BN.com Gift Guide

Top of the Rock: Inside the Rise and Fall of Must See TV

( 11 )

Overview

Seinfeld, Friends, Frasier, ER, Cheers, Law & Order, Will & Grace…Here is the funny, splashy, irresistible insiders’ account of the greatest era in television history — told by the actors, writers, directors, producers, and the network executives who made it happen…and watched it all fall apart.

Warren Littlefield was the NBC President of Entertainment who oversaw the Peacock Network’s rise from also-ran to a division that generated a billion dollars in profits In...

See more details below
Paperback
$13.48
BN.com price
(Save 15%)$16.00 List Price

Pick Up In Store

Reserve and pick up in 60 minutes at your local store

Other sellers (Paperback)
  • All (19) from $3.99   
  • New (7) from $9.07   
  • Used (12) from $3.99   
Top of the Rock: Inside the Rise and Fall of Must See TV

Available on NOOK devices and apps  
  • NOOK Devices
  • Samsung Galaxy Tab 4 NOOK 7.0
  • Samsung Galaxy Tab 4 NOOK 10.1
  • NOOK HD Tablet
  • NOOK HD+ Tablet
  • NOOK eReaders
  • NOOK Color
  • NOOK Tablet
  • Tablet/Phone
  • NOOK for Windows 8 Tablet
  • NOOK for iOS
  • NOOK for Android
  • NOOK Kids for iPad
  • PC/Mac
  • NOOK for Windows 8
  • NOOK for PC
  • NOOK for Mac
  • NOOK for Web

Want a NOOK? Explore Now

NOOK Book (eBook)
$11.99
BN.com price

Overview

Seinfeld, Friends, Frasier, ER, Cheers, Law & Order, Will & Grace…Here is the funny, splashy, irresistible insiders’ account of the greatest era in television history — told by the actors, writers, directors, producers, and the network executives who made it happen…and watched it all fall apart.

Warren Littlefield was the NBC President of Entertainment who oversaw the Peacock Network’s rise from also-ran to a division that generated a billion dollars in profits In this fast-paced and exceptionally entertaining oral history, Littlefield and NBC luminaries including Jerry Seinfeld, Jason Alexander, Kelsey Grammer, Matt LeBlanc, Lisa Kudrow, Julianna Marguiles, Anthony Edwards, Noah Wylie, Debra Messing, Jack Welch, Jimmy Burrows, Helen Hunt, and Dick Wolf vividly recapture the incredible era of Must See TV.

From 1993 through 1998, NBC exploded every conventional notion of what a broadcast network could accomplish with the greatest prime-time line-up in television history. On Thursday nights, a cavalcade of groundbreaking comedies and dramas streamed into homes, attracting a staggering 75 million viewers and generating more revenue than all other six nights of programming combined. The road to success, however, was a rocky one. How do you turn a show like Seinfeld, one of the lowest testing pilots of all time, into a hit when the network overlords are constantly warring, or worse, drowning in a bottle of vodka?   

Top of the Rock
is an addictively readable account of the risky business decisions, creative passion, and leaps of faith that made Must See TV possible. Chock full of delicious behind-the-scenes anecdotes that run the gamut from hilarious casting and programming ploys to petty jealousies and drug interventions, you’re in for a juicy, unputdownable read.

Read More Show Less

Editorial Reviews

From Barnes & Noble

During the nineties, NBC's Thursday night "Must See TV" lineup was nothing less than awesome: Seinfeld; Frasier; Friends; Cheers; Law & Order; ER; Will & Grace. This barrage of hit shows dominated the market, regularly drawing more than 75 million viewers and dominating the television advertising market. This plentiful oral history shows that this unparalleled success wasn't a serendipitous gift; this billion-dollar prime time miracle was the creation of a team. Nobody would know that better than the man who presides over Top of the Rock: Warren Littlefield was the NBC President of Entertainment who oversaw the network's greatest triumphs. Now in trade paperback and NOOK Book. (P.S. The contributors include Jerry Seinfeld, Kelsey Grammer, Julianna Marguiles, Lisa Kudrow, Anthony Edwards, Debra Messing, Helen Hunt, and Jack Welch.)

