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Masterpiece: America's 50-Year-Old Love Affair with British Television Drama
On a wintry night in 1971, Masterpiece Theatre debuted on PBS. Fifty years later, America's appetite for British drama has never been bigger. The classic television program has brought its fans protagonists such as The Dowager Countess and Ross Poldark and series that include Downton Abbey and Prime Suspect.
In America's 50-Year-Old Love Affair with British Television Drama, Nancy West provides a fascinating history of the acclaimed program. West combines excerpts from original interviews, thoughtful commentary, and lush photography to deliver a deep exploration of the television drama. Vibrant stories and anecdotes about Masterpiece's most colorful shows are peppered throughout, such as why Benedict Cumberbatch hates Downton Abbey and how screenwriter Daisy Goodwin created a teenage portrait of Queen Victoria after fighting with her daughter about homework.
Featuring an array of color photos from Masterpiece's best-loved dramas, this book offers a penetrating look into the program's influence on television, publishing, fashion, and its millions of fans.
In America's 50-Year-Old Love Affair with British Television Drama, Nancy West provides a fascinating history of the acclaimed program. West combines excerpts from original interviews, thoughtful commentary, and lush photography to deliver a deep exploration of the television drama. Vibrant stories and anecdotes about Masterpiece's most colorful shows are peppered throughout, such as why Benedict Cumberbatch hates Downton Abbey and how screenwriter Daisy Goodwin created a teenage portrait of Queen Victoria after fighting with her daughter about homework.
Featuring an array of color photos from Masterpiece's best-loved dramas, this book offers a penetrating look into the program's influence on television, publishing, fashion, and its millions of fans.
249 pages, Kindle Edition
Published November 27, 2020
44 people are currently reading
125 people want to read
About the author
Nancy West
7 books2 followersNancy West is professor of English at the University of Missouri and the author of Kodak and the Lens of Nostalgia (2000) and Tabloid, Inc.: Crimes, News, Narratives (2010). Her books have led to appearances on PBS’s American Experience and the BBC’s Genius of Photography as well as keynote speeches at the National Gallery of Art in Washington, DC, the London School of Design, and the Amon Carter Museum. She is a regular contributor to Written by Magazine, the Atlantic, the Chronicle of Higher Education, and the Los Angeles Review of Books. She is currently writing a memoir, set in the 1970s, about the Manhattan film scene.
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Displaying 1 - 25 of 25 reviews
February 21, 2021
Oh, how I do Love Masterpiece and Mystery, and oh how I LOVE this book. Charting the inception of Masterpiece Theater, and thus giving a history of television, this wonderfully detailed look at Masterpiece is tightly written and full of jaw dropping facts about this classic and timeless show. Detailing how and why Masterpiece is so popular in the states, the reader is led on a journey through television history, politics, culture, cultural shifts, performances, locales and a enduring qualities, that have presided over Masterpiece for the past 50 years. Masterpiece Theater made it's debut 39 days before I did and I've been with it ever since!!!!
February 25, 2022
This is kind of a strange book. It would admittedly be difficult to discuss Masterpiece (hereafter MP) at any length without discussing specific shows, but selecting the “best” ones from 50 years of broadcasting and some 400 series aired to date would be difficult no matter what criteria you used. As a relatively recent (mostly the past decade or two) MP fan, this book wasn’t the trip down memory lane for me that it would be for an older viewer. That said, though, getting the backstory of PBS and MP and learning more about some MP shows I have seen was interesting.
This book might also sit better with someone with more English (as in the academic discipline) background than I have–West is an English prof, and throughout the book she tries to situate MP in terms of the “brow” it’s aiming for (i.e., high, middle, or low), throws around terms like “sentimentalism” and “conventionality,” and tries to explain Americans’ love of MP shows by recourse to something fundamental (and usually facile) about American culture. (For example, p. 51: “Literature is vital to [England’s] heritage, just as the pursuit of liberty is to ours.” Um, what? Are those things even comparable?) I’m not familiar enough with English (or media studies?) discourse to know how much of this was her utilizing the common vocabulary and ideas of her field versus her expressing her own opinion or perceptions.
One question I had throughout the book was about the extent to which MP programming is aired in the UK. All of it? Only some? I learned that PBS is a co-producer of these shows, but does that translate to them being primarily or only incidentally made for the export market, as it were? Relatedly, West occasionally mentions how well a certain MP show (e.g., Downton Abbey) was received in the UK compared to in the US–it would have been interesting to have a list or table of the most popular MP shows on either side of the pond.
