Outstanding Academic Title for 2007, Choice Magazine Ever wonder how American television came to be the much-derided, advertising-heavy home to reality programming, formulaic situation comedies, hapless men, and buxom, scantily clad women? Could it have been something different, focusing instead on culture, theater, and performing arts? In Same Time, Same Station, historian James L. Baughman takes readers behind the scenes of early broadcasting, examining corporate machinations that determined the future of television. Split into two camps—those who thought TV could meet and possibly raise the expectations of wealthier, better-educated post-war consumers and those who believed success meant mimicking the products of movie houses and radio—decision makers fought a battle of ideas that peaked in the 1950s, just as TV became a central facet of daily life for most Americans. Baughman’s engagingly written account of the brief but contentious debate shows how the inner workings and outward actions of the major networks, advertisers, producers, writers, and entertainers ultimately made TV the primary forum for entertainment and information. The tale of television's founding years reveals a series of decisions that favored commercial success over cultural aspiration.

My Husband, Peter Tilden Hitchcock's legacy lives on with Same Time...Same Station. Feeling our relationship was special, he wanted me to write about our strong love and the compassion we shared during 54 years to include love letters that kept us close. Peter wanted to reach out to those coping with Parkinson's. It is amazing how he accepted the disease -- to live in the present, enjoying life. I hope my words are inspiring, uplifting, and even challenging. Keywords: An ode to love. Sharing love letters during 54 years. Adoptions. All aspects of family life. Fun adventures at seasonal home. Laid off: company buy out. Trip to Heaven. Parkinson's disease. Prostate cancer. Life living in the present.

William Thiele is remembered today as the father of the sound film operetta with seminal classics such as Drei von der Tankstelle (1930). While often considered among the most accomplished directors of Late Weimar cinema, as an Austrian Jew he was vilified during the onset of the Nazi regime in 1933 and fled to the United States where he continued making films until the end of his career in 1960. Enchanted by Cinema closely examines the European musical film pioneer’s work and his cross-cultural perspective across forty years of filmography in Berlin and Hollywood to account for his popularity while discussing issues of ethnicity, exile, comedy, music, gender, and race.

How mid-century television anthologies reflected and shaped US values and identities.