Publishers Weekly
Former NBC Entertainment president Littlefield, who now runs his own TV production company, recalls, “When I was running NBC Entertainment, the shows that made our schedule were my choices, and I didn’t ask approval of anyone.” To detail the exuberant 1990s’ events in the Peacock Network’s ascendancy (with such shows as Frasier, Friends, Seinfeld, Will & Grace, and ER), Littlefield and novelist Pearson (A Short History of a Small Place) interviewed more than 50 actors, writers, producers, agents, and executives. Throughout, much praise is aimed at director Jim Burrows, labeled by Littlefield as “the most successful director in television comedy—ever.” The 19 contributing actors include Kelsey Grammer, Sean Hayes, Lisa Kudrow, John Lithgow, Julianna Margulies, and Jerry Seinfeld, but “the network suits” get equal time. Rather than a q&a format, excerpted quotes are spliced chronologically by subject. Thus, the voices of 15 people trace Seinfeld from its “disastrous” 1989 pilot tests to its newsworthy finale nine seasons later. Littlefield unleashed a “financial geyser” at NBC, and these revelatory glimpses of those glory days make this one of the more entertaining books published about the television industry. (May 1)
From the Publisher
"To detail the exuberant 1990s’ events in the Peacock Network’s ascendancy (with such shows as Frasier, Friends, Seinfeld, Will & Grace, and ER) Littlefield and novelist Pearson interviewed more than 50 actors, writers, producers, agents and executives...Littlefield unleashed a ‘financial geyser’ at NBC, and these revelatory glimpses of those glory days make this one of the more entertaining books published about the television industry.”
—Publishers Weekly
 
"Littlefield's compulsively readable saga, Top of the Rock, is a great tale of folly."
—Dick Donahue for PW

"A fascinating oral history of shows like Seinfeld that defined an era."
—New York Daily News

“A chronicle of the last golden age of network television, [Top of the Rock] is the literary equivalent of a former NBC Thursday night lineup…Littlefield is the ultimate Must See insider. The mini-histories are a blast…full of fresh detail.”
—The Hollywood Reporter

"The former president of entertainment at NBC chronicles his tenure with the peacock with a little help from his friends, including Jerry Seinfeld, Kelsey Grammar, Sean Hayes, and a few assorted suits who helped him schedule and nuture some of the most memorable shows on the tube, including Cheers, Friends, and Seinfeld. And as entertained as audiences were by those programs, the real show was happening behind the scenes, where larger-than-life egos clashed over details large and small. Readers interested in the history of the network or simply wanting to hear the dish, as well as others interested in breaking into the TV biz, will find much to enjoy in this charming reliving of Littlefield's glory days."
—Booklist

"With entertaning insider's perspective, Littlefield transports readers back to a seemingly magical time when half the country would watch the same show."
—Kirkus

Library Journal
Former NBC president of entertainment Littlefield, writing with novelist Pearson (Glad News of the Natural World), describes his tenure, during which shows such as Seinfeld, Friends, Will & Grace, and ER were redefining prime-time network TV in the 1990s. The authors present an inside look at developments during that time via a collection of interviews from such luminaries as Jerry Seinfeld, Debra Messing, Anthony Edwards, and Lisa Kudrow. Seinfeld, for example, goes into detail about the evolution of his eponymous series, from how the cast came together so perfectly to why he ended it when he did. Littlefield describes the evolution of how the shows came into being and how they eventually became among the most loved and highly rated in TV history. VERDICT This entertaining, easy-to-read book is recommended for readers who want the inside scoop on network television and those nostalgic for the Thursday night "Must See TV" lineup so well loved in the 1990s.—Sally Bryant, Pepperdine Univ. Lib., Malibu, CA
Kirkus Reviews
Frank oral history of a golden age of TV programming. With the assistance of novelist Pearson (Warwolf, 2011, etc.), former NBC president of entertainment Littlefield gathers candid comments from actors, executives and behind-the-scenes people responsible for some of the most successful TV shows of the 1990s. The subjects relate everything from their struggles to make it in the entertainment industry to dealing with the type of overnight fame that many of them eventually enjoyed. In particular, the book focuses on the cast and crew of Seinfeld and Friends, programs that dealt with early hardships before later enjoying unabashed success. Perhaps the most scandalous aspect of the book, however, is Littlefield's willingness to throw his former boss Don Ohlmeyer under the bus. Ohlmeyer, who apparently understood very little about TV, arrived at NBC after Littlefield had been there for years and assumed a position above him in the corporate hierarchy. While his struggles with addiction and subsequent stint in rehab are a matter of public record, many of the interviews here shed light on the significance of the daily frustrations of Ohlmeyer's battle with alcoholism. Interviews with Jerry Seinfeld, Paul Reiser and Lisa Kudrow, among others, are particularly interesting because they worked with NBC both in front of and behind the camera. None of the interviewees shy away from negative topics, including the letdowns of test-screening results and executives not realizing which shows would later become hits. With an entertaining insider's perspective, Littlefield transports readers back to a seemingly magical time when half the country would watch the same show.
Read More Show Less

