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

From the late 1940s to the early 1960s, anthology dramas presented “quality” television programming in weekly stand-alone television plays meant to entertain and provide cultural uplift to American society. Programs such as Playhouse 90, Studio One, and The Twilight Zone became important emblems of American creative potential on television. But their propensity for addressing matters of major social concern also meant that they often courted controversy. Although the anthology’s tenure would be brief, its importance in the television landscape would be great, and the ways the format negotiated ideas about “Americanness” at midcentury would be a crucial facet of its significance.

In Gold Dust on the Air, Molly Schneider traces a cultural history of the “Golden Age” anthology, addressing topics such as the format’s association with Method acting and debates about “authentic” American experience, its engagement with ideas about “conformity” in the context of Cold War pressures, and its depictions of war in a medium sponsored by defense contractors. Drawing on archival research, deep textual examination, and scholarship on both television history and broader American culture, Schneider posits the anthology series as a site of struggle over national meaning.

In 1990, American television experienced a seismic shift when Twin Peaks premiered, eschewing formulaic plots and clear lines between heroes and villains. This game-changing series inspired a generation of show creators to experiment artistically, transforming the small screen in ways that endure to this day.

Focusing on six shows (Twin Peaks, with a critical analysis of both the original series and the 2017 return; The Wire; Treme; The Sopranos; Mad Men; and Girls), Television Rewired explores what made these programs so extraordinary. As their writers and producers fought against canned plots and moral simplicity, they participated in the evolution of the exhilarating new auteur television while underscoring the fact that art and entertainment don't have to be mutually exclusive. Nochimson also makes provocative distinctions between true auteur television and shows that were inspired by the freedom of the auteur series but nonetheless remained entrenched within the parameters of formula. Providing opportunities for vigorous discussion, Television Rewired will stimulate debates about which of the new television series since 1990 constitute “art” and which are tweaked “business-driven storytelling.”