The Part 2, 1976 Additions, are organized as a single alphabetical Subject File. In general this order preserves the original arrangement, although smaller, related files were sometimes consolidated and file headings made consistent. Files are identified by the names of productions, individuals, or general subjects and contain correspondence, clippings, scripts, minutes, notes, speeches, writings, financial materials, legal documents, and/or promotional records tracing Susskind's business and personal affairs.

The majority of Part 2 of the collection focuses on his activities as a producer and talk show host, with the major emphasis being on his television work. As an example, a rather complete file may trace a television program from initial story development through final production and eventual syndication and may document the various creative, legal documents, and financial aspects of this process. The collection provides a thorough picture of the business operations of Talent Associates, the production company which Susskind co-founded. Although primarily involved in television, the firm did occasional work in film and theater, often soliciting productions from the London stage. The collection also reflects Susskind's continued efforts to produce “quality programming for television.” The rating success (or lack thereof) of these ventures provides some insight into the network's willingness to program and sustain quality shows which did not necessarily attract high ratings. Personal exchanges with friends and family are also included, although to a much lesser degree; these reflect Susskind's opinions of the television industry, politics, and events of topical interest.

An attempt has been made to identify productions as to the media for which they were considered and, if possible, their ultimate production status. However, researchers are cautioned that this information is based primarily on internal evidence in individual files which are often incomplete.

In addition, often a work was considered in its early stages for more than one medium with a final determination made only at a later date. Therefore, the production information may be in error. Among the productions represented in this part of the collection are the television series Arrest and Trial, The David Susskind Show, East Side/West Side, Get Smart, He and She, Mr. Broadway, N.Y.P.D., and Open End; specials or anthology episodes such as The Ages of Man, Brief Lives, Death of a Salesman, Dial “M” for Murder, Diary of Anne Frank, The Glass Menagerie, Harvey (DuPont Show of the Month and Hallmark Hall of Fame), Hatful of Rain, Hedda Gabler, Johnny Belinda, Laura, Mark Twain Tonight!, Moon for the Misbegotten, Noon Wine, and Of Mice and Men; motion pictures such as All the Way Home, Lovers and Other Strangers, Pursuit of Happiness, A Raisin in the Sun, Straw Dogs, and Up the Sandbox; and the play Kelly. A Partial Index to Correspondents is an appendix which follows the contents list. The remainder of this narrative discusses the notable or unusual contents of several files, which are described in alphabetical sequence.

The Ages of Man production file details negotiations with British Home Entertainment Ltd. over legal documents, financial, and distribution aspects of that show. Correspondence relating to All in Good Times shows how the play's film production fell through because of a dispute with the producer. All the Way Home correspondence contains a report on viewer reaction to the film's preview. Programs represented in American Broadcasting Company's general contracts include Arrest and Trial, The Farmer's Daughter, The Fugitive, The Patty Duke Show, and Peyton Place. Armstrong Circle Theatre files discuss U.S. and foreign syndication and the re-run rights to some programs aired on this anthology. Ashley-Steiner-Famous Artists correspondence details various television specials and the commitment of CBS to Susskind's specials.

The Cyril Bennet file provides some insight into Talent Associates' decision-making process. Appointed as chairman of the English Company, a corporation formed to conduct Talent Associates' business outside the United States, Bennet's file reveals some of the legal aspects of establishing the Susskind-Bennet partnership. It also shows how decisions were made as it contains evaluations of several potential productions. The William Benton file includes a discussion on commercial sponsorship of ETV (educational television) and contains a David Susskind letter detailing his opinion on the subject. Files of Ron Bernstein, who worked for Talent Associates, document his efforts to find properties for the company to produce and include a letter (January 22, 1973) regarding Paramount's and United Artists' involvement in The Last Tango in Paris. Included in the Brief Lives files are correspondence and set designs from designer Julia Trevelyan Oman.

A file of Michael Campus, who worked on East Side/West Side and other Talent Associates projects, includes some outlines considered for the former program plus an outline and correspondence relating to Millard Lampell's The Lonesome Train. The Comedians reveals the difficulty of syndicating a show and the resultant concern of the sponsor, Canada Dry. A Commercials file details Talent Associates' unsuccessful venture into advertising for Hunt-Wesson foods and includes storyboards for some of their products.

The David Susskind Show correspondence discusses financial and legal aspects of the program and its attempt to change distributors from National Telefilm Associates to Pamandia. It also contains correspondence from Metromedia and some viewer response to the show. The file for the Eamonn Andrews Show, an English television talk show, consists of a script in which David Susskind and Mohammad Ali debated Ali's refusal to be drafted during the Vietnam War.

