Metv Nat Sch 1Q14 Eff 12-28-13

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NATIONAL PROGRAM SCHEDULE EFFECTIVE 12/28/2013 ALL TIMES CENTRAL - MOUNTAIN MONDAY - FRIDAY SATURDAY SUNDAY 5:00a Petticoat Junction Make Room for Daddy 5:00a Combat! 5:30a The Beverly Hillbillies Make Room for Daddy 5:30a 6:00a The Donna Reed Show H.R. Pufnstuf Family Affair 6:00a 6:30a I Love Lucy Land of the Lost Family Affair 6:30a 7:00a Leave It to Beaver GSA* E/I Green Hornet GSA* E/I Gomer Pyle 7:00a 7:30a Leave It to Beaver GSA* E/I Guns of Will Sonnett GSA* E/I Gomer Pyle 7:30a 8:00a Travel Thru History E/I Guns of Will Sonnett Travel Thru History E/I Petticoat Junction 8:00a Daniel Boone 8:30a Mystery Hunters E/I Branded Mystery Hunters E/I Petticoat Junction 8:30a 9:00a Safari E/I Branded Safari E/I Beverly Hillbillies 9:00a Perry Mason 9:30a Edgemont E/I The Rebel Edgemont E/I Beverly Hillbillies 9:30a 10:00a The Rebel Gilligan's Island 10:00a Ironside 10:30a Gilligan's Island 10:30a 11:00a Wagon Train 11:00a Hawaii Five-0 11:30a 11:30a The Brady Bunch Brunch 12:00p 12:00p Gunsmoke Gunsmoke 12:30p 12:30p 1:00p 1:00p Bonanza Bonanza The Love Boat 1:30p 1:30p 2:00p 2:00p The Big Valley Rawhide Remington Steele 2:30p 2:30p 3:00p Dragnet Wanted: Dead or Alive 3:00p The Streets of San Francisco 3:30p Adam-12 Wanted: Dead or Alive 3:30p 4:00p The Rifleman 4:00p Emergency! Cannon 4:30p The Rifleman 4:30p 5:00p The Rifleman 5:00p Emergency! The Rockford Files 5:30p The Rifleman 5:30p 6:00p M*A*S*H Batman 6:00p Kojak 6:30p M*A*S*H Batman 6:30p 7:00p 7:00p Wonder Woman 7:30p 7:30p Columbo 8:00p 8:00p See Primetime Breakout Below Star Trek: Original 8:30p 8:30p 9:00p 9:00p Thriller 9:30p Svengoolie 9:30p 10:00p The Twilight Zone Classic Horror & Sci-Fi Movie 10:00p The Alfred Hitchcock Hour 10:30p 10:30p Perry Mason 11:00p 11:00p Lost in Space The Fugitive 11:30p 11:30p The Untouchables 12:00a Get Smart Naked City 12:00a 12:30a Night Gallery Get Smart Naked City 12:30a 1:00a The Honeymooners Peter Gunn 1:00a The Alfred Hitchcock Hour 1:30a The Honeymooners Mr. Lucky 1:30a 2:00a Car 54, Where Are You? 2:00a Thriller Route 66 2:30a Car 54, Where Are You? 2:30a 3:00a The Phil Silvers Show 3:00a Wagon Train The Saint 3:30a The Phil Silvers Show 3:30a 4:00a Wanted: Dead or Alive (Fri: 12 O'Clock High) Dobie Gillis Wanted: Dead or Alive 4:00a 4:30a My Three Sons (Fri: 12 O'Clock High) Dobie Gillis My Three Sons 4:30a PRIMETIME SCHEDULE BREAKOUT MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY 7:00p Gilligan's Island 7:00p 7:30p Gilligan's Island 7:30p Me-TV Made for TV Movie 8:00p Hogan's Heroes 8:00p 8:30p F Troop 8:30p 9:00p Mary Tyler Moore Taxi Bob Newhart Show Rhoda The Dick Van Dyke Show 9:00p 9:30P Mary Tyler Moore Taxi Bob Newhart Show Rhoda The Dick Van Dyke Show 9:30P LOCAL STATION SCHEDULES MAY VARY BY CITY SUBJECT TO CHANGE - (E/I) = EDUCATIONAL/INFORMATIONAL - * Green Screen Adventures.

