Sat 4 Jun 2011
THE MYSTERIES OF THE MAKING OF THE CASES OF EDDIE DRAKE by Michael Shonk
Posted by Steve under TV mysteries[36] Comments
THE CASES OF EDDIE DRAKE
by Michael Shonk
This is Part Two of a series of posts about the vintage TV private eye series The Cases of Eddie Drake. If you haven’t already done so, click here to read Part One, in which the show itself is discussed: the actors, actresses, and the program’s antecedent on radio, The Cases of Mr. Ace. In the radio version George Raft played the role of PI Eddie Ace.
Part One ended with some questions that have yet to be answered. Virtually all sources agree on the history of TV version of The Cases of Eddie Drake, but are they right? Today it is accepted CBS filmed nine episodes in 1949 and then never aired it. In 1952, DuMont filmed the final four episodes and aired the series March 6, 1952 through May 29, 1952.
Internet Archives states that NBC aired the series June 4, 1951 through August 27, 1951, all 13 episodes. If true why would DuMont film four episodes and let NBC stations show it almost a year before it aired on the DuMont network?
None of it makes any sense.
Over at Google e-bookstore, I found an edited archive of Billboard magazine available. Billboard covered the television business during the years in question, 1948 through 1952.
The August 28, 1948 issue of Billboard had a news item about “one of the biggest tele-pix deals on record.” CBS had agreed to pay $300,000 “for a series of three 13-episode half-hour films”.
It added, “Series will be tagged The Cases of Eddie Drake scripted by Jason James, who penned the original Eddie Ace.” The news item further stated CBS owned half of the series with IMPPRO Productions. The budget for each episode was $7,500. Plans were to shoot four episodes simultaneously in a 10-day period. Filming would be in Los Angeles and use 35mm film.
The November 20, 1948 issue reported that IMPPRO VP Harlan Thompson would deliver the first five episodes of Eddie Drake to CBS executives in New York during the week of November 13th. Four other episodes were being finished in editing. Filming for the four remaining episodes of the 13 episode series would start Wednesday, November 17, 1948.
It is important to know that there was concern in 1948 that there were not enough writers to make enough TV dramas to fill the needs of all the TV stations. Any type of drama was in huge demand.
Nearly all network series, for budget reasons, were live or kinescoped. During this period TV Film was used mainly for local syndicated programs. TV Film allowed advertisers to shop TV series wherever they wanted, and the local stations to program the shows whenever they wanted.
Because Eddie Drake was a TV Film series, I don’t believe CBS ever intended it to be a network series, but instead always planned for it to be syndicated to local stations. Could Eddie Drake have aired in 1949?
Billboard suddenly has nothing to say about The Cases of Eddie Drake until 1951. However, this does not mean the series was shelved. Between 1948 and 1952 was a wild period for television.
In 1948, radio was still King, but TV was making it sweat. TV stations were popping up all over the country. Things were happening too fast, it was making people nervous. So nervous, the FCC put a temporary freeze on new TV stations. The freeze was supposed to last six months, but lasted instead until 1952.
The national media at that time paid little attention to local TV programming and syndication. It is possible Eddie Drake was on the air in 1949 and ignored except in small local markets.
By 1952, TV Film syndication had become a highly successful business. Everyone, including CBS and NBC, were selling non-network syndicated programming. CBS Television Film Sales had become a separate unit from CBS-TV network. According to Billboard, in 1952 The Cases of Eddie Drake was one of CBS Television Film Sales syndicated series.
While I have found no other reference suggesting that NBC stations ever showed Eddie Drake, I did find one item of interest. In the August 25, 1951 issue of Billboard, the local syndication coverage mentioned Virginia Dare Wines would sponsor The Cases of Eddie Drake on WENR-TV, Chicago starting September 7, 1951. This meant Eddie Drake was syndicated and on the air at least six months before DuMont aired the series.
Patricia Morison was in the first nine episodes, but then replaced by Lynne Roberts. Why?
Nine episodes had been filmed when CBS met with producer Harlan Thompson. Could CBS have asked for a casting change before IMPPRO filmed the final four episodes in November 1948? Why would CBS shelve any TV series during a time when there was a huge demand for any TV drama?
