
05:18
Howard Rosenberg on his influence as a critic in Louisville
04:28
Howard Rosenberg on his schedule at the LA Times
01:57
Howard Rosenberg on how the process of reviewing shows changed over the years
05:33
Howard Rosenberg on reviewing television series and changing his mind about shows
04:09
Howard Rosenberg on reader response to his column on 9/11
02:38
Howard Rosenberg on sometimes not getting tapes of shows he wanted to review
02:27
Howard Rosenberg on winning the Pulitzer Prize in 1985
07:57
Howard Rosenberg on the function of critical writing
04:10
Howard Rosenberg on his dealings with people in the television industry
02:31
Howard Rosenberg on his editors
02:48
Howard Rosenberg on media consolidation
01:09
Howard Rosenberg on television comedy
02:50
Howard Rosenberg on dramatic series
03:48
Howard Rosenberg on late night television
02:53
Howard Rosenberg on daytime talk shows
02:34
Howard Rosenberg on made-for-television movies, miniseries and specials
02:02
Howard Rosenberg on government involvement in television
04:55
Howard Rosenberg on his favorite television shows
01:42
Howard Rosenberg on television at its worst
02:48
Howard Rosenberg on advice to aspiring television critics
02:04
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
02:11
Ted Sarandos on the advantage that the "queue" system on Netflix provided over brick and mortar video stores
02:23
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
05:18
Ted Sarandos on how Netflix moved into creating original programming, and on their first attempt, the documentary The Comedians of Comedy
04:10
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
02:06
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
07:00
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)
03:35
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"
03:11
Ted Sarandos on why Netflix's bingeing model has improved viewers' television experience
01:16
Ted Sarandos on how Netflix was able to use real, name brand products on Stranger Things
01:46
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
05:09
Ted Sarandos on Black Mirror: Bandersnatch, which used interactive technology to tell the story
02:56
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
04:03
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
04:17
Ted Sarandos on how and why Netflix decides when to share their ratings and viewership data
03:36
Ted Sarandos on Netflix making deals with big names, including Barack and Michelle Obama, Ryan Murphy, and Shonda Rhimes
03:02
Ted Sarandos on Netflix's impact on the entertainment industry
01:23
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
02:24
Ted Sarandos on the best advice he's received in his career
02:24
Alfred Schneider on creating, with ABC Executive Jim Stabile, what may have been the very first television package deal -- for The Danny Thomas Show
02:25
Alfred Schneider on dealing with the Hollywood Blacklist as an executive at CBS
02:36
Alfred Schneider on the Quiz Show and Payola Scandals and his part in writing legislation in response to the scandals
05:11
Alfred Schneider on the establishment of the Television Code and its contents
05:58
Alfred Schneider on working in Standards & Practices at ABC
03:11
Alfred Schneider on working with Producer Leonard Goldberg on his TV movie Something About Amelia, which dealt with incest
01:52
Alfred Schneider on his pride in his work on The Day After
01:24
Alfred Schneider on allowing nudity to be shown in The Winds of War
00:43
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
04:13
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
04:01
Alfred Schneider on the difference between how news and entertainment are handled in terms of censorship
02:31
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
03:03
Alfred Schneider on the decision not to allow two men to kiss on Thirtysomething
01:34
Alfred Schneider on the power of advertisers in decisions made by Standards & Practices
02:19
Alfred Schneider on negotiating the depiction of the controversial subject matter of That Certain Summer
01:43
Alfred Schneider on meeting with special interest groups and handling their concerns about portrayals of certain groups and depictions of controversial topics on television
02:15
Alfred Schneider on regulating portrayals of violence in Roots versus S.W.A.T. and The Six Million Dollar Man
01:55
Alfred Schneider on Producer Danny Arnold throwing him off the set of Barney Miller
01:10
Alfred Schneider on working with Steven Bochco versus working with Aaron Spelling
02:48
Alfred Schneider on how and why portrayals of sexuality and other controversial topics have become more acceptable over time on television