I’ve summarized the various chapters below (an exercise facilitated by having a PDF ebook from my local academic library).
Chapter 1 recounts the origins of MP. From 1948-1960, a so-called Golden Age of American TV, live performances of [American] plays called anthology dramas were popular, as was cultural and news programming. However, by 1961, FCC chair Newton Minow famously dubbed American TV “a vast wasteland,” populated by “game shows, formula comedies…blood and thunder, mayhem, violence, sadism, murder, western badmen, western good men, private eyes, gangsters, more violence and cartoons” (p. 2). Minow’s observation resulted in the reemergence of “smart shows” such as 60 Minutes and The Mod Squad, and the creation of PBS in 1967. Modeled on the BBC, PBS aimed to “inform and educate”--to provide quality TV and to create better citizens by providing models for aspiration. In practice, MP has often combined highbrow appeal (e.g., good books, history, theater-trained acting) and soap opera elements (e.g., sudden plot reversals, last-minute rescues).
Chapter 2 explores Upstairs, Downstairs (UD) and Downton Abbey (DA), attributing their success to “a long, immersive storyline, a dazzling ensemble of actors, finely sketched characters, and lavish attention to historical detail. Each also married period drama to soap opera, appealing to our aspirational desires and our love of lowbrow….[B]oth celebrated a vanished world of tradition, with its distinct social mores and lovely accoutrements….[Both] made the human dilemma—the perennial problem of how to live a satisfying, meaningful life in a world beyond one’s control—just as important to their portrayal of servants as to their portrayal of the upper classes” (p. 18). UD was the first MP original series to be created especially for TV, and the first produced for ITV, not the BBC. Its lowbrow elements, new to MP, continued a Dickensian “soap” tradition. West finds “sentimentalism” aplenty in both shows. DA was more popular in the US.
Chapter 3 discusses the questions of class, gender, and race that have dogged MP. Alistair Cooke, while in many respects the perfect host for MP, also “connoted a troubling image of white male authority” (p. 35). PBS and MP were meant to bring high culture to American TV, but Americans are ambivalent about high culture–torn between our impulse toward self-improvement and our dislike of elitism and snobbery. PBS’s funding (the government [15%], major corporate donors including Mobil Oil, and “viewers like you”) has influenced its mix of programming, with conservative period drama meant to balance radical shows such as Soul! The ‘80s saw a backlash against the Western canon; MP shifted its dramatic focus to contemporary fiction and American classics in response to criticisms of “Master Race Theatre.” Andrew Davies’ mid-90s adaptations revitalized period drama by employing various British accents (not just Received Pronunciation) and actors of color.
Chapter 4 examines the art of adapting literature for television. Britain’s literary heritage and its modern-day esteem of screenwriters combine with television’s ability to encompass even “the long, detailed novels of the nineteenth century” (p. 52) over multiple episodes or an entire series to produce what West calls “Masterpiece’s bulwark” (pp. 51-2), the literary adaptation. Not simply the reenactment of a book, the success of an adaptation “depends on finding its own, sure point between fidelity and innovation” (p. 53). While MP’s adaptations favor fidelity, they’ve evolved from being slavishly faithful to the source text in the 1970s to bigger budgets and new technology in the ‘80s to more creativity in the ‘90s. The MP Sherlock Holmes series and Davies’ 1995 Pride & Prejudice are discussed. Americans love adaptations because they feed our Anglophilia, show us an adaptable past, and speak to our sensibilities (e.g., individualism, rebellious females, romantic comedy).
Chapter 5 takes on MP’s historical dramas. Americans are both notoriously ahistorical and crave connection to the past. “[I]nterest in historical fiction of all kinds—novels, films, plays, television series—is currently at an all-time high….MP is the granddaddy of this trend” (pp. 73). While dramatizing Americans’ own history is outside MP’s scope (West attributes this to MP’s “distinctive brand as a purveyor of British culture coupled with its financial limitations” p. 73), Americans still appreciate MP’s historical offerings because they “animate the dead” (p. 74), present historical events as the opposite of faits accompli, and provide fascinating anthropological windows on different times and places. However, while MP’s historical dramas have ranged in tone, strategy, and approach, West notes that “MP needs to demonstrate a greater willingness to include dramas that unsettle our view of history rather than affirm it” (p. 74).
