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Product details
File Size: 13997 KB
Print Length: 343 pages
Page Numbers Source ISBN: 0786463686
Publisher: McFarland; Reissue edition (April 13, 2011)
Publication Date: April 13, 2011
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B007BP3KJA
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I write a lot of reviews and also write pulp fiction.My reading interests cover many genres, includingnon-fiction.I enjoy reading about the writing and making of theTV shows we all watched in the '60's-'70's.Inside Gilligan's Island, covers all aspects of how and whya TV show gets on the schedule, or gets the "not interested;"tag.It also fits for a fiction writer, as many of the same ground istread upon.Sadly, Gilligan's Island was never given a shot, or a chance torise to the top, instead it had to claw every inch to get there.Why?That is truly a question which many folks that sat in the "head shed"back in the day, never answered.And, after all these years never will. This trip back in time is worth the effort, if only to see the unfair treatmentthe show was given.
Anyone who loved the series should read this engaging book by the clever man who created and produced it. It makes you appreciate Gilligan's Island even more, discovering the tenacity and serious work it took to create such a fun show, and proves that comedy works best with heartfelt depth behind it. The castaways almost never boarded the S.S. Minnow for that fateful trip--nothing in show business is easy, but the most successful triumphs look easy. The only reason I did not go with 5 total stars is that after he finally got the show up and running, and got some breathing room, (about 3/4 of the way through the book) it lessens in excitement and conflict as he goes through the follow up stories once the weekly show was cancelled.
It's not just the show that is etched inside my brain, but this book shares some great insight of the era and what it was like to produce TV. Fascinating, funny and a very quick read.
to this day a delightful little confection called Gilligan's Island remains the quintessential television underdog. the network gave it only token support, and it brought out the hostility of the critics at it most obsequious. but it obviously struck a chord somewhere, because many embraced it from the git-go, and affection remains as potent and lasting as any disdain. even bouncing it around the schedule like a pinball couldn't discourage it's already rabid fanbase. small wonder someone once said "everyone hated Gilligan but the audience."the situation reflects a basic weakness of many critics: they'd rather resort to righteous indignation and come off as elitist snobs than admit that maybe they simply didn't "get it." one L.A. Times reviewer, for instance, was so passionately scornful that he pursued a veritable vendetta for months...all the while freely admitting that he'd only tuned in once and hadn't even bothered to finish that one episode!this dovetails all too neatly with something i've long suspected. the more vehemently someone preaches against Gilligan's Island, the more i for one am inclined to doubt they've actually bothered to watch it. i mean, they sneer at it for being "kid-friendly," as if to suggest that you can be artistically valid or clean, but not both. they call it "sappy" because the affection between the Castaways is palpable. they claim that the series was "never about anything," when by it's very nature it was uniquely philosophical. (fan interpretations include the Castaways being allegorical of the Seven Deadly Sins and/or having died and gone to Heaven.) there was even a time when some called it a "commie" plot to neutralize the minds of American youth. well, just remember, if you choose to close your mind it's your loss, not mine.(seriously, is there any other production in history with decades worth of detractors, all of whom might as well be bragging that they've missed the point completely?)here, the mastermind himself, Sherwood Schwartz, takes us on a guided tour through the uniquely harrowing process of getting the series produced, getting it on the air, and cementing it's place in pop-culture in spite of the naysayers. what with a seemingly endless series of men in suits, getting a series approved and running is a bureaucratic labyrinth at the best of times, but getting Gilligan off the ground necessitating meeting a unique series of hurdles. one network exec, for instance, kept insisting that it be modified to Gilligan's Travels, and focus on Gilligan and Skipper's adventures with various passengers in their tour business. he was worried that new viewers wouldn't understand what these people were doing stuck on this island. Schwartz repeatedly explained that he'd thought of that, and that he'd place the necessary exposition in theme lyrics. this workable as well as (at the time) inventive solution simply failed to register with the exec in question, who kept fighting Schwartz' vision all the way down to it's