"Television: the revolution," ([1944])

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ii2 TELEVISION: THE REVOLUTION (we hope) some bright new names of televi- sion's own discovery—will no doubt have top- billing on the video marquee. However, because the headliner has won his first acclaim in radio or pictures, let's not be tied down in our thinking by what he has done in the past. A format which was sure-fire in front of a blindfolded mike may be a twelve- egg omelet to a television camera. If we try to borrow ideas from radio and pictures, we're running a long chance. It probably won't work. At best, it's a lame compromise. The iconoscope will show up the star as wearing a suit of made- over material—probably with the coat too short and the pants too long. Television is going to demand a fresh approach to the talents of estab- lished entertainers—unhampered by stale think- ing. Certainly we can profit by past experience— being guided by what sort of material has made these stars successful. But the approach of star and television showman alike must be original. The thinking which brings about the finished sight-broadcast may have its roots in a parent- medium, but what comes out on the television screen should be as new as next year's car. Several tendencies in variety show production