An anthology series is a written series, radio, television, film, or video game series that presents a different story and a different set of characters in each different episode, season, segment, or short.[1] These usually have a different cast in each episode, but several series in the past, such as Four Star Playhouse, employed a permanent troupe of character actors who would appear in a different drama each week.[2] Some anthology series, such as Studio One, began on radio and then expanded to television.[3]
The word comes from Ancient Greekἀνθολογία (anthología, "flower-gathering"), from ἀνθολογέω (anthologéō, "I gather flowers"), from ἄνθος (ánthos, "flower") + λέγω (légō, "I gather, pick up, collect"), coined by Meleager of Gadara circa 60BCE, originally as Στέφανος (στέφανος (stéphanos, "garland")) to describe a collection of poetry, later retitled anthology – see Greek Anthology. Anthologiai were collections of small Greek poems and epigrams, because in Greek culture the flower symbolized the finer sentiments that only poetry can express.
Radio
Many popular old-time radio programs were anthology series. On some series, such as Inner Sanctum Mysteries, the only constant was the host, who introduced and concluded each dramatic presentation. One of the earliest such programs was The Collier Hour, broadcast on the NBCBlue Network from 1927 to 1932.[4] As radio's first major dramatic anthology, it adapted stories and serials from Collier's Weekly in a calculated move to increase subscriptions and compete with The Saturday Evening Post. Airing on the Wednesday prior to each week's distribution of the magazine, the program soon moved to Sundays in order to avoid spoilers with dramatizations of stories simultaneously appearing in the magazine.[4]
Sleep No More (1952–56) (featured Nelson Olmsted narrating his own adaptations of stories)
Theater 10:30 (1955) (Canadian)
X Minus One (1955–58) (revival and continuation of Dimension X)
The final episode of Suspense was broadcast on September 30, 1962, a date that has traditionally been seen as marking the end of the old-time radio era.[6] However, genre series produced since 1962 include:
Dick Powell came up with an idea for an anthology series, Four Star Playhouse, with a rotation of established stars every week, four stars in all. The stars would own the studio and the program, as Lucille Ball and Desi Arnaz had done successfully with Desilu studio. Powell had intended for the program to feature himself, Charles Boyer, Joel McCrea, and Rosalind Russell. When Russell and McCrea backed out, David Niven came on board as the third star. The fourth star was initially a guest star. CBS liked the idea, and Four Star Playhouse made its debut in fall of 1952.[2] It ran on alternate weeks only during the first season, alternating with Amos 'n' Andy. It was successful enough to be renewed and became a weekly program from the second season until the end of its run in 1956. Ida Lupino was brought on board as the de facto fourth star, though unlike Powell, Boyer, and Niven, she owned no stock in the company.
American television networks would sometimes run summer anthology series which consisted of unsold television pilots.[9] Beginning in 1971, the long-run Masterpiece Theatre drama anthology series brought British productions to American television.
In 2011, American Horror Story debuted a new type of anthology format in the United States. Each season, rather than each episode, is a standalone story. Several actors have appeared in the various seasons but playing different roles—in an echo of the Four Star Playhouse format.[10]
Power Rangers (1993–2023) (after consistent retools/renames starting season 4 the show finally embraced a "seasonal" anthology format of rotating the story and cast completely starting season 7, this would then become "biannual" starting season 18 until season 28 with the final three seasons being a "triennial")
Anthology film series are rare compared to their TV and radio counterparts. There have been several attempts within the horror genre to have a franchise with an anthology format, such as with the Halloween franchise where the third film, Halloween III: Season of the Witch, was meant to be the beginning of a series of anthology horror films, but due to negative reception that plan was shelved.
While taking place in the same fictional universe, each game features different protagonists, characters, locations, mechanics, etc. One game takes place in the Stone Age (Far Cry Primal) while another takes place in a retrofuturistic world (Far Cry 3: Blood Dragon).
Each of the Fatal Frame games has a mostly standalone story in which the protagonists investigate a haunted location to learn about how it became cursed.
Fears to Fathom
2021
N/A
5
An episodic psychological horror game where each episode unveils a short story narrated by the ones who survived.
Many games have different settings and playable characters. Each game incorporates a different fantasy genre (from high fantasy to science fantasy to dark fantasy) and a new setting, with some supporting or minor characters having recurring names (e.g. Biggs, Wedge, and Cid).
Each game presents a different story and set of characters, but is usually set in the same titular town of Silent Hill; a major exception is Silent Hill f, which is instead set in a fictitious Japanese town.
↑ Widner, James F & Frierson III, Meade. Science Fiction on Radio: A Revised Look At 1950–1975. Birmingham, Alabama: A.F.A.B. Publishing. p. 20 [ISBNmissing]
↑ Chimes, Art. "Last Radio Drama". National Public Radio. Retrieved 22 January 2010.
↑ Kraszewski, Jon (Fall 2006). "Adapting Scripts in the 1950s: The Economic and Political Incentives for Television Anthology Writers". Journal of Film and Video. 58 (3): 3–21. JSTOR20688526.
↑ Simon, Ron (2013). Riggs, Thomas (ed.). "Philco Television Playhouse". St. James Encyclopedia of Popular Culture. 4 (2nded.). St. James Press: 144–145.
↑ Malone, Michael (2 May 2016). "Anthology format gets a 'true' rebirth: AMC is the latest of many nets modeling shows after True Detective and Fargo". Broadcasting & Cable. Vol.146, no.17. p.24 – via Academic OneFile.
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