It also contains material from the BBC archives and reveals how the show was rejected when it was first offered to the BBC, how David Jason nearly missed out on the starring role and the tragedy of the death of one of its stars during filming.Steve Clark was the only author on set for the filming of Only Fools and Horses, spin-off The Green Green Grass and prequel Rock & Chips and his book gives a fascinating and unique insight into this legendary series. Dragon's Den star Theo Paphitis a long-time fan of the series - has written a foreword to the book, which also includes rare photographs and other exclusive material.

    The failure of the drug war, the betrayal of the working class, the bureaucratization of the culture and the cost to individual dignity -- such are the themes of the drama's first two seasons. And with every new episode of season three and beyond, another layer of modern urban life will be revealed. Gritty, densely layered, and realistic, "The Wire" is series television at its very best, told from the point of view of the Baltimore police, their targets, and many of those caught in the middle.Rafael Alvarez -- a reporter, essayist, and staff writer for the show -- brings the reader inside, detailing many of the real-life incidents and personalities that have inspired the show's storylines and characters, providing the reader with insights into the city of Baltimore -- itself an undeniable character in the series. Packed with photographs and featuring an introduction by series creator and executive producer David Simon, as well as essays by acclaimed authorsGeorge Pelecanos, Laura Lippman, and Anthony Walton, here is an invaluable resource for both fans of the show and viewers who have yet to discover "The Wire."Hollywood has long used the cop drama to excite andentertain, and Hollywood has always dictated the terms. But "The Wire" is filmed entirely in Baltimore, conceived by Baltimoreans, and written by rust-belt journalists and novelists intimately familiar with the urban landscape. It's as close as television has yet come to allowing an American city to tell its own tale.

    It premiered 37 years ago, in 1973, and, after 31 series it finally came to an end last year – even though all its original protagonists – Compo, Foggy, even Nora Batty – are now dead. Remarkably, for a series of such longevity and international appeal, it is all about elderly people, has little action or plot, and is set and filmed in and around the small Yorkshire town of Holmfirth. Now, Andrew Vine, the deputy editor of Yorkshire’s daily newspaper, has written the definitive history of this television phenomenon. It covers the show’s inauspicious beginnings, with low ratings, its endless reinvention as participants like Bill Owen, Michael Bates, Brian Wilde and Kathy Staff retired or died, the appearance of a string of guest stars from John Cleese and Norman Wisdom to Thora Hird and Russ Abbott (both of whom soon found themselves fixtures in the cast), and the ingenious plot contrivances as the protagonists became too old and frail to attempt any of the slapstick stunts with runaway prams – indeed any outdoor action. Holmfirth is now a year-round tourist attraction, and endless repeats and new DVD box sets will ensure a readership for this book for years to come.

    While the series has surreal elements, he believes it provides the answers to all the questions which have confounded viewers: who is Number 6? Who runs The Village? Who—or what—is Number 1? According to Cox, the key is to view the series in the order in which the episodes were made, not in the order of the UK or US television screenings. In this book he does exactly that, and provides an entirely original and controversial “explanation” for what is perhaps the best, and certainly the most perplexing, TV series of all time.

    It is the ultimate guide to winning friends, influencing people, and coming out on top. 6,000 people auditioned, only 16 made the cut.

    The issues it tackled, from the failures of the drug war and criminal justice system to systemic bias in law enforcement and other social institutions, have become more urgent and central to the national conversation. The show's actors, such as Idris Elba, Dominic West, and Michael B. Jordan, have gone on to become major stars. Its creators and writers, including David Simon and Richard Price, have developed dedicated cult followings of their own. Universities use the show to teach everything from film theory to criminal justice to sociology. Politicians and activists reference it when discussing policy. When critics compile lists of the Greatest TV Shows of All Time, The Wire routinely takes the top spot. It is arguably one of the great works of art America has produced in the 20th century.But while there has been a great deal of critical analysis of the show and its themes, until now there has never been a definitive, behind-the-scenes take on how it came to be made. With unparalleled access to all the key actors and writers involved in its creation, Jonathan Abrams tells the astonishing, compelling, and complete account of The Wire, from its inception and creation through its end and powerful legacy.

    The Major; "Don't mention the war!;" "He's from Barcelona;" Basil the Rat—everyone has a favorite line, moment, or character. In the first biography of the show, Graham McCann holds up to the light each of the unpredictable elements—the demented brilliance of John Cleese, his creative partnership with Connie Booth—that added up to an immortal sitcom, beloved all over the world, even in Barcelona.

    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.

