A Mass Effect: Television's Impact on American Culture (Conclusion)

The final, arguably most important impact that television has had on our culture is its double sided effect on our fears, attitude towards violence and overall values. Television programming and news stations often paint a picture of the world as a terrifying, violent place. This creates an inflated sense of fear among viewers while also desensitizing the public to violence and cruelty. Research shows that heavy television viewers perceive that world as a much more dangerous place than those people who don’t watch nearly as much television. When the evening news comes on TV, the majority of the stories are saturated with crime and violence. Such stories often times result in a spike in ratings and viewership, especially among viewers who watch television later at night. (1990: 93) “Violence and other adult themes increase with the hour. The 8 o’clock (news) has more violence than the two earlier ones, and 10 P.M. programs have even more.”

The violence doesn’t stop at the news. American television programs are notorious for containing scenes of violence, especially in prime-time slots. In a study done by Gerbner in 1985, data shows that five to six violent acts per hour were found in prime-time television shows, often times within some sort of action series. Today, shows that air on premium networks like HBO and Showtime are often extremely violent, holding little to nothing back in the department of blood and core. Shows like Dexter, where the main character is a serial killer and Boardwalk Empire, which chronicles the violent lives of prohibition gangsters, build every episode around violence. It is not rare to see a couple murders, often times detailed and gruesome, in each episode. Violent programming is not limited to such channels, however. Network television features increasingly graphic shows, as well. Law & Order: SVU (Special Victims Unit, is a show the follows the cases of a crime unit in New York Police Department, who specialize in special cases, nearly always involving some combination of rape, murder, and assault. For years, this show has aired in prime-time weeknight time slots; currently airing on Wednesdays at 9 P.M. SVU is just one example of violent network television programming. Others include Revolution, a post-apocalyptic setting riddled with fight scenes and killing, 666 Park Avenue, a show that falls in the horror genre rife with violent murders and references to the devil, and NCIS, a show much like Law & Order where the writers serve up stories about abductions, sexual assault, and child pornography. All three shows air on different networks, NBC, ABC, and CBS respectively and all have a rating of TV-14, indicating that they are not appropriate for children under the age of 14. It is safe to assume, however, that simply flashing a rating on the top corner of the TV screen at the beginning of an episode is going to do very little in the way of deterring underage viewers.

Now that we’ve established the fact that violence exists on TV, the next step is to weigh the consequences of such. There are conflicting schools of thought on whether or not media violence has a positive correlation with real life violence or not. In a study done by Neil Malamuth of the University of California, Malamuth states that (1990: 99) “steady viewing of graphic violence, including sexual assault, was associated with greater tolerance for and less disapproval of rape and wife-beating.” According to Smith, “the evidence is becoming overwhelming that just as witnessing violence in the home may contribute to normal adults and children learning and acting out violent behavior, violence on TV and movies may lead to the same result.” Not everyone is so convinced however. Freedman sees that there is a slight correlation between TV violence and aggression, but not enough to positively determine that Tv violence is the cause of increased aggression. According to Freedman, “Something in their personalities or behavioral patterns, some predisposition, trait, combination of environmental pressures, learning history, or whatever, causes people to like aggressive programming and also to be aggressive.” Freedman feels that a clear determination between whether the violent television leads to an aggressive personality or if the aggressive personality draws the person to violent television cannot be made. Personally, I have to side with Malamuth and Smith on this particular issue. It seems intuitive to think that a person who is exposed to violence in the media is going to be desensitized to violence in real life; if for no other reason than the fact that if a horrific event happens to them or they pay witness to such an event, a person familiar with seeing such events on TV will likely be able to cope with the trauma by mentally reverting to the comfort of their homes, sitting in front of a TV screen.