We need to see an episode with Lynne Roberts. As far as I know only one episode still exists, “Shoot The Works” which co-starred Patricia Morison. However, according to the Paley Media Center website, it has a copy of “Sleep Well Angel”, an episode with Lynne Roberts. Comparing the episodes should help give us some answers about the past of Eddie Drake. Are the writer, director and producers the same? It is unlikely all would return after a three-year layoff to film four episodes for DuMont. Has the set for Eddie’s office changed? Does Eddie still drive his three-wheel 1948 Davis Divan? What is the copyright date on the screen?
Finally, it is commonly thought The Files of Jeffrey Jones first aired in 1954 and was somehow connected to Eddie Drake. But Jeffery Jones first aired in 1952 and had no connection to Eddie Drake beyond star Don Haggerty and CBS Television Film Sales. Though in 1955, CBS Television Film Sales offered Eddie Drake as a “bonus arrangement” to any station buying Jeffrey Jones.
THE CASES OF EDDIE DRAKE. Syndicated; 13 episodes at 30 minutes each. CBS Television Film Sales. IMPPRO Productions. Produced by Harlan Thompson and Herbert L. Strock. Directed: Paul Garrison. Written: Jason James. Star: Don Haggerty. (Billboard, February 27, 1954)
THE FILES OF JEFFREY JONES. Syndicated; 39 episodes at 30 minutes each. CBS Television Film Sales. Lindsley Parsons Production. Produced: Lindsley Parsons. Directed: George Blair and Lew Landers. Star: Don Haggerty (Billboard, May 28, 1955)
While some Pop Culture historians take it personally when their findings are questioned, I am the opposite. If you have any questions or information to correct any mistakes I might have made, please post them in the comments.
The years between 1946 and 1952 were when network television truly began. We need to know the facts and understand the context in which those facts existed, before we can understand the true history of television.
June 4th, 2011 at 8:38 pm
Steve–
Paricia Morison is alive. Possible that you could track her down and get some insight into the Eddie Drake questions.
June 4th, 2011 at 10:20 pm
Patricia Morison left the tv show when she was given the chance to star in a Broadway musical–Cole Porter’s Kiss Me, Kate. She was the original Kate, and from that time on concentrated musical theater.
June 4th, 2011 at 11:19 pm
Great idea. I had check the bios of all the players and totally missed out on that possibility.
Has any one tried the IMDb pro? Its their paid site that gives out agents and other contact info. I wonder if that would be worth trying for this kind of thing.
The IMDb info on EDDIE DRAKE is all over the place. It credits Morison in her IMDb bio for all 13 episodes and in the series info page says she joined in the final four DuMont episodes (most have her in first nine). Lynne Roberts (most claim is in four episodes) has EDDIE DRAKE listed in her bio at IMDb but she is not mentioned at the series info page (nor was she mentioned anywhere in my source material from 1948 through 1957 to have been in EDDIE DRAKE).
Thanks again Barry for the suggestion.
June 5th, 2011 at 12:55 am
Thanks Marie for the information. I knew she was famous for the play but didn’t realize it was in November 1948. You have given this research geek some dates to match. Thank you.
June 5th, 2011 at 1:13 am
Marie is right. KISS ME KATE debuted on Broadway December 30,1948 (several sources). According to Wikipedia, Miss Morison left Hollywood in November 1948.
Mystery of why Lynne Roberts replaced Patricia Morison is solved. That is if Patricia Morison only did nine episodes instead of the full 13 and then left.
I still can’t confirm Lynne Roberts was in the series (the ads and log lines for the show I have found between 1951 and 1957 never mentioned Lynne Roberts.
June 5th, 2011 at 11:39 am
As one aspect of the mystery is clarified, another deepens!
June 7th, 2011 at 12:57 pm
I only saw this post yesterday (Monday), and so last night I went to my stack of old TV Guides, or in this case TV Forecasts, to track down Eddie Drake.
What I found: Cases of Eddie Drake aired in Chicago between September and December of 1951 on WENR-TV ch7, the ABC affiliate, Friday nights at 9:00 pm, right after Tales OF Tomorrow. Taleswas a live network offering, which meant went off the net to show Drake, which had its own local sponsor.
The Drake run ran out abruptly, for lack of episodes, and in mid-December the spot was filled by Craig Kennedy, Criminologist, another syndicated show, which obviously lasted longer.
Anyway, that’s what happened in Chicago.
One other thing: TV Forecast ran a story about Patricia Morison one week after the Drake show ended its run. Just coincidence, but it shows how much local TV schedules were in flux back then.