Chapter 6 focuses on MP’s sister show “Mystery!”, which aired from 1980-2006 (its supposed demise is unexplained–and indeed, the index listing all Mystery! programming extends beyond 2006). In 1979, Mobil Oil offered to sponsor a PBS anthology program devoted to mysteries, then popular on ITV and American TV. Mystery! aired a “robust selection of drama….But hands down, the most popular shows were detective mysteries” (p. 90). Mystery! often surpassed MP in the ratings. West calls out Miss Marple, Agatha Christie’s Poirot, Inspector Morse, and Foyle’s War as paragons of Mystery!’s offerings, which at their best encompass “conventionality, nostalgic appeal, innovation, and irony” (p. 91). Such shows “refined and widened” (p. 91) what mystery shows could be. Some provided a less rosy picture of “chocolate-box England”; others addressed modern urban social issues head-on. As with historical drama, MP now finds itself one among many providers of excellent TV detective drama.
Chapter 7 discusses various MP characters and qualities West thinks they epitomize: Lord Melbourne, Victoria (Charm); Worricker (Cool); The Durrells (Eccentricity); Jeeves, Jeeves and Wooster (Manners); Elinor Dashwood, Sense and Sensibility (Reserve); Downton Abbey (Wit). Although any single MP show with an ensemble cast probably has characters that epitomize each of these! Having only seen DA, I skimmed this chapter–I feel like it works best as a reminder of or a new take on what you’ve seen. Nor does it inspire me to try any of these shows, since I don’t pick shows based on qualities I’d like to see in action. Note that this chapter takes the characters as a starting point, but those characters are only as effective as the actor/actress playing them, so those folks’ acting careers get brought into the discussion as well (although they aren’t named in their associated subheadings, which follow the style “Wit: Downton Abbey [2011-2016]”).
Chapter 8 discusses how MP benefits from British dramatic training and tradition and highlights six top MP performances: Ian Richardson (House of Cards), Helen Mirren (Prime Suspect), Damien Lewis (The Forsyte Saga), Gillian Anderson (Bleak House), Kenneth Branagh (Wallander), and Claire Foy (Wolf Hall). (Again oddly, the subheads in this chapter don’t mention the name of the character being played, only the actor and the show: “Ian Richardson in House of Cards [1990]”.) These descriptions discuss not only the particular role but also the show itself and/or that actor’s career. Again, I’ve only seen a couple of these in their entirety (HoC, TFS), but those were interesting to learn more about.
Chapter 9 provides a brief discussion of the British “heritage” movement as it pertains to historic properties, and then an overview of 20 places of varying scale (from 221B Baker Street to Castle Howard to Manchester) where various MP shows were shot. Unfortunately, the chapter lacks pictures, so unless you know off the top of your head what x place looks like or are familiar enough with the shows mentioned to say, “Oh, that must be that building/city in my mind’s eye when I think of this show,” this chapter requires lots of Googling to appreciate fully.
Finally, we reach the brief Conclusion. Its brevity reminds us that this book is primarily an anniversary retrospective, celebrating MP’s achievements over the past 50 years, including its pioneering role in the creation of excellent dramatic literary adaptations, historical drama, and detective shows for television. I wanted to hear more about its vision and plans going forward, because as West observes, we are currently in the era of “Peak TV” (p. 158)--the very opposite of a “vast wasteland”--including several notable purveyors of British TV in particular (e.g., Acorn and Britbox, as well as Netflix, Amazon, etc.). Especially because we have now been reminded of all the MP shows we have enjoyed over the years, readers long to hear that its aspiration to bring us “emotional truths” (p. 159) will continue in the decades to come.
(That said, however, I am definitely raiding Appendixes 1 and 2 [Masterpiece Productions with Casts and Mystery! Productions with Casts, respectively] for viewing ideas.) :)
This book might also sit better with someone with more English (as in the academic discipline) background than I have–West is an English prof, and throughout the book she tries to situate MP in terms of the “brow” it’s aiming for (i.e., high, middle, or low), throws around terms like “sentimentalism” and “conventionality,” and tries to explain Americans’ love of MP shows by recourse to something fundamental (and usually facile) about American culture. (For example, p. 51: “Literature is vital to [England’s] heritage, just as the pursuit of liberty is to ours.” Um, what? Are those things even comparable?) I’m not familiar enough with English (or media studies?) discourse to know how much of this was her utilizing the common vocabulary and ideas of her field versus her expressing her own opinion or perceptions.
