Professional Documents
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Enright Daniel 1986
Enright Daniel 1986
A DESCRIPTIVE ANALYSIS
Mass Communication
by
January 1986
The Thesis of Daniel Enright is approved:
ii
Dedication
For Toni,
The source of my love, my joy, and my inspiration.
Robert Browning
iii
Acknowledgements
arose.
ment of this project. I also thank Dr. Ants Leps for his
possible.
iv
Table of Contents
Page
Acknowledgements . . . . . iv
List of Tables . . . . . vii
Abstract . . . . . . . viii
Purpose of Study. X
Introduction. 1
Definitions of Terms. . .. 17
Situation Comedy . . . . . . . . 17
The Comedy-Variety Show . . . . . 22
The Crossover Drama . . 23
A. C. Nielsen Batings . . 24
Methodology . 62
Survey Development 66
Conclusions . 96
Limitations of the Study 99
Suggestions for Further Research . 100
Bibliography. 102
Appendix. . . 113
Cover Letter . 114
Survey . . 115
Response Letters . 120
v
Central Tendency/Dispersion Tests--Part I. . 126
Frequency Distribution--Part I . 130
Pearson Correlation--Part I. . . . . . . 139
Mean Scores--Part II . . . . . . . . . . 140
Rankings--Part II. . . . . . . . . . . . . . 141
Favorite Situation Comedies---Part III . . . . . 142
Best Current Situation Comedies--Part III. . . . 143
vi
List of Tables
Page
vii
ABSTRACT
A DESCRIPTIVE ANALYSIS
by
Daniel Enright
viii
the "lead-in" (the program immediately preceding a show),
about any ethnic type and about people from all socio-
economic levels.
was The Mary Tyler Moore Show, and The Cosby Show was
ix
Purpose of Study
in the Nielsen top ten rated shows for the year. This
program on television.
X
ful sitcoms. The data collected regarding situation
programs.
success.
comedy.
xi
Introduction
that show the genre as a unique art form which has proved
ten was The Sonny & Cher Hour in 1973 (Steinberg, 1980,
1
Some observers have contended that the situation
show, and that the sitcom was taking that same route
future on television.
last nine years (1976 was the year of the most dated
series. The results had shown that while all three net-
4
5
would like.
changing attitudes about what was and what was not "sex
of shows.
Books
a historical perspective.
explained how the genre was finally brought into the real
like Laverne & Shirley with the message being that "working
class people are more decent human beings than the well-
to-do" p. 80).
lem that began in the 1950s and still affects the genre.
, the 1970s.
Author Mick Eaton's article, "Television Situation
Burns & Gracie Allen Show, and how that program evolved
comedy.
ment.
author of Media and the American Mind, the book asks and
Periodicals
15
1953, May 29, p. 10) ran, and during the same year, the
Happy Days and One Day at a Time, two sitcoms that had
Situation Comedy."
far from extensive, has laid the ground work for an in-
Situation Comedy
producer Parke Levy noted that the sitcom was "a small
p. 3) •
l durable.
17
18
they will appear from week to week. Each show has a star
of the humor.
group response and it has been felt that the laugh track
episodes progress.
point by stating:
In, Your Show of Shows, and Saturday Night Live are exam-
the audience.
Q .
22
~-
I
When considering the genre of the situation comedy,
skits were used years later for the basis of the sitcom
23
Mama's Family.
Kovacs Show.
r-
A. C. Nielsen Ratings
a box that records what has been watched and at what times.
vision) .
little nine inch screen, were none other than the situ-
ation comedies.
25
26
into week after week to hear the same beloved cast involved
The shows, such as Amos 'n' Andy, Fibber McGee and Molly,
sodes coming out only once a year. After World War II,
Mary Kay, his pretty yet crazy wife, stayed home in their
! plants, the most important being Amos 'n' Andy and The
I George Burns & Gracie Allen Show. Amos 'n' Andy and
' Beulah, a show about a Black maid holding her white family
years ori radio (using the two white creators of the show
organizations.
1981, p. 31). They would end the show with Burns's in-
"Good night."
28
quickly became the most popular show on the air and re-
both his wife and himself. "I was among the first to
and money.
1955, p. 13).
show's success added, "Too many shows go all out for the
31
television.
was centered around the home and the plots were concerned
and The Donna Reed Show, were funny, but not in the manner
tic comedies such as r-1y Three Sons, The Andy Griffih Show,
called The Real McCoys. Grandpappy Amos and his clan had
farming land. This was the first show to extol the vir-
pire."
pett family, Okies from the hills who strike oil, settle
either too old or too young, and not the 18-49 age group
for "The Allan Brady Show." Rob was married to Laura, and
heads off roses. These misfits were the sane ones, trying
nuclear family for a surrogate one and then placed the men
The Man From U.N.C.L.E. and its spin-off, The Girl From
out, and out of step with the real world. It was the time
in general.
