Peek behind the curtain into the making of Happy Days , the ultimate American sitcom, in this detailed season-by-season history written by two of the show’s longest-serving writer-producers . One of the most successful TV shows of all time, Happy Days drew in 30 million viewers weekly at its peak and launched the careers of stars like Ron Howard, Henry Winkler, and Robin Williams. Now, just in time for its 50th anniversary, tune in for exclusive access, as writers Brian Levant and Fred Fox Jr. chronicle life on set and examine the evolution of a television show that made history. Featuring new interviews with the creators, cast, and crew of the show and a foreword by The Fonz himself, explore rarely-seen photographs and personal anecdotes on a season-by-season journey behind the scenes. A PHOTOGRAPHIC TREASURE TROVE: This coffee-table art book includes stunning, full-color photos of candid moments between cast and crew, lovingly preserved scenes from the show, exclusive shots that capture the energetic set, and a look at some of the vintage collectibles that brought the sitcom into fans’ homes. REVELATIONS ABOUT THE CREATIVE TALENT BEHIND THE SCENES: Explore the strategies and big gambles that fueled one of the most successful shows of all time, as told by the individuals who made it happen. EXCLUSIVE INTERVIEWS: Gather anecdotes straight from Ron Howard, Henry Winkler, Anson Williams, Marion Ross, Ted McGinley, and a host of Hollywood royalty who worked as a team to change the landscape of television forever. NOSTALGIC GUIDE TO A SPECIAL PLACE AND TIME: Take a deep dive into the in-world lore that will bring to life the 1950s Milwaukee of Richie and Joanie Cunningham, Potsie Weber, Ralph Malph, and, of course, Arthur “Fonzie” Fonzarelli.

We at Penguin Putnam mourn the death of Pauline Kael, a singularly unique voice in American letters. She will be sorely missed.In her decades-long career, Pauline Kael established herself as the most renowned and respected movie reviewer in the field. The breadth of her knowledge of film history and technique, her insight into the arts of acting and directing, and her unfailing wit and candor endeared her to movie lovers everywhere.For Keeps offers the best of Kael's reviews and other writings on movies from the collections that have marked her matchless career, starting with I Lost it at the Movies (1965), through Kiss Kiss Bang Bang, Deeper into Movies (a National Book Award winner), The Citizen Kane Book ("Raising Kane", the full text on the making of the movie, is included here), and all the others in a glorious run concluding with Movie Love in 1991. Once Kael retired from regular reviewing, her reputation only increased, and for the inimitable real thing, readers must turn to this volume to sample her perspicacity, fluency, and style. More than 275 reviews are arranged chronologically -in effect, a history of 30 years of movies. This ultimate compendium from America's most eloquent, passionate, and provocative critic is a boon to serious moviegoers and an indispensible companion to film in the age of technological and pop culture overload.