Product Details

  • ISBN-13: 9780307739766
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 2/12/2013
  • Pages: 368
  • Sales rank: 214,955
  • Product dimensions: 5.36 (w) x 7.84 (h) x 0.75 (d)

Meet the Author

WARREN LITTLEFIELD is the former NBC president of entertainment. Previous to that, he was the NBC comedy executive who developed such hit shows as The Cosby Show and The Fresh Prince of Bel-Air. He currently runs his own television production company.

T. R. PEARSON is the author of fourteen novels, including A Short History of a Small Place, and a dozen screenplays.

Read More Show Less

Read an Excerpt

1

Where Everybody Knows Your Name

Warren: I arrived at NBC in December 1979, hired by Brandon Tartikoff to work in the comedy department. I was manager of comedy development, the junior member of the department. Brandon was a newly minted vice president of development at the network, which was mired in last place. I was twenty-seven years old, and though I had watched a lot of it, I knew next to nothing about network television. Brandon, my boss, was all of thirty.

In what was just a three-way race for audience (there’d be no Fox Broadcasting until 1987), NBC was jokingly derided as number four. CBS had ten comedies on its schedule, including M*A*S*H, WKRP in Cincinnati, The Jeffersons, Alice, and One Day at a Time. ABC could boast fourteen sitcoms, among them Happy Days, Laverne & Shirley, Barney Miller, Soap, Taxi, and Three’s Company. At NBC, we had Diff’rent Strokes and Hello, Larry.

In terms of general viewership, CBS led the way with about sixteen million households. ABC was a close second with fifteen million. NBC lagged well behind at twelve million. For the 1980 season, Little House on the Prairie was our top-rated show at sixteenth. We placed only four shows in the top thirty. There was nowhere to go but up.

Worse still, NBC’s head of programming at the time was a man named Paul Klein. He had a background in audience research and had come up with the strategy of LOP, which stood for Least Objectionable Programming (I’m not kidding). The object was to piss off as few viewers as possible. The network product line was largely geared toward big events, so we became the Big Event network.

A TV critic once asked Paul Klein, “How do you know when you’ve got a big event?”

Klein said, “We sit around a table, and people throw out ideas, and somebody says, ‘That’s a big event,’ and that’s when we know.”

It was an insane form of programming, expensive and not in the least bit habit—forming. NBC had essentially abandoned weekly series as the spine of the network. As a remedy, the legendary Fred Silverman had been brought over from ABC to turn things around. Fred didn’t waste a lot of time in making Brandon the new head of the entertainment division. I hoped that would also be good for me.

By then, Fred had already enjoyed remarkable success at the other two networks. A Time magazine cover piece on Silverman had called him “The Man with the Golden Gut.” NBC was in desperate need of a programming miracle, so maybe a golden gut would do.

My first encounter with Fred was pretty alarming for me. It took place in a conference room on the second floor at NBC in Burbank. We were meeting to review the current development slate. Fred wasn’t very happy. In fact, he was screaming that it was impossible to turn NBC around if deals couldn’t be made faster.

Fred shifted in his chair, looked at me, and shrieked, “Why haven’t you closed any of those deals yet!?”

I experienced major shrinkage and couldn’t get any words out.

