"I apologize. I know I left some of your favorite shows off this list. How do I know that? Because I left some of my favorite shows off this list. The happy and unfortunate fact is that there are far more than 100 great shows, and more created every year. Lists are incredibly important: they are how we define what matters to us, what we want entertainment and art to do, what we expect of our culture." —TIME TV critic James Poniewozik
The earliest TV shows were oddly assembled transitions between old genres that were (theater, vaudeville, etc.) and the TV that would become. Abbott and Costello, which debuted in 1952, was one of the most distinctive and acerbically funny of these video lungfish. The loosely connected skits conjured a seedy, hilariously cutthroat world in which there are two kinds of people: the one getting over and the ones getting gotten over on. Straight man Bud Abbott and whiny hustler Lou Costello combined their slapstick and pratfalls with a gleefully misanthropic sensibility; no one could be trusted, even, or especially the kids, as embodied by Stinky, the bratty urchin played brilliantly by The Three Stooges’ Joe Besser. Larry David would make a living out of this attitude decades later, but as Abbott and Costello would say, they were on first.
The gazillion dollars spent on David Beckham notwithstanding, the idea of sports making Americans aware of the larger world is something of a contradiction in terms. We are the country that plays football with our hands and has a two-nation sports league that holds a “World Series.” But for decades Roone Arledge’s ambitious anthology assembled games from hurling to jai alai, gave weekend couch potatoes a global perspective long before ESPN, and set the standard for nonfiction TV production. WWS showed American fans that there was more to “the constant variety of sport” than the NBA, NFL and MLB—even if that poor “agony of defeat” ski jumper had to sacrifice himself to get their attention.