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was intended. It did not go unnoticed that those who minded the gates at the local stations were, without exception, white. Initially, Black Journal was not precisely what it was advertised to be, a black show produced entirely by blacks. Although its staff was black, NET had assigned a highly experienced white producer, A1 Perlmutter, to oversee the show as its executive producer. The Black Journal crew, objecting not so much to Perlmutter as to the principle, revolted. Perlmutter dropped out and William Greaves, an experienced black filmmaker, was brought

to the station executives at their annual spring meeting in New York and received an unprece- dented standing ovation. The brightest slot in the schedule was filled with an innovative and high-risk venture called The Great American Dream Machine. The producers had planned it originally as an entire evening devoted to a single program, appropriately entitled Wednesday Evening. Budgeting realities converted the con- cept to a ninety-minute weekly magazine. A1 Perlmutter and Jack Willis were named co-executive producers; the partnership was a virtual guarantee

furious. Father Michael Place, president of the CHA, complained to 60 Minutes executive producer Don Hewitt about the pro- gram’s reliance on CFFC’s analysis and studies, charging it had “allowed opponents, rather than ministry leaders, to describe Catholic health care and Church teaching.” Place was extensively quoted in the story and given ample opportunity to argue that it was a matter of religious freedom and conscience to allow Catholic hospitals to refuse to provide services. Once m a t t e r s o f c o n s c i e n c e 189 again the argument came down to

popular.122 The CSI team invariably solves the baffl ing and horrifi c crime within the program’s hour-long time slot. “People had an idea about what forensic science was, although they were a little confused at the O.J. trial,” Anthony Zuicker, the creative and executive producer of CSI: Crime Scene Investigation, has said. “We found a way to make it sexy and educational and fun. And people now know what DNA and blood splatter are.”123 The challenges Simpson’s lawyers posed to forensic evidence collec- tion in the 1995 case clearly inspired a CSI episode that

in 1995

of their characters, but lack of clearly defined star status sometimes militated against their success. During TOS’s third season, Leonard Nimoy had frequent conflicts with Fred Freiberger, who had taken over from Roddenberry as executive producer. For example, in the episode “All Our Yesterdays” (3:23), in which Kirk and Spock are trans- planted to an ice-age planet, Spock acts in a most un-Vulcan-like manner, not only falling in love with a woman but violating Vulcan vegetarianism and eating meat. Nimoy felt that Spock “would never permit himself to behave

One of the reasons the southern civil rights movement resonated so pow- erfully through television and photojournalism was that it presented a stark distinction between good and evil. Virtuous black demonstrators withstood verbal harassment and physical violence from nasty white segregationists.41 Images of confrontations in Little Rock, Birmingham, and Selma framed racism in stark detail. Wallace Westfeldt, a Nashville newspaper reporter who went on to work as an executive producer of NBC’s Huntley-Brinkley Report, said, “Even without any commentary, a shot

our imaginations. “For believable characters to exist,” writes Mark Darrah, executive producer of the Dragon Age fantasy franchise, “they need a believable world. This goes beyond the ground they stand on” (in Gelinas and Thornborrow 2015, 9). As the house lights dim, then, as the television warms up or the video game loads, as the first page is turned, consider just a few of the ways in which we create magic, monsters, and make-believe heroes, the sine qua nons of fantasy culture and the mythic imagination. “this is no game . . .”: dungeons & dragons Narrator

production coordina- tor on the Sino-American animated television series Flutemaster (2003).24 Drawing on her Shanghai roots, Lu is the executive producer of Gung-Ho Films, which bills itself as “the fi rst Western-run production company in China.”25 Chiu Wah Lee, who is from Hong Kong, worked as production manager for the assisted production Code 46 and the Sino-US co-production Lust, Caution. He moved up the production-management chain of com- mand to be fi rst assistant director for the Shanghai-based assisted produc- tion of Ronny Yu’s Fearless and then worked as

‘An ABC fi lm crew wrapped up Savannah shooting.’ All three of those statements are simply not true. The name of WOLPER should have been inserted for ABC.” Wolper continued, “In the future, I expect the ABC executives, and the ABC Press and Public Relations Departments to make a more-than-routine eff ort, in all releases and in all conversations regarding ROOTS, to see that ‘DAVID L WOLPER, EXECUTIVE PRODUCER’ or ‘A DAVID L. WOLPER PRODUCTION’ is mentioned.”75 Wolper’s demand for due credit is a useful reminder that in addition to being a history

American con- sumption. And in treating Foley of the Arizona Border Recon as a vigilante agent of “imperial benevolence,” the fi lm sustains an argument for the inter- ventionism inherent in the GWOT. It is no surprise, then, that Kathryn Bigelow, the director of the jingoistic American fi lms Zero Dark Th irty and Th e Hurt Locker (2008), was Cartel Land ’s executive producer.20 What is most missing from these cultural artifacts is that they rarely indict Americans or American policies in the drug wars; the drug wars are simply the raw ingredients to whet the