Camp TV of the 1960s offers a comprehensive understanding of all of the many forms camp TV took during that critical decade. In reevaluating the history of camp on television, the authors reconsider the infantilized conceptualization of sixties television, which has generally been characterized as the creative and cultural ebb between the 1950s Golden Age of television and the networks' shift to "relevance" in the early 1970s. Encompassing contributions from a broad range of media and television scholars that (re)consider programs like Batman, The Monkees, The Addams Family, Bewitched, F Troop, The Beverly Hillbillies, and Rowan & Martin's Laugh-In, chapters closely examine beloved 1960s American prime-time programs that drew significantly on aspects of camp, many of which were widely syndicated and left continuing imprints on popular culture. Other chapters consider key TV precursors from the early sixties; British camp television programs such as The Avengers; the use of musical codes to convey camp humor (even on black-and-white sets); the role that the viewing strategies of queer communities played - and continued to play even decades later; and how camp's multivalence allowed for more conservative readings, especially among older audiences, which were critical for the move to "mass camp" throughout American culture by the early seventies. Camp TV of the 1960s is essential reading for students and scholars in television studies and others interested in the history and theory of camp, the 1960s, or popular culture, as well as fans of these well-known but generally understudied television programs.

Sitcoms of the 1950s and 1960s are widely considered conformist in their depictions of gender roles and sexual attitudes. In Camp TV Quinlan Miller offers a new account of the history of American television that explains what campy meant in practical sitcom terms in shows as iconic as The Dick Van Dyke Show as well as in more obscure fare, such as The Ugliest Girl in Town. Situating his analysis within the era's shifts in the television industry and the coalescence of straightness and whiteness that came with the decline of vaudevillian camp, Miller shows how the sitcoms of this era overflowed with important queer representation and gender nonconformity. Whether through regular supporting performances (Ann B. Davis's Schultzy in The Bob Cummings Show), guest appearances by Paul Lynde and Charles Nelson Reilly, or scripted dialogue and situations, industry processes of casting and production routinely esteemed a camp aesthetic that renders all gender expression queer. By charting this unexpected history, Miller offers new ways of exploring how supposedly repressive popular media incubated queer, genderqueer, and transgender representations.

Jake and his friends are due to spend their first summer at Camp Terra; a self-proclaimed haven for teenagers that encourages eager campers to surrender their grip on technology, in the hope that they can ‘reconnect with nature’. However, it doesn’t take long before what was meant to be a summer of bonding soon turns into a chilling mystery, as members of the group start disappearing under strange circumstances. Despite the camp’s technology-free ethos, dozens of security cameras watch their every move as Jake and the others desperately try to uncover the dark secrets of Camp Terra. Will they be able to outsmart the suspicious counsellors and menacing security guards, or are they in way over their heads?

Celebrate the unapologetically, outrageously CAMP with this vivacious party of 100 people, objects, art movements, and much, much more. What do Grace Jones, Benjamin Disraeli, Salvador Dali, K-Pop, and a giant art nouveau vase covered in fairies and stuffed with peacock feathers have in common? Answer: they are all, wildly, completely, and utterly ... Camp. Yes, C-A-M-P, that strange, hard-to-define quality. Over the last few decades, Camp has been tucked up in her four-poster, fast asleep. But now, having been roused from slumber by Anna Wintour for the 2019 Met Ball, Camp is back, and she might just be the thing you need to make sense of – and add some humor and irony to – this crazy, all-too-serious world. In this hilarious, era-defining book, author and cultural commentator Simon Doonan gets to grips with Camp. Who is she? Where did she come from, and where did she go? Why is she back? Just who is Susan Sontag when she’s at home?! Beautifully illustrated throughout, the book includes 100 entries that are completely and unapologetically Camp – of course, Dynasty, poodles and RuPaul are here, but vampires, tattoos, Queen Victoria and even cake? Absolutely. Doonan makes the Camp case for these as well. The Camp 100 is a manifesto like no other, a manifesto to turn down the temperature dial and take the world a bit less seriously. In seeing ‘Camp’ in the most unlikely places, this book might revolutionize the way you see the world entirely.

