Customer Reviews

The Money Shot: Trash, Class, and the Making of TV Talk Shows

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I am, unabashedly, a talk show junkie. At some level my interest is undeniably scatalogical. Still, as a sociologist, my real fascination is with the culture of such programming and its impact upon American culture. Grindstaff's ethnographic exploration of two American talk shows answers many of my questions about how such programs are produced (the mechanics), the people involved ('ordinary' guests, 'expert' guests, those working behind the scenes, and the hosts), and offers insight into why we are hooked on this type of spectacle. Her treatment of the subject and those involved is even handed and avoids the obvious pitfalls of stereotyping and villifying.

For those interested in popular culture, American ethnography, issues of authenticity, and cultural studies, Grindstaff's text should find its way to your bookshelf ASAP.

Grindstaff has produced an excellent book exposing the underbelly of daytime talk show production. Her profuse detail gathered through extensive ethnographic fieldwork pays off in an effective account explaining the production process associated with the talk show. We see how the offbeat topics are formulated, guests recruited, and production secured on numerous talk show episodes. We are taken behind the scenes and understand that it is a small miracle that the television format manages to survive on a daily basis. The writing is precise and the volume is well annotated.
A fan of these talk shows will gain greater appreciation of how the process is structured and the impact upon producers, talk show guests, and studio audience members. This is a magnificent analysis that should be read by everyone curious about the talk show phenomenon.

I found this book very informative, and it answered my many questions about the truth behind talk shows. The author presents the industry from all angles, from studio audience to home audience to guests to producers. The only drawback is that I found some parts of the book overloaded with "big words" that are not necessary, and are distracting from the substance of the book. For example: "Such practices do not guarantee fireworks and drama, but they help because they locate the potential for dramatic interaction in the strategic juxtaposition of participants rather than (or in addition to) individual performative competence." I consider myself to be fairly skilled when it comes to vocabulary, but I found myself having to reread paragraphs on many occasions. If you're genuinely interested in the topic of talk shows, as I was, it will probably be worth your while to read. It will probably answer all of your questions, if you're willing to pluck the answers out from behind the excess wording.