The specific areas of life affected in addition to the extent of the impact have been debated for years. Naturally, a medium as intrusive and extensively involved in American life will have long term consequences on the way people act, think, and perceive. Learned television watching behaviors, such as eating, talking, and going to the bathroom whenever you please often translate into other areas of life, going from strictly an action performed in the privacy of our homes to an action performed in movie theatres, lecture halls, and office buildings. Culture, which according to its definition includes learned, shared understandings, has been forever changed as the mass media has the ability to spread a message to people from all walks of life, affecting the collective knowledge that we, as a people, share with one another. Finally and most importantly, television affects the way we think, especially in reference to violence. We have been desensitized due to the scheduling of violent programming in addition to a focus on violence in news broadcasts. Countless examples and various studies have been performed testing all sorts of different theories out about what the long term effects of such a dominating invention will have on our society, yielding a lot of different results. The one constant that remains, however, is that there are some definite effects; strong ones at that. The mass effect of television on our culture cannot be taken lightly, and an ever-continuing research effort is a must for the better understanding of such a powerful tool.

A Mass Effect: Television's Impact on American Culture (How We Think and Act)

Television habits that we practice at home are translated into other areas of our lives. For example, talking while watching television is extremely common. ‘Stage IV’ viewers often converse with other people in the room as they watch television. This behavioral pattern has translated to other places including, but not limited to, the movie theatre, the classroom, and the work environment.

People also tend to execute their freedom to get up and go to the bathroom whenever they please, yet another trend that has translated from an in-home habit to one that is demonstrated in public. Students often get up in the middle of class and walk out, without saying a word, in order to use the bathroom. Just like a television program only holds part of our attention, as does the actor on the movie screen or the professor in the classroom. This is the direct result of shorter attention spans, a behavior developed over time as focus on the television becomes less constant. Kottak states that these people (1990: 4) “intend no disrespect. They are simply transferring a home-grown pattern of snack-and-bathroom break from family room to classroom. They perceive nothing unusual in acting the same way in front of a live speaker and fellow students as they do when they watch television.”

In addition to the way we act, television affects the way we think. According to Thinking Like An Anthropologist: A Practical Introduction to Cultural Anthropology, written by John T. Omohundro, culture is defined as (2008: 27) “the learned, shared understandings among a group of people about how to behave and what everything means.” There is a minimal effect from any single show, just as a show cannot tell a person exactly how to feel. It is important to focus in on television as a whole rather than a series of individual parts. The collective exposure to television in combination with the pervasiveness of the media lead to a complete redefinition of the common knowledge we share with our fellow Americans. Television does not discriminate against a particular segment of the population, but rather spreads the same exact product to every single viewer all at one time. In the words of Kottak, (1990: 7) “Televiewing encompasses men and women of different ages, colors, classes, ethnic groups, and levels of educational achievement. Television is seen in cities, suburbs, towns and country – by farmers, factory workers, and philosophers.” There is simply no other means for delivering the same consistent message to this amount of people from all different walks of life. The result is a change in our interpretation and expectation of the world around us. In order for such a massive change to take place across the board, there must be a shared knowledge held by all members within such a culture. For example, football is a popular sport because most of the people who watch it understand the rules of the game. (Kottak 1990: 43) “Such mass knowledge contrasts with the privileged expertise and resultant prestige of professionals such as lawyers and economists. An activity’s clarity democratizes it.” In other words, mass knowledge delivered via the television set, settles into the collective consciousness of the public, which, in turn, creates a feeling of comradery and enjoyment.

Every time you hear a person spit out a quote from South Park, a cartoon show on Comedy Central, followed by a group of people laughing at the quote, you are experiencing the aforementioned comradery and enjoyment. Part of the enjoyment revolves around the humor in the words themselves, while the other part is the collective recognition and understanding shared by those involved. Another example of shared knowledge leading to joy is in the form of references and call backs. Often times television programs will make a reference to some other event and there, in itself, lies the joke. For example, Community, a prime-time sitcom on NBC, features a reference to the movie Beetlejuice. In the movie, saying the word ‘Beetlejuice’ three times summons the monster from his grave. In Community the word Beetlejuice is worked into the conversation on three separate occasions over the course of the show, and on the third time, a man dressed as Beetlejuice walks by in the background. There is no punch line here other than the fact that a cleverly written reference is being made, and yet, nearly 1.5 million people viewed the clip on YouTube, proving that there is a certain level of enjoyment in the sharing of a common knowledge.