One question I had throughout the book was about the extent to which MP programming is aired in the UK. All of it? Only some? I learned that PBS is a co-producer of these shows, but does that translate to them being primarily or only incidentally made for the export market, as it were? Relatedly, West occasionally mentions how well a certain MP show (e.g., Downton Abbey) was received in the UK compared to in the US–it would have been interesting to have a list or table of the most popular MP shows on either side of the pond.
I’ve summarized the various chapters below (an exercise facilitated by having a PDF ebook from my local academic library).
Chapter 1 recounts the origins of MP. From 1948-1960, a so-called Golden Age of American TV, live performances of [American] plays called anthology dramas were popular, as was cultural and news programming. However, by 1961, FCC chair Newton Minow famously dubbed American TV “a vast wasteland,” populated by “game shows, formula comedies…blood and thunder, mayhem, violence, sadism, murder, western badmen, western good men, private eyes, gangsters, more violence and cartoons” (p. 2). Minow’s observation resulted in the reemergence of “smart shows” such as 60 Minutes and The Mod Squad, and the creation of PBS in 1967. Modeled on the BBC, PBS aimed to “inform and educate”--to provide quality TV and to create better citizens by providing models for aspiration. In practice, MP has often combined highbrow appeal (e.g., good books, history, theater-trained acting) and soap opera elements (e.g., sudden plot reversals, last-minute rescues).
Chapter 2 explores Upstairs, Downstairs (UD) and Downton Abbey (DA), attributing their success to “a long, immersive storyline, a dazzling ensemble of actors, finely sketched characters, and lavish attention to historical detail. Each also married period drama to soap opera, appealing to our aspirational desires and our love of lowbrow….[B]oth celebrated a vanished world of tradition, with its distinct social mores and lovely accoutrements….[Both] made the human dilemma—the perennial problem of how to live a satisfying, meaningful life in a world beyond one’s control—just as important to their portrayal of servants as to their portrayal of the upper classes” (p. 18). UD was the first MP original series to be created especially for TV, and the first produced for ITV, not the BBC. Its lowbrow elements, new to MP, continued a Dickensian “soap” tradition. West finds “sentimentalism” aplenty in both shows. DA was more popular in the US.
Chapter 3 discusses the questions of class, gender, and race that have dogged MP. Alistair Cooke, while in many respects the perfect host for MP, also “connoted a troubling image of white male authority” (p. 35). PBS and MP were meant to bring high culture to American TV, but Americans are ambivalent about high culture–torn between our impulse toward self-improvement and our dislike of elitism and snobbery. PBS’s funding (the government [15%], major corporate donors including Mobil Oil, and “viewers like you”) has influenced its mix of programming, with conservative period drama meant to balance radical shows such as Soul! The ‘80s saw a backlash against the Western canon; MP shifted its dramatic focus to contemporary fiction and American classics in response to criticisms of “Master Race Theatre.” Andrew Davies’ mid-90s adaptations revitalized period drama by employing various British accents (not just Received Pronunciation) and actors of color.
Chapter 4 examines the art of adapting literature for television. Britain’s literary heritage and its modern-day esteem of screenwriters combine with television’s ability to encompass even “the long, detailed novels of the nineteenth century” (p. 52) over multiple episodes or an entire series to produce what West calls “Masterpiece’s bulwark” (pp. 51-2), the literary adaptation. Not simply the reenactment of a book, the success of an adaptation “depends on finding its own, sure point between fidelity and innovation” (p. 53). While MP’s adaptations favor fidelity, they’ve evolved from being slavishly faithful to the source text in the 1970s to bigger budgets and new technology in the ‘80s to more creativity in the ‘90s. The MP Sherlock Holmes series and Davies’ 1995 Pride & Prejudice are discussed. Americans love adaptations because they feed our Anglophilia, show us an adaptable past, and speak to our sensibilities (e.g., individualism, rebellious females, romantic comedy).
