David Carroll

A lighthearted dramatization of the autobiography of Harold Krents, a blind Harvard Law School student trying to make his way in a sighted world.

Two teenagers, in love in pre-Depression Kansas, cope with parental pressure and the strict sexual mores of the day.

A teenage bride becomes a war widow when her Marine Corps husband is killed in Vietnam, until into her life comes a civilian recreation director who works at Camp Pendleton.

This prospective pilot to a series tells the improbable story of five American female pilots recruited into the British RAF, before the USA joined the war, to fly a new top-secret aircraft -- the helicopter.

An unmarried, reclusive college teacher is torn between a married maintenance man who has been repairing her house and her former professor and lover.

The domestic adventures, misdeeds and everyday interactions of five families living on a cul-de-sac in a small California community.

Cranky but likable L.A. PI Jim Rockford pulls no punches (but takes plenty of them). An ex-con sent to the slammer for a crime he didn't commit, Rockford takes on cases others don't want, aided by his tough old man, his lawyer girlfriend and some shady associates from his past.

Lighthearted look at the adventures of two Highway Patrol officers in Los Angeles. The main characters are Jon Baker and Frank Poncherello, two motorcycle officers always on the street to save lives.

Paris is an American television series that appeared on the CBS television network from September 29, 1979 to January 15, 1980. A crime drama, the show is notable as the first-ever appearance of renowned actor James Earl Jones in a lead role on television and was created by Steven Bochco, who later achieved fame for Hill Street Blues and NYPD Blue, also served as executive producer. The program told the story of Los Angeles Police Captain Woody Paris, who supervised a team of young detectives. The rookie investigators were led by Sergeant Stacy Erickson and included officers Charlie Bogart, Ernesto Villas, and Willie Miller. Hank Garrett portrayed Deputy Chief Jerome Bench, Paris' superior, and, in an unusual turn for police dramas of that era, Paris' home and off-duty life was given considerable attention in the plots, with Lee Chamberlin playing his wife, Barbara. Paris was also shown moonlighting as a professor of criminology at a local university. Although Paris was critically acclaimed for its portrayal of the tension between the professional Paris character and his often impetuous underlings, CBS scheduled the show in one of the worst possible timeslots on a weekly schedule: Saturdays at 10 p.m./9 Central. All three networks debuted new shows for the 1979-80 season in that slot; only ABC's Hart to Hart survived its first 13 weeks. Toward the end of its run, CBS moved it to Tuesdays at 10/9, but to no avail. Edward DeBlasio produced the show for MTM Enterprises, which would unveil, during the next season, executive producer Bochco's landmark Hill Street Blues, on NBC.

Ball Four is a 1976 American situation comedy that aired on CBS in 1976. The series is inspired by the 1970 book of the same name by Jim Bouton. Bouton co-created the show with humorist and television critic Marvin Kitman and sportswriter Vic Ziegel. Bouton also starred in the series. Ball Four followed the Washington Americans, a fictitious minor league baseball team, dealing with the fallout from a series of Sports Illustrated articles written by Americans player Jim Barton. Like the book, the series covered controversial subjects including womanizing players, drug use, homosexuality in sports and religion. The series included a gay rookie ballplayer, one of the earliest regular gay characters on television. The trio began developing the series in 1975, looking to other series like M*A*S*H and All in the Family as models. CBS expressed interest and the creative team developed a script. CBS shot the pilot episode and ultimately bought the series. Ball Four aired at 8:30 PM Eastern time, which was during the Family Viewing Hour, an FCC-mandated hour of early evening "family-friendly" broadcasting. Consequently the writers had some trouble with the network's Standards and Practices in their attempt to portray realistic locker room scenes, especially the language used by the players. Pseudo-profanity such as "bullpimp" was disallowed, while "horse-crock" and "bullhorse" were approved.