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Das Bekenntnis, ›seriensüchtig‹ oder gar ein ›Serienjunkie‹ zu sein, gilt schon längst als Indiz für anspruchsvolle Unterhaltung und anregenden Kulturgenuss. Sogenannte ›Qualitätsfernsehserien‹ oder auch ›Autorenserien‹ machen mittlerweile selbst diejenigen süchtig, die dem Fernsehen gegenüber stets als immun galten – aus Gründen, denen der vorliegende Band nachspürt. Er widmet sich 13 Serien, die in den letzten Jahren von sich reden gemacht haben, darunter The Sopranos, Six Feet Under, The Wire, Deadwood und Gilmore Girls. Zu großen Fernseherzählungen bietet er ausführliche Lektüren.

Television plays, American. --- Television series.

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Law & Order (New York Police Judiciaire ou New York District en France) a fait le tour du monde. Traduite dans une centaine de langues, elle est la série judiciaire la plus longue de l'histoire de la télévision améri-caine et, même après vingt ans de diffusion, de 1990 à 2010, et cinq séries dérivées, elle sert encore de référence pour le public et les autres fictions judiciaires. Dick Wolf, son créateur, a délibérément centré les 456 épisodes sur des histoires inspirées de faits divers et de questions sous-jacentes au débat juridique du moment. Cet ensemble constitue une véritable formation judiciaire pour le télécitoyen, traitant des questions de fond sur la justice ainsi que des sujets plus techniques de procédure, d'éthique, de gestion des carrières et des rapports entre police et procureurs, entre droit étatique et droit fédéral.

Justice, Administration of, on television. --- Television series --- History and criticism.

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"A riveting and revealing look at the shows that helped cable television drama emerge as the signature art form of the twenty-first century In the late 1990s and early 2000s, the landscape of television began an unprecedented transformation. While the networks continued to chase the lowest common denominator, a wave of new shows, first on premium cable channels like HBO and then basic cable networks like FX and AMC, dramatically stretched television's narrative inventiveness, emotional resonance, and artistic ambition. No longer necessarily concerned with creating always-likable characters, plots that wrapped up neatly every episode, or subjects that were deemed safe and appropriate, shows such as The Wire, The Sopranos, Mad Men, Deadwood, The Shield, and more tackled issues of life and death, love and sexuality, addiction, race, violence, and existential boredom. Just as the Big Novel had in the 1960s and the subversive films of New Hollywood had in 1970s, television shows became the place to go to see stories of the triumph and betrayals of the American Dream at the beginning of the twenty-first century. This revolution happened at the hands of a new breed of auteur: the all-powerful writer-show runner. These were men nearly as complicated, idiosyncratic, and "difficult" as the conflicted protagonists that defined the genre. Given the chance to make art in a maligned medium, they fell upon the opportunity with unchecked ambition. Combining deep reportage with cultural analysis and historical context, Brett Martin recounts the rise and inner workings of a genre that represents not only a new golden age for TV but also a cultural watershed. Difficult Men features extensive interviews with all the major players, including David Chase (The Sopranos), David Simon and Ed Burns (The Wire), Matthew Weiner and Jon Hamm (Mad Men), David Milch (NYPD Blue, Deadwood), and Alan Ball (Six Feet Under), in addition to dozens of other writers, directors, studio executives, actors, production assistants, makeup artists, script supervisors, and so on. Martin takes us behind the scenes of our favorite shows, delivering never-before-heard story after story and revealing how cable TV has distinguished itself dramatically from the networks, emerging from the shadow of film to become a truly significant and influential part of our culture. "-- "In the late 1990s and early 2000s, the landscape of television began an unprecedented transformation. While the networks continued to chase the lowest common denominator, a wave of new shows, first on premium cable channels like HBO and then basic cable networks like FX and AMC, dramatically stretched television's narrative inventiveness, emotional resonance, and artistic ambition. No longer necessarily concerned with creating always-likable characters, plots that wrapped up neatly every episode, or subjects that were deemed safe and appropriate, shows such as The Wire, The Sopranos, Mad Men, Deadwood, The Shield, and more tackled issues of life and death, love and sexuality, addiction, race, violence, and existential boredom. This revolution happened at the hands of a new breed of auteur: the all-powerful writer-show runner. These were men nearly as complicated, idiosyncratic, and "difficult" as the conflicted protagonists that defined the genre. "--

Television series --- Television broadcasting --- Television program genres --- Television actors and actresses --- Cable television --- Social aspects --- History

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Television series --- Television soap operas. --- Soap operas --- Soap operas, Television --- Telenovelas --- Series, Television --- Television serials --- Television programs --- History and criticism.

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Could there have been television without California? California without television? The one shows the other: the ostentatiously novel singularity of the place and the seemingly self-effacing transparency of the medium. Yet if television and California both promise again and again to offer us something new, young, immaculate in its transience -- a pure surface that will never get caught in the ditch of time -- they are also both haunted through and through: by the itinerant contents of the past that they cannot banish, by memories of the infantile-perverse utopian fantasies that taunt us in constant replay ("If you're going to San Francisco...," "two girls for every guy"), by the contradiction played out in the very gesture of dismissing history and leaving the dead to bury the dead. California and television, as it were, conspire in a vampirologic: the forever-young is what has been there the longest, what really "takes us back." And so we also will take ourselves back: to Buffy the Vampire Slayer, already almost charmingly quaint, and Walter Benjamin's magnum opus The Origin of the German Mourning-Play. What can come of this improbable conjunction? It will not seem too strange that Benjamin, posthumous wanderer across the textures of Americana, should again take up lodging at the Hotel California. But more is at stake than just another hapless visitation from the on high of high theory: reading Buffy as the remediated afterlife of the dead-on-arrival genre of the baroque German mourning play, Adler's book records the first broken, awkward steps toward a project that, with the recent rise of "quality television," seems more urgent than ever before: a political-theological characteristic of the television series.

Popular culture --- Television series --- Influence. --- Benjamin, Walter, --- Buffy, the vampire slayer (Television program) --- California --- television --- media studies