Chapter 5 takes on MP’s historical dramas. Americans are both notoriously ahistorical and crave connection to the past. “[I]nterest in historical fiction of all kinds—novels, films, plays, television series—is currently at an all-time high….MP is the granddaddy of this trend” (pp. 73). While dramatizing Americans’ own history is outside MP’s scope (West attributes this to MP’s “distinctive brand as a purveyor of British culture coupled with its financial limitations” p. 73), Americans still appreciate MP’s historical offerings because they “animate the dead” (p. 74), present historical events as the opposite of faits accompli, and provide fascinating anthropological windows on different times and places. However, while MP’s historical dramas have ranged in tone, strategy, and approach, West notes that “MP needs to demonstrate a greater willingness to include dramas that unsettle our view of history rather than affirm it” (p. 74).
Chapter 6 focuses on MP’s sister show “Mystery!”, which aired from 1980-2006 (its supposed demise is unexplained–and indeed, the index listing all Mystery! programming extends beyond 2006). In 1979, Mobil Oil offered to sponsor a PBS anthology program devoted to mysteries, then popular on ITV and American TV. Mystery! aired a “robust selection of drama….But hands down, the most popular shows were detective mysteries” (p. 90). Mystery! often surpassed MP in the ratings. West calls out Miss Marple, Agatha Christie’s Poirot, Inspector Morse, and Foyle’s War as paragons of Mystery!’s offerings, which at their best encompass “conventionality, nostalgic appeal, innovation, and irony” (p. 91). Such shows “refined and widened” (p. 91) what mystery shows could be. Some provided a less rosy picture of “chocolate-box England”; others addressed modern urban social issues head-on. As with historical drama, MP now finds itself one among many providers of excellent TV detective drama.
Chapter 7 discusses various MP characters and qualities West thinks they epitomize: Lord Melbourne, Victoria (Charm); Worricker (Cool); The Durrells (Eccentricity); Jeeves, Jeeves and Wooster (Manners); Elinor Dashwood, Sense and Sensibility (Reserve); Downton Abbey (Wit). Although any single MP show with an ensemble cast probably has characters that epitomize each of these! Having only seen DA, I skimmed this chapter–I feel like it works best as a reminder of or a new take on what you’ve seen. Nor does it inspire me to try any of these shows, since I don’t pick shows based on qualities I’d like to see in action. Note that this chapter takes the characters as a starting point, but those characters are only as effective as the actor/actress playing them, so those folks’ acting careers get brought into the discussion as well (although they aren’t named in their associated subheadings, which follow the style “Wit: Downton Abbey [2011-2016]”).
Chapter 8 discusses how MP benefits from British dramatic training and tradition and highlights six top MP performances: Ian Richardson (House of Cards), Helen Mirren (Prime Suspect), Damien Lewis (The Forsyte Saga), Gillian Anderson (Bleak House), Kenneth Branagh (Wallander), and Claire Foy (Wolf Hall). (Again oddly, the subheads in this chapter don’t mention the name of the character being played, only the actor and the show: “Ian Richardson in House of Cards [1990]”.) These descriptions discuss not only the particular role but also the show itself and/or that actor’s career. Again, I’ve only seen a couple of these in their entirety (HoC, TFS), but those were interesting to learn more about.
Chapter 9 provides a brief discussion of the British “heritage” movement as it pertains to historic properties, and then an overview of 20 places of varying scale (from 221B Baker Street to Castle Howard to Manchester) where various MP shows were shot. Unfortunately, the chapter lacks pictures, so unless you know off the top of your head what x place looks like or are familiar enough with the shows mentioned to say, “Oh, that must be that building/city in my mind’s eye when I think of this show,” this chapter requires lots of Googling to appreciate fully.
Finally, we reach the brief Conclusion. Its brevity reminds us that this book is primarily an anniversary retrospective, celebrating MP’s achievements over the past 50 years, including its pioneering role in the creation of excellent dramatic literary adaptations, historical drama, and detective shows for television. I wanted to hear more about its vision and plans going forward, because as West observes, we are currently in the era of “Peak TV” (p. 158)--the very opposite of a “vast wasteland”--including several notable purveyors of British TV in particular (e.g., Acorn and Britbox, as well as Netflix, Amazon, etc.). Especially because we have now been reminded of all the MP shows we have enjoyed over the years, readers long to hear that its aspiration to bring us “emotional truths” (p. 159) will continue in the decades to come.