A Mass Effect: Television's Impact on American Culture (Stages of Televiewing)

Television has become so intertwined with the American way of life, that an entirely new standard for what is considered rude behavior versus polite behavior has been created. Shorter attention spans become more and more evident as Americans have branched many of the habits formed from watching television into how they conduct themselves in the classroom, the workplace and other public settings. According to Conrad Phillip Kottak, author of Prime-Time Society: An Anthropological Analysis of Television and Culture, there are various stages of televiewing. Different stages correspond to the length of television exposure in a particular society.

The initial stage is one of fascination and focus. When television is first introduced, the viewers are glued to the set in awe. In this stage, the message on the television is less likely to be received, as people are more amazed by the object in front of them than the actual content on the screen. Typically, after about 10-15 years of exposure, viewers move onto ‘Stage II,’ where partial absorption is achieved. As a result of becoming more familiar with the phenomenon of television, people begin understanding more of the content on the screen. They begin accepting certain pieces of information while rejecting others. Understanding increases, and therefore, personal interpretation of the information being delivered becomes more prevalent. The greater the understanding demonstrated by the viewers, the more divided their attention becomes. This may seem counterintuitive at first, but once the novelty of the television wears off, the steadfast gazing fades away as well along with the curiosity. Viewers find themselves more comfortable with doing other things while they watch, and therefore, they pay less attention to the content. ‘Stage III’ occurs once television has reached the majority of homes in a community, causing a further decrease in the statistical measures of TV impact. According to Kottak, (1990: 143) “as a phenomenon pervades a community, its presence differentiates less and less among residents,” leading to less obvious and accurate statistical measurements. Finally, ‘Stage IV’ represents the lifelong effect of growing up in a culture that is constantly exposed to a television world.

Americans are currently in ‘Stage IV.’ Americans live in a culture where television and the effects of mass media surround nearly all of us in our day to day lives. Studies have shown that increased television exposure at a young age can result in an increased chance of having attention problems. According to Dimitri Christakis, a pediatrician at Children’s Hospital and Regional Medical Center in Seattle, “frequent television viewers were most likely to score in the highest 10% for concentration problems, impulsiveness and restlessness. Every hour of watching TV increased a child’s odds of having attention problems by about 10%.” In other words, children who watch television for 4 hours a day will be 40% more likely to have attention problems compared with children who watch no television.

A Mass Effect: Television's Impact on American Culture (Introduction)

(I just completed a research paper on 'Television's Effect on American Culture.' Through my research, I encountered some interesting studies and came across some solid arguments, both positive and negative, as to what the long term affects of living in a society dominated by television will be. One of the points of exploration involves the shortening of the American attention span, which I feel is a direct result of exposure to television as a mass media. It is for that reason that I am breaking this paper into weekly segments so that all you children of the TV era can stay focused. If you make it through the full paper, then you are officially less distracted than the average American citizen. Good luck!)

Since its commercial availability in 1927, there has been no denying the popularity of a little invention called the television. Defined by the Merriam-Webster Dictionary as an electronic system of transmitting images of fixed or moving objects together with sound over a wire or through space by apparatus that converts light and sound into electrical waves and reconverts them into visible light rays and audible sound, the television brought something truly and completely original to the households of people everywhere. It’s hard to put yourself in the mindset of a pre-television world, unless of course you’re old enough to remember one, but try to imagine how wild it must have been to see a moving image in front of you for the first time. Even the most revolutionary inventions in the world, i.e. the electric light bulb, the automobile, etc., were all based on previous inventions. Before the light bulb was the kerosene lamp. Before the automobile was the horse drawn carriage. Before television, however, the closest thing to watching TV in your household was watching your children put on some sort of play or listening to the radio while conjuring up images in your imagination. As is expected with such a drastically new form of media, there is bound to be some major changes in our culture as a result of its implementation. Television has created an entirely new behavioral pattern, never before seen, where attention spans are shorter than ever, shared knowledge has been altered dramatically, and the way we, as a people, think, react, and emote has been desensitized and dulled.

