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Audiences of all kinds?old and young, square and hip, black and white, straight and queer?watched \u003ci\u003eLaugh-In\u003c\/i\u003e, whose campy, anti-establishment aesthetic mocked other tepid and serious popular shows. In \u003ci\u003eRowan and Martin's Laugh-In, \u003c\/i\u003eauthor Ken Feil presents the first scholarly investigation of the series whose suggestive catch-phrases \"sock it to me,\" \"look that up in your Funk'n'Wagnalls,\" and \"here comes the judge\" became part of pop culture history. \u003cbr\u003e\u003cbr\u003e In four chapters, Feil explores \u003ci\u003eLaugh-In\u003c\/i\u003e's newness, sophisticated style, irreverence, and broad appeal. First, he considers the show's indulgence of \"bad taste\" through a strategy of deliberate ambiguity that allowed audiences to enjoy countercultural, anti-establishment transgression and, reassuringly, conveyed the sense that it represented the establishment's investment in containing such defiant delights. 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With its unprecedented $1.3 million-per-episode budget and executive producer Michael Mann at the helm, Miami Vice brought feature film production values to prime time and redefined the television police drama. In Miami Vice author Steven Sanders argues that the show's themes, narratives, visual realization, and sound design created a new standard of crime television that has its roots in classic film noir and neo-noir. \u003cbr\u003e\u003cbr\u003eIn chapter 1 Sanders describes the social, political, and cultural background that led Anthony Yerkovich, creator of Miami Vice, and Mann to use Miami and its beaches not merely as a backdrop but as a character in its own right. Along with the show's visual aspects, Sanders identifies themes of ambiguity, alienation, personal identity, and irony that came to define the distinctive \"TV noir\" style of Miami Vice. In chapter 2, Sanders discusses four key episodes to examine the existentialist and postmodern themes that can be found in their story lines and visual style. In chapter 3, Sanders considers questions of authenticity, redemption, and politics in Miami Vice, with reference to episodes that demonstrate the show's attention to the political corruption and intrigue surrounding the war on drugs. In the final chapter, Sanders offers a novel explanation of why Miami Vice matters to film and video scholars.\u003cbr\u003e\u003cbr\u003eMiami Vice's visual and musical appeal, cultural resonance, and topicality made it absorbing entertainment in its own day; Sanders proves that its exploration of social, moral, political, and philosophical issues make it worth watching twenty-five years later. 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According to one measure, it was the “best movie year ever.” But as journalist Ross Benes shows, the end of the ’90s was also a banner year for low culture. This was the heyday of Jerry Springer, Jenna Jameson, and Vince McMahon, among many others. Low culture had come into its own and was poised for world domination. The reverberations of this takeover continue to shape American society.\u003c\/p\u003e\u003cp\u003eDuring its New Year’s Eve countdown, MTV entered 1999 with Limp Bizkit covering Prince’s famous anthem to the new year. The highlights of the lowlights continued when WCW and WWE drew 35 million American viewers each week with sex appeal and stories about insurrections. Insane Clown Posse emerged from the underground with a Woodstock set and platinum records about magic and murder. Later that year, \u003ci\u003eDance Dance Revolution\u003c\/i\u003e debuted in North America and \u003ci\u003eGrand Theft Auto\u003c\/i\u003e emerged as a major video game franchise. 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