broadcast premiere (and beyond).i guess i can understand why it should have such a tumultuous gestation period. considering what even the most cookie-cutter series has to go through to get a hearing, it makes sense that the Powers That Be should be particularly wary of something as unconventional, as original, as Gilligan. what truly boggles the mind is the fact that such an innocent, good-spirited concept should inspire literally decades worth of scorn in seemingly equal measure to the joy and affection it stirred. but then, it wouldn't be first time logic proved incompatible with real life. as Mark Twain said, "of course truth is stranger than fiction: it's not required to make any sense."the bad news is that the largely engrossing read runs out of steam, as the last couple of chapters become a dissertation of how television bureaucracy had since gone downhill, and how product had suffered for it. (the book was published in 1988.) while he makes valid points, some of which i agree with, this lengthy, clinical, and often preachy discourse feels out of place, more like a college thesis than a memoir of a tv series. it's relevance to Schwartz' career is discernible enough that it merits some discussion, but it's really too remote from Gilligan to justify taking up so much of a book meant to chart Gilligan's legacy.even sadder, Schwartz makes no attempt to atone for his own contribution to the decay of the art of the sitcom. specifically, he followed up Gilligan, one of television's all-time treasures, with one of television's all-time disgraces, The Brady Bunch.boy, talk about your 180-degree turns. Sherwood Schwartz was quite brilliant (he'd written for Bob Hope and Red Skelton) if not a genius (he'd graduated from medical school). what could possibly of compelled him to take such an artistic nosedive? did creating both the greatest and the worst series in television history sound like an interesting challenge, or did the Corleone family just have a gun to his head at the time?most likely it was a simple diplomatic maneuver. because when you get right down to it, Gilligan's unpardonable "sin" was to be mold-breaking and unconventional. it's a classic case of Sad But True that television audiences get accustomed to the status-quo, so much as a certain class of viewer might think they want "something different," there are those for whom something genuinely different - Gilligan, Get Smart, Star Trek, Monty Python, Sledge Hammer!, Red Dwarf - will in fact represent a challenge to what they hadn't realized was a comfort zone.so alas, it makes sense that, so as not to rock the boat, Schwartz's sophomore effort would be about UNoriginal as a series could get without being charged with copyright infringement. where Gilligan had thought outside the proverbial box, The Brady Bunch would adhere rigidly to sitcom cliche'. where the Castaways had been gifted actors playing relatable, multifaceted personalities, the Brady family would consist of the woodenest actors Schwartz could possibly find as the blandest, hollowest excuses for characters television (if not storytelling in general) had ever seen. where Gilligan had probed quite a few deep issues, The Brandy Bunch would under no circumstances ever attempt to engage the viewer's mind. granted, it would result in a shallow, quivering quagmire of diabetes-inducing mush, but it would also keep the network nitpickers off his back.Schwartz' most rigid personal credo was for his work to never resort to the risque. he admittedly managed to hold fast to that rule, but at the artistic level he pretty much "sold out."the moral is that even geniuses can goof. Sherwood Schwartz inflicted hideous torture on several generations of tv viewers with The Brady Bunch, but please don't let that taint the homerun he scored with Gilligan's Island. after all, would you boycott Star Wars and Raiders Of The Lost Ark on the grounds George Lucas also produced Howard The Duck? the sad fact is that some would be tempted.well, their loss. please don't let it be yours as well.
Fun read. Behind the scenes info on the show.
Anyone who loves Gilligan's Island will love hearing about how it all came about and hearing it from Sherwood Schwartz himself is like discovering gold for me - I love that short series. The cast, writing and production would not have been possible without Mr. Schwartz's vision and determination. So glad he did and am so happy he wrote this book. Recommended!
Wonderful book that truly delves into the world of making a television show. It made me look att my favorite show in a much different way. The trials and turmoil is clearly written by Mr. Schwartz and this is a must read for anyone who wants to look into the world of television shows in a different way.
This book should have been called "The Making of Gilligan's Island." It mainly dealt with Sherwood Schwartz struggling to trying to get it on the air. There was VERY little details about the cast. I had to push myself to finish it. Yawn!
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