The Gilded Age Season 2 Episode 4 : His Grace the Duke

Summary The Gilded Age Season 2 Episode 4 :

After receiving discouraging news about the Met, Bertha deals with rumors that are swirling about Larry. Fearing her sister’s disapproval, Ada asks Marian to cover for her as she continues to see Mr. Forte. Later, Bertha vies for position with the visiting Duke of Buckingham, and, in Tuskegee, Peggy navigates a tense dinner with Mr. Fortune and Booker T. Washington.

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Title : The Gilded Age Season 2 Episode 4

Episode Title : His Grace the Duke

Runtime: 00:26:14 minutes

Genre: Drama

Stars: Carrie Coon, Morgan Spector, Louisa Jacobson, Denée Benton, Taissa Farmiga, Harry Richardson, Blake Ritson, Simon Jones, Jack Gilpin, Ben Ahlers, Michael Cerveris

Network: HBO

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A television show, or simply a TV show, is the general reference to any content produced for viewing on a television set that is broadcast via over-the-air, satellite, or cable. This includes content made by television broadcasters and content made for broadcasting by film production companies. It excludes breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled for broadcast well ahead of time and appear on electronic guides or other TV listings, but streaming services often make them available for viewing anytime. The content in a television show is produced by one of two production methodologies: live taped-shows such as variety and news magazine shows shot on a television studio stage or sporting events (all considered linear productions). The other production model includes animation and a variety of film productions ranging from movies to series. Shows not produced on a television studio stage are usually contracted or licensed to be made by appropriate production companies.

Television shows can be viewed live (in a linear/real time fashion), be recorded on home video, a digital video recorder for later viewing, be viewed on demand via a set-top box, or streamed over the internet.

A television show is also called a television program (British English: programme), especially if it lacks a narrative structure.

In the United States and Canada, a television series is usually released in episodes that follow a narrative and are usually divided into seasons. In the UK, a television series is a yearly or semiannual set of new episodes. In effect, a "series" in the United Kingdom, Ireland, and Australia is the same as a "season" in the United States and Canada.

A small or one-off collection of episodes may also be called a limited series, TV special, or miniseries.

A television film, or telefilm, is a feature film created for broadcasting on television.

The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 1937 coronation of King George VI in the United Kingdom, and David Sarnoff's famous introduction at the 1939 New York World's Fair in the United States spurred a growth in the medium, but World War II put a halt to development until after the war. The 1947 World Series inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name "Mr Television", and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951, when President Harry Truman's speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T's transcontinental cable and microwave radio relay system to broadcast stations in local markets.

The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 1972, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.

Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.

A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little. If some change happened to the characters' lives during the episode, it was usually undone by the end. Due to this, the episodes could be broadcast in any order. Since the 1980s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first US prime time drama television series to have this kind of dramatic structure, while the later series Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.

In 2012, it was reported that television was growing into a larger component of major media companies' revenues than film. Some also noted the increase in quality of some television programs. In 2012, Academy Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: "I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television."

When a person or company decides to create new content for television broadcast, they develop the show's elements, consisting of the concept, the characters, the crew, and cast. Then they often "pitch" it to the various networks in an attempt to find one interested enough to order a prototype first episode of the series, known as a pilot. Eric Coleman, an animation executive at Disney, told an interviewer, "One misconception is that it's very difficult to get in and pitch your show, when the truth is that development executives at networks want very much to hear ideas. They want very much to get the word out on what types of shows they're looking for."

To create the pilot, the structure and team of the whole series must be put together. If audiences respond well to the pilot, the network will pick up the show to air it the next season (usually Fall). Sometimes they save it for mid-season, or request rewrites and additional review (known in the industry as development hell). Other times, they pass entirely, forcing the show's creator to "shop it around" to other networks. Many shows never make it past the pilot stage.

The show hires a stable of writers, who typically work in parallel: the first writer works on the first episode, the second on the second episode, etc. When all the writers have been used, episode assignment starts again with the first writer. On other shows, however, the writers work as a team. Sometimes they develop story ideas individually, and pitch them to the show's creator, who folds them together into a script and rewrites them.

If the show is picked up and it is an hour-long drama, the network orders a "run" of episodes—usually only six or 13 episodes at first, though if it is a half-hour comedy then the season typically consists of at least 22 episodes. The midseason seven and last nine episodes are sometimes called the "mid-seven" and "back nine"—borrowing the colloquial terms from bowling and golf.

The method of "team writing" is employed on some longer dramatic series (usually running up to a maximum of around 13 episodes). The idea for such a program may be generated "in-house" by one of the networks; it could originate from an independent production company (sometimes a product of both). For instance, the BBC's long-running soap opera EastEnders is wholly a BBC production, whereas its popular drama Life on Mars was developed by Kudos in association with the broadcaster.

There are still a significant number of programs (usually sitcoms) that are built by just one or two writers and a small, close-knit production team. These are "pitched" in the traditional way, but since the creators handle all the writing requirements, there is a run of six or seven episodes per series once approval has been given. Many of the most popular British comedies have been made this way, including Monty Python's Flying Circus (albeit with an exclusive team of six writer-performers), Fawlty Towers, Blackadder and The Office.

The production company is often separate from the broadcaster. The executive producer, often the show's creator, is in charge of running the show. They pick the crew and help cast the actors, approve and sometimes write series plots—some even write or direct major episodes—while various other producers help to ensure that the show runs smoothly. Very occasionally, the executive producer will cast themselves in the show. As with filmmaking or other electronic media production, producing of an individual episode can be divided into three parts: pre-production, principal photography, and post-production.

Pre-production begins when a script is approved. A director is chosen to plan the episode's final look.

Pre-production tasks include storyboarding; construction of sets, props, and costumes; casting guest stars; budgeting; acquiring resources like lighting, special effects, stunts, etc. Once the show is planned, it must then be scheduled: scenes are often filmed out of sequence, guest actors or even regulars may only be available at certain times. Sometimes the principal photography of different episodes must be done at the same time, complicating the schedule (a guest star might shoot scenes from two episodes on the same afternoon). Complex scenes are translated from storyboard to animatics to further clarify the action. Scripts are adjusted to meet altering requirements.

Some shows have a small stable of directors, but also usually rely on outside directors. Given the time constraints of broadcasting, a single show might have two or three episodes in pre-production, one or two episodes in principal photography, and a few more in various stages of post-production. The task of directing is complex enough that a single director can usually not work on more than one episode or show at a time, hence the need for multiple directors.

Principal photography is the actual filming of the episode. Director, actors, and crew gather at a television studio or on location for filming or videoing a scene. A scene is further divided into shots, which should be planned during pre-production. Depending on scheduling, a scene may be shot in non-sequential order of the story. Conversations may be filmed twice from different camera angles, often using stand-ins, so one actor might perform all their lines in one set of shots, and then the other side of the conversation is filmed from the opposite perspective. To complete a production on time, a second unit may be filming a different scene on another set or location at the same time, using a different set of actors, an assistant director, and a second unit crew. A director of photography supervises the lighting of each shot to ensure consistency.

Live events are usually covered by Outside Broadcast crews using mobile television studios, known as scanners or OB trucks. Although varying greatly depending on the era and subject covered, these trucks were normally crewed by up to 15 skilled operators and production personnel. In the UK for most of the 20th century, the BBC was the preeminent provider of outside broadcast coverage. BBC crews worked on almost every major event, including Royal weddings and funerals, major political and sporting events, and even drama programmes.