From Nathan Rabin, former staff writer for The A.V. Club and The Dissolve and the author of Weird Al: The Book, You Don't Know Me But You Don't Like Me, and The Weird Accordion to Al, comes The Fractured Mirror, an exhaustively researched exploration of American movies about filmmaking. This loving deep dive chronicles, with humor, wit, and affection, a solid century of cinema about cinema, with illustrations from Felipe Sobreiro ( The Return of the Blues Brothers ) and a foreword from legendary filmmaker Joe Dante ( Gremlins, Matinee ). As an homage to The Golden Turkey Awards, which included a fake movie along with a plethora of real-life stinkers, Rabin got bad movie luminaries like How Did This Get Made's Paul Scheer, Dan McCoy of The Flop House, Andrew Jupin of We Hate Movies and Author/Humorist Mike Sacks to create blurbs for movies that exist only in their imaginations. The Fractured Mirror covers over 500 movies, from internationally beloved classics to notorious flops. It documents Bucky Larson: Born to Be a Star and Burden of Dreams, and everything in between. Movie history has never been so much fun! Praise for The Fractured Mirror "Nathan Rabin doesn't just write about Hollywood, he rewires how you watch it. The Fractured Mirror channels the same brilliance he brought to My Year of Flops and points it straight at showbiz itself. Every chapter left me itching to rewatch movies I'd written off, this time with brand-new eyes."- Paul Scheer "In this sparkling and essential compendium, one of America's all-time greatest cultural critics turns his keen eye and full heart to movies about American filmmaking, and thank goodness. This "casual epic," to paraphrase Rabin on Tarantino, deserves a spot on your shelf between Kael's FOR KEEPS and Peary's CULT MOVIES." - Julie Klausner, " The Fractured Mirror is an absolute feast for movie lovers, especially movie lovers who enjoy movies about making movies. And man, is it comprehensive! Possibly obsessive. But so much fun. Rabin's writing is smart, witty, and lively throughout."- Bill Corbett " The Fractured Mirror is such a fun, engaging read. Nathan's work always has a certifiable uniqueness and introspection that delivers laughs and deeper ways to rethink our views on film and pop culture."- Greg Sestero "Nathan Rabin's "The Fractured Mirror" sent me down a Proustian memory hole, bringing to mind not only how many of these titles our Tenna-Rotor (tm) brought in from distant New York, but of how films about filmmaking planted the absurd dream in my mind that I could someday join that crazy circus, myself. Hats off to Nathan - and to the next generation of filmmakers, his lovingly curated list will inspire!"- Steven E. DeSouza, screenwriter, 48 Hours, Commando, Die Hard

“A remarkable encyclopedia.” — TV Guide “A must-browse for media freaks.” — USA Today “Irresistible and enthralling.” — Hartford Courant “Full of fool’s gold and genuine TV treasures.” — The New York Post The three hundred best and worst TV series ideas— known in the industry as “pilots”— that never made it to primetime. From the adventures of a Samurai D.A. to the antics of an invisible alien baby, Lee Goldberg details the greatest shows you never saw.

THE BEST TV SHOWS THAT NEVER WERE"The Best Bathroom Reading EVER," - San Francisco Chronicle"A must-browse for media freaks." -USA Today"Irresistible and enthralling." -Hartford Courant"Full of fool's gold and genuine TV treasures." -The New York Post This lively and entertaining book looks at the three hundred best and worst TV series ideas-known in the industry as "pilots"-that never made it to primetime from 1955-1990. From the adventures of a Samurai D.A. to the antics of an invisible alien baby, Lee Goldberg reveals the most astonishing, funny, and bizarre shows that never were. "You'll slap your head in disbelief-try not to hurt yourself-at the idea of John Denver as a singing FBI agent. You'll wonder whether Joe Penny as a samurai district attorney would have been funnier-unintentionally-that John Belushi's 'Saturday Night Live.' For tube-historians, this is a must see." - People MagazineThis book was previously published as "Unsold TV Pilots: The Greatest Shows You Never Saw" and "Unsold TV Pilots: The Almost Complete Guide To Everything You Never Saw on TV"

A "lively" memoir by the Hollywood legend about the making of Spartacus , with a foreword by George Clooney ( Los Angeles Times ). One of the world's most iconic movie stars, Kirk Douglas has distinguished himself as a producer, philanthropist, and author of ten works of fiction and memoir. Now, more than fifty years after the release of his enduring epic Spartacus , Douglas reveals the riveting drama behind the making of the legendary gladiator film. Douglas began producing the movie in the midst of the politically charged era when Hollywood's moguls refused to hire anyone accused of Communist sympathies. In a risky move, Douglas chose Dalton Trumbo, a blacklisted screenwriter, to write Spartacus . Trumbo was one of the "Unfriendly Ten," men who had gone to prison rather than testify before the House Un-American Activities Committee about their political affiliations. Douglas's source material was already a hot property, as the novel Spartacus was written by Howard Fast while he was in jail for defying HUAC. With the financial future of his young family at stake, Douglas plunged into a tumultuous production both on- and off-screen. As both producer and star of the film, he faced explosive moments with young director Stanley Kubrick, struggles with a leading lady, and negotiations with giant personalities, including Sir Laurence Olivier, Charles Laughton, Peter Ustinov, and Lew Wasserman. Writing from his heart and from his own meticulously researched archives, Kirk Douglas, at ninety-five, looks back at his audacious decisions. He made the most expensive film of its era--but more importantly, his moral courage in giving public credit to Trumbo effectively ended the notorious Hollywood blacklist. A master storyteller, Douglas paints a vivid and often humorous portrait in I Am Spartacus! The book is enhanced by newly discovered period photography of the stars and filmmakers both on and off the set.