Finally my boss jumped in and said, “Fred, this is Warren. He’s the new guy in comedy development.”

“Oh,” Fred said. “Where the fuck is the business affairs guy?”

My only words to the legendary Fred Silverman that day were “Don’t know. Not me.”

We were so desperate for quality programming that we had to wave a series commitment at Les and Glen Charles and Jimmy Burrows. The trio had never created a show, but they had worked on more than a few iconic programs: The Mary Tyler Moore Show, Phyllis, The Bob Newhart Show, and Taxi. We guaranteed them thirteen episodes on the air just to lure them to pitch us. Nobody wanted to be on NBC. To get Jimmy and the Charles brothers, we knew we’d have to overpromise and overpay, and, boy, did we.

That’s a pitch meeting I’ll never forget. Over breakfast, Brandon Tartikoff, Michael Zinberg, and I first got wind of what would become Cheers.

Jim Burrows: Cheers was pitched as a Miller Lite commercial. Those commercials with the jocks, Marv Throneberry and all that. We had an athletic leading man. Sam Malone, originally, was a wide receiver. That’s how we pitched it. NBC made a deal for us—two for one. They had to put one on the air. We had to write two. The pitch wasn’t too difficult. Since the three of us had run Taxi for about three years, we knew what we were doing, and NBC knew it. It’s not like today, where they hire kids who’ve never run a show, based on one script.

Bob Broder: Grant Tinker had hired the Charles brothers at MTM, and they’d worked their way up to executive producers on the final year of the original Newhart show. Jimmy Burrows was a director who hadn’t directed television but had been the stage manager in New York for a very unsuccessful musical, Holly Golightly, with Mary Tyler Moore and Richard Chamberlain. It had closed very quickly. Out of that, Jimmy developed a relationship with Mary and Grant, and he begged for an apprenticeship to come out and work with the MTM company.

At the time, I was representing Jay Sandrich, who was Jimmy Burrows before Jimmy Burrows became Jimmy Burrows. Jay Sandrich was the top multi-camera director at the time, in 1970. He did the pilot for The Mary Tyler Moore Show, and he went on to do Cosby and The Golden Girls.

Grant Tinker asked Jay Sandrich to mentor Jimmy. Jimmy asked me, “Would you represent me? I know Jay Sandrich can’t do all the work he’s being offered. Maybe you could get me a couple of gigs.” I’ve been Jimmy’s agent since 1972 or ’73. While Jay was a star, Burrows is by any metric a supernova. He has now directed the pilots for over fifty—six series that have gone on air. Not failed pilots, broken pilots—on-air series. Fifty-six of them.

Jim Burrows: Since I come from a stage background, in comedy I kind of know what’s funny. The first show I ever watched out here was The Mary Tyler Moore Show. It had four of the most powerful writers in television working on it—Jim Brooks, Allan Burns, Ed. Weinberger, and Stan Daniels. Powerhouses. The director was Jay Sandrich, who mentored me. I used to see Jay go after the writers, and Jay would say what he thought. He’d do that to protect his actors.

Writers want you to do the script, but sometimes what works in the writers’ room doesn’t work on the stage. Jay would say, “I’ll do it your way, but I’m not sure it’s the right way. Let’s show you what we can do.” That empowers the actors to feel like a larger part of the creative process.

Bob Broder: When you watch Jimmy shoot a show, he’s fascinating. He’s never watching. He’s listening. He’ll walk up and down behind the cameras, and all of a sudden he’ll kick a camera dolly to change the angle. He has a quad split in his head. He knows what each camera is seeing.

Jim Burrows: The guys we pitched Cheers to knew a lot more about television than the guys we pitch to today. We got to pitch to guys who got it. We talked about a bar but not a romance. We might have mentioned Tracy/Hepburn. I don’t remember. So many pitches under the bridge.

Bob Broder: I believe Abe Burrows, Jimmy’s father, wrote on a radio show called Duffy’s Tavern. The beauty of having set the show in a bar meant when the door opened, the story started, and any story could walk in that door. It wasn’t like doing a family comedy where you had to figure out how you were going to service your six characters. Some pretty strange people came in that door.

