CHAPTER 1 Stories and Audiences Tticated here was a time when tele vi sion dramas were considered less sophis- and lower quality than their cinematic counterparts. In the early part of the 21st century, this is not the case. Many tele vi sion dramas are widely celebrated for their complicated and developed story lines, high production value, and diverse casts of talented actors. The distinc- tion between television and film dramas has been blurred, as actors and directors typically associated with movie making are also engaged in tele vision projects. For example, Martin Scorsese directed an episode of Boardwalk Empire (2010–2014), Gus Van Zant applied his directing tal- ent to Boss (2011–2012), and Steven Soderbergh produced and directed the entire first season of The Knick (2014–present). In addition, actors with established film careers like Kevin Spacey, Robin Wright, Halle Berry, William H. Macy, Laura Dern, Matthew McConaughey, and Viola Davis, are starring on such television dramas as House of Cards (2013– present), Extant (2014–present), Shameless (2011–present), Enlightened (2011–2013), True Detective (2014–present), and How to Get Away with Murder (2014–2015). The new crossovers between the tele vi sion and film industries can be attributed to changes in television production practices and the success of particular programs, many of them produced by the premium cable channel HBO, at the turn of the 21st century. HBO turned its attention to the television format in the late 1990s with its highly regarded prison drama Oz (1997–2003). The premium network’s comedy Sex and the City (1998–2004) followed, and in 1999, The Sopranos (1999–2007),
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