The Wire: A Very Late Review

Admittedly, I was very late to hop on The Wire train. I had always heard such great things about the show, however a combination of not having HBO and lacking the internet skills I possess today, I never had the chance to actually watch it. Fortunately, one of my girlfriend's coworkers had the box set. So, four and a half years after the show aired its final episode, here's my review. Better late than never.

I'm not entirely sure if the show was over-hyped by passionate friends or if I had just built it up in my head over the years, but to be completely honest, I was underwhelmed the first time I saw it. As I made my way through the first season, I was certainly entertained and enjoyed the show, but could not see why people were so obsessed with it. Over time, my vision became more clear. The cast is great. Not every actor blows you away with their acting chops, although certain performances definitely stand out as elite. The true magic of the cast, however, is that they all seem so real. Certain people get on your nerves, while others are undeniably lovable, but such is life. Another interesting aspect of the show is how willing the writers are to completely change the cast. Fan favorites are often killed off along with the characters you hate. This creates two positive outcomes. On one hand, it creates the mindset within the audience that no character is safe.Take, for example, the show Dexter. I love Dexter but you know the main character can never die unless it's in the series finale, because the title is named after him. The second positive is that The Wire has managed to add new, strong characters at an impressive rate. In fact, I can't recall a show with as rapidly changing a cast of characters as The Wire. Each season adds a large number of new faces while keeping the story lines strong within the core cast. This is a very impressive feat.

The final aspect of The Wire that keeps me coming back is the authenticity of it all. I have never been to West Baltimore to pick up a vile of heroine. I also have never worked in the homicide unit of the BPD. Whether this is an accurate statement or not, it sure does seem like I would be able to fit in to either environment seamlessly. The show allows the audience to experience the every day horrors of a Baltimore ghetto, one of the most brutal and violent places in the country. The complex "Godfather"-esque politics that take place within both the crime families and the police department provide pride and frustration alike for the people trapped within. Those emotions are shared by the viewer as forming a personal connection with each character is inevitable. The more I watched the show, the more difficult I found it to not move on to the next episode as soon as the credits began rolling. The Wire is flat out addicting. I strongly encourage you give it a shot if you haven't already. Granted, the show is a bit outdated. I specifically recall a scene in season 2 where the characters were first learning what 'texting' was. But if you can get into an early 2000s state of mind, you should be all set. Definitely check it out!

The Most Underrated Show On Television

Since it was first created, Community has never gotten the respect it deserves. Consistently one of the most cleverly written shows on television, Community blends countless obscure references with out-of-the-box plotlines to keep the viewer entertained and intrigued week after week. I do not mean to put down fellow primetime comedies such as The Office and Big Bang Theory but, although funny, they are extremely formulaic. Every episode features the same one or two dimensional characters following the same basic skeleton of a story line. A situation is introduced at the beginning of an episode, and the audience can pretty much predict how each character will react, and what they will say. Take for example, The Office. You can expect Jim to mess with Dwight in some way, Stanley and Kevin to throw in a one liner about hating their job and misunderstanding a situation respectively, and Pam to have a 'unexpected' connection to one of the characters in the show, recently depicted by her new found friendship with Nellie. Although, admittedly, I enjoy these shows and will often laugh at the jokes within, I have a very skin deep appreciation for the writing as a whole. Community, on the other hand, displays layers upon layers of depth. The writers are constantly rewarding their die hard fans by adding little 'easter eggs' and callbacks to previous episodes.