36
ed in sitcoms.
Moore Show and All in the Family. Both shows were impor-
----·
Rhoda, and Taxi The episodes of Mary and the gang down
1
every chance he could to explore cultural taboos through
~n~ Son. Good Times, The Jeffersons, and Sanford and Son
~-
! Whereas most of America loved the progressive, social-
1
'
!lY and politically conscious sitcoms of Norman Lear, writer
also set in the fifties, dealt with two girls who worked
,-
!Richards. Gary Marshall, the creator of both shows,
!
like It's A Living, Too Close for Comfort, and Ladies Man
slapstick.
r·--
\remained on the air despite mediocre ratings. This year,
!
!now in its fourth season, it has consistently been rated
accept him.
said, "I want to show a family with kids like I never see,
Off-Network Sitcoms
,per episode from each station buying them for future syndi-
4, p. 9).
42
passing all three networks. When ABC canceled Too Close for
time, but has since been canceled. It, like Brothers, dealt
fits such as occur three or four years down the pike when
into syndication.
creates for TBS, 'We want to go for the joke, for the light
complete run.
outside of ABC, CBS, and NBC are nearing the number of sit-
if the networks, with all the talent they have behind them,
4, p. 9).
Summary
country living.
The 1960s also presented a hodge-podge of shows. The
into the real world. It \vas what. Archie said and what Hary
socially relevant shows like Maude and Good Times, and MTM
comedy.
By the late seventies, everything was out of the
selection.
ing how decisions were made about what was put on the air,
48
49 °.
1 in, 19 8 5, p. 21) •
will be used to test ideas and pilots. The ideas come from
r-
1 Spielberg, we are going to commit to x number of episodes.
26, interview}.
decide what will and will not be seen are a very small
r
:who the writers, producers or actors were. Even a success-
third place, behind CBS and NBC, has made ABC reevaluate
same numbers (as other networks) because they are too simi-
visiting all the series, all asking for the same types of
grams.
Pilots
1
represented a total investment of about $100 million (Mer-
Tried-and-Tru_§_'£_~_hows
will also be popular. The 1978 hit film Animal House im-
Lucille Ball and Gracie Allen paved the way for the comedy
Beaver, My Three Sons, and The Donna Reed Show reach the
: Spin-offs
missed Hawkeye and Hot Lips. The sequel also became bogged
1
popular A-Team made attracting and keeping an audience
1
even more difficult. AfterMASH reminded the networks that
I
still number one, its shows were not attracting the right
the sixties, the climate was right, the kids were letting
it all hang out, the kids didn't want to see Doris Day:
1985, p. 211).
tives believe the show is "good" and that people will watch
Pilot Testing
they see on the screen, they push a green button and keep
which time they push a red button. After the program ends,
Dull, Dull, Fair, Good, and Very Good. The audience indi-
cates their opinion with the switch, and then fills out
domly called and informed about the show. After the pilot
the case with Hill Street Blues and, more recently, with
• Ellen Franklin.
; 20, interview).
I
For example, testing will often show that
final pilot.
our lesson and got badly burned by not being aware of that
Summary
network uses, and even these data are taken with a grain of
a.udience demographics.
Methodology
gram comedy shows at ABC, CBS, and NBC. The second group,
62
that was in development for the Fall 1985 Season was sent
ation comedies.
The rating scale was one of two ways in which the survey
r-
1 sidered quality programs." This allowed for defining
I
:quality programs with examples and enabled the researcher
also have the option of looking for shows with those essen-
Survey Development
on the air for at least seven years, or had been in the top
--------~-----~ -~-------~
68
r-
l state University at Northridge, and also with Dr Valerie
research.
ginally, the survey was much too long, some questions were
(although they may not have had long runs), such as The
syndication) .
Survey Results and Discussion
69
70
r
'validity of this particular project, the findings of the
Results
Because of the small sample size and because many
Part I
1. The format and structure within a successful sitcom
should not change or evolve because of the possibility
of losing the show's audience. (Examples: Lucy was
always trying to get into show business, when one kid
gets too big on a show, the family often adopts another
smaller child).
lieves that shows can evolve and still keep their audi-
ment 2.