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The Beverly Hillbillies: a Comedy in Three Acts; 9780871294111; 1968; Dramatic Publishing, 1968
Paul Henning; The Beverly Hillbillies: A Comedy in Three Acts; 9780871294111; 1968; Dramatic Publishing, 1968 The Beverly Hillbillies is an American situation comedy originally broadcast for nine seasons on CBS from 1962 to 1971, starring Buddy Ebsen, Irene Ryan, Donna Douglas, and Max Baer, Jr. The series is about a poor backwoods family transplanted to Beverly Hills, California, after striking oil on their land. A Filmways production created by writer Paul Henning, it is the first in a genre of "fish out of water" themed television shows, and was followed by other Henning-inspired country-cousin series on CBS. In 1963, Henning introduced Petticoat Junction, and in 1965 he reversed the rags The Beverly Hillbillies - Season 3 : A nouveau riche hillbilly family moves to Beverly Hills and shakes up the privileged society with their hayseed ways.Â The Beverly Hillbillies - Season 3 English Sub | Fmovies. Loading Turn off light Report. Loading ads You can also control the player by using these shortcuts Enter/Space M 0-9 F. Scroll down and click to choose episode/server you want to watch. - We apologize to all users; due to technical issues, several links on the website are not working at the moments, and re - work at some hours late. Watch The Beverly Hillbillies 3 Online. the beverly hillbillies 3 full movie with English subtitle. Stars: Buddy Ebsen, Donna Douglas, Raymond Bailey, Irene Ryan, Max Baer Jr, Nancy Kulp.Â "The Beverly Hillbillies" is a classic American comedy series that originally aired for nine seasons from 1962 to 1971 and was the first television series to feature a "fish out of water" genre.
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Ldim4-1620832776-Metv Plus 2Q21.Pdf
Daniel Boone MeTV PLUS can be seen on WCIU 26.5 • Xfinity 361 • RCN 30 • WOW 196 • Spectrum 188 EFFECTIVE 5/15/21 ALL TIMES CENTRAL MONDAY - FRIDAY SATURDAY SUNDAY 5:00a 5:00a The Saint The Saint Daniel Boone 5:30a 5:30a 6:00a Branded Branded 6:00a Burke's Law 6:30a The Guns of Will Sonnett The Guns of Will Sonnett 6:30a 7:00a 7:00a Here Come the Brides Daniel Boone Daniel Boone 7:30a 7:30a 8:00a Trackdown 8:00a Family Daniel Boone 8:30a Trackdown 8:30a 9:00a Mama's Family The Beverly Hillbillies 9:00a Cheyenne 9:30a Mama's Family The Beverly Hillbillies 9:30a 10:00a Mayberry R.F.D. The Beverly Hillbillies The Rebel 10:00a 10:30a Mayberry R.F.D. The Beverly Hillbillies The Rebel 10:30a 11:00a Petticoat Junction Trackdown 11:00a Cannon 11:30a Petticoat Junction Trackdown 11:30a 12:00p Green Acres 12:00p T.J. Hooker Thunderbirds 12:30p Green Acres 12:30p 1:00p Mayberry R.F.D. Fireball XL5 1:00p Matt Houston 1:30p Mayberry R.F.D. Joe 90 1:30p 2:00p Mama's Family Stingray 2:00p Mod Squad 2:30p Mama's Family Supercar 2:30p 3:00p Laverne & Shirley 3:00p The Rookies Highlander 3:30p Laverne & Shirley 3:30p 4:00p Bosom Buddies 4:00p Police Woman Highlander 4:30p Bosom Buddies 4:30p 5:00p Branded 5:00p The Streets of San Francisco Mission: Impossible 5:30p The Guns of Will Sonnett 5:30p 6:00p 6:00p Vega$ The Wild Wild West Mission: Impossible 6:30p 6:30p 7:00p 7:00p Hawaii Five-O The Wild Wild West 7:30p 7:30p 8:00p 8:00p Hawaii Five-O Cheyenne Sunday Night Cartoons 8:30p 8:30p 9:00p Trackdown 9:00p Hawaii Five-O 9:30p Trackdown 9:30p 10:00p The
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Crossroads Film and Television Program List
