Television's Second Golden Age: From Hill Street Blues to Er

by Robert J. Thompson

Book Overview

Fans of 'quality TV drama series' will have a field day with Syracuse University professor Thompson's multidisciplinary examination of 'the return of the seri-ous, literary, writer-based drama' over the past 15 years. Allotting full chapters to breakthrough series Hill Street Blues and St. Elsewhere, Thompson reviews a bit more briefly the histories of 1980s classics Cagney & Lacey, Moonlighting, L.A. Law, thirtysomething, and China Beach and...

• Format: Paperback
• Language: English
• ISBN: 0815605048
• ISBN13: 9780815605041
• Release Date: October 1997
• Publisher: Syracuse University Press
• Length: 220 Pages
• Weight: 0.70 lbs.
• Dimensions: 0.6" x 6.0" x 8.9"

Customer Reviews

Memories of Great Television

This book is great at enhancing the viewing pleasure of classic TV shows now coming out on DVD. I read this book after viewing the first season of Hill Street Blues and the first three seasons of Moonlighting. I loved reading this and learned a lot about my favorite TV shows.

The case for television dramas as the mediums high art form

The title of this book is provocative but something of a serious misnomer. Robert J. Thompson points out early on that the original "Golden Age of Television" took place in the Fifties and was built on the variety shows like "Texaco Star Theater" and "Your Show of Shows," the anthology dramas like "Playhouse 90" and "Studio One," and, of course, "I Love Lucy." Thompson also acknowledges that in the Seventies the situation comedy reached its "literate peak" with "The Mary Tyler Moore Show," "All in the Family," and "M*A*S*H." However, the argument for "Television's Second Golden Age: From 'Hill Street Blues' to 'ER'" covers a period from HSB's debute in 1981 to the present, where "ER" continues to be one of the top dramas on television. That is a period of more than two decades and while Thompson devotes a chapter to "The Second Golden Age of Television: "Cagney & Lacy," "Moonlighting," "L.A. Law," "thirtysomething," and "China Beach," essentially focusing on the Eighties, it is hard to say that the following decade, with "Twin Peaks," "Northern Exposure," "Picket Fences," "NYPD Blue," "Law & Order," "Homicide," "The X-Files," "Chicago Hope," and "ER" was not at least as strong (feel free to add to the list). Even if we are talking about the first decade of the 21st century we have "Buffy the Vampire Slayer," "24," "The Practice," "Ally McBeal" and short-lived series like "My So Called Life" and "Once and Again" (and that is without dipping over to HBO and talking about "The Sopranos," "Six Feet Under," and the rest of their kind), all of which speak to quality dramatic programming.That is why in the final analysis I see Thompson's argument as being not so much for a specific time period of great television, but rather advancing the proposition that the hour-long dramatic television series is the chief art form of the medium (yes, even more so than the situation comedy). I would even extend this argument to the mini-series, from "Roots" and "Shogun" to "War and Remembrance" and "Lonesome Dove," because the guiding principle of the extended narrative form remains the common denominator. "24" takes the idea of season-long story arc a unique extreme, but "Buffy the Vampire Slayer" did all of its complete seasons have a first-half story arc (e.g., Spike & Dru in Season 2) that then merged with a second-half story arc (e.g., the return of Angelus) that provided a framework for all of the individual episodes. Then there was "Murder One," which rather successfully devoted an entire season to one sensational murder trial. When a series loses its driving story arc, as when Dave and Maddie consummated their love on "Moonlighting," or when what was supposed to be the hook becomes the line and sinker as well, as when the question of who killed Laura Palmer ultimately derailed "Twin Peaks," the demise of the show simply affirms the principle in the negative.Thompson's starting point is January 1981 when prime-time television was about to make a

the place to start

It's all too easy to assume that simply because we vegetate in front of the TV all day, that we have some kind of understanding of its history and how it works. This book summarises the importance of several landmark shows of the 1980s and 1990s, helping to show how a few select producers (chiefly refugees from The Mary Tyler Moore Show) were able to transform the quality of television, at least for a while. Note that the shows are discussed in their American context -- British viewers may be surprised to hear that anything was innovative about the "MASH without the laughter track", because MASH was always broadcast in the UK without a laughter track. But for placing the history of American TV in its natural home habitat, this remains an important and interesting introduction to quality television.

Required reading for students of television

This is a brief but entertaining and convincing argument for the artistic value of one of the most unfairly condemended media outlets -- television. Working from the hypothesis that the quirky dramas that dominated television from the '70s to the '90s (Hill Street Blues, St. Elsewhere, thirtysomething, ect.) actually made up television's second golden age, author Robert J. Thompson actually makes a pretty good argument for taking TV seriously. Each chapter provides detailed (and refreshingly witty) analysis of all the TV shows that we previously took for granted and shows how the writers and producers of those shows were able to create great art in the guise of great entertainment. Of particular worth was Thompson's long and informative chapter on St. Elsewhere, over the course of which he manages to break down a few of that show's intricate inside jokes and show how the show's controversial final episode actually served as a powerful and still-relavent statement on the state of television and American culture today. This book is a must read for anyone who sees television as more than just a distraction.

A must read for people who take TV seriously...

I bought this book as the required text for one of Prof. Thompson's classes at Syracuse. It puts today's television in context, and at the same time uses history to teach why certain shows are popular today. You need to respect the past in order to create the future. Learn about Television's "superior genes" by exploring the MTM family tree. You need to read this book if you want to study TV and not just watch it. A must for anyone truly serious about writing, programming, developing, producing, or directing for television.The television I watched after reading this book was NOT the same television I had watched before reading it.