01:49
Alfred Schneider on Chair of the Federal Communications Commission, Newton N. Minow's "Vast Wasteland" speech
01:25
Alfred Schneider on the role of the government in regulating television content
01:29
Alfred Schneider on the criticism he received over the course of his career and being the "conscience of the company"
01:19
Alfred Schneider on advice to aspiring Standards & Practices professionals
00:43
Alfred Schneider on advice to show creators in dealing with Standards & Practices professionals
00:32
Reese Schonfeld on an early proposed cable news network before CNN
03:22
Reese Schonfeld on meeting Ted Turner, and on the creation of CNN
06:29
Reese Schonfeld on staffing CNN along with Ted Turner at its inception
06:19
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
04:59
Reese Schonfeld on CNN's innovative operating structure: "bottom/up," rather than "top/down" as network news did at that time
02:04
Reese Schonfeld on CNN's schedule when it first went on the air
03:39
Reese Schonfeld on CNN's early revenue
04:54
Reese Schonfeld on Ted Turner choosing the name "CNN," and on creating the CNN logo
02:22
Reese Schonfeld on how CNN covered breaking news around the world in its early days
06:24
Reese Schonfeld on Rome being the location of CNN's first main European base
03:24
Reese Schonfeld on hiring Ed Turner to be executive vice president of CNN
02:37
Reese Schonfeld on hiring Ted Kavanau as CNN's senior producer
03:50
Reese Schonfeld on hiring Jim Kitchell as CNN's vice president of production and operations
02:39
Reese Schonfeld on Burt Reinhardt's role in the development of CNN
08:24
Reese Schonfeld on CNN being completely computerized when it went on the air
01:22
Reese Schonfeld on the early technology used by CNN, some of which gave it a leg up on network news
14:05
Reese Schonfeld on the "open newsroom" look of the early CNN broadcasts
04:43
Reese Schonfeld on CNN getting the FCC to change the rules on live broadcasts
03:26
Reese Schonfeld on the early CNN graphics
04:50
Reese Schonfeld on CNN launch day, June 1, 1980
00:55
Reese Schonfeld on Ted Turner raising the capital to launch CNN, and on their early operating budget
10:07
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
04:40
Reese Schonfeld on striking a deal with Steve Ross at Time Warner to use one of their transponders for CNN
02:09
Reese Schonfeld on the challenges CNN faced overing its first big story, the Falklands War between Argentina and the United Kingdom
04:52
Reese Schonfeld on Ted Turner being hands-on at CNN in the beginning regarding content
05:14
Reese Schonfeld on CNN's initial advertisers
02:13
Reese Schonfeld on CNN's initial advertisers when it first went on the air
05:08
Reese Schonfeld on finding on-air talent for the first few years of CNN, including Bernard Shaw
07:47
Reese Schonfeld on his and Ted Turner's attempt to hire Dan Rather to be the main anchor at the inception of CNN
03:34
Reese Schonfeld on hiring Bill Zimmerman, Sandy Freeman, and Lou Dobbs as on-air talent at the start of CNN
10:27
Reese Schonfeld on the rules for their initial CNN anchors, including Kathleen Sullivan
02:12
Reese Schonfeld on teaching then-new CNN employees about journalism with "CNN College"
06:56
Reese Schonfeld on the first stories CNN covered, including an interview with President Jimmy Carter
03:15
Reese Schonfeld on the decision to make CNN a non-union shop
00:55
Reese Schonfeld on dealing with the FCC on satellite delivery of television
07:25
Reese Schonfeld on how the higher-ups at network news like Roone Arledge regarded CNN, and on the impact CNN had on network news
03:52
Reese Schonfeld on other news organizations pirating from CNN, which led to the inclusion of the CNN logo in the corner of the screen
03:05
Reese Schonfeld on the legacy and missed opportunity of CNN
07:05
Reese Schonfeld on the creation of the Food Network
08:30
Reese Schonfeld on the creation of the Food Network
07:06
Reese Schonfeld on Emeril Lagasse's early Food Network shows
01:17
Reese Schonfeld on running Julia Child's old shows on the Food Network, and on trying to position the network for women
04:21
Reese Schonfeld on the early personalities of the Food Network
01:28
Reese Schonfeld on what made the Food Network a success
02:24
Reese Schonfeld on Scripps Howard taking over the Food Network
08:00
Reese Schonfeld on advice to someone who wants to start a cable network
02:13
Joe Sedelmaier on becoming interested in film and getting into advertising
05:29
Joe Sedelmaier on working for Young & Rubicam, Clinton Frank, and Leo Burnett
13:01
Joe Sedelmaier on the state of television advertising in the '60s
03:55