June 7th, 2011 at 3:12 pm
Mike, thanks. It is nice to know TV GUIDE agrees with me.
Did the TV FORECAST story mention EDDIE DRAKE? Since EDDIE was a 13 episode syndicated package it was still on the air into the late 1950s.
I hope to update soon with more answers. I am getting an education in how internet databases are created and wikipedia inspired.
June 7th, 2011 at 3:33 pm
The TV Forecast stories tended to be press handouts with blank spaces left in to insert timeslot and station info by the magazines or papers in the various cities.
The Patricia Morison story did mention Eddie Drake in passing; the inserted info had to mention that the show wasn’t on any more, which I imagine was a trifle embarrassing to someone.
I also took a quick look at the episode on the MillCreek DVD. I was trying to find a copyright date somewhere onscreen, but I guess my 60-something eyes aren’t up to the task any more *sob*.
Glad I could be of some help.
June 7th, 2011 at 4:49 pm
Mike, the copyright on “Shooting The Works” is, I think, 1949. I appreciate all the help you, Marie, and Barry have given me here in the comments.
June 8th, 2011 at 11:06 am
I can help, weakly, with some background info rather than specifics about the EDDIE DRAKE case. DuMont was cash-strapped from jump, since it was the only national network with no radio network to back it up (why they didn’t ally with Mutual, which toyed with a television network without getting very far, I dunno)…Paramount Theaters were the bank in the partnership, and they were always dithering about their partnership commitment. So, DuMont might well’ve sold their production for the upfront money, and certainly ABC, which as you’ll remember was the company created out of the NBC Blue network and what scraps NBC left with the Blue network when they were forced to give up one of their two national networks (the Red [hmm, says McCarthy] network absorbed most of the cream on Blue before divestiture), was also struggling throughout the ’50s, and a lot of stations in the early ’50s were split ABC/DuMont affiliates (particularly since ABC had a lot of weak programming and DuMont had a lot of inactive affiliates even in cities where they could get any). Hell, a lot of small-city stations were cherry-picking for several networks simultaneously. So, not too surprising to see it on CBS or ABC stations at the time.
June 8th, 2011 at 11:12 am
And “local syndication” is a little confusing…national syndication, to individual stations (and station groups), is a little closer to clarity. But DuMont might well be willing to pick up a series, already in place, that CBS dropped (for expense vs. live shows…and everyone was indeed experimenting in those days, with all kinds of formats and approaches).
June 8th, 2011 at 11:22 am
What Megan Walsh Boyle was able to dig out for TV GUIDE in 2004:
Murder mysteries are investigated by a New York private detective in a series that was originally produced for CBS in 1949. However, in something of a programming mystery, the network never aired the nine episodes that were in the can. Three years later, DuMont picked up the show and added four more installments to the package.
June 8th, 2011 at 11:46 am
I need to jump in to unscramble some of Todd’s network history. Since Chicago was central in some of it, my TV Forecasts are my principal source of info.
I don’t recall exactly, but it was around 1951 when the Justice Dept. forced the major movie studios to divest themselves of their theater chains. At that time, Paramount owned KTLA in Los Angeles, and as part of the deal bought some equity in the DuMont network.
After divestiture, the Paramount Theater chain, now legally separate from the studio, started up the merger between itself and ABC Television and Radio. This presented a complication in Chicago: Paramount Theaters owned WBKB ch4, which it had kept after the splitup (Paramount Pictures held onto KTLA), and which was CBS’s Chicago affiliate at the time. Meanwhile, the ABC network owned WENR ch 7 outright. Thus the newly merged company had two stations in the same market. This was one factor that held up the ABC-Paramount merger for over a year. Finally, in 1953, the whole thing was squared away, with ABC-Par merging WBKB with WENR, keeping the former set of call letters while permanently setling on ch 7. CBS then moved its radio station, WBBM, first to ch 4, then a few months later to ch 2.
It was Paramount Pictures, not the theater chain, that had the purse strings for DuMont, even before divestiture. Even after that happened, there was sufficient confusion within the government about which company was which that both ABC and DuMont were hamstrung in buliding affiliate relations for years, until DuMont finally folded.
See Gary Kisseloff’s wonderful oral history of early TV, The Box, for a wonderfully confusing account of the whole story.
