Simon & Schuster
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In the new biography “Desi Arnaz: The Man Who Invented Television” (Simon & Schuster), Todd S. Purdum explores the impact on American culture by the Cuban-born entertainer who (as husband and business partner of Lucille Ball) changed the rules of TV.
Read an excerpt below, and don’t miss Mo Rocca’s interview with Purdum on “CBS Sunday Morning” June 15!
“Desi Arnaz: The Man Who Invented Television”
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Prologue
He was adored as the man who loved Lucy, the combustible Cuban bandleader whose spluttering Spanish and long-suffering straight man’s frustration at the comic antics of his crazy wife softened into a loving embrace at the end of each episode. But Desi Arnaz was so much more than Ricky Ricardo. If Ball’s brilliant clowning—her beauty, her mimicry, her flexible face and fearless skill at physical comedy—was the artistic spark that animated I Love Lucy, Arnaz’s pioneering show-business acumen was the essential driving force be- hind it. He was, as NPR’s Planet Money once put it, the man who “invented television.”
“There’s a misconception that we—that Desi wasn’t all that important to the show,” Madelyn Pugh Davis, the founding cowriter of I Love Lucy, would recall years after his death. “And Desi was what made the show go. And he also knew that she was the tremendous talent. He knew that. But he was the driving force, and he was the one who held it together. People don’t seem to realize that.”
Today, nearly four decades after his death, Arnaz the performer remains a widely recognizable figure—”one of the great personalities of all time,” as his friend the dancer Ann Miller once put it. Much less well understood is the seminal role he played in the nascent years of television, helping to transform its production methods, and transforming himself, a successful but second-tier Latin bandleader, and his wife, a journeyman actress in mostly forgettable B movies, into cultural icons.
It was Arnaz (and I Love Lucy‘s head writer and producer, Jess Oppenheimer) who assembled the world-class team of Hollywood technicians who figured out how to light and film the show in front of a live studio audience, with three cameras in sync at once—a then-pathbreaking method that soon became an industry standard for situation comedies that endures to this day. It was his ability to preserve those episodes on crystalline black-and-white 35-millimeter film stock that led to the invention of the rerun and later to the syndication of long-running series to secondary markets. This innovation also made it possible for the center of network television production to move from New York to Los Angeles and created the business model that lasted unchallenged for the better part of seven decades, until the streaming era established a competing paradigm.
“I Love Lucy was a crucial part of entertainment in this country,” said Norman Lear, the creator of the landmark situation comedy All in the Family and many other shows. “Lucy and Desi—I think it can be said they pretty much opened the door of Hollywood to America, and to the situation comedy. There was only one Lucy and one Desi, and between them, they knew what it took. He was a great businessman in the persona of a wonderful entertainer.”
Excerpted from “Desi Arnaz” by Todd S. Purdum. Copyright © 2025 by Todd S. Purdum. Reprinted by permission of Simon & Schuster, Inc. All rights reserved.
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