The most praiseworthy aspect of the show is by far their willingness to take risks. Contrary to the strict pattern-following of so many other sitcoms out there today, Community is forever willing to break the mold and dedicate full episodes to a completely different format, leading to some of the most entertaining and memorable moments in all of television. Arguably the most popular episode of the series thus far, entitled Modern Warfare, perfectly encapsulates their style of chance taking that has become somewhat of a signature for Community. From the very beginning of the episode, the audience is fully enclosed in a war-zone, one that just so happens to be riddled with paintball guns. The regular cast members take on the roles of war movie heroes and villains. There are countless references to action movies including The Matrix, Rambo, and Scarface, as the multi-talented cast displays their acting chops while consistently maintaining an air of deep rooted humor, giving the episode endless replay value. Other noteworthy episodes include Contemporary American Poultry, a well-written parody of mafia movies, namely The Goodfellas, as well as Pillows and Blankets, a Civil War episode pitting best friends Troy and Abed, against each other as an epic battle breaks out between Pillowtown, a large pillow fort, and Blanketsburg, a fort made of blankets. The episode is shot like a Ken Burn's documentary as the narration and dialogue is sprinkled with clever references and allusions. More outrageous formats include a Christmas episode done almost entirely in claymation and another episode stylized to look like a retro 8-bit video game. In addition, Community doesn't rely on easy ploys like laugh tracks or the new 'documentary' style of camera work adopted by shows like The Office or Modern Family. In fact, the writers even poke fun at the 'documentary' style shows by explaining how easy it is to combine dramatic and comedic plot lines with this type of format, summed up by the punchline "fish in a barrel."

Unfortunately, Community's cleverness might be a bit to advanced for its own good. The show simply doesn't bring in the big numbers that NBC smash hits 30 Rock and The Office do. Part of this problem can definitely be attributed to the shows time slot. They have consistently gotten beaten by Big Bang Theory on Thursdays at 8:00pm. The issue isn't all Community, however. When NBC power house 30 Rock was put against Big Bang Theory, their ratings took a big hit as well. So perhaps Big Bang Theory is the bigger reason behind the poor numbers, but nevertheless, NBC seems to have a problem with Community. They have pulled the show out of the NBC line up time and time again, fired the show creator and main driving force behind the creativity, Dan Harmon, and pushed the show to Friday nights, a near death sentence time slot for a show with such a young fan base. As if this wasn't bad enough, the show's air date, originally scheduled for October 19th, continues to be pushed back. Fans eagerly await the return of the show, however it seems like 'good' numbers are a near impossibility considering the circumstances. I believe that Community will one day receive the appreciation it deserves, perhaps following in the footsteps of cult favorite Arrested Development, which was also under-appreciated while on the air and has since gained a huge following, resulting in new seasons and a movie deal.

For those of you who have missed out on following the show, I will give you a little taste of some clever moments that have occurred thus far. One of the more subtle easter eggs is one that has stretched over the first three seasons. A cast member says the name 'Beetlejuice' once in each season and on the third time, you can see Beetlejuice walk by in the background. This, of course, is an allusion to the movie in which saying the name three times causes the dead man to appear. Also, check out this promo for the pushed-back season 4. The cast pokes fun at the delay by describing October 19th as a state of mind rather than an actual date. An additional subtle reference within the promo include the dean stating that he allowed Annie's Boobs to have its own show. This is a reference to the monkey from Community, named 'Annie's Boobs,' being the very same monkey in the new, now cancelled show, Animal Practice.

(Beetlejuice Easter Egg)

(Season 4 Promo)

The Men Who Built America

Update: Part 4 of The Men Who Built America is now scheduled to air Sunday, November 11th rather than November 4th. The marathon is still set to take place prior to the final episode.

(My original intent was to write this post Monday night so that people would have the chance to check out the new episode which aired last night, Tuesday October 30th, however Hurricane Sandy had different plans. Oh well. Better late than never.)

This week's Real Television is taking a different route than normal. Rather than spotlighting a particular episode of a television series, I will instead be showcasing the History Channel mini-series, The Men Who Built America. This is not because I ran out of material, mind you. This Sunday's Boardwalk Empire was excellent. The Walking Dead took a big risk by not showing any of the core cast for a whole episode, reminiscent of my favorite episode of Lost, although falling way short of the same results. The Dexter story lines are more interwoven and complicated than ever giving the writers a challenge that will be difficult to overcome, but if successful, can result in a fantastic overall season. No, I certainly did not run out of material. The truth is, I stumbled upon this mini-series a couple weeks ago and have been hooked ever since.