Joe Sedelmaier on incorporating more subtlety into television advertisements
06:14
Joe Sedelmaier on starting his own advertising agency
05:27
Joe Sedelmaier on the early days of his advertising agency
06:19
Joe Sedelmaier on his early clients
06:49
Joe Sedelmaier on Southern Airways putting his agency on the map
04:36
Joe Sedelmaier on gaining creative control over his advertisements
03:53
Joe Sedelmaier on buying out his partner and taking control
04:20
Joe Sedelmaier on turning down clients and his affinity for comedic commercials
05:39
Joe Sedelmaier on his preference to use film in his advertisements
02:31
Joe Sedelmaier on his Alaska Airlines commercials
03:31
Joe Sedelmaier on his Federal Express commercials
03:41
Joe Sedelmaier on his famous, fast-talking Federal Express series of commercials
09:57
Joe Sedelmaier on discovering Clara Peller, Wendy's "Where's the Beef?" lady
05:12
Joe Sedelmaier on Wendy's "Where's the Beef?" campaign with Clara Peller
07:30
Joe Sedelmaier on Wendy's "Russian Fashion Show" commercials
05:34
Joe Sedelmaier on Wendy's "Russian Fashion Show" commercial
04:26
Joe Sedelmaier on Wendy's "Parts is Parts" commercial
02:07
Joe Sedelmaier on the effect his ads had on Wendy's
02:01
Joe Sedelmaier on structuring his commercial rates and dealing with the heads of the companies
02:25
Joe Sedelmaier on Federal Express commercials he created
01:54
Joe Sedelmaier on foreign commercials he created
06:07
Joe Sedelmaier on creating Mr. Coffee commercials
01:23
Joe Sedelmaier on his Jartran commercials
03:06
Joe Sedelmaier on creating Eyewitness News commercials
01:57
Joe Sedelmaier on creating commercials for Valvoline
03:15
Joe Sedelmaier on creating commercials for Texaco Super Unleaded and the process of casting commercials
05:04
Joe Sedelmaier on creating commercials for AAMCO and HP
01:35
Joe Sedelmaier on the then-current state of advertising
01:32
Joe Sedelmaier on his style
01:37
Joe Sedelmaier on market research
01:04
Joe Sedelmaier on gauging the success of an ad
02:24
Joe Sedelmaier on advice to aspiring advertising professionals
04:05
Joe Sedelmaier on his greatest career achievement and how he'd like to be remembered
01:05
William Self on dealing with the Hollywood Blacklist as a producer
01:13
William Self on being named vice president in charge of production for 20th Century Fox Television
04:09
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
07:29
William Self on being lured back to CBS, and eventually being named vice president in charge of movies and miniseries
02:56
William Self on becoming head of the CBS theatrical division
02:03
William Self on his retirement from CBS, and on forming a production company with Glenn Close
03:07
William Self on how the business changed throughout his career
03:45
Mel Shavelson on writing around NBC Standards and Practices for Bob Hope
03:02
Mel Shavelson on Bob Hope doing jokes about Senator Joseph McCarthy
01:40
Mel Shavelson on the early development of television, and of color television, and on writing an early experimental broadcast with Bob Hope
09:49
Mel Shavelson on his experience with the Hollywood Blacklist and on the societal impact of television
09:39
Mel Shavelson on how the television industry has changed since he started
02:01
Mel Shavelson on the growth of television
03:23
Mel Shavelson on advice to aspiring writers
03:11
Mel Shavelson on a directors strike
06:12
Mel Shavelson on writers strikes
01:27
Sid Sheinberg on Revue changing its name to Universal Television and MCA's various acquisitions
06:14
Sid Sheinberg on his concerns and goals for Universal Television when he became President in 1971
06:36
Sid Sheinberg on becoming President of MCA, and his view of deregulation and media consolidation
04:57
Sid Sheinberg on MCA taking on Betamax and advocating other home video technology
09:11
Sid Sheinberg on the emergence of cable and satellite television
06:23
Sid Sheinberg on MCA's syndication and television business in the '80s and the series Law & Order
03:43
Sid Sheinberg on NBC's acquisition of Universal
01:30
Sid Sheinberg on media consolidation in the '80s
07:46
Sid Sheinberg on Matsushita's acquisition of MCA
14:42
Sid Sheinberg on advice to aspiring television executives
04:08
Chet Simmons on the selling of Sports Programs Inc. to ABC, and on his role at ABC Sports
05:13
Chet Simmons on leaving NBC Sports for the newly created ESPN
07:19
Chet Simmons on being named president of ESPN five weeks before it launched
03:41
Chet Simmons on ESPN founders Bill and Scott Rasmussen, and the other people at the network when it started
08:54
Chet Simmons on ESPN's early scheduling process
06:26
Chet Simmons on ESPN's early primetime schedule
06:16
