Some specific examples include The West Wing (with the season 1 finale standing out as an epiphany moment for pointing to new storytelling innovations), Buffy & Angel, Six Feet Under, Alias, and 24. I remember a number of programs that I was watching around 1999-2001 that seemed distinctive in their narrative strategies, offering new possibilities for primetime programming.
I think just like a lot of soap researchers, my research interest stemmed first from my personal tastes and fannish investments. What drove your interest in looking at narrative complexity in fictional television storytelling? Hopefully, I’ll still agree with myself in a year when the book is out! As always, your comments are welcome… Sam Ford, who conducted the interview with me via email, gave me permission to reproduce it here in full as a record of the conversation (under the condition that you agree to get the book next year). In the book, my comments will be interspersed with others around particular issues and questions. Lee Harrington, entitled The Survival of the Soap Opera: Strategies for a New Media Era(University of Mississippi Press, 2010). Last year I was asked to expand on those ideas via an interview to be included in an anthology edited by Sam Ford, Abigail De Kosnik, and C. One of my most-clicked (if not read) posts concerns how my approach to prime time serial television relates to the traditional daytime soap opera.
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