    It needs flannel in lengthy widths, and it's here that Harry and Alan come through like a whole warehouse full of pyjamas) to the 1976 Olympics ('Jenkins has a lot to do' was a new way of saying that our man, of whom we had such high hopes, was not going to pull out the big one). In between we have 'War and Peace' (Tolstoy makes television history), the Royal Wedding (Dimbling suavely, Tom Fleming introduced the scene), the Winter Olympics (unintelligibuhl), the Eurovision Song Contest (The Hook of their song lasted a long time in the mind, like a kick in the knee. You could practically hear the Koreans singing it. 'Waterloo . . .' ), and much more.

    As Season 3 of the award-winning TV series opens, it is 1920 and Downton Abbey is waking up to a world changed forever by World War I. New characters arrive and new intrigues thrive as the old social order is challenged by new expectations.In this new era, different family members abound (including Cora's American mother, played by Shirley MacLaine) and changed dynamics need to be resolved: Which branch of the family tree will Lord Grantham's first grandchild belong to? What will become of the servants, both old and new?The Chronicles of Downton Abbey, carefully pieced together at the heart and hearth of the ancestral home of the Crawleys, takes us deeper into the story of every important member of the Downton estate.This lavish, entirely new book from Jessica Fellowes focuses on each character individually, examining their motivations, their actions, and the inspirations behind them. An evocative combination of story, history, and behind-the-scenes drama, it will bring fans even closer to the secret, beating heart of the house.

    Obsessively watched and critically ignored, sitcoms were a distraction, a gentle lullaby of a kinder, gentler America—until suddenly the artificial boundary between the world and television entertainment collapsed.            In this book we can watch the growth of the sitcom, following the path that leads from Lucy to The Phil Silvers Show; from The Dick Van Dyke Show to The Mary Tyler Moore Show; from M*A*S*H to Taxi; from Cheers to Roseanne; from Seinfeld to Curb Your Enthusiasm; and from The Larry Sanders Show to 30 Rock.            In twenty-four episodes, Sitcom surveys the history of the form, and functions as both a TV mixtape of fondly remembered shows that will guide us to notable series and larger trends, and a carefully curated guided tour through the history of one of our most treasured art forms.

    

    What has this pop culture phenomenon shown us — by placing a few hundred people on islands around the world — about the psychological make-up of the average American? In Psychology of Survivor, the third installment of BenBella Books's Psychology of Popular Culture series, leading psychologists — and fans of Survivor — unite to offer up their expertise on the show that started the reality show craze. From why macho alpha males rarely win to stress and body image, from situational ethics to the dreaded Rob Cestaries factor, Psychology of Survivor is a broad look at cutting-edge psychological issues through the lens of Survivor. The tribe has spoken — Psychology of Survivor is the best book for Survivor fans and psychology enthusiasts alike!

    It has been translated into every major language on Earth and dozens of minor ones; it has spawned entire genres of animation, and had more books written about it than all but a handful of American Presidents. Even its minor characters have become iconic, and the titular family is recognizable in almost every corner of the planet. It is a definitive and truly global cultural phenomenon, perhaps the biggest of the television age. As of this writing, if you flip on FOX at 8pm on Sundays, you will see a program that bills itself as "The Simpsons". It is not "The Simpsons". That show, the landmark piece of American culture that debuted on 17 December 1989, went off the air more than a decade ago. The replacement is a hopelessly mediocre imitation that bears only a superficial resemblance to the original. It is the unwanted sequel, the stale spinoff, the creative dry hole that is kept pumping in the endless search for more money. It is Zombie Simpsons.

    An experimental, violent prison unit. The death of an American city, as seen through a complex police investigation. A lawless frontier town trying to talk its way into the United States. A corrupt cop who rules his precinct like a warlord. The survivors of a plane crash trying to make sense of their disturbing new island home. A high school girl by day, monster fighter by night. A spy who never sleeps. A space odyssey inspired by 9/11. An embattled high school football coach. A polished ad exec with a secret. A chemistry teacher turned drug lord.These are the subjects of 12 shows that started a revolution in TV drama: The Sopranos. Oz. The Wire. Deadwood. The Shield. Lost. Buffy the Vampire Slayer. 24. Battlestar Galactica. Friday Night Lights. Mad Men. Breaking Bad.These 12 shows, and the many more they made possible, ushered in a new golden age of television — one that made people take the medium more seriously than ever before. Alan Sepinwall became a TV critic right before this creative revolution began, was there to chronicle this incredible moment in pop culture history, and along the way “changed the nature of television criticism,” according to Slate. The Revolution Was Televised is the story of these 12 shows, as told by Sepinwall and the people who made them, including David Chase, David Simon, David Milch, Damon Lindelof and Carlton Cuse, Vince Gilligan and more.