In Only the Lonely (1991), Ally Sheedy appeases prospective mother-in-law Maureen O'Hara by going along to see the 1939 film How Green Was My Valley--starring Maureen O'Hara. Richard LaGravenese, slighted by critic Gene Siskel over his screenplay for The Fisher King (1991) wrote an unsavory character named Siskel into The Ref (1994). Movies and television shows often feature inside jokes. Sometimes there are characters named after crew members. Directors are often featured in cameo appearances--Alfred Hitchcock's silhouette can be seen in Family Plot (1976), for example. This work catalogs such occurrences. Each entry includes the title of the film or show, year of release, and a full description of the in-joke.

Covers a wide range of comedy with examples taken from Chaplin, Daffy Duck, Bilko, Ben Elton, Woody Allen and many others Locates comedy within the history and institutions of cinema and broadcasting

There is a feeling of pure delight that comes from laughing out loud while watching a hilarious movie or a TV show. Yet as funny as these lines may be, they are the work of people you will never see. The magic behind any comedy hit begins when an idea is hatched in the mind of a comedy writer and is then put down on paper. And while few of us are privy to this fascinating process, for writers Peter Desberg and Jeffrey Davis, the challenge of observing and understanding how comedy is born has culminated in a unique new book, Now That’s Funny! Desberg and Davis provide an intimate look into the minds of twenty-four of Hollywood’s funniest comedy writers, who have given us such shows as: Saturday Night Live Monk Everybody Loves Raymond The Simpsons Frasier Maude Home Improvement Valerie Modern Family Cheers There’s Something about Mary The Honeymooners Suddenly Susan Newhart Sabrina the Teenage Witch Archie Bunker’s Place The Tracey Ullman Show Wings Who’s The Boss? and more How do you get to see the creative wheels turn? The authors’ premise was simple: Using a Q and A format, they provided each writer with a story idea and let them run with it. Each of the writers was told there were no rules, no boundaries, and no limits! Because everyone started with the same concept, the authors could see how some writers jumped in and began creating, while others asked lots of questions; how some writers stuck closely to the premise, while others turned it on its head. What emerges is an entertaining look—illuminating and hilarious in turn—at the creative process behind hit TV shows and movies. If you’re one of the millions who have enjoyed watching the work of comedy writers, here is an opportunity to go behind the scenes and see the madness unfold. Now that’s funny!

A paradigm shift in understanding the mechanics and art of comedy, providing practical tools that help writers translate that understanding into successful, commercial scripts. Kaplan deconstructs secrets and techniques in popular films and TV that work and don't work, and explains what tools were used (or should have been used ).

Following the most solemn moments in recent American history, comedians have tested the limits of how soon is “too soon” to joke about tragedy. Comics confront the horrifying events and shocking moments that capture national attention and probe the acceptable, or “sayable,” boundaries of expression that shape our cultural memory. In Tragedy Plus Time, Philip Scepanski examines the role of humor, particularly televised comedy, in constructing and policing group identity and memory in the wake of large-scale events. Tragedy Plus Time is the first comprehensive work to investigate tragedy-driven comedy in the aftermaths of such traumas as the JFK assassination and 9/11, as well as during the administration of Donald Trump. Focusing on the mass publicization of television comedy, Scepanski considers issues of censorship and memory construction in the ways comedians negotiate emotions, politics, war, race, and Islamophobia. Amid the media frenzy and conflicting expressions of grief following a public tragedy, comedians provoke or risk controversy to grapple publicly with national traumas that all Americans are trying to understand for themselves.

After a reality bomb goes off at the first ever ShatnerCon, all of the characters ever played by William Shatner are suddenly sucked into our world. Their mission: hunt down and destroy the real William Shatner. Featuring: Captain Kirk, TJ Hooker, Denny Crane, Priceline Shatner, Cartoon Kirk, Rescue 9-1-1 Shatner, singer Shatner, and many more. No costumed con-goer will be spared in their wave of destruction, no red shirt will make it out alive, and not even the Klingons will be able to stand up to a deranged Captain Kirk with a light saber. But these Shatner- clones are about to learn a hard lesson . . . that the real William Shatner doesn't take crap from anybody. Not even himself.

Describes the writing method called premise-driven comedy, examines how comedy affects character development and story structure, discusses guidelines on script layouts, and offers advice on establishing a career

Jokes have always been part of African culture, but never have they been so blended with the strains and gains of the contemporary African world as today. Joke-Performance in Africa describes and analyses the diverse aesthetics, forms, and media of jokes and their performance and shows how African jokes embody the anxieties of the time and space in which they are enacted. The book considers the pervasive phenomenon of jokes and their performance across Africa in such forms as local jests, street jokes, cartoons, mchongoano, ewhe-eje, stand-up comedy, internet sex jokes, and ‘comicast’ transmitted via modern technology media such as the TV, CDs, DVDs, the internet platforms of YouTube, Facebook, and other social arenas, as well as live performances. Countries represented are Egypt, Kenya, Malawi, Morocco, Nigeria, and Zambia, covering the North, West, East and Southern Africa. The book explores the description of the joke form from various perspectives, ranging from critical discourse analysis, interviews, humour theories, psychoanalysis, the postcolony and technauriture, to the interactive dramaturgy of joke-performances, irrespective of media and modes of performance. Containing insightful contributions from leading African scholars, the book acquaints readers with detailed descriptions of the diverse aesthetics of contemporary African jokes, thereby contributing to the current understanding of joke-performance in Africa. It will appeal to students and scholars of African studies, popular culture, theatre, performance studies and literary studies.

In his new book of adventures, Tim the Tiny Horse has to deal with some BIG things - birth, love, life and death.

The overview of television criticism, which this book provides, comes appropriately at a moment of change. Television is becoming dramatically different as a result of new and developing technologies such as cable, HDTV, satellite transmission and broadband distributions. By concentrating on the still-dominant notion of television, what the authors call "Classical Network Television," they argue that it is as important to understand this model as it is to understand Classical Hollywood Cinema. The co-authors have a unique approach to the study of television, viewing its history and reception not only through important articles about the medium, but also through analyzing how Hollywood auteur cinema has commented on television over the decades, in films such as Tootsie, Network, The Last Picture Show, A Face in the Crowd, Rollerball, The King of Comedy and others. Not only does this reflect the pervasive use of cinema theory to discuss television, it also helps to emphasize the importance of clarifying the distinctions between the criticisms of the two media. Television at the Movies argues that the study of television is a crucial aspect of understanding our recent and contemporary culture, and it provides an illuminating point of entry for students and researchers in the field.