television-criticism

In this chapter, Harlan Ellison critiques contemporary television programming, focusing on the ABC sitcom 'Nanny and the Professor' and the show 'Paris 7000,' highlighting the poor quality of writing and acting despite some professional performances. He also reflects on American cultural tendencies toward escapism through sports and entertainment, drawing parallels to the Roman Empire's 'bread and circuses' and expressing cynicism about societal gullibility and decline. Additionally, Ellison discusses the ambivalent portrayal of war in the film 'Patton' and uses these cultural artifacts to comment on American values and distractions.

In this chapter, Harlan Ellison recounts his return to writing his television criticism column "The Glass Teat" in Rolling Stone after a hiatus, triggered by an invitation from the editors. He details his frustrating experience attending a cattle call for writers on the ABC ESP series "The Sixth Sense," exposing the incompetence and demeaning attitudes of the show's producers, which culminated in his reluctant acceptance of a story editor position. Ellison also previews future columns that will critique television's cultural impact and industry practices with unflinching honesty.

This chapter serves as a preface and selected bibliography related to television criticism, highlighting the persistent banality and mediocrity of TV programming over the past fifteen years. Harlan Ellison reflects on the political and cultural stagnation since the 1960s, criticizing the entrenchment of conservative forces in television and society, and announces the reissue of his book 'The Glass Teat' as a relevant critique of television's ongoing failures.

This introductory chapter of Harlan Ellison's "The Glass Teat" explains the origins and purpose of his television criticism column published in the underground newspaper The Los Angeles Free Press. Ellison describes the column as a platform for unfiltered social critique, using television as a lens to explore broader cultural issues such as censorship, repression, and societal passivity. He emphasizes the column's role as a dissident voice challenging mainstream media narratives and cultural complacency during a turbulent era.

In this chapter, Harlan Ellison reflects on his travels to Brazil for a film festival, critiques the sanitized nature of television exemplified by Glen Campbell's show, and discusses the censorship and eventual cancellation of The Smothers Brothers Comedy Hour due to conservative pressures. He also addresses his role as a television critic, rejecting activist demands from readers and recounts his frustration with the commercialization of dissent on TV, leading him to abandon a script treatment on university dissent in favor of a new project about pornography. Ellison closes with personal notes on his romantic life and upcoming work.

In this chapter, Harlan Ellison critiques the censorship of the Smothers Brothers Comedy Hour by CBS, exposing the network's capitulation to political pressure from Senator Pastore and condemning the broader culture of fear and dishonesty in American media. Ellison reflects on the deep societal hatred and corruption fostered by such censorship, warning of escalating consequences. He also provides brief reviews of new television shows, highlighting both promising and disappointing aspects of contemporary programming.

In this chapter, Harlan Ellison critically reevaluates the television series The New People, initially impressed by its pilot but ultimately disappointed by its decline due to poor scripting and miscasting. He highlights the disconnect between the show's youthful premise and the old writers behind it, arguing for fresher, more authentic voices to capture young perspectives. Ellison also expresses concern over the low ratings of the innovative Music Scene show, urging viewers to support it to prevent its cancellation.