Crossroads Film and Television Program List This resource list will help expand your programmatic options for the Crossroads exhibition. Work with your local library, schools, and daycare centers to introduce age-appropriate books that focus on themes featured in the exhibition. Help libraries and bookstores to host book clubs, discussion programs or other learning opportunities, or develop a display with books on the subject. This list is not exhaustive or even all encompassing – it will simply get you started. Rural themes appeared in feature-length films from the beginning of silent movies. The subject matter appealed to audiences, many of whom had relatives or direct experience with life in rural America. Historian Hal Barron explores rural melodrama in “Rural America on the Silent Screen,” Agricultural History 80 (Fall 2006), pp. 383-410. Over the decades, film and television series dramatized, romanticized, sensationalized, and even trivialized rural life, landscapes and experiences. Audiences remained loyal, tuning in to series syndicated on non-network channels. Rural themes still appear in films and series, and treatments of the subject matter range from realistic to sensational. FEATURE LENGTH FILMS The following films are listed alphabetically and by Crossroads exhibit theme. Each film can be a basis for discussions of topics relevant to your state or community. Selected films are those that critics found compelling and that remain accessible. Identity Bridges of Madison County (1995) In rural Iowa in 1965, Italian war-bride Francesca Johnson begins to question her future when National Geographic photographer Robert Kincaid pulls into her farm while her husband and children are away at the state fair, asking for directions to Roseman Bridge.
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Gloria Swanson
Gloria Swanson: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Swanson, Gloria, 1899-1983 Title: Gloria Swanson Papers [18--]-1988 (bulk 1920-1983) Dates: [18--]-1988 Extent: 620 boxes, artwork, audio discs, bound volumes, film, galleys, microfilm, posters, and realia (292.5 linear feet) Abstract: The papers of this well-known American actress encompass her long film and theater career, her extensive business interests, and her interest in health and nutrition, as well as personal and family matters. Call Number: Film Collection FI-041 Language English. Access Open for research. Please note that an appointment is required to view items in Series VII. Formats, Subseries I. Realia. Administrative Information Acquisition Purchase (1982) and gift (1983-1988) Processed by Joan Sibley, with assistance from Kerry Bohannon, David Sparks, Steve Mielke, Jimmy Rittenberry, Eve Grauer, 1990-1993 Repository: Harry Ransom Center, University of Texas at Austin Swanson, Gloria, 1899-1983 Film Collection FI-041 Biographical Sketch Actress Gloria Swanson was born Gloria May Josephine Swanson on March 27, 1899, in Chicago, the only child of Joseph Theodore and Adelaide Klanowsky Swanson. Her father's position as a civilian supply officer with the army took the family to Key West, FL and San Juan, Puerto Rico, but the majority of Swanson's childhood was spent in Chicago. It was in Chicago at Essanay Studios in 1914 that she began her lifelong association with the motion picture industry. She moved to California where she worked for Sennett/Keystone Studios before rising to stardom at Paramount in such Cecil B.