June 8th, 2011 at 11:51 am
Indeed. Thanks for correcting the error…even if “unscrambling” is rather excessive for a single one-word error (albeit a crucial word, given how Paramount has had designs on television networking from well before the UPN years).
June 8th, 2011 at 12:59 pm
Fascinating stuff, that’s for sure. As Todd pointed out in Comment #11, why DuMont never allied with Mutual (the radio network) is a question I’ve also always wondered about.
And I’ve always intended to read up more about Mutual, but I never have. There was only one radio station in Cadillac where I grew up, and it was a Mutual affiliate. To listen to CBS or NBC, we had to pick up strong signal stations from all around the Midwest, including KMOX, I believe, in St. Louis. I discovered that as the only station that carried TARZAN.
I never did hear any radio programming that originated from ABC.
Getting back to Todd in Comment #13, with what TV Guide has to say about EDDIE DRAKE, that’s pretty much the “current knowledge” that Michael is challenging. Still lots to learn about the show, but he says he has some leads now that he didn’t have before.
June 8th, 2011 at 2:49 pm
Mutual/MBS, as initially a less centralized network than the others, was apparently very attractive to small-town radio stations…and they to it. It was certainly the largest single network, after the chopping up of NBC, into the ’80s, and ABC surpassed it in radio affiliates by creating a multiplicity of networks (of varying kinds of relatively limited programming) in the ’70s, but only then. And it was the initial national home of the Lone Ranger and the Green Hornet, of course…
June 8th, 2011 at 3:40 pm
For anyone curious about the history of DuMont TV network I recommend you visit DuMont History site:
http://www.dumonthistory.tv/index.html
Todd, I have been reading Billboard magazine coverage of TV syndication during the late forties through fifties. Billboard covered a variety of businesses (including carnivals and pinball machines). It is a great trade source for the growing TV syndication business including ratings, production credits, and business and union news.
I think the key period for EDDIE DRAKE is 1948-49 not the fifties. The key question is why would CBS shelve EDDIE DRAKE?
I have someone who has access to more episodes (including the final one). He is checking those out for me. I hope to learn some answers there. Sadly, date first aired probably will not be one of the answers.
(#12): “Local syndication” is a terrible phrase. “Syndication for local markets” is much better. In 1948, CBS created their first network schedule only to keep up with NBC. I need to find the article again, but at that time Paley of CBS saw TV going a different direction.
(#13) EDDIE DRAKE was shot in Los Angeles, but episode “Shooting the Works” made no mention of locale. EDDIE ACE, the radio series DRAKE is based on was in New York.
When you add how hard it was for the stars of Lucy and Jack Webb to convince the networks to use film for network shows, I find it hard to believe CBS in 1948 would shelve any show that was as expensive as EDDIE DRAKE, and that EDDIE DRAKE was ever considered a network series.
But this is when been a research geek is fun. The chase is on, my Kemo Sabes.
June 8th, 2011 at 3:45 pm
(#18) Typo correction for last line, “been a research geek” should read “being a research geek”. Not good when you refer to your favorite past time in the past tense.
June 8th, 2011 at 5:20 pm
Todd –
If the word “unscrambling” bothers you, I apologize.
But if you read Kisseloff’s book, with its first-person accounts of all the intrigues that were going on, I believe you’ll agree that “scrambled” is as good a word as any to describe the original situation.
In particular, the fall of the DuMont has a twist at the end that will knock you out.
(NO spoilers here – find the book and see for yourself.)
June 8th, 2011 at 7:50 pm
No, indeed, early television particularly is a history of scrambling…even on “General” Sarnoff’s part, much less DuMont’s. And I’m more than willing to believe that CBS, in its own confusion as to how to approach television production and scheduling, would orphan the product for a while despite their investment.
June 9th, 2011 at 11:13 am
I should have asked this awhile ago…
(#7) Mike, how many episodes were listed in the TV Guide Sept 51 through Dec 51, nine or thirteen episodes? Is Lynne Roberts credited?
(#21) CBS was willing to shelve “one of the biggest tele-pix deals on record” because of confusion?
CBS did not want TV Film series on the network. When Lucille Ball insisted on film for “I Love Lucy” CBS sold back their interest in the series and put it on the air only because the sponsor “forced” them. DRAKE was a syndicated series during a time when there was a huge demand for syndicated series. What is there to be confused about?
June 9th, 2011 at 7:24 pm
Todd, I hope you did not find my question in (#22) to be mean-spirited. It was not intended in that way but just my attempt to try and understand what you meant.
