Lifetime's Original Narrative Series, Any Day Now

LotzÆs approach in the article is to analyze the production process for Any Day Now and uncover as much information as possible about the opportunities and difficulties inherent in producing a series that addresses gender, racial, and ethnicity issues in the post-network era. She does a creditable job of achieving this, although she appears to do so not so much from the perspective that such research is needed or important as from a personal desire to know. Her emphasis is on the gap between the objectives of the producers, Nancy Miller and Gary Randall, and those of the network

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g her point, but it would have been helpful if she had tied the research back to her point more closely throughout the article. In terms of her directions for future research, she outlines nicely in her conclusion where her research fits in with past and future research, as well as what is still needed in order to understand ôthe textual ramifications of institutional adjustmentsöùa study of the ôshifting institutional and economic practices throughout the pre-production, production and promotion processö (Lotz, 38). If Lotz can be faulted in anything, it is in the clarity of her writing, which is a bit stilted and obscure due to language that is unnecessarily lofty. For example, the phrase ôtextual ramifications of institutional adjustmentsö is much more esoteric than it needs to be; she could have rendered this more plainly as ôtext changes due to network adjustmentsö and been much clearer. Even her title is incredibly long and somewhat cryptic; the article might have been more aptly titled ôNegotiating script restrictions on LifetimeÆs Any Day Now.ö In addition, although she includes excellent research and detail, she fails to make a simple statement of her research question and follow it all the way through the article. S
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Some common words found in the essay are:
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Approximate Word count = 2350
Approximate Pages = 9 (250 words per page)

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