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Highway Patrol the Facts of Life Hogan's Heroes the Twilight Zone the Jeffersons Carol Burnett and Friends M*A*S*H Svengoolie Cl
Daniel Boone EFFECTIVE 9/2/19 ALL TIMES EASTERN / PACIFIC MONDAY - FRIDAY SATURDAY SUNDAY 6:00a The Facts of Life The Beverly Hillbillies ALF 6:00a 6:30a Diff'rent Strokes The Beverly Hillbillies ALF 6:30a 7:00a The Beverly Hillbillies Bat Masterson Mystery Hunters (E/I) 7:00a 7:30a My Three Sons Bat Masterson Mystery Hunters (E/I) 7:30a 8:00a Leave It to Beaver Trackdown Beakman's World (E/I) 8:00a 8:30a Leave It to Beaver Trackdown Beakman's World (E/I) 8:30a 9:00a Have Gun, Will Travel Bill Nye, the Science Guy (E/I) 9:00a Perry Mason 9:30a Have Gun, Will Travel Bill Nye, the Science Guy (E/I) 9:30a 10:00a Saved by the Bell (E/I) 10:00a Matlock Maverick 10:30a Saved by the Bell (E/I) 10:30a 11:00a Saved by the Bell (E/I) 11:00a Diagnosis Murder Wagon Train 11:30a Saved by the Bell (E/I) 11:30a 12:00p 12:00p In the Heat of the Night The Big Valley 12:30p 12:30p The Brady Bunch Brunch 1:00p 1:00p Gunsmoke Gunsmoke 1:30p 1:30p 2:00p 2:00p Bonanza Bonanza 2:30p 2:30p 3:00p The Rifleman 3:00p Rawhide Gilligan's Island Three Hour Tour 3:30p The Rifleman 3:30p 4:00p Wanted: Dead or Alive 4:00p Wagon Train 4:30p Wanted: Dead or Alive 4:30p 5:00p The Rifleman The Monkees 5:00p Charlie's Angels 5:30p The Rifleman The Monkees 5:30p 6:00p Mama's Family 6:00p The Three Stooges The Love Boat 6:30p The Jeffersons 6:30p 7:00p M*A*S*H M*A*S*H 7:00p Wonder Woman 7:30p M*A*S*H M*A*S*H 7:30p 8:00p The Andy Griffith Show 8:00p 8:30p The Andy Griffith Show Svengoolie 8:30p Columbo 9:00p Gomer Pyle, U.S.M.C.
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Daniel Boone EFFECTIVE 3/21/21 ALL TIMES EASTERN / PACIFIC MONDAY - FRIDAY SATURDAY SUNDAY 6:00a Dragnet The Beverly Hillbillies 6:00a The Powers of Matthew Star 6:30a My Three Sons The Beverly Hillbillies 6:30a 7:00a Saved by the Bell (E/I) 7:00a Toon In With Me Popeye and Pals 7:30a Saved by the Bell (E/I) 7:30a 8:00a Leave It to Beaver Saved by the Bell (E/I) 8:00a The Tom and Jerry Show 8:30a Leave It to Beaver Saved by the Bell (E/I) 8:30a 9:00a Saved by the Bell (E/I) 9:00a Perry Mason Bugs Bunny and Friends 9:30a Saved by the Bell (E/I) 9:30a 10:00a The Flintstones 10:00a Matlock Maverick 10:30a The Flintstones 10:30a 11:00a The Flintstones 11:00a In the Heat of the Night Wagon Train 11:30a The Jetsons 11:30a 12:00p 12:00p The Waltons The Big Valley 12:30p 12:30p The Brady Bunch Brunch 1:00p 1:00p Gunsmoke Gunsmoke 1:30p 1:30p 2:00p 2:00p Bonanza Bonanza 2:30p 2:30p 3:00p The Rifleman 3:00p Rawhide Gilligan's Island Three Hour Tour 3:30p The Rifleman 3:30p 4:00p Have Gun, Will Travel 4:00p Wagon Train 4:30p Wanted: Dead or Alive 4:30p 5:00p Adam-12 The Rifleman Mama's Family 5:00p 5:30p Adam-12 The Rifleman Mama's Family 5:30p 6:00p The Flintstones 6:00p The Love Boat 6:30p Happy Days 6:30p The Three Stooges 7:00p M*A*S*H M*A*S*H 7:00p 7:30p M*A*S*H M*A*S*H 7:30p 8:00p The Andy Griffith Show 8:00p 8:30p The Andy Griffith Show Svengoolie Columbo 8:30p 9:00p Gomer Pyle, U.S.M.C.