One of my goals with this is to better understand the period of 1946-1952 television. The more original source material from that era I read the less the current views of that time makes sense.
So much of valid research relies on context, so your perspective (and others) is valuable to me, especially when it disagrees with mine.
June 10th, 2011 at 9:35 am
Since I didn’t make it clear in my post, I’d better do it now:
My collection of TV Forecast is by no means complete. From the period in question, I’m missing a week here and there. This is why I didn’t include specific dates for the Eddie Drake run on ch 7.
What follows is guesswork:
– TV Forecast‘s listings were bare-bones:one sentence summing up the plot, the episode title (if known), and occasionally an actor’s name.
I’d have to look at my stack again (I’m writing this from work), but I think I remember five episodes being listed and written up. Taking missing issues into account, I’m guessing that ch 7 just ran the nine that were available, then plugged in Craig Kennedy when they ran out.
– The Patricia Morison story ran in the December 22 issue of TV Forecast.As I wrote before, this was after the Drake run ended; the gap in my collection is about two weeks. The story refers to Miss Morison’s involvement with Drake in the present tense, so I’m guessing here that it predates the engagement of Lynne Roberts.
Sorry I can’t be more specific about any of this; this is strictly a hobby with me, and I won’t try to fool you into thinking I’m some kind of expert. I just know where to look things up, is all.
June 10th, 2011 at 12:19 pm
Mike, if you know where to look things up, you generally know more than the experts.
Thanks for your help. What you remember tends to give strength to the nine episode then four later theory that is currently accepted. It also hints that EDDIE DRAKE may have been syndicated as a nine episode series at first. There are equal hints for it being a thirteen episode series on NBC stations before Chicago aired it.
This is why seeing a Lynne Roberts episode is important. Copyright date on the screen should give us a major clue to when it was shot.
As for the Patricia Morison interview, it was probably done in November as she was in New York by December. Again, as much as I like to play detective and collect all the clues and announced who done it, it is better research to find hard facts and not guess what might have happened. So who knows what it all means.
I do wish the DuMont believers could point to one reason they think DuMont filmed the final four episodes.
June 13th, 2011 at 9:18 am
This past weekend, I had a chance to more closely examine my 1951 TV Forecasts.
Here are my findings:
– Using the Sept. 7 start date (which I had missed in your original post), and allowing for missing weeks from my collection, I was able to calculate that at least thirteen episodes of Eddie Drake must have aired on ch7 between September and late November and early December (where my collection gap is most apparent).
– As I mentioned earlier, the loglines (did they call them that back then?) are bare-bones, with only Don Haggerty’s name mentioned consistently (when at all) and Patricia Morison’s rarely. In a couple of cases, no logline at all, which could have meant a repeat (or not). Lynne Roberts’s name never appears.
– Other columns appearing in the magazine – three-dot write-ups of programming news and gossip – never mention Eddie Drake at all. Remember, I don’t have every issue; some one that I don’t have might well note that ch 7 was dropping Drake for whatever reason. Any Chicagoans, past or present, whose collection is more complete than mine might be able to fill in the blanks here.
So that’s the status report from Chicago as of now.
June 13th, 2011 at 10:11 am
Thanks, Mike. This takes us back to the question why would DuMont, who rarely filmed their own shows, film 4 episodes of DRAKE, let others air it six months before they did, and then let CBS get all the syndication rights.
And it is not just Chicago TV logs and guides, what if it aired in small stations without any TV coverage on a station that no longer exist or kept up with its history?
I need to try and find Patricia Morison (last I found she was in Los Angeles enjoying life as a painter). I doubt she would remember much of such a minor point in her successful career.
Thanks again, Mike, for your time.
Oh, Part One and Two now have a link at Classic TV Archives article on DRAKE, along with my email address (mds1142@gmail.com) if anyone prefers email to public comments.
June 13th, 2011 at 12:05 pm
Michael
I’ve set up external links to both articles from EDDIE DRAKE’s page on IMDB, so that’s a port of entry also.
Mike
I know Chicago’s a big town, but I’ve got to wonder how many Chicagoans have a collection of TV Forecasts as extensive as you?
— Steve
June 13th, 2011 at 1:00 pm
I got into collecting TV Guide/Forecast only about ten years or so ago. Most of mine came from a couple of stores here in the Chicago area, one of which closed several years ago. Another couple of stores I haven’t been to in a while; I hope at least one is still open.