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
04:44
Chet Simmons on the first moments on the air at ESPN, and on the look and sponsors of the network at the time
05:40
Chet Simmons on ESPN's schedule when they first went on the air, and the demographics of the network and early success
03:22
Chet Simmons on ESPN's early offices, equipment, technology, and location
08:52
Chet Simmons on the growth of ESPN during his tenure
04:28
Chet Simmons on how ESPN changed over time in terms of branding
01:47
Chet Simmons on ESPN being competitive with broadcast networks, and on ESPN's disadvantages and advantages in competing with the networks
04:58
Chet Simmons on how the audience numbers for ESPN over the years
04:59
Chet Simmons on why he left ESPN
04:52
Chet Simmons on going to work for the USFL
08:45
Chet Simmons on advice to an aspiring sports executive
01:32
John Singleton on being nominated for an Emmy in 2016 and the kinds of opportunities television offers that are different from film
01:04
John Singleton on writing for film and television, and feeling it's the same, especially as television becomes more cinematic
01:18
John Singleton on what he likes about television now: "it's like I can make a movie every other week"
00:43
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
01:34
John Singleton on how opportunities for African Americans in entertainment have changed over the course of his career
00:38
John Singleton on his feelings about current television: "I love TV"
00:34
John Singleton on the best lessons he's learned over the course of his career
01:14
John Singleton on representations of violence in his work
02:16
Frank Stanton on CBS getting into television, and the CBS network coverage in the early days
03:44
Frank Stanton on the FCC issuing the original licenses to television stations around the country, and CBS' failed color system
05:57
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
04:23
Frank Stanton on the creation of CBS News for television, and Edward R. Murrow's reluctance to do television
05:48
Frank Stanton on Edward R. Murrow's commentary on Senator Joe McCarthy
Frank Stanton on the policies invoked at CBS during the blacklist period
04:33
Frank Stanton on the Quiz Show Scandals
01:35
Frank Stanton on his relationship with Senator John O. Pastore, and dealing with censorship
04:58
Frank Stanton on how the networks have changed since he started
01:45
Frank Stanton on CBS spinning off Viacom for syndication purposes
02:53
Frank Stanton on the rise of cable television, and the then-future of new media
07:38
Frank Stanton on the impact of media consolidation on programming
02:02
Frank Stanton on the then-current state of television
01:51
Frank Stanton on broadcasting and the first amendment, and how it related to CBS Reports: "The Selling of the Pentagon"
06:55
Frank Stanton on the downside of media consolidation
01:42
Frank Stanton on the then-current state of broadcasting, and on what he felt was most important in broadcasting at the time
01:54
Frank Stanton on the creation on the CBS television network, alongside the CBS radio network
04:15
Frank Stanton on the news on public television, and on the then-current state of network news
02:53
Frank Stanton on the design and construction of CBS Television City in Los Angeles
04:30
Frank Stanton on the design and construction of Black Rock in New York City
05:51
Frank Stanton on the design and construction of CBS Black Rock
02:07
Frank Stanton on the design and creation of the CBS eye logo
04:17
Frank Stanton on what he feels is the lack of adequate maintenance of CBS Black Rock, and on what the building meant for CBS
07:22
Frank Stanton on what CBS Black Rock meant to CBS
03:12
Frank Stanton on the creation of CBS News
04:42
Frank Stanton on CBS News' initial roster of correspondents
05:22
Frank Stanton on CBS and the Hollywood Blacklist
07:44
Frank Stanton on the quiz show scandals
03:10
Darren Star on controversial storylines on Beverly Hills, 90210, including "Brenda Walsh" sleeping with "Dylan McKay" in the first season's "Spring Dance" episode
04:17
Darren Star on the censorship issues that arose on Melrose Place, particularly involving the character "Matt Fielding," who was gay
03:16
Darren Star on trusting your own instincts as a writer and not allowing the audience to influence your choices
02:16
Darren Star on a Sex and the City gag that HBO objected to
01:33
Darren Star on the challenges of having a show on a network versus cable
03:09
Darren Star on not allowing success to inhibit you in your career choices
01:02
Darren Star on Younger being on TV Land and the changing landscape of television
02:39