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CBS, Rural Sitcoms, and the Image of the South, 1957-1971 Sara K
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971 Sara K. Eskridge Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Eskridge, Sara K., "Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971" (2013). LSU Doctoral Dissertations. 3154. https://digitalcommons.lsu.edu/gradschool_dissertations/3154 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RUBE TUBE: CBS, RURAL SITCOMS, AND THE IMAGE OF THE SOUTH, 1957-1971 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Sara K. Eskridge B.A., Mary Washington College, 2003 M.A., Virginia Commonwealth University, 2006 May 2013 Acknowledgements Many thanks to all of those who helped me envision, research, and complete this project. First of all, a thank you to the Middleton Library at Louisiana State University, where I found most of the secondary source materials for this dissertation, as well as some of the primary sources. I especially thank Joseph Nicholson, the LSU history subject librarian, who helped me with a number of specific inquiries.
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LUCY GETS the BALL ROLLING By
PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A. OGLICE (Under the Direction of Dwight Brooks) ABSTRACT The 1950’s was an era that welcomed Lucy Ricardo into their homes. The comedy I Love Lucy premiered on Oct. 15, 1951, on CBS. This study seeks to demonstrate and illustrate how Lucy Ricardo battled patriarchy, which was common among TV sitcoms of the era. Primarily, this study aims to analyze Lucy Ricardo’s role as a woman who pushes the limits of patriarchy in I Love Lucy, by examining her dual roles of someone who defies patriarchy, yet show’s allegiance to it as well. A textual analysis of 14 I Love Lucy episodes will address the established mode of domesticity in I Love Lucy, as well as opportunities for challenges that Lucy takes advantage of. This study reveals a woman who denied her husband’s wishes to control her. Lucy stepped outside of the typical portrayal of married women who were supposed to submit to their husbands and follow their every wish. INDEX WORDS: I Love Lucy, Feminist theory, Patriarchy, Masculinity, Femininity, Sitcom, The 1950s, Housewifery, Ethnicity, American culture. PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A. OGLICE B.S., The University of Tennessee, 2002 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2004 ©2004 Eunice A. Oglice All Rights Reserved PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A.
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II. Remembrance Representation
II. Remembrance & Representation Figure 1. Benson Fong, Beulah Quo, and George Takei on the set of My Three Sons. 2016 Amerasia Journal Amerasia 96 Amerasia Journal 42:2 (2016): 96-117 10.17953/aj.42.1.96 The Asian American Next Door Enfiguring the Model Minority on the Domestic Melodrama Melissa Phruksachart In the years between the mass incarceration of Japanese Americans (1942-1946) and the 1965 Immigration Act, what prepared the Ameri- can public to recognize and validate the term “model minority?” This essay proposes a televisual genealogy of the model minority as dis- tinct from the 1966 formulation published by The New York Times in William Petersen’s feature “Success Story, Japanese-American Style.”1 Building upon prior scholarship, I inquire into the early Cold War log- ics that precipitated the popular rise of the model minority figure in 1966. In particular, I point to network television as an archive that circulated the structures of feeling necessary for the model minority to take hold. By doing so, I place recent histories of Asian American do- mesticity during the Cold War era into closer conversation with U.S. popular culture, particularly television. While popular media histories lament the rarity of Asian Ameri- cans on television, I identify the trope of the Asian American neigh- bor as increasingly common on television in the late 1950s and early 1960s. Both the television industry and Asian American communities found themselves rapidly growing in size in mid-1950s California. At stake for both the television industry and Asian American commu- nities was the chance to be “domesticated” into the American home.
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Richard Butsch a HALF CENTURY of CLASS and GENDER In
Butsch, Richard. « A Half Century of Class and Gender in American TV Domestic Sitcoms », Cercles 8 (2003) : 16-34 <www.cercles.com>. ©Cercles 2003. Toute reproduction, même partielle, par quelque procédé que ce soit, est interdite sans autorisation préalable (loi du 11 mars 1957, al. 1 de l’art. 40). ISSN : 1292-8968. Richard Butsch Rider University, Lawrenceville A HALF CENTURY OF CLASS AND GENDER in American TV Domestic Sitcoms Over a half-century of television, domestic situation comedies have reinforced images of the middle class as better than the working class. Similar inequalities have been portrayed for men versus women, black versus white, old versus young, and for other status hierarchies. Already embedded in the larger culture, these stereotypes are used to signify character types that advance dramatic goals. Nevertheless, the pervasiveness of network tele- vision and the persistence over five decades have contributed immeasurably to reproducing these same stereotypes. Women, for example, have been cast as main characters only where the subjects of romance or family are salient; they have been absent from rational discussions in scripts [Gerbner, 1972]. Women’s presence thus signals certain themes. Similarly, traits culturally associated with a lower status, applied to a person of higher status devalues that person. Men are devalued by characte- rizing them as feminine. Such status inversion can then effectively confirm other lower statuses held by the person. Female, black and lower-class adults have been devalued by characterizing them as child-like. Child-like attribu- tions undercut their adult status, confirming their lower status as female, black or lower-class.