69% 13.8%
-- --- 12% 1. 7% 3.5%
-- ---
1 2 3 4 5
Agree Disagree
f.1ean = 1. 4
sheldon Leonard has stated, "When you ask what is the best
From the data, one can conclude that all comedy shows
due to a nostalgia for that era, and shows like Happy Days
Nielsen ratings, one can see how much better this show has
done since The Cosby Show became its "lead-in." The same
show was well publicized which may account for its initial
a strong lead-in.
networks.
commercial spot.
those who selected the middle space were critics, and this
was by far the most popular choice for them. While produc-
ment.
9 Turninq__t_~_2roducers
who l!_~y~--·~~}rE?_?....2Y___sr~ted___!li t
s~~~ decreases a network's chances of finding
shows with originality and energy.
grow or succeed.
12. What measures can one use to best judge which shows
are quality programs? Rate all that you feel apply
in descending order or importance (1 being most
important).
television reviewers
Nielsen Ratings
the amount of media attention a show generates
loyalty of fans
academic analysis
awards such as Emmy Awards
longevity
network research
other
TABLE 1
RANKING OF IMPORTANCE
most least
VARIABLES 1 2 3 4 5 6 7 8 9
than others (or not at all) and the percentages shown are
missing responses.
cution of concept.
programing) •
quality.
Part II
the matrix.
the show's success. For instance~ the means for eight out
able was in the success for that show. Only "pathos" had
of the program.
In discussing which variables were most important to
in this industry: There are only seven basic plots and all
standard of excellence.
Part III
votes, two were from the 1950s (J Love Lucy and The Honey-
mooners), only one was from the 1960s (The Dick Van Dyke
Show), and three were programs from the 1970s (Jhe Mary
(33 percent), while The Mary ~L~r Mo9re Show ranked fourth
shows were:
was on the way up, and the public would always tune to
were:
--if we can stop imitating each other and if networks
encourage more experiments, it will go on forever.
graming format.
tion comedy.
\.
0 •
Conclusion
96
97
consequence.
what can happen when writers and producers write and pro-
Limitations of Study
even mini-series.
Books
Fry, W.F., M.D., & Allen, M., Ph.D. (1975). Make 'em
Laugh: Life Studies of Comedy Writers. Palo Alto,
CA: Science and Behavior Books.
102
103 0 •
Lewis, M., & Lewis, M.B. (1979). Prime Time. Los Angeles:
J.P. Tarcher.
Periodicals
Kasindorf, M. (1973, June 24). Archie & Maude & Fred &
Norman & Alan. New York Times Magazine, pp. 12-16.
110
Waters, H.F. (1983, May 16). The kid in tv's hot seat.
Newsweek, pp. 81-82.
Intervie\vs
113
114
COVER LETTER
Sincerely,
Daniel Enright
Enc.
115
1.
PART I
With the following questions, put a ( v' ) on one of the
Agree Disagree
Agree Disagree
Agree Disagree
Agree Disagree
Agree Disagree
Agree Disagree
116
2.
Agree Disagree
Agree Disagree
Agree Disagree
12. What measures can one use to best judge which shows are
quality programs? Rate all that you feel apply in descend-
ing order of importance (1 being the most important).
television reviewers
Nielsen Ratings
the amount of media attention a show generates
loyalty of fans
academic analysis
awards such as Ernmy Awards
longevity
network research
other:
117
3.
PART II
The following list contains fifteen successful situation
comedies (in terms of ratings, longevity, or popularity
in syndication) . They are representative of most types
of shows that have emerged over the past thirty-five years.
Many of the shows listed are also credited as shmvs that
took the sitcom in new directions and \>/hose basic premises
have been frequently duplicated. They include examples
of domestic comedies, action comedies, ethnic comedies,
social comedies, and a "gimmick" shmv.
DIRECTIONS
,__________
(
..., ...., () 0
f:-..1!~
:f ff I/ ,J{
oO'"'
--+--1
I r..ove Lucy (1951)
-~---+--~---+--~ - - - - - -t---1 -+-~--
'l"hc Adventures of Ozzic &
Harriet (1952! 1------+ 1--+--~-----l--1---
"l'he Honeymooners (1955)
-------- -l--+- t--+---~---1----+ --t--+---1---
The Andy Griffith Show
__ ll~60l ----1--+-- 1 1 1-----+ l--1---f----·-· ·
The Dick Van Dyke Show
l---lt96tL__ ----+ . 1 1 1--+--···---··-···-··---·--·-·------·
'fhe Heverly llillbillles
( 1962)
----+---f---· --4·---·--1-·--·- ·-----···
Bewitched (1964)
1--- ---f--1--+ --f--
'fhe Mary Tyler Moore Show
( 1970)
llappy Oays
----------
(1973)
-· ---+-+--+--+-+---+--+--- ...