Extensive production files exist for East Side/West Side, a critically acclaimed but short-lived series of the early 1960s. These discuss writers, casting, script reports and analyses, and budgets. In addition to this production information, viewer correspondence reflects public opinion on a number of topical issues. For example, individual episodes of the program focused on subjects such as prostitution, urban renewal, rape, the problem of rats in the slums, block busting, old age, parollee rehabilitation, premarital sex, and “beatniks,” and often evoked strong viewer response on these and related topics. Given some of these topics and the fact that a black actress, Cicely Tyson, was a member of the supporting cast, some of these letters have strong racial overtones. Also included are letters from several social workers who criticized the portrayal of the main character, social worker Neil Brock, as unprofessional. Esso Repertory Theatre's file contains general scheduling and budget information plus a script and casting notes for The Lonesome Train, written by Millard Lampell.

The Get Smart files discuss the program's casting and financing plus merchandising tie-ins that spun off from the show. They also mention a dispute between Mel Brooks and Buck Henry over credits. Heydey Productions files include extensive materials on Get Smart, including some financial materials, and also discuss The Hero. Kelly files discuss the casting and financing of a musical which enjoyed a single night's run on Broadway.

The file on Laura, in which Lee Bouvier made her acting debut, includes letters from viewers which reveal their attitudes toward the Kennedy family in particular and the wealthy in general. London correspondence reveals Susskind's interest in several London productions (among them The Dumb Waiter) and reflects Susskind's high opinion of the British stage. Lovers and Other Strangers discuss production difficulties the film encountered and problems with director Cy Howard.

Correspondence of Daniel Melnick, who was a programming executive and vice president for ABC and in 1963 became executive vice president of Talent Associates, documents script and story submissions and discusses many Talent Associates projects, among them Brief Lives, Get Smart, He and She, and N.Y.P.D. Leonard Stern correspondence is also found in Melnick's file. The Miss America file consists of data sheets and notes profiling the women who participated in the 1973 contest.

The Mr. Broadway file presents one of the more complete production files as it documents decisions about casting, the character development of Mike Bell and others, budgeting and contracts, and format changes. Script analyses of specific episodes and script revisions are also included. The files reveal the efforts of press agents to have their clients cast in the show and details a dispute with Garson Kanin over writing responsibilities. Correspondence of Dave Golden, production manager of the show, presents a good summary of the myriad of routine duties required in staging and producing a television show. Story conference notes consists of minutes of meetings in which story ideas were discussed; Garson Kanin participated in these discussions. Also included is a final report summarizing many of the problems that plagued the show's production.

Included in the National Sexual Knowledge Test file are two tests authored by Dr. David Reuben, who wrote the best-selling Everything You Always Wanted to Know About Sex But Were Afraid to Ask. Norton Simon's file documents both the activities of that corporation and its relationship with Talent Associates. The Olgivy and Mather Inc. file consists of scripts and correspondence regarding some coffee commercials that David and Joyce Susskind made.

Open End files include research materials, biographical sketches, questions, release forms, routine correspondence, and fan mail; the types and quantities of material varies with each program. Unfortunately, transcripts are included only occasionally. The programs were often topical or had personalities appear early in their careers. Examples of specific episodes include “Beatles” which contains a Beatle Fan Club newsletter; “Comedians” which includes an autobiographical sketch written by Woody Allen; and “Murder in Mississippi” which contains a letter from a civil rights worker detailing his activities in the South. General correspondence includes program ideas and viewers' letters. It also discusses a plan to change producers from Metromedia to WGBH (the Boston NET affiliate) and efforts to sell the program to local affiliates.

Included in Paramount's file are annual reports. Correspondence of Leonard Stern, who owned one third of Talent Associates, focuses on specific productions and his employment with Talent Associates. The file of Stern, Wincor and Burns, the law firm that handled Talent Associates affairs, discusses legal aspects of several productions. Phelps Stowe's file consists of miscellaneous correspondence from a CBS censor.

Files under “David Susskind” focus on his personal activities, primarily with friends and family. Of interest are small files reflecting Susskind's political interests, including the mention of rumors of his seeking political office, and a series of speaking engagement files. The latter document his appeal on the public speaking circuit and include several of his speeches. The section also includes some of Susskind's writings, including magazine articles and theater reviews, plus a transcript of a banned Open End program on the sexual revolution which was being considered for magazine publication.

Talent Associates correspondence includes ingoing and outgoing letters from Susskind and other Talent Associates personnel (e.g. Leonard Stern, Audrey Maas) which discuss potential projects for the firm.