(That said, however, I am definitely raiding Appendixes 1 and 2 [Masterpiece Productions with Casts and Mystery! Productions with Casts, respectively] for viewing ideas.) :)
March 10, 2021
I am in love with this book. I want to curl up in it and hang out with it for the rest of the year. Initially, I thought it might be fun to skip around various sections while reading about my favorite Masterpiece characters and shows. But that never happened. I was gleefully pulled in from the opening page, with no skipping of any words throughout. This intelligently written book rekindled my respect and admiration for Masterpiece and PBS. I especially appreciate the history about how Masterpiece came into being, and the author's honesty about its uncertain future; due to all the competing and better funded streaming services in existence today.
So far, my 2021 gem of a book pick!
So far, my 2021 gem of a book pick!
February 12, 2022
Ridiculously chosen tiny font and spoilers. Despite this I am enjoying the book.
The history plods along with sometimes slow pacing and an interesting tidbit here and there. Downton Abbey isn't the only important show Masterpiece did. I wish the author would recognize that while the show did revive Masterpiece, the programming would have persevered. Quality outlasts trend in many things such as fashion, food, and home goods.
The history plods along with sometimes slow pacing and an interesting tidbit here and there. Downton Abbey isn't the only important show Masterpiece did. I wish the author would recognize that while the show did revive Masterpiece, the programming would have persevered. Quality outlasts trend in many things such as fashion, food, and home goods.
March 25, 2021
Not great, but the best we’ll probably ever get which is sad.
I’ve watched Masterpiece for decades now so I was super excited to get this book. I’m not sure what I was expecting, not what we got, but it’s not an entirely bad read. I wish it was more of an in-depth look into the productions, there’s fifty years worth. This book does go into some details about certain series, a few classics but much more about certain recent programs. I love Downton Abbey, but Masterpiece is much more than that show. I can forgive a few grammatical errors here and there, or the non spaces between words, but this book is littered with them. Did they not proof read or edit this book before publication? The biggest crime this book commits is the abundance of factual errors. Like the plot lines of certain programs, character relationships, episode counts, years, and so forth. It literally takes two minutes to fact check this stuff. Diehard fans are gonna take notice of those errors. I also hated how they crammed the few photos they had to the back of the book. It’s visually unappealing. I wished the photo was on the page when the program was talked about. With countless photos of the program Sherlock out there this book decided to go with a DVD cover. Completely lazy. Happy I didn’t pay $30 for this, only $0.99 for the Kindle version when it was on sale. Honestly not worth more than that. To be fair this book has interesting elements, just not enough to save it from being a disappointing read.
I’ve watched Masterpiece for decades now so I was super excited to get this book. I’m not sure what I was expecting, not what we got, but it’s not an entirely bad read. I wish it was more of an in-depth look into the productions, there’s fifty years worth. This book does go into some details about certain series, a few classics but much more about certain recent programs. I love Downton Abbey, but Masterpiece is much more than that show. I can forgive a few grammatical errors here and there, or the non spaces between words, but this book is littered with them. Did they not proof read or edit this book before publication? The biggest crime this book commits is the abundance of factual errors. Like the plot lines of certain programs, character relationships, episode counts, years, and so forth. It literally takes two minutes to fact check this stuff. Diehard fans are gonna take notice of those errors. I also hated how they crammed the few photos they had to the back of the book. It’s visually unappealing. I wished the photo was on the page when the program was talked about. With countless photos of the program Sherlock out there this book decided to go with a DVD cover. Completely lazy. Happy I didn’t pay $30 for this, only $0.99 for the Kindle version when it was on sale. Honestly not worth more than that. To be fair this book has interesting elements, just not enough to save it from being a disappointing read.
April 19, 2021
At about 65% I became a bit weary of rehashing all the Masterpice shows. At first it was captivating learning all the trivia.
November 4, 2020
A wonderful overview of the 50 year history of the PBS series ‘Masterpiece Theatre’ (which is now called ‘Masterpiece’)
West takes us back to the beginning in 1971 and then explores such key early series as ‘Upstairs Downstairs’ and ‘I Claudius.’
The book shows how the series elevated TV drama in this country years before the ‘Peak TV’ era of ‘The Sopranos’ and ‘Mad Men’ in US television.
West covers many angles including the great acting done by Helen Mirren on ‘Prime Suspect’ and Gillian Anderson on ‘Bleak House.’
The book explores American Anglophilia as well as the impact of series such as ‘Downton Abbey’ on British tourism.
West covers the ‘Masterpiece Theatre’ offshoot ‘Mystery’ which was also created by the Boston PBS affiliate WGBH and was devoted to British productions.
