Groove Tube engagingly imparts a wealth of information about television programming and the American counterculture. Concentrating on the years 1966–1971, Bodroghkozy claims to “trace how . . . entertainment television engaged with manifestations of youth rebellion and dissent” (4). She analyzes television “as an institution, a body of texts, and a group of audiences” that entered a “crisis of authority” in this period (17). “During such a crisis,” she explains, “the ruling elites . . . can only dominate using coercive means rather than consensual methods” (16). Nevertheless, in the history Bodroghkozy sketches, the networks ultimately cobbled together a “hegemonic reframing” that incorporated many aspects of the youth rebellion (17). Concentrating on The Mod Squad (1968–1973), The Monkees (1966–1968), The Smothers Brothers Comedy Hour (1967–1969), and selected episodes of crime dramas, Bodroghkozy’s detailed and well-documented readings of these programs allow her to amply demonstrate how the counterculture entered the mainstream in a flood of traditionally liberal notions about reasoned exchange of ideas and mutual tolerance. While she sometimes writes like a gifted graduate student answering an exam question about the application of Gramscian theory to 1960s television, what she has done is actually more significant: she has brought a sophisticated theoretical focus to bear on very original research. She relates the results of audience testing data as the shows were being developed as well as reactions of media critics in the underground press, and she attentively watched hundreds of hours of television and read production scripts. The critical distance provided by her method is valuable, but her astute use of archival evidence truly strengthens the book.