Set in a summer camp, this sweet and sharp screwball comedy set in a summer camp for queer teens examines the nature of toxic masculinity and self-acceptance. Sixteen-year-old Randy Kapplehoff loves spending the summer at Camp Outland, a camp for queer teens. It's where he met his best friends. It's where he takes to the stage in the big musical. And it's where he fell for Hudson Aaronson-Lim—who's only into straight-acting guys and barely knows not-at-all-straight-acting Randy even exists. This year, however, it's going to be different. Randy has reinvented himself as 'Del'—buff, masculine, and on the market. Even if it means giving up show tunes, nail polish, and his unicorn bedsheets, he's determined to get Hudson to fall for him. But as he and Hudson grow closer, Randy has to ask himself: How much is he willing to change for love? And is it really love anyway, if Hudson doesn't know who he truly is?

Goosebumps now on Disney+! Next summer you'll stay home...if you survive!The food isn't great. The counselors are a little strange. And the camp director seems demented. Billy can handle all that. But then strange things start to happen after dark, his parents won't answer his letters, and his fellow campers start to disappear. What's going on? Camp Nightmoon is turning into Camp Nightmare! And Billy might be next.

Set in a summer camp, this sweet and sharp screwball comedy set in a summer camp for queer teens examines the nature of toxic masculinity and self-acceptance. Sixteen-year-old Randy Kapplehoff loves spending the summer at Camp Outland, a camp for queer teens. It's where he met his best friends. It's where he takes to the stage in the big musical. And it's where he fell for Hudson Aaronson-Lim—who's only into straight-acting guys and barely knows not-at-all-straight-acting Randy even exists. This year, however, it's going to be different. Randy has reinvented himself as 'Del'—buff, masculine, and on the market. Even if it means giving up show tunes, nail polish, and his unicorn bedsheets, he's determined to get Hudson to fall for him. But as he and Hudson grow closer, Randy has to ask himself: How much is he willing to change for love? And is it really love anyway, if Hudson doesn't know who he truly is?

Follows Peter, Paige, and Jason through homework, Mother's Day, summer camp, football season, going back to school, and Christmas.

When Sonia Nassery Cole set out to film The Black Tulip in her homeland of Afghanistan, she knew the odds were against her; she was told time and time again that filming inside a war zone would be impossible. What she didn't anticipate was how intent the Taliban and its sympathizers were on halting the film's production—the crew encountered extortion, government corruption, kidnapping attempts, and death threats, even with around-the-clock security. Her cinematographer fled after two days, and many others followed. After 9/11, Cole wrote The Black Tulip, based on a true story of a real Afghan family. The plot was simple: After 2001, when the Taliban was routed, an Afghan family opened The Poet's Corner—a restaurant with an open microphone for all to read poetry, perform music, and tell their stories. But the Taliban didn't approve, and the family's new-found hope proved fleeting as it struggled to maintain the restaurant and its vibrant way of life. Selected as Afghanistan's official submission for the Best Foreign Language Film at the 2010 Academy Awards, The Black Tulip is a modern portrait of Afghanistan that captures the plight and resilience of its people. Without financial support from a studio or anyone else, Cole self-financed the film by mortgaging her home and selling her belongings. Then, with everything on the line, she left for Kabul to make the impossible possible and set out to gather the right people who would risk their lives and willingly be part of the production. In Will I Live Tomorrow?, Cole gives an intimate look into what went on behind the scenes of making a controversial film in the heart of a war-ravaged country—the looming terror the Taliban creates among Afghans everywhere and the challenges and fear the cast and crew faced every day. Will I Live Tomorrow? is a memoir about one woman's struggle to make a difference in a violent world.

Discover the bone-chilling adventures that made Goosebumps one of the bestselling children's book series of all time. Now with all-new bonus materials! Swimming, basketball, archery. King Jellyjam's sports camp has it all. Too bad Wendy isn't a total sports freak like her brother, Elliot. But how excited can you get over a game of softball. It's just a game, right? WRONG.Camp Jellyjam is no ordinary sports camp. And Wendy's about to find out why. Why the counselors seem a little TOO happy. And why they are so obsessed with winning. It might have something to do with the hideous, slimy discovery lurking in the darkness....Now with all-new bonus features including an author interview, bizarre sports trivia, and more!