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Not for Publication ,Dimensions of Violence In
NOT FOR PUBLICATION ------------ ,DIMENSIONS OF VIOLENCE IN TELEVISION DRAMA A study of network programs transmitted October 1 through 7 in 1967 and 1968; conducted in October and November, 1968 for the ~ass Media Task' Force National Commission en the Causes and Prevention of Violence PROJECT STAFF Principal investigator: George --~rbner, Professor of Communications. Associate inves tigators: Marten Brouwer, Vis iting Professor of Communications.' Consultant on data processing, and supervisor of study of role re1a- .. tionships in violent encounters. Cedric C. Clark, Postdoctoral FeUo,,' in Corrrrnunications.. Supervisor of data processing. Special study of values and ethnic relationships in violence (not available for this report). Jay Haley, Director of Family Research, Child Guidance Clinic, Philadelphia. Special study of family relationships in the portrayal of violence (not avaUab1e for this report). Klaus Krippendorff, Assistant Professor of Communications. Supervisor of general methodology and computer programming. Special study of violent acts. ' Administrative Assistant and Staff Supervisor: Michael F. E1eey Technical Director: Vernon J. Wattenberger, Director of Facilities and Engineering Assistants: Barry Hampe, Supervisor of Film Laboratory Services John Massi, Supervisor of Broadcasting Laboratory Services CONTENTS PREVIEW 1 The task 1 Challenge and difficulties 1 Accomplishments 2 A 'bird's-eye view of the results 3 The extent of violence 4 The nature of violence 5 The people of violence 6 The world of violence 7 METHOD OF ANALYSIS 9 Selection of the television programs 10 Units of analysis and types of data generated 15 The recording of data 18 Reliability 19 Training of observers 20 Process of recording 21 Results 22 Analysis 24 Merging of categories 24 Effects of reliability 26 Effects of unitizing and conditional judgments 27 DIMENSIONS OF VIOLENCE 30 The extent of violence 32 Prevalence 33 Significance to the story 34.
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ABC Television Center Studios (Name Circa 1960)
ESTUDIOS DE CINEMA QUE VIRARAM ESTUDIOS DE TV Antigos estúdios de Hollywood http://www.retroweb.com/tv_studios_and_ranches.html ABC Television Center Studios (name circa 1960) Formerly: Vitagraph Studios Currently: The Prospect Studios (aka ABC Television Center West) Location: 4151 Prospect Avenue, Hollywood, California opened in 1912 as Vitagraph Studios, making it one of the oldest studios in Hollywood. eventually purchased by Warner Bros in 1925 ABC Television acquired the studio property in 1949, and opened the world's largest, state-of-the-art television center. "The old Vitagraph lot, then ABC, now Disney in East Hollywood, once had a large backlot, but by the time of television, the backlot was gone. For an early live western tv show, the side of one of the sound stages was painted to look like a western town or desert scene or something, and the show was show live from in front of that painted building." - Jerry S. "I've been told that all the scenes [in 42nd STREET] inside the theater were shot at Prospect on [what was known as] the Vitaphone theater stage. That stage later became Studio E at ABC, (now Stage 5). Eventually, the auditorium end of the stage was demolished to make way for a new studio now called Stage 4. The Vitaphone stage was sort of like the Phantom stage at Universal in that a portion of it had a permanent auditorium set with seats and boxes. It was removed once ABC took over. The old TV series SPACE PATROL was shot on those combined stages." - Richard P.
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