A deep dive into the emergence and success of independent filmmaking in America A Los Angeles Times Bestseller The most important development in American culture of the last two decades is the emergence of independent cinema as a viable alternative to Hollywood. Indeed, while Hollywood's studios devote much of their time and energy to churning out big-budget, star-studded event movies, a renegade independent cinema that challenges mainstream fare continues to flourish with strong critical support and loyal audiences. Cinema of Outsiders is the first and only comprehensive chronicle of contemporary independent movies from the late 1970s up to the present. From the hip, audacious early works of maverick David Lynch, Jim Jarmusch, and Spike Lee, to the contemporary Oscar-winning success of indie dynamos, such as the Coen brothers ( Fargo ), Quentin Tarentino ( Pulp Fiction ), and Billy Bob Thornton ( Sling Blade ), Levy describes in a lucid and accessible manner the innovation and diversity of American indies in theme, sensibility, and style. Documenting the socio-economic, political and artistic forces that led to the rise of American independent film, Cinema of Outsiders depicts the pivotal role of indie guru Robert Redford and his Sundance Film Festival in creating a showcase for indies, the function of film schools in supplying talent, and the continuous tension between indies and Hollywood as two distinct industries with their own structure, finance, talent and audience. Levy describes the major cycles in the indie film movement: regional cinema, the New York school of film, African-American, Asian American, gay and lesbian, and movies made by women. Based on exhaustive research of over 1,000 movies made between 1977 and 1999, Levy evaluates some 200 quintessential indies, including Choose Me , Stranger Than Paradise , Blood Simple , Blue Velvet , Desperately Seeking Susan , Slacker , Poison , Reservoir Dogs , Gas Food Lodging , Menace II Society , Clerks , In the Company of Men , Chasing Amy , The Apostle , The Opposite of Sex , and Happiness . Cinema of Outsiders reveals the artistic and political impact of bold and provocative independent movies in displaying the cinema of "outsiders"-the cinema of the "other America."

A towering figure of television news recounts his adventures in broadcast journalism, from TV's earliest days through the controversies and challenges that face the news business today.

"I'm the thing that monsters have nightmares about." This one-of-a-kind collectible for fans of Buffy the Vampire Slayer features a molded 2" x 3" replica of the Slayer Handbook, Vampyr, that opens to play 10 memorable lines from the show. Featuring quotes from Buffy, Angel, Giles, Willow, and Xander (among them, "That'll put the marzipan in your pie plate, Bingo" and "Sorry to barge in, I'm afraid we have a slight . . . apocalypse"), it's the perfect way to commemorate this beloved cast of characters. The kit also comes with a 48-page mini book on Buffy history that features additional quotes and full-color photographs from the show.