The major bar to completing a collection is that some issues are far more expensive than others, said price usually being determined by who’s on the cover; Lucy usually adds between $10-$20 to the cost, likewise Ozzie & Harriet(with Ricky) and Superman; by contrast, Arthur Godfrey, Wally Cox, J.Carrol Naish as Luigi, or the cast of Super Circus come comparatively inexpensive.
What I’m saying is that my collection consists mainly of other people’s collections that they had the sense to get rid of.
I wonder what Mike Nevins (who recently copped to having a self-made collection of his own) would make of this?
June 13th, 2011 at 1:55 pm
Thanks, Steve for the link at IMdb.
Mike most likely knows this, but for anyone interested in the history of Chicago TV Forecast (which began in 1948) and the birth of TV GUIDE will enjoy visiting TV History website.
http://www.tvhistory.tv/tv_forecast.htm
June 24th, 2011 at 5:41 am
The 12 March 1952 review of ‘The Brass Key’ in VARIETY addresses many of these questions. Per VARIETY:
01 Program “rolled” in 1949. Nine stanzas. All prod by CBS’s syndication arm
02 Four more turned out in 1952 to make thirteen
03 CBS’s syn arm sold these thirteen around the country (1952 being the first big season of the telefilm)
04 In NY Dumont’s WABD aired the series
05 Patricia Morison “woefully miscast … participated in series prior to stardom on Broadway”
June 24th, 2011 at 6:33 am
Adding to the above:
All I can find of a 1951 airing is that KTSL, the CBS affiliate in LA at the time, broadcast the series from Oct – Dec of that year. This per the LA Times.
No mention of Eddie Drake in the NBC master schedule cards. Quite possibly it aired on an NBC-owned affiliate. Though the general practice for such things was LA and/or NY first; then the in-betweens.
I’ve done a lot of research on early telefilm history over the years. So far as I can tell there were three high-profile series vying for a national berth in 1948 – 49: Eddie Drake, Public Prosecutor, and Your Show Time. The latter, debuting Jan 1949, is generally accepted as the first telefilm series to air on a national network.
June 24th, 2011 at 11:26 am
Allen, thanks for the information. You wouldn’t happen to have access to any VARIETY from Nov. 1948 through Jan, 1949?
I used information from BILLBOARD for the details of the shooting schedule and high price CBS paid for the series. But VARIETY would be the best source possible. It would mention Patricia Morison success on Broadway in late December/early January, and might refer to EDDIE.
June 26th, 2011 at 5:48 am
Michael, sorry, no. VARIETY itself (i.e. the full journal incl. news items) pre-2000 or so is basically only available on microfilm at institutions like NYPL, UCLA, etc.
The VARIETY materials I use are their published volumes of television reviews, 1928 – 1994. These are indexed. Their only review of Eddie Drake was the 1952 one I mentioned previously. Drop me your email address and I will scan and send.
Had CBS or anyone else aired Eddie Drake in 1949 (or even 1950) it surely would have been reviewed, the telefilm still being something of a novelty at the time.
I’d suggest pegging Eddie Drake as “released for syndication 1951.” Hopefully future sources will correct any mention of it being a DuMont series exclusively as this is not the case.
June 26th, 2011 at 8:00 pm
Thanks, and since my email address got outed at CTVA for EDDIE, I will add it here.
mds1142@gmail.com
UCLA surprised me and told me their archive is visual (film, kinescope, and video) only. Since BILLBOARD and HOLLYWOOD REPORTER are owned by the same corporation, I hope HR archives follow BILLBOARD to Google ebookstore.
My current guess EDDIE did not hit the major cities until Chicago in 1951. I have not ruled out it being syndicated as early as 1949 to the tiny rural stations that destroyed their logs long ago.
Patricia Morison might tell us more but I doubt it. She was kind of busy becoming the star of Broadway.
David Bushman and the Paley Center have been wonderful trying to find answers as well.
One of the reasons I think EDDIE is important was its existence during the birthing period of network television and national media coverage of TV syndication. It can illustrate the thinking of the programmers (network, local station, advertiser) of the time.
Thanks for the help, Allen!
September 30th, 2011 at 9:32 am
[…] Shonk, who has written a three-part history of the series for the Mystery*File blog: Part One, Part Two, Part […]