The Men Who Built America chronicles a period in time where ruthless business moguls were able to run free with virtually no limitations or regulations as the golden age of capitalism shaped America, and ultimately, the world. The show's production values are top notch. Most, but admittedly not all, of the historical reenactments avoid the all-to-common pitfall of coming off as corny or unrealistic. The actors who play the likes of Rockefeller, Vanderbilt, J.P. Morgan, and Carnegie do a good job delivering believable performances, while the environment and lighting effects create a nostalgic look for the audience. What makes this show so great, however, is the incredible true stories of these big name players who had such a large role in shaping the world we live in today. In today's financial world full of worker protection laws and unions, it is almost unimaginable to think that one single man could have such a huge impact on the world around him. As an example, J.P. Morgan was so rich and so highly respected as a banker that he loaned money to the United States of America to help them get out of debt. These people are economic superheros unlike any of the big name money makers of today. It is also important to note that in order for a person to rise to this level of fame and fortune, they must have a dark side as well. Difficult and often times downright cruel decisions have to be made along the way that separate the elite from the rest of the pack. Every mogul shows some shred of an insatiable appetite for power and success, acting as the driving force behind their rise to the top.

Possibly my favorite part of this show, however, is that I simply did not know any of this. Well, perhaps that is an exaggeration. I had heard of most of the people at some point in my schooling and had a simple understanding of what each of them did. For example, I knew that Rockefeller was the oil guy. I certainly did not learn anything close to this level of detail. I was also unaware of how interconnected each of these men were. The show does a masterful job at connecting the stories and explaining the motives and relationships that play such a huge part in the decisions that were made during this time, rather than simply stating a bunch of facts and events. Each episode features a movie-quality story line ending with a cliffhanger that grabs the audience and refuses to let go. The show normally airs every Tuesday, however, the finale of the four part series will air this Sunday, November 4th. In case you missed the first three episodes, most if not all can be found OnDemand. The History Channel will also feature a marathon starting at 2pm on Sunday leading up to the series finale, an episode featuring the inventor and innovator of arguably the most influential creation of the modern era, Henry Ford. For those of you who watch the show but didn't have power last night, like me, the most recent episode can be found on www.history.com. I strongly encourage everyone to check this show out. If you take to it, like I did, History Channel has been promoting an upcoming mini-series, entitled Mankind: The Story of All of Us that seems like it will be in the same vane with a focus on a broader spectrum of history. Definitely something to look forward to.

(The Men Who Built America: Traits of a Titan)

(MANKIND The Story of All of Us)

American Horror Story: Asylum

Season 2 of American Horror Story premiered last Wednesday. Although the name and a few of the actors are familiar, the plot and setting are completely new. This season takes place in an asylum for the mentally insane known as Briarcliff. The premier started in present day as a young couple explored an abandoned version of the asylum. The setting then shifted to the 1960s, when Briarcliff was at its peak, and the focus changed from present to past a couple more times as the episode continued. This holds the potential to be used for some pretty complex storylines in which certain clues are discovered in the present and then connected to the story in the past or vice versa.

As far as the season two scares go, some seem better than others. The budding alien abduction plot, featuring season one fan favorite Evan Peters, seems a bit strange. Obviously my opinion is not going to be shared by everyone, however I just don't find aliens to be that scary in comparison to some of the other horror movie concepts out there. On the other hand, a sort of 'mad scientist' plot seems to be emerging that shows some great potential. There are few things creepier than a scientist or doctor hell bent on recognition, despite the potential consequences. Some of the most haunting moments of season one surrounded the doctor who built the house for his wife, then proceeded to create an ungodly infant creature that scared the shit out of the audience while compelling them to come back week after week. It seems as if the writers, perhaps realizing what a success this story line was in season one, decided to recreate a similar plot for season two. Good move thus far. We'll have to see what direction the writers take this one.

One thing that American Horror Story promises to deliver is excitement. The writers do a masterful job combining sex, terror, and mystery. The sex and terror keep the heart racing and holds the attention of the audience while the mystery keeps them coming back for more. No matter how much the show scares viewers away, they are simultaneously forced to persevere and continue watching to find out all the secrets behind each character and subplot. If season one has taught us anything, it's to not underestimate the twist and turns that this show is capable of delivering. Expect to hang on the edge of your seat and to be caught off guard on more than one occasion. This show is perfect for the Halloween season. Tune in Wednesdays at 10pm on FX to avoid missing out.