"Listen to the dialogue: no other American dramatist has this feel for the ordinary talk of ordinary people, or the knowledge of what they do. This is more than a writer's craft, it is a psychological and moral openness to humanity, an act not of imitating, but of sharing". Sunday Times This fourth anthology features Arthur Miller's two early plays, The Golden Years , a historical tragedy about Montezuma's destruction at the hands of Cortez, and The Man Who Had All the Luck , a fable about human freedom and individual responsibility, are brought together in this volume. It also features two of his contemporary shorter plays, I Can't Remember Anything and Clara , first presented on a double bill as Danger! Memory . The latter focus on the importance and dangers of remembering the past, while the early plays, written at the time of the Second World War, mark the emergence of a drama in which public issues are rooted in private anxieties and chart the beginning of Miller's career that was one of the most distinguished in dramatic history. First produced in 1944 and revived in London in 2008, The Man Who Had All the Luck is a mesmerising drama in which the author's brilliance and characteristic qualities are already evident: The fourth volume of Miller's plays has been reissued with a new cover and features an introduction by the author and a chronology of his work.

Free for All is an irresistible behind-the-scenes look at one of America’s most beloved and important cultural institutions. Under the inspired leadership of founder Joseph Papp, the Public Theater and the New York Shakespeare Festival brought revolutionary performances to the public for decades. This compulsively readable history of those years—much of it told in Papp’s own words—is fascinating, ranging from a dramatic early showdown with Robert Moses over keeping Shakespeare in the Park free to the launching of such landmark productions as Hair and A Chorus Line. To bring the story to life, film critic Kenneth Turan interviewed some 160 luminaries—including George C. Scott, Meryl Streep, Mike Nichols, Kevin Kline, James Earl Jones, David Rabe, Jerry Stiller, Tommy Lee Jones, and Wallace Shawn—and masterfully weaves their voices into a dizzyingly rich tale of creativity, conflict, and achievement.

This year-by-year, behind-the-camera look at Hollywood's most successful movies, from 1939 to the present, offers intriguing details for the trivia buff, glamour and gossip for the star seeker, and all the facts for the film and media maven. From Gone with the Wind to Apollo 13, this entertaining guide presents the complete story behind the top five releases at the box office for each year. 328 photos.

More thon forty years ago, Robert Warshow wrote that "the unresolved problem of 'popular culture' . . . has come to be a kind of nagging embarrassment to criticism." Despite the rise of academic trends like cultural studies, we don't have a criticism that speaks to the actual, immediate experience of seeing and responding to popular culture. Warshow argued that the evasion of the popular arts in his time was due to a "disastrous vulgarization of intellectual life" that corrupted American liberalism from the 1930s to the 1950s. Political correctness then, like political correctness since the 1960s, had led to "organized mass disingenuousness" on the part of intellectuals who turned away from developing a vocabulary for describing the immediate, aesthetic experience and used irony instead, even about their own experiences. But, says Warshow, "a whole literature cannot be built on irony." Warshaw died a young man of 37 in 1955, but he left as his legacy a series of essays for The Partisan Review, Commentary, The Nation, and other journals. These writings, the cornerstone of a major account of the role of mass culture in our lives, were first gathered and published as a book in 1962. A number of essays have been anthologized frequently, and the book as a whole has achieved cult status for a number of discerning critics. "A legendary little book, partly because its author died at the age of 37, but mostly because it stands as a virtually unique representative from its period of a consistently open-minded, moral, aesthetic, and political engagement with commercial culture." -Louis Menand

The Grossis an all-access pass to the movers, shakers, and fakers who make Hollywood run. Tinseltown is an edgy place where risk-taking is a way of lifeand the risks now run into the hundreds of millions of dollars. Summertime, when the studios unfurl their most expensive and effects-laden "tent-pole pictures," has become the only season in which Hollywood makes money, and so, as this book illustrates, the summer season provides an ideal microcosm for scrutinizing the mega-budget-driven revolution that has forever changed the movie business. Bart interviews all the key players, including studio executives, producers, directors, and stars, to show how creativity and commerce hang in a dangerous balance in the new Hollwood.

