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Notes

105 NOTES Introduction 1. Suzanne C. Ryan, “TV Producers Have to Be Agile to Deal with Ratings, Say Experts,” Boston Globe, January 16, 2005, http://my. brandeis.edu/news/item?news_item_id=103458&show_release_ date=1, accessed April 18, 2012; “Viewership Numbers of Prime-Time Programs during the 2005–06 Television Season,” ABC Medianet, May 25, 2006, http://web.archive.org/web/20070310210300/http:// www.abcmedianet.com/pressrel/dispDNR.html?id=053106_05, accessed April 18, 2012; Kath Skerry, “2006–07 Primetime Ratings,” Give Me My Remote, May 29, 2007, www.givememyremote.com/ remote/2007/05/29/2006–07-primetime-ratings/, accessed April 18, 2012; Robert Seidman, “Dancing with the Stars, CSI and NCIS Lead Weekly Broadcast Viewing,” TV by the Numbers, November 25, 2008, http://tvbythenumbers.zap2it.com/2008/11/25/dancing-with-the -stars-csi-and-ncis-lead-weekly-broadcast-viewing/8758/, accessed April 18, 2012; Bill Gorman, “Final 2009–10 Broadcast Primetime Show Average Viewership,” TV by the Numbers, June 16, 2010, http:// tvbythenumbers.zap2it.com/2010/06/16/final-2009–10-broadcastprimetime -show-average-viewership/54336/, accessed April 18, 2012. 2. Rush Limbaugh, “24 and America’s Image in Fighting Terrorism: Fact, Fiction, or Does It Matter?,” in Secrets of 24: The Unauthorized Guide to the Political and Moral Issues behind TV’s Most Riveting Drama, ed. Dan Burstein and Arne J. De Keijzer (New York: Sterling, 2007), 152. 106 Notes 3. For an overview of the characteristics of “quality TV” see Jane Feuer, “HBO and the Concept of Quality TV,” in Quality TV: Contemporary American Television and Beyond, ed. Janet McCabe and Kim Akass (London: I. B. Taurus, 2007), 145–57. On the series’ relationship to quality TV see Daniel Chamberlain and Scott Ruston, “24 and Twenty-First Century Quality Television,” in Reading 24: TV against the Clock, ed. Steven Peacock (London: I. B. Taurus, 2007), 13–24. 4. Yvonne Tasker, “Television Crime Drama and Homeland Security: From Law & Order to ‘Terror TV,’” Cinema Journal 51, no. 4 (2012): 44–65, and Stacy Takacs, Terrorism TV: Popular Entertainment in Post9 /11 America (Lawrence: University Press of Kansas, 2012). 5. The violence that is constitutive of the TV series influenced the books and the video game, and the latter was notable for its inclusion of torture-interrogation gameplay, which was relatively rare in games during the period. See Mark L. Sample, “Virtual Torture: Videogames and the War on Terror,” Game Studies 8, no. 2 (2008), www. gamestudies.org, accessed April 30, 2013. 6. 24 was an early adopter of new distribution technologies. In 2005, it introduced “mobisodes” for cell phones in a series called 24: Conspiracy that was nominated for an Emmy for innovative programming for mobile devices; it was included as disc 7 in Season 4’s DVD package. Subsequent webisode series emphasized cross-promotional opportunities and included 24: Day 6 Debrief (available only to American Express card holders), 24: Day Zero, and The Rookie (both sponsored by Unilever’s Degree Men antiperspirant). In each case, the paratextual material was an easily recognizable extension of the TV series but also introduced significant unique stylistic characteristics that were important for its success beyond TV screens. For a discussion of some of these techniques, see Max Dawson, “Little Players, Big Shows: Format, Narration, and Style on Television’s New Smaller Screens,” in Convergence: The International Journal of Research into New Media Technologies 13, no. 3 (2007): 231–50. Observing the absorption of the series into daily life, one commentator offered the following account of 24’s use of cell phones and texting in Season 6: “Viewers could subscribe to a text-message service and get updates and previews from Jack Bauer. For a program that often features high-octane mobile phone usage, this was tantamount to being part of the action. Via this marketing scheme, the text spills out into everyday practice via the very technology featured prominently in the show. For the twenty-first century spy, immersion into everyday life 107 Notes is not just representational.” Jack Z. Bratich, “Spies Like Us: Secret Agency and Popular Occulture,” in Secret Agents: Popular Icons beyond James Bond, ed. Jeremy Packer (New York: Peter Lang, 2009), 138. 7. The Heritage Foundation (panel), “24 and America’s Image in Fighting Terrorism: Fact, Fiction, or Does It Matter?,” June 2006, www. heritage.org/events/2006/06/24-and-americas-image-in-fighting -terrorism-fact-fiction-or-does-it-matter; Chuck Kleinhans, John Hess...