The Walking Dead

The zombie genre is taking off like never before. Zombieland and The Walking Dead are just two examples of recent high quality productions featuring our favorite brain eating undead counterparts. Coupling the mysterious reality of a post apocalyptic world with the constant threat of death at any moment makes for one of the most exhilarating viewing experience an audience can get their hands on. What makes the genre so exciting and unique, however, is that despite the hordes of roaming corpses, the plot doesn't solely rest on the shoulders of the dead. The central conflict rarely involves a struggle between the zombies and the survivors, but rather a conflict within the group of survivors itself. As The Walking Dead slogan so succinctly states: "Fight the Dead. Fear the Living."

Last night marked the return of the hit AMC series. The season 3 premier was riddled with gore, action, and excitement, something that season two was lacking. It seemed as if the writers were releasing some pent up frustration that accumulated on Hershel's farm. Not to worry character-development-fans, the plot did not suffer. This season has a lot of promise. For the first time, the plot is going to take place in two major settings rather than just one. In the past, every character in the show had been more or less grouped together at all times. Now that Andrea has been separated from the group, however, the show will be split between watching the core cast adjust to prison life and watching the Andrea and Michonne story develop. The last 10 minutes of the first episode were simply thrilling. A cast member gets bit, a leg is amputated with a hatchet, and a huge curve ball is thrown at the characters in the last second, leaving the audience begging for more. I'm definitely excited for what the rest of the season has in store.

P.S. One of my biggest zombie apocalypse questions will be answered soon and I can't wait. Let's say, for example, you are bit in the hand by a zombie. If you promptly lop off that same hand, presumably before the infection has a chance to spread throughout your body, can you avoid turning into a zombie? Seems like it is definitely worth a try at the very least. What do you have to lose?

Fall Premiers

Fall is a big month in television. Each year, networks throw their best shows at us with hopes that we will choose their product over a rival's. The result: lots of great options for the viewers at home. So with so many premiers coming up, I'm going to dedicate this week's Real Television to profiling the most anticipated shows of the upcoming season.

5) Boardwalk Empire

Boardwalk Empire is getting the five spot by default because they cheated and got a head start, as they are already three episodes deep. However, the season has been spectacular so far. This show has always done a fantastic job using real life players and story lines from the prohibition days. The casting in this show is superb and outside of one or two mediocre performances, the writers get the best out of each and every actor. New episodes air Sundays at 9pm on HBO. Also, if you are interested in the true story behind the characters of Boardwalk, I recommend you check out How Booze Built America on the Discovery Channel.

4) The Walking Dead

The Walking Dead comes in at the four spot. It's third season is set to premier Sunday October 14th at 9pm on AMC; and yes, that also means we have our first scheduling conflict. Thank god for DVR. The walking dead takes a stylistic approach to the zombie genre, often using bleak colors and dank surroundings to reinforce how dire the characters' situation really is. As is the case with all good monster movies/shows, the true struggle is not about Man versus Monster, but instead about Man versus Man. The monster is simply the force that creates the conflict. After spending two full seasons with the cast... well those that lasted that long anyway... the audience has developed quite the connection with each character so that when somebody dies, the audience is genuinely upset about it. I am very optimistic about the new season. Check it out.

3) Community

NBC's Community has been one of my favorite shows since it first premiered back in 2009. Show creator, Dan Harmon, is responsible for some of the most out-of-the-box, cleverly written moments in television history. In fact, other than Arrested Development, I can't think of sitcom with better production value and overall entertainment than Dan Harmon's Community. So why is it only number three? Well the simple fact is that it's Dan Harmon's Community no longer. Harmon was fired after the completion of season 3. So although the show has been one of the most consistently hilarious shows on TV since it's inception, there are some big questions going into the 4th season. So has Harmon steered the show in a clear enough direction that it will stay successful without him, or will this autopilot version of Community be the end? I guess we'll have to wait and see. Be sure to tune in at an all new time slot; Friday, October 19th at 8:30 on NBC.

