Books like 1001 TV Shows You Must Watch Before You Die — picked by fans

Everyone loves Netflix. But I love their story more. If the conditions are right, your business could look very different. The Netflix way showed me the importance of the statement ‘hire good people and get out of their way'. Whilst that comment is simple, building a company that allows that is more complicated.

This book challenged the way I viewed organizational structure and innate bureaucracies. Reed describes some simple philosophies that provide a contrast to the status quo. I love the challenge of this book to traditional success.

Most of those curious about the history of television have heard of the boy who invented it: Philo Farnsworth. He was just 14 years old when he conceived the idea that led to the first televised image less than a decade later. Farnsworth died penniless and unwell despite a life spent devoted to what became one of the most influential inventions of his lifetime and ours. That journey is a large part of the story the Tube authors unfold, but there are several additional key players who factor into the medium’s early years, and that, along with what will feel like some prescient thoughts about the current state of the television industry, make for an insightful, delightful read in this 1996 tome.

Remember E.O.B., the drama about political speechwriters starring Mary Beth Hurt? Or the speechwriter series called Word of Mouth and starring Gladys Knight? Or the other one, The War Room, starring Brad Hall? Actually, no one saw any of them, because they were all versions of the same failed TV pilot, from St. Elsewhere producers Bruce Paltrow and Tom Fontana. And the story of the series’ saga to not making it to primetime covers more than a year, and highlights all the network, casting, technical, and general TV industry drama that can impact the TV pilot process, a process the networks still use to fill their schedules every year.

Film historian and professor Bogle does a deep dive on the history of Black characters and series on television, from the early days of the medium and stereotyped portrayals on series like Amos ‘n’ Andy through groundbreaking ‘70s shows like Sanford & Son and The Jeffersons, ‘80s juggernaut The Cosby Show, and the sitcoms of UPN and The WB in the mid-1990s. Bogle shares his opinions throughout the compelling chronicle, and does not suffer foolish performances or material gladly, making this a must read for any TV fan seeking a truly comprehensive account of TV history.

Dunleavy explores what complexity means for contemporary ‘quality’ TV. She focusses on the narrative structures, creative strategies, and style of contemporary television.

For me, what stands out about this book is how it explores the interrelationship between recent technological changes and what we understand as television. This results in a redefinition of television.

When writing the second edition of my book, I found the different ways people have conceptualized contemporary television especially important.

This is one of my favorite books about contemporary television.

It deals with the processes that changed how television was viewed following the changes in HBO-style ‘quality’ television. It also critically explores the ways legitimization and associated words like ‘quality’ work as an ultimately classist system where television works as cultural capital.

Netflix established itself on the back of this legitimization, using HBO-style ‘quality’ TV series like House of Cards and Orange is the New Black. But HBO also used DVDs to ‘filter’ the individual program out from the ‘flow’ of television, which helped Netflix to establish itself as television.

I was curious about the differences between British and U.S. crime dramas. Sure, some of them were obviously connected to the differences in justice systems and police infrastructures, but this book explores not only the historical development of the two countries’ crime dramas but also why each resulted in different gender representations and aesthetic formats, along with different avenues towards viewer engagement.

I loved Turnbull’s foundational text for its clarity, breadth, and readability.

I devoured Ferrante’s Neapolitan Quartet (four novels that trace a lifetime friendship between two women living in a deeply patriarchal mid-twentieth-century Italy) in a single summer a few years back, and when I got to the end of those few thousand pages, I felt as though I wanted to start right over at the beginning again. Those Who Leave and Those Who Stay is the third novel in the series, and I name it here because it’s the novel in which Elena—the book’s protagonist, and a writer herself—becomes a mother. Elena has a modern marriage compared to her friend Lina’s, but still, she finds the expectations and demands of motherhood difficult to reconcile with her own creative ambitions. Ferrante represents that central struggle with arresting honesty—a captivating read. 

It is a sign of our shocking historical amnesia regarding American women’s reproductive lives that this remarkable book is out of print. Leavitt discusses the long history of American women’s childbearing lives, moving from colonial times through the twentieth century and charting along the way women’s loss of control over their reproductive lives as they moved away from births at home, attended by friends and neighbors, and toward birth in hospitals where their freedom of choice was increasingly restricted. To understand the dark side of the ‘twilight sleep’ procedures depicted in The Crown or Mad Men, read Chapter 5 on the growing use, by the early twentieth century, of drugs that rendered women so passive that their babies could be pulled roughly from their bodies with metal instruments.

This book is like a forbidden fruit, tempting and dangerous. But it came to my rescue when I’d lost sight of my own dreams for a little while. Sure, Ayn Rand’s philosophy has many simplistic flaws, but in this novel, she channels a Nietzschean spirit that jolts you awake. It was a call to never forget to embrace my ambition and to continue to forge my own writing path even when readers seem indifferent.

In a world full of compromises, there’s power in refusing to settle for less than your own extraordinary potential.