Warren: I remember Jim Burrows and the Charles brothers told us the only show on television with adult relationships was Three’s Company. “That’s fine,” they said, “but that shouldn’t be the only one. There is so much more territory to cover.” Charles/Burrows/Charles had a pedigree, and we, at NBC, didn’t have one at the time. We had no sense of who we were as a network, and we were desperate for a hit show.

Bob Broder: Our offices were over a restaurant called Scandia. It was the dining spot in L.A. in the late seventies. The only advantage we had as an agency was “Come to lunch; we’ll eat at Scandia.” I called Irwin Moss, who was doing business affairs at NBC. I said, “Let’s get lunch, and we’ll discuss the deal.” We do the deal over lunch on the back of an envelope. Series commitment. My partner and I had been in business a minute and a half. Good news: we had a series commitment. Bad news: it was NBC.

Warren: Being the smart agent that he is, Bob took the NBC offer and shopped it to Marcy Carsey and Tom Werner who were at ABC and were working with the team on Taxi, but ABC passed. It was too rich of a deal.

Bob Broder: I go to Paramount and say, “I have a series commitment.” They want it, and we negotiate a deal. One of the better deals ever made in television. We set precedents there it took them thirty years to get rid of.

John Pike: We made the deal without having any concept of what the idea was. We really didn’t know. We went into business with Charles/Burrows/Charles. Typically, that’s what I did when I ran Paramount Television. We let them make what they love, and we were there to provide support. We’d run interference with the network. I can recall over the run of Cheers that there was never an adversarial moment where it came to the principal talent of that show.

The Cheers relationship with Paramount was unique in the network world at that time. There was a pure partnership—Paramount TV and Charles/Burrows/Charles Productions. C/B/C didn’t need Paramount. Everybody wanted to be in business with them. They had a series commitment from NBC. Paramount had a great distribution arm. We had a great track record with comedy—Happy Days, Laverne & Shirley, et cetera.

The deal was a fifty-fifty proposition, a true partnership. We’d produce the program for a certain amount of money, and there would be a distribution fee that was lower than most typical fees in the industry. My job was to manage the ball team. I had the three most-sought-after creative people that there were. Ours was a trouble-free partnership. We all had a common goal.

Bob Broder: The boys took this germination period—they were still doing twenty-two episodes of Taxi—and Cheers just started to percolate. They wrote a great pilot. Notes were easy, and then they did something that had never been done before. The boys came up with three pairs of actors to audition.

Jim Burrows: We had six finalists. Fred Dryer and Julia Duffy. Fred Dryer was Sam Malone. We had Billy Devane and Lisa Eichhorn, and Ted and Shelley. We got the Bosom Buddies stage, which had a bar. We fed the network, always good. We had the three couples each do a scene.

Bob Broder: Probably the most inhumane process in television is the casting process. There couldn’t be a more demeaning way to treat people, even if they are actors.

The actors had been rehearsed for two days, and the boys made slight changes in the scene to accommodate each of the pairings. There must have been thirty people there. The actors were in wardrobe and makeup. We had lights. It was very nice.

Jim Burrows: I remember me and Glen and Les wondering how we could possibly say no to Bill Devane. But it was obvious it was Ted and Shelley. They were wonderful with one another.

Warren: From Burbank we drove over to the Paramount lot, and then we were taken in golf carts over to stage 23 next to Lucy Park. Yes, named after Lucille Ball, who with Desi Arnaz had started Desilu Productions there and had purchased the lot from RKO Radio Pictures. This was show business, and I was thrilled to be a part of it.

At the network, we were keen on Fred Dryer. He had a lot of upside. Former professional football player. Leading-man looks. His acting skills, however, were . . . evolving.

Bob Broder: Fred Dryer was the Howie Long of his time. He wasn’t an actor, but every time he ran the scene, he got better.

Jim Burrows: Fred didn’t have the comic chops at the time. Later, he was in two episodes of Cheers where he played the sports guy. “‘I’ on Sports.” He was great.

