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’s daughter goes to a top school, her admission arranged by a Shiv Sena minister in the state government. In return, Sunil is always ready to turn out his men for the minister when, he says, “they are needed to burn a train or break a car.” Sunil has risen in the movement and prospered from a cable TV franchise it arranged for him. But his very success may be loosening his ties to the Shiv Sena. When the government at one point barred Indian cable systems from broadcasting the programming of the country’s archenemy, Pakistan, Sunil objected, saying, “Th e thing that

Star Trek in its various incarnations is one of the most successful television franchises ever produced and one of the longest-running. It is also a cultural phenomenon that goes far beyond television. For this the world has NBC to thank. Yet, also thanks to NBC, it nearly did not become so. In an ironic twist of fate, the current (in 2005) franchise owners, Paramount Network Television and UPN, announced in Febru- ary 2005 that the most recent Trek series—the fifth, Star Trek: Enterprise—would be canceled that May, after four seasons, because of falling ratings

in NBC

than the hour-long shows. Th ese resemble transmedia webisodes that are regularly featured in contemporary complex television franchises.6 Other transmedia production practices are found on Radiolab’s extensive website. In addition to a complete archive of programs, each segment has an individual page with a narrative sum- mary and links to visual images and written documents referenced in the segment or authored by persons heard in that segment. Th is aligns the show with public broadcasting’s embrace of the digital screen to “enhance and extend the scope of

cable TV, declaring themselves highly satisfied with TVB. After several rocky years of development, Wharf Cable finally began to find its feet when it started rolling out a broadband service and refining its Nansun Shi, cofounder of Film Workshop, developed the program- ming plan for Wharf’s bid for the cable television franchise in Hong Kong. Author Photo. The Globalization of Hong Kong Television / 123 programming and marketing strategies. Peter Tsi, former head of program- ming, says that during the 1990s, Wharf shifted its focus back to upscale families

-minute pro- gram that would dramatize the “stories of the world’s greatest masterworks of art, music and literature and the men who created them,” such as Michelangelo’s Sistine Chapel fresco, Beethoven’s “Eroica,” and Walt Whitman’s “Drum Taps.”53 Grossman, who went on to run PBS and oversee the similar public television franchise Masterpiece Th eater, claimed that he and Arledge conjured up the show in a noble eff ort “to save television from triviality.”54 24 • 1 . T h e B i r t h of A B C S p ort s Arledge went in a diff erent direction with For Men Only, a

-1955," Camera Obscura no. 16 (January 1988): 11-48; William Boddy, Fifties Television: The Industry and Its Critics (Champaign: Uni- versity of Illinois Press, 1990). 91. See also Avital Ronnell, The Telephone Book: Technology, Schizophrenia, Electric Speech (Lincoln: University of Nebraska Press, 1990). 92. The technology of coaxial cable emphasizes this two-way individual-to-individual form of telecommunication. Not only do cable television franchises frequently share wires with the telephone company, but the coaxial cable itself allows signals to travel in two

both plot and cultural meaning, and in that sense trope refl ects something with richness and complexity. For example, the two-note sound used by the TV franchise Law and Order to transition between scenes has become such a staple of comedy sketches that it now functions largely as a critique of the lazy conven- tionality of American crime drama. At fi rst these references were simply allusions to a specifi c series. But as the references piled up, this sound took on tropic (pronounce that with a long “o,” not a short one!) qualities, thus rein- forcing the