2) American Horror Story

American Horror Story is, hands down, one of the creepiest things I have ever encountered in my life. Scarier than most horror movies, this show keeps the audience on the edge of their seat each week from beginning until end. Believe it or not, the show stems from the collective mind of the creators of Glee but the writing is far from gleeful. The interconnected characters and complex story lines drive the plot deep into the subconscious and create lasting, haunting memories that leave you begging for more. The only reason I didn't put AHS in the number one slot is because season 2 is a whole new story. One of the coolest, albeit riskiest, things about American Horror Story is that each season features a completely new cast and plot. So although the first season was amazing, there is no telling whether the second season will be as good, better, or completely bomb. Set to take place in an insane asylum, Season 2 certainly shows a lot of promise. Be sure to catch the premier Wednesday October 17th, at 10pm on FX.

1) The League

The League is one of the funniest shows on television. The liberty that FX gives its programs allows The League to continuously push the envelope week after week. Lucky us. The cast has a chemistry unmatched by nearly every sitcom out there. I'll be honest, I was a little late to board the train. I had always heard good things but until about halfway through the last season, I didn't follow the show. I caught up quick though. I found the absurd antics and countless references to football and pop culture extremely addicting. Once I began watching the show, I couldn't stop. And it is for that reason that I'm putting The League as my number one most anticipated fall premier. As a fantasy football player myself, I'll admit that there are definitely some bonus incentive to watch the show, but even if you know nothing about football, the rapport between characters and overall relatability is enough for anybody to enjoy. Season premier is Thursday, October 11th at 10:30pm on FX.

Dexter

Everybody's favorite serial killer is back. Season 7 of Dexter premiered on Showtime last night with an explosive episode to kick things off. Last season ended with a twist that was extreme even by Dexter standards. I'll admit, I was a little worried that the writers may have gotten themselves in too deep a hole; that they could never recover from the implications of Deborah Morgan discovering Dexter in the act of killing somebody. I was truly puzzled at the idea of how to keep the story going. After giving it more thought, however, it made perfect sense. Since the lowly beginning of Deb's career as a police officer in season 1, she has become a much more competent investigator, with the ability to trust her instinct and think like a detective. In the early days, Dexter had to help her along with leads and evidence so that she could keep up, but over time she has turned into a top-notch cop. So it seems only natural, based on her ever increasing talents and her being the closest person to Dexter his whole life, that she would eventually catch on.

What I admired most about the season premier was that instead of fearing the possibility of putting Dexter under too much pressure and backing off, the writers decided to pile it on. Deb seems unable to deny her investigative instinct and keeps digging and digging. The episode ends with Deb finding out the whole truth after ransacking Dexter's apartment, at which point he has no choice but to confess. Plus, there is the added pressure of LaGuerta finding the blood slide and connecting it to the Bay Harbor Butcher. (It was nice to hear James Doakes mentioned again). Finally, the side plot developing with Dexter and Lewis' strained relationship seems to have a lot of promise and it would probably be a good idea to keep an eye on that story. It will be very interesting to see where things go from here. So far, everyone in the show who has had any idea of Dexter's secret has ended up dying. Could the same fate be in store for Deb? If so, could the show last without such a main character to add intricate layers to the plot? I am definitely excited to see what the rest of Season 7 has in store. I think Michael C. Hall said it best in an interview about the new season: "This show is always at its best or most potent when Dexter's in hot water and the water is really as hot as it's ever been now."

Boss

This week we'll be checking in with Boss. Season 2 of the break out hit from Starz, starring Kelsey Grammer, is coming to an end. If you have managed to make it this long without checking it out, I strongly recommend taking an hour out of your day to give it a test run. The first scene of the series premier demonstrates the powerful drama and edge of your seat angst that is often used as a tool to propel the plot lines to the highest level of entertainment. As with all top tier dramas, the ambiguity of good or bad is strong within each character, creating multidimensional story lines that leave the viewer wondering who to root for and who to hate. Kelsey Grammer steals scene after scene as you debate whether to pity or fear him. New episodes air Fridays at 9pm. The first episode of Season 2 is available for free online.