A master film critic is at her witty, exhilarating, and opinionated best in this career-spanning collection featuring pieces on Bonnie and Clyde , The Godfather , and other modern movie classics “Film criticism is exciting just because there is no formula to apply,” Pauline Kael once observed, “just because you must use everything you are and everything you know.” Between 1968 and 1991, as regular film reviewer for The New Yorker , Kael used those formidable tools to shape the tastes of a generation. She had a gift for capturing, with force and fluency, the essence of an actor’s gesture or the full implication of a cinematic image. Kael called movies “the most total and encompassing art form we have,” and her reviews became a platform for considering both film and the worlds it engages, crafting in the process a prose style of extraordinary wit, precision, and improvisatory grace. Her ability to evoke the essence of a great artist—an Orson Welles or a Robert Altman—or to celebrate the way even seeming trash could tap deeply into our emotions was matched by her unwavering eye for the scams and self-deceptions of a corrupt movie industry. Here are her appraisals of era-defining films such as Breathless , Bonnie and Clyde , The Leopard , The Godfather , Last Tango in Paris , Nashville , along with many others, some awaiting rediscovery—all providing the occasion for masterpieces of observation and insight, alive on every page.

The classic collection of criticism about television and American culture from the late, multi-award-winning legend. From 1968 through 1972, Harlan Ellison penned a series of weekly columns, sharing his uncompromising thoughts about contemporary television programming for the Los Angeles Free Press , a.k.a. "The Freep," a countercultural, underground newspaper. Sitcoms and variety shows, westerns and cop dramas, newscasts and commercials, Ellison left no pixilated stone unturned, expounding on the insipidness, hypocrisy, and malaise found in the glowing images projected into the faces of American audiences. The Glass Teat: Essays of Opinion on the Subject of Television collects fifty-two of Ellison's columns--including his 2011 introduction "Welcome to the Gulag," his unapologetic commentary about how cellphones and the internet have extended television's reach, eroding intelligence and freedom and creating a legion of bloodshot eyed zombies unable to communicate beyond their screens or think for themselves. Provocative and prescient, irreverent and insightful, Ellison's critical analyses of the glowing box that became the center of American life are even more relevant in the twenty-first century. Also available: The Other Glass Teat: Further Essays of Opinion on the Subject of Television

Millions of adult Americans will fondly remember such entertaining movies as Carousel, The Jackpot, and There's No Business Like Show Business. Phoebe and Henry Ephron, who wrote the screenplays for these and other films, were a unique team in that they used their special talents, working with dozens of great names of screen and stage, to create everything from the comic to the somber under circumstances both humorous and quite the opposite. Whether they were working on a Carousel, starring Shirley Jones and Gordon MacRae or a new What Price Glory, or Fred Astaire's Daddy Long Legs, the Ephrons were always learning something new and exciting about a magical assortment of people (Henry remembers the famous director John Ford the day he was faulted by his producer for being two days behind in shooting a film. He tore up six pages and said: "Tell the SOB I'm six days ahead!") This is also a story of the thirty-seven-year marriage of two people who started out with very little, realized their dreams of having a play produced on Broadway, and then went to Hollywood, where they wrote major scripts for some of the biggest stars. Woven throughout the story is the family element of raising four daughters in the make-believe atmosphere of Southern California. As the two Ephrons worried about the work they'd done on one major script, the make-believe turning into a glorious reprieve when it was reported to them that Darryl Zanuck had just told a friend, "I'll never know how the Ephrons took that old chestnut and turned it into this great screenplay." Here, a professional storyteller is at his best in a personal narrative which also brings onstage a fascinating supporting cast.

In 2003 the Academy of Motion Picture Arts & Sciences celebrated the diamond (75th) anniversary of the Academy Awards. What began as an organizational banquet for several-hundred industry insiders has grown to an unequaled international spectacle viewed by more than one billion people. This book is an entirely new version of Emanuel Levy¿s critically acclaimed ¿Oscar Fever.¿ It is both history & appreciation, chockablock with inside stories & little-known facts. All statistics & tables have been updated & completely new information has been added on all 432 nominated films. Even more comprehensive than before, ¿All about Oscar¿ makes us look at the Academy Awards with a fresh vision. Illustrations.

Theatre Chronicles, 1937-1956.