A history of American television is an ambitious undertaking, a feat which Edgerton himself acknowledges; indeed, it is difficult to capture this book's wealth of information in a short review. The book is not an exhaustive historical dissection; instead it aims to present a concise narrative history for the “literate generalist.” Nevertheless, the book is also highly useful for an academic reader. In style it is best described as a narrative of American television with Edgerton describing his approach as “holistic, preferring to make connections and chart continuities, rather than present lists and firsts” (xvi). Throughout he primarily subscribes to a “great-man” methodology, which allows a concise history of key developments through a concentration on defining individuals, programming and industrial issues. Through its strong historical chronology the book links political and social change to the defining shifts and moments of television, situating the televisual narrative alongside a wider narrative of twentieth-century America.

Structurally it is split into four sections: the early years of television (up to 1947); the movement from local to a national medium and the solidification of network television (1948–63); its international age, with the dominance of network television and its subsequent erosion by satellite and cable (1963–91); and the global age, with the impact of international business practices and new media (1992–present). Each section features a “cameo” chapter by another academic, providing case studies of an area within the section's overarching narrative, such as JFK and television or Ted Turner and cable. Chapters by Kathryn H. Fuller-Seeley and Timothy J. Haven also allow a focus on gender and race that is lacking in the book overall – a victim, perhaps, of Edgerton's “great-man” methodology and television's dominance by white males.

Edgerton's chapters on television's beginnings, although highly informative, suffer the most from the style of referencing he uses. The wealth of technical data and figures, combined with his use of extensive (often fragmented) quotation rather than paraphrasing, whilst useful for the academic reader, interrupts the flow for a more general reader. However, overall his style and the narrative are eminently readable, particularly the post-1948 sections where Edgerton's own narrative and analysis flow more freely. Indeed, the final section does well to make what can often be dull “mergers and acquisitions” information compelling, through his focus on syndication and identity branding in relation to the cable and digital ages.

The most pleasing aspect of the book is its focus on the industrial processes of networks and their programming; the movement through various network styles, demographic focuses and genres of programming. It is at its strongest in telling the stories of the “network era” and its personnel and shows, such as the evolution of news programming, the creation of late-night talk shows and the growth of the television movie. In doing so Edgerton does well to highlight the importance of network programming executives – such as 1970s wunderkind Fred Silverman – who in their scheduling and commissioning roles can be seen as the architects of American television.

Overall Edgerton tells a compelling history of the medium. His book would work well as a primer for general readers, as well as for scholars (particularly international readers) wanting to gain an understanding of the history, forms and economics of the US television system as well as pointers for further research from his meticulous referencing.