![]() It’s rare that we get a piece that she truly doesn’t like at all. Nussbaum devotes chapters to both things she likes and things she wasn’t such a fan of. Producers might not have talked about story arcs, but they were writing them nevertheless. I’d certainly argue that British TV, without the ability to make 22 episodes in a “season” had been doing different kinds of things for much longer. Some British shows get references throughout these pieces, but this is very much television history from the perspective of the emergence of prestige cable TV shows at the end of the last century and the changes we’ve seen since then. That began to change with shows like The Sopranos and Buffy the Vampire Slayer, shows that each of which in its own way were trying to do something new with the medium.Īt this point, it’s worth noting that the book comes from very much an American tradition of television. ![]() ![]() She explains how television became so important to her and how early on, she had taken the same, slightly supercilious view of the populist medium that many in the arts always had. There are often short introductions to these pieces, and a couple of brand new pieces – one of which takes up a significant proportion of the book. Emily Nussbaum is The New Yorker‘s TV critic, and this is a collection of her writing about TV from that magazine and others that she had worked for previously. ![]()
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