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Winning Time: The Rise of the Lakers Dynasty S01E07 : Invisible Man

Summary Winning Time: The Rise of the Lakers Dynasty S01E07 :
While Buss clashes with West over the coaching staff, Paul calls in a favor from Pat Riley. On the road for the first time, Earvin attempts to reconnect with loved ones in Lansing, before heading to Boston to square off against longtime rival Larry Bird.

Title : Winning Time: The Rise of the Lakers Dynasty S01E07
Episode Title : Invisible Man
Runtime: 00:59:14 minutes
Genre: Drama, Comedy
Stars: John C. Reilly, Quincy Isaiah, Jason Clarke, Adrien Brody, Gaby Hoffmann, Jason Segel, Tracy Letts, Hadley Robinson, DeVaughn Nixon, Solomon Hughes, Tamera Tomakili
Network: HBO

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A television show – or simply TV show – is any content produced for viewing on a television set which can be broadcast via over-the-air, satellite, or cable, excluding 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 can be produced with different methodologies such as taped variety shows emanating from a television studio stage, animation or 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 (real time), 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 US 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 UK is the same as a "season" in the US and Canada.)

A small collection of episodes may also be called a limited series or miniseries. A one-off collection of episodes may be called a "'TV special"' or limited series. A motion picture (also known as a movie) for television is initially broadcast as such rather than direct-to-video or on the traditional big screen.

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 UK, and David Sarnoff's famous introduction at the 1939 New York World's Fair in the US 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.[citation needed] 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."

Most television networks throughout the world are 'commercial', dependent on selling advertising time or acquiring sponsors. Broadcasting executives' main concern over their programming is audience size. In the past, the number of 'free to air' stations was restricted by the availability of channel frequencies, but cable TV (outside the United States, satellite television) technology has allowed an expansion in the number of channels available to viewers (sometimes at premium rates) in a much more competitive environment.

In the United States, the average broadcast network drama costs $3 million an episode to produce, while cable dramas cost $2 million on average. The pilot episode may be more expensive than a regular episode. In 2004, Lost's two-hour pilot cost $10 to $14 million, in 2008 Fringe's two-hour pilot cost $10 million, and in 2010, Boardwalk Empire was $18 million for the first episode. In 2011, Game of Thrones was $5 to $10 million, Pan Am cost an estimated $10 million, while Terra Nova's two-hour pilot was between $10 to $20 million.

Many scripted network television shows in the United States are financed through deficit financing: a studio finances the production cost of a show and a network pays a license fee to the studio for the right to air the show. This license fee does not cover the show's production costs, leading to the deficit. Although the studio does not make its money back in the original airing of the show, it retains ownership of the show. This allows the studio to make its money back and earn a profit through syndication and sales of DVDs and Blu-rays. This system places most of the financial risk on the studios; however, a hit show in the syndication and home video markets can more than make up for the misses. Although deficit financing places minimal financial risk on the networks, they lose out on the future profits of big hits since they are only licensing the shows.

Costs are recouped mainly by advertising revenues for broadcast networks and some cable channels, while other cable channels depend on subscriptions. In general, advertisers, and consequently networks that depend on advertising, are more interested in the number of viewers within the 18–49 age range than in the total number of viewers. Advertisers are willing to pay more to advertise on shows successful with young adults because they watch less television and are harder to reach. According to Advertising Age, during the 2007–08 season, Grey's Anatomy was able to charge $419,000 per commercial, compared to only $248,000 for a commercial during CSI, despite CSI having almost five million more viewers on average. Due to its strength with younger viewers, Friends was able to charge almost three times as much for a commercial as Murder, She Wrote, even though the two series had similar total viewer numbers at that time. Glee and The Office drew fewer total viewers than NCIS during the 2009–10 season, but earned an average of $272,694 and $213,617 respectively, compared to $150,708 for NCIS.

After production, the show is handed over to the television network, which sends it out to its affiliate stations, which broadcast it in the specified broadcast programming time slot. If the Nielsen ratings are good, the show is kept alive as long as possible. If not, the show is usually canceled. The show's creators are then left to shop around remaining episodes, and the possibility of future episodes, to other networks. On especially successful series, the producers sometimes call a halt to a series on their own like Seinfeld, The Cosby Show, Corner Gas, and M*A*S*H and end it with a concluding episode, which sometimes is a big series finale.

On rare occasions, a series that has not attracted particularly high ratings and has been canceled can be given a reprieve if home video viewership has been particularly strong. This has happened in the cases of Family Guy in the US and Peep Show in the UK.

In the United States, if the show is popular or lucrative, and a minimum number of episodes (usually 100) have been made, it can go into broadcast syndication, where rights to broadcast the program are then resold for cash or put into a barter exchange (offered to an outlet for free in exchange for airing additional commercials elsewhere in the station's broadcast day).

While network orders for 13- or 22-episode seasons are still pervasive in the television industry, several shows have deviated from this traditional trend. Written to be closed-ended and of shorter length than other shows, they are marketed with a variety of terms.

Miniseries: a very short, closed-ended series, typically six or more hours in two or more parts (nights), similar to an extended television movie. Many early miniseries were adaptations of popular novels of the day, such as The National Dream (1974), Roots (1977), and North and South (1985). In recent years, as described by several television executives interviewed by The Hollywood Reporter, the term miniseries has grown to have negative connotations within the industry, having become associated with melodrama-heavy works that were commonly produced under the format, while limited series or event series receive higher respect.

Limited series: distinct from miniseries in that the production is seen to have potential to be renewed, but without the requirement of it having as many episodes as a typical order per season. Under the Dome, Killer Women, and Luther were marketed as limited series. Individual season-length stories of anthology series such as American Horror Story, Fargo, and True Detective are also described as "limited series". The Primetime Emmys have had to make numerous changes to their miniseries/limited series category to accommodate anthology and other limited series.
Event series: largely considered a marketing term, falling under the general category of event television. The term can be applied to almost any new, short-run series, such as 24: Live Another Day. It has also been used to describe game shows like The Million Second Quiz which aired for just two weeks.