Darren Star on advice to aspiring writers
01:09
Herbert Stempel on becoming involved with Twenty-One via producer Dan Enright
03:58
Herbert Stempel on Dan Enright prepping him to "act" and cheat on Twenty-One, and on dealing with host Jack Barry
06:01
Herbert Stempel on the format of Twenty-One and how the game was played
01:31
Herbert Stempel on the broadcast facilities and set of Twenty-One, including the "isolation booth"
02:23
Herbert Stempel on his first Twenty-One opponents having been coached as he had been
01:32
Herbert Stempel on the aftermath of his first appearance on Twenty-One and on the scripted banter on the show
02:03
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
04:17
Herbert Stempel on the details of the monetary wins on Twenty-One
02:42
Herbert Stempel on telling some friends early on that Twenty-One was rigged
00:52
Herbert Stempel on the other members of the Twenty-One team including host Jack Barry
02:05
Herbert Stempel on the producers inadvertently giving him a wrong answer to a question on Twenty-One
02:11
Herbert Stempel on Charles Van Doren, his final "opponent" on Twenty-One
01:16
Herbert Stempel on finally being "defeated" by Charles Van Doren on Twenty-One
03:24
Herbert Stempel on Dan Enright reneging on his promises to Stempel after his run Twenty-One
03:27
Herbert Stempel on contacting the DA's office and testifying about the misconduct on the set of Twenty-One
03:51
Herbert Stempel on appearing on the PBS American Experience episode "The Quiz Show Scandal"
02:58
Herbert Stempel on his involvement in Robert Redford's feature film "Quiz Show" in which John Turturro played Stempel
05:58
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!
03:43
Herbert Stempel on the so-called Stempel law, and his then-current dealings with the public
02:24
Herbert Stempel on the legacy of the Quiz Show Scandals
00:50
Herbert Stempel on having his credibility questioned when he testified about misconduct on the set of Twenty-One
04:49
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
04:10
Herbert Stempel on finally being "defeated" by Charles Van Doren on Twenty-One
03:24
William Tankersley on his involvement with the CBS loyalty oath and the Hollywood Blacklist
04:59
William Tankersley on becoming the Director of Program Practices at CBS Television City
01:34
William Tankersley on his process as Director of Program Practices at CBS Television City
02:52
William Tankersley on Frank Stanton and William Paley's input on Program Practices at CBS Television City
02:57
William Tankersley on Program Practices' involvement with table reads
01:05
William Tankersley on instances when shows went against the advice of CBS Program Practices
01:30
William Tankersley on how CBS Program Practices handled pregnancy storylines on TV shows in the 1950s
01:00
William Tankersley on how CBS Program Practices handled personal hygiene commercials and storylines on TV shows in the 1950s
01:12
William Tankersley on how CBS Program Practices handled Civil Rights storylines on TV shows in the 1950s and '60s
02:04
William Tankersley on Washington D.C.'s interest in violence on television and dealing with an AFTRA strike
03:59
William Tankersley on how CBS Program Practices handled religious storylines on TV shows in the 1950s
03:43
William Tankersley on how CBS Program Practices handled storylines involving drugs on TV shows in the 1960s
01:34
William Tankersley on CBS' expected limitations of violence on television
07:04
William Tankersley on CBS' expected limitations of violence on television
07:04
William Tankersley on CBS' guidelines for current affairs and politics on TV in the 1950s
01:35
William Tankersley on CBS Standards & Practices not having many issues with daytime soap operas
02:01
William Tankersley on CBS Standards & Practices having issues with shows paying for commercial plugs
03:16
William Tankersley on CBS Standards & Practices' workings with early TV sponsors
03:05
William Tankersley on how the Quiz Show scandals (which started with NBC shows) affected CBS Standards & Practices
04:29
William Tankersley on being promoted to Vice President of Program Practices at CBS and dealing with advertisers
02:10
William Tankersley on CBS Standards & Practices' problems with advertisers' competitive complaints and false advertising
05:43
William Tankersley on CBS Standards & Practices' workings with Playhouse 90 and The Twilight Zone
06:02
William Tankersley on CBS Standards & Practices' problems with The Smothers Brothers' Comedy Hour
06:00
William Tankersley on CBS Standards & Practices' interactions with news programs
02:35
William Tankersley on CBS Standards & Practices work with Norman Lear on All In The Family, (contd.)
