How to Design a TV Show

OK, that's not really what this article is about, but the design stuff is my favorite part.

Siskel and Ebert had switched to sitting in movie theater seats—slightly angled, 18 inches apart—to a mock balcony, a kind of belvedere from which they could surveil all of moviedom. This created a narrative frame for the reviews. They were critics playing moviegoers, who discussed films as they were shown to them; it gave the show its sitcom quality, which became a central part of its appeal... In order to sustain the illusion, Siskel and Ebert would turn their heads in the direction of the screen after introducing a clip, as though they were watching it alongside the viewer... It read as inclusive; the camera always positioned the viewer either in a seat close to the hosts, or in an impossible spot just leaning over the balcony railing.