(I received an advance electronic galley from Edelweiss)
West takes us back to the beginning in 1971 and then explores such key early series as ‘Upstairs Downstairs’ and ‘I Claudius.’
The book shows how the series elevated TV drama in this country years before the ‘Peak TV’ era of ‘The Sopranos’ and ‘Mad Men’ in US television.
West covers many angles including the great acting done by Helen Mirren on ‘Prime Suspect’ and Gillian Anderson on ‘Bleak House.’
The book explores American Anglophilia as well as the impact of series such as ‘Downton Abbey’ on British tourism.
West covers the ‘Masterpiece Theatre’ offshoot ‘Mystery’ which was also created by the Boston PBS affiliate WGBH and was devoted to British productions.
(I received an advance electronic galley from Edelweiss)
January 11, 2021
Overview of the history of Masterpiece Theater with spotlights on selected shows, actors, and creators. West is obviously a fan but she provides analysis of why Americans have responded so positively to the series. There are a few factual errors (she claims that Wolf Hall was the first series set in the Tudor period in nearly 25 years when there was series about Elizabeth I ten years previously) that mar the otherwise good tv history. Includes a list of shows, some color illustrations and an index.
October 28, 2021
Today’s post is on Masterpiece: America's 50-Year-Old Love Affair with British Television Drama by Nancy West. It is 233 pages long and is published by Rowman & Littlefield Publishers. The cover is a picture of Highclere Castle. The intended reader is someone who is interested in television history. There is very mild foul language, no sex, and no violence in this book. There Be Spoilers Ahead.
From the back of the book- On a wintry night in 1971, Masterpiece Theatre debuted on PBS. Fifty years later, America's appetite for British drama has never been bigger. The classic television program has brought its fans protagonists such as The Dowager Countess and Ross Poldark and series that include Downton Abbey and Prime Suspect. In Masterpiece: America's 50-Year-Old Love Affair with British Television Drama, Nancy West provides a fascinating history of the acclaimed program. West combines excerpts from original interviews, thoughtful commentary, and lush photography to deliver a deep exploration of the television drama. Vibrant stories and anecdotes about Masterpiece's most colorful shows are peppered throughout, such as why Benedict Cumberbatch hates Downton Abbey and how screenwriter Daisy Goodwin created a teenage portrait of Queen Victoria after fighting with her daughter about homework. Featuring an array of color photos from Masterpiece's best-loved dramas, this book offers a penetrating look into the program's influence on television, publishing, fashion, and its millions of fans.
Review- A fascinating history of PBS, Masterpiece, and American television. West takes the reader from the very beginning of PBS and its partners in England to bring British television to an American audience. West divides the book into different sections based on the different kinds of shows that Masterpiece has given its audience. From masterful mysteries to political thrillers, Masterpiece has always given its viewers the very best in British television. With lost of notes and access to people who helped make Masterpiece happen this is an excellent book. I would recommend it.
I give this book a Five out of Five stars. I get nothing for my review and I borrowed this book from my local library.
From the back of the book- On a wintry night in 1971, Masterpiece Theatre debuted on PBS. Fifty years later, America's appetite for British drama has never been bigger. The classic television program has brought its fans protagonists such as The Dowager Countess and Ross Poldark and series that include Downton Abbey and Prime Suspect. In Masterpiece: America's 50-Year-Old Love Affair with British Television Drama, Nancy West provides a fascinating history of the acclaimed program. West combines excerpts from original interviews, thoughtful commentary, and lush photography to deliver a deep exploration of the television drama. Vibrant stories and anecdotes about Masterpiece's most colorful shows are peppered throughout, such as why Benedict Cumberbatch hates Downton Abbey and how screenwriter Daisy Goodwin created a teenage portrait of Queen Victoria after fighting with her daughter about homework. Featuring an array of color photos from Masterpiece's best-loved dramas, this book offers a penetrating look into the program's influence on television, publishing, fashion, and its millions of fans.
Review- A fascinating history of PBS, Masterpiece, and American television. West takes the reader from the very beginning of PBS and its partners in England to bring British television to an American audience. West divides the book into different sections based on the different kinds of shows that Masterpiece has given its audience. From masterful mysteries to political thrillers, Masterpiece has always given its viewers the very best in British television. With lost of notes and access to people who helped make Masterpiece happen this is an excellent book. I would recommend it.