06:13
William Tankersley on the role government should play in broadcasting and how cable affected the industry
02:34
William Tankersley on how media consolidation has affected the industry
00:38
William Tankersley on what represents the best of television
00:54
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)
00:47
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
03:12
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
03:05
Nina Tassler on what she looks for when hearing a pitch for a television show
03:48
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
03:54
Nina Tassler on advice to aspiring television executives
02:25
Ted Turner on creating TCM, Turner Classic Movies
01:05
Ted Turner on getting into cable
01:40
Ted Turner on the birth of CNN
05:20
Ted Turner on the premiere and early budget for CNN
01:53
Ted Turner on the budgetary constraints on forming CNN
04:55
Ted Turner on network resistance to CNN; on his concept for and naming CNN
03:47
Ted Turner on finding advertisers for CNN
02:15
Ted Turner on creating CNN II (Headline News)
05:45
Ted Turner on acquiring MGM
00:28
Ted Turner on merging with Time Warner
02:52
Ted Turner on media consolidation and his thoughts on the future
01:56
Ted Turner on launching TNT
01:40
Ted Turner on purchasing Hanna-Barbera's library and creating the Cartoon Network
01:59
Ted Turner on acquiring Castle Rock and New Line Entertainment
03:11
Ted Turner on the dangers of media consolidation
01:27
Dean Valentine on the state of NBC when he worked there in the 1980s
02:41
Dean Valentine on his position and his responsibilities in comedy development at NBC
06:13
Dean Valentine on leaving NBC and on going to work in development for Disney Television, later Touchstone Television
05:08
Dean Valentine on reinventing the television division of Disney with Touchstone Television
03:30
Dean Valentine on navigating corporate politics and becoming president of Touchstone Television
05:20
Dean Valentine on the Disney/ABC merger and the main players, including Michael Eisner and Tom Murphy
03:21
Dean Valentine on taking over the Disney Television Animation division
Dean Valentine on leaving ABC/Disney
04:47
Dean Valentine on being named president and chief executive of UPN a year after it launched
06:40
Dean Valentine on the steps he took as president and chief executive officer of UPN to boost ratings and battling The WB
04:37
Dean Valentine on the fate of UPN and The CW
03:40
Dean Valentine on leaving UPN in 2001
02:12
Dean Valentine on advice to an aspiring television executive and to a creator of programming
05:06
Lauren Zalaznick on the experience of creating and branding the Trio network
04:26
Lauren Zalaznick on programming the Trio network
07:44
Lauren Zalaznick on what she learned about programming as the head of Trio
04:55
Lauren Zalaznick on being tapped by Jeff Zucker to lead the Bravo network in the wake of the NBC/Universal merger
04:36
Lauren Zalaznick on an incident with The RuPaul Show producers Fenton Bailey and Randy Barbato
06:56
Lauren Zalaznick on her decision to leave VH1, and on her experiences on 9/11
05:55
Lauren Zalaznick on television and society, and how television tends to reflect the national psyche (the topic of her 2011 TED Talk)
10:35
Lauren Zalanzick on diversifying the genres on VH1
03:43
Lauren Zalaznick on being tapped by Jeff Zucker to lead the Bravo network in the wake of the NBC/Universal merger
04:36
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
05:24
Lauren Zalaznick on using the Internet as a marketing tool for Bravo's programming, and on the "watch what happens" slogan
03:50
Lauren Zalaznick on creating a marketing strategy when she started at Bravo, and on creating the logo
09:00
Lauren Zalaznick on the ways in which audiences are consuming content via new media, and how that has impacted Bravo
05:23
Lauren Zalaznick on being a board member at GoPro, and her then-current projects
03:08
Lauren Zalaznick on the then-current state of television
03:33
Lauren Zalaznick on how the television industry has changed since she began
02:48
Lauren Zalaznick on valuable advice she has received, and on her advice to aspiring television executives
02:47
Jeff Zucker on following your passion and working hard at what you love
02:12
Jeff Zucker on trusting your gut as a Producer and Executive, and not relying solely on research
01:28
Jeff Zucker on why television shows are traditionally either thirty or sixty minutes in length
01:10
Jeff Zucker on the impact on the network of putting reality programming on NBC
02:01
Jeff Zucker on the NBC-Universal merger
05:08
Jeff Zucker on dealing with shows that fail, and knowing when to take a show off the air
01:01
Jeff Zucker on the development of Hulu and its success up to that time (in 2009)
01:59
Jeff Zucker on advice to aspiring television producers and executives
00:20