Warren: Ted was great, but if it had been up to the suits, Fred Dryer would have had the job. That was a valuable lesson learned for me. When you get into business with talented, creative people, listen to them. Jimmy Burrows and the Charles brothers were convinced Ted Danson was their guy, and they were right. We were too hung up on what Fred Dryer could be. Jimmy told us to put him in a drama. It wouldn’t take us long after that, with the help of Steve Cannell and Frank Lupo, to launch the Saturday night staple Hunter.

Jim Burrows: Ted Danson is as far from an athlete as you can get. He’s a farceur from Carnegie Tech. I took him to his first baseball game. Not a clue. So I told Ted, “You watch Fred. Watch how he moves. Watch how he preens. He’s a peacock. That’s who Sam Malone is.”

Bob Broder: We even changed the character from being a football player to a baseball player so Ted would be more believable.

Jim Burrows: I’ve often thought about what would have happened with different pairs. Devane felt a little old. He dropped a glass when he did his scene and made a joke about it. He was wonderful, very creative, but we got the best two. That was obvious.

Bob Broder: I first caught wind of Ted Danson when I saw a busted pilot from the year before. He’d done a wonderful role in The Onion Field. He may have already done Body Heat.

Jim Burrows: Ted had read for Best of the West, a pilot I did in ’79 or ’80. He didn’t get the job, but his name stuck in my head. We cast him as a gay hairdresser in Taxi. He was hilarious.

Bob Broder: We did the first five or six shows and were never quite sure if Teddy was going to be believable as a baseball player. But it worked.

Read More Show Less

Customer Reviews

Average Rating 3.5
( 11 )
Rating Distribution

5 Star

(5)

4 Star

(3)

3 Star

(0)

2 Star

(1)

1 Star

(2)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously
Sort by: Showing all of 11 Customer Reviews
  • Anonymous

    Posted May 14, 2012

    A fascinating oral history of the glory days of NBC!

    A fascinating oral history of the glory days of NBC!

    2 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 30, 2012

    Tedious

    You have to really, really love these shows to like this book. Very tedious interviews with producers, execs, and stars.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 7, 2013

    these shows were written by talented writers and because I loved

    these shows were written by talented writers and because I loved all of them I enjoyed seeing what went on behind the scenes and how they all came about.the vulgar shows that are produced now are written by immature no talent writers.I loved this book as much as I loved all the shows of the past and am glad to be able to continue watching them in reruns.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 27, 2012

    boring

    I couldn't even finish this book. It was very dry and I found myself re-reading pages because my mind started to wonder! very disappointing.

    0 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted June 20, 2012

    A Must Read about Must See TV

    If you were a fan of the MUST SEE TV years when shows like Seinfeld, Hill Street Blues, ER and Cheers ruled the airwaves, you need to read this book. As the President of NBC's Entertainment Division, Warren Littlefield was one of the geniuses behind that programming. He helped NBC reach the top of the ratings with quality shows that captivated audiences for many seasons. Warren's insight into what happened to that once great empire is like reading about the fall of Rome! Extraordinarily written, this book brings you right to the bargaining table where the wheeling and dealing took place.

    Was this review helpful? Yes  No   Report this review
  • Posted June 18, 2012

    more from this reviewer

    Wow! This book is AWESOME!! I couldn't put it down. Breezed righ

    Wow! This book is AWESOME!! I couldn't put it down. Breezed right through it in like two days! And what is funny, I thought this book would be another hard one to slog through. If you watched, "Frasier", "ER", "Mad About You", "3RD Rock From The Sun" and "Law & Order", this is the behind the scenes book (for you) of how these shows were first an idea, then a script, then casting, and then on the air. Finally an enjoyable easy read book. Do check this one out. I'm passing this one on to a good friend who I know will enjoy this excellently written book as I did. And don't forget the wonderful photograhs too.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 31, 2012

    Entertaining

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 18, 2013

    No text was provided for this review.

  • Anonymous

    Posted May 1, 2012

    No text was provided for this review.

  • Anonymous

    Posted May 1, 2012

    No text was provided for this review.

  • Anonymous

    Posted July 31, 2013

    No text was provided for this review.

Sort by: Showing all of 11 Customer Reviews

If you find inappropriate content, please report it to Barnes & Noble
Why is this product inappropriate?
Comments (optional)