I give this book a Five out of Five stars. I get nothing for my review and I borrowed this book from my local library.
May 21, 2021
My years watching Masterpiece THEATER go back to the Bellamys and Hudson, Rose and all in Upstairs Downstairs. We waited each late winter into spring for the precious few season episodes. So many series over the years, with I Claudius and Lillie and the actor's faces we saw again and again. This is a thesis like overview of fifty years of Masterpiece, anchored by the British drenched Upstairs Downstairs through the worldwide megahit Downtown Abbey. It always pays deference to the mid-80's powerhouse The Jewel in The Crown. So many are touched upon along the way, if in a scholarly manner lacking color or behind the scenes depth. At least one reviewer has noted character relationship errors, and I found that in the author's discussion of the Forsyte Saga. Still a trove for those who suffered The Great War with the Bellamy family, through the Crawleys of Downton, then went back in time to Victoria and Poldark. Recent unrenewed series such as My Mother and Other Strangers, The Collection, and the one everyone misses about World War I nurses are not a subject here, leaving me as frustrated as I was by the cliffhangers!
July 24, 2021
For anyone who loves Masterpiece on PBS, you will find this an interesting read. The author goes into quite descriptive text about why Americans love each and every show that premiers. I'm sure you can name your favorite...I'm thinking Downton Abbey, Poldark and Foyle's War. Oh and what about Call the Midwife and now we have All Creatures Great and Small. 450 programs, 2,250+ episodes and 250 awards during the last 50 years is quite the achievement. Here's to another 50 years of fine programming.
June 4, 2021
This is pure enjoyment for fans of Masterpiece Theater whether you've been watching since its inception in 1971 or more recently came on board.Filled with facts that will increase your appreciation for the series both visually and dramatically. For example, can you give the exact number of character deaths that occurred during the six seasons of Downton Abbey?
July 9, 2021
If you love PBS/BBC, you will enjoy reading this overview of programming development since the inception of public television. It is fascinating how much the shows created purposely intertwine British and U.S. culture, impacting viewers on both sides of the Atlantic. I love these programs, especially valuing their thought-provoking content. I wish more viewers tuned in!
April 6, 2021
More like 3.5 stars. I liked the Making Masterpiece podcast (which referenced this book) better. This book did make me want to go back and watch some of the series that aired before I discovered Masterpiece.
May 8, 2021
A Trip down memory Lane.
I never considered myself as great a fan of Masterpiece untilI read this. If nostalgia is your thing this is your read.If youlived through the Masterpiece era you will be in heaven!
I never considered myself as great a fan of Masterpiece untilI read this. If nostalgia is your thing this is your read.If youlived through the Masterpiece era you will be in heaven!
May 17, 2021
Masterpiece Theatre fans will devour every page of this excellently-written book which reveals everything you always wanted to know about the longest running TV series in history (but were afraid to ask).
August 24, 2021
Had to pick this up as it’s by one of my favorite professors from undergrad. An excellent look at the American fascination with British history and culture and how that is embodied by the shows distributed through Masterpiece and PBS.
June 10, 2023
Really informative and interesting look at the last 50 years of Masterpiece. At times I wanted more info on specific shows, but I guess it would be too long then. I also didn’t love the organization, but overall works recommend.
April 5, 2021
Less a coffee table book and more a treatise on American society through the lens of PBS.
April 28, 2021
As I have been watching many of these series for several years, this was an excellent book to read. Foyle's War is my favorite.
August 22, 2021
Good review of the history of Masterpiece and its place in popular culture. A must-read for every fan!
January 28, 2022
I had to skim this book there is a lot of information, maybe more than I needed. The list of all the programs at the back of the book is the best part for me.
February 28, 2022
If you’re really into any of the Masterpiece shows you’ll probably enjoy this deep dive into the history, shows and places. Otherwise leave this one on the shelf.
September 14, 2022
Beautiful remembrance for Masterpiece Theater celebrating their 50th year.
September 8, 2021
More on the academic side of things and yet completely readable. The first half covers the history of Masterpiece (much clearer than in Making Masterpiece: 25 Years Behind the Scenes at Masterpiece Theatre and Mystery! on PBS) and the social/cultural significance of the show, and the second half goes into detail about shows West deems critical to a reader's understanding of Masterpiece and the show's cultural impact. The first half is stronger than the second, which also includes an odd, out-of-place travel guide to selected filming locations.
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