Three's Company (1977)
---~------l--f---1---+----+---1·-·-+---
Cheers (1982)
------------·------+-----j--j-----l----1---l--~----~---1----- ·---+ .... ·-
The Cosby Show (1984)
~
~
I))
119
PART III
Open-ended, Short Answer Questions
1. What is your favorite situation comedy of all tine and
why?
Name Title
120
RESPONSE LETTER
Daniel Enright
Enc.
w~.U- j -- w~td.. u& ~ ~l1
~y f..
/'-- I L dr~ ·1- 6-el~
c&--f,~
1~
erY'
Lj~ (CA.-
ere~ h ~"f:..-
,,.,y""~lv~d..
c fh,()-r- fo-ri~Y.I
t-
~
fru ( O-f -;f
121
RESPONSE LETTER
fl"~ EMBASSY
~&; TELEVISION
Enclosure
RESPONSE LETTER
:l,.......·/ r __ _~ .
/c·v(\ r . '\" {;wo _Lvv\-"li"l'1 (P
123
RESPONSE LETTER
RESPONSE LETTER
Best of luck!
Sincerely,
RESPONSE LETTER
Sincerely,
Secretary to
\
\
126
TABLE 2
Survey Results
Analysis of Variance
Total 58 104.58
Analysis of Variance
SOURCE D.F. SUM OF MEAN F RATIO F PROB.
SQUARES SQUARES
Between Groups 2 1. 62 . 81 .585 .5604
Within Groups 56 77.57 1. 39
Total 58 79.19
Analysis of Variance
SOURCE D. F. SUM OF MEAN F RATIO F PROij.
SQUARES SQUARES
Between Groups 2 5.35 2.67 3. 157 .0':.02
Within Groups 56 47.40 .84
Totals 58 52.75
127
Survey Res1;11ts
Analvsis of Variance
Total 57 102.28
5. Critics 16 1. 75 1 2 . 68 .171
Prograr.1ers 11 1. 82 1 1 1. 40 .423
Writer/Producers 31 1. 45 1 1 .768 .138
Total 57 45.88
Total 58 1. 83 1 1 1. 142 . 15
Analysis of Variance
Total 58 74.28
128
Survey Results
Analysis of Variance
Total 58 89.19
Analysis of Variance
Total 58 87.39
129
Survey Results
Part I (Questions 1-9, 11)
Analysis of Variance
Total 58 92.85
Analysis of Variance
· · - - - FR~Q!!_ENCY DISTRIBUTI:Q~-----·- __
S'fTeOM SURVE-Y
.......
w
0
SITCOM SURVEY
- - - - - F Itt::-·--- NONI'IME ---( CREI'IflOtr DI'ITE-=--8:51"!0/30",-y-----
---out'lr.z-NIELSEN RATING-s-
1. 1 1. 7 3.4 3.4
---z.- ... 3. 4 0,-c;-- ·- -·-1 (1.-:)-
----·--------------------
MEr\N 5.345 STD ERR .348 HEDII'IN 5.714
MO[IE 6:000 STD DEV 1.876 VI'IRII'INCE "3• 520
----111rl<URTOS1S ·,306 SI<EWNt::SS ~·•!576---RI'ING.,._E_ __ ~.,--.oo-o-
f->
w
f->
""'
SITCOM SURVEY
---aurrt:s--MIIDIA-A'P'fEN'fWN-- - - -
I
---FiEt:l'IIIVE--All~JtJSTED·-- ··· CtJ11-'
ABSOLUTE FREQ FREO FREQ I
CATEGORY LABEL CODE FRED ( f'CT> <F'CT) <F'CT>!
-------· -------·----·· ----------------------·--· .. - ---------~
1. 3 5.1 8.6 !3,6
t-1'
w
N
SITCOM SURVEY
FILE NONnME <CREATION DATE=
----------·-------------- -·-------·
QUAL4 LOYALTY OF FANS
85/10/30.) -----i
RELATIVE ADJUSTED CUM
ABSOLUTE FREQ FREQ FREQ '
---- - Cr'lfEOOR'I' L1~BEL-- - -- - -- --eO[tE -- FREQ· ------( f'C'f'")·- · --·-( PCT r·-- --- (f'CO
1. 7 11.9 20.0 20.0
------
2. 7 11.9 20.0 40.0
.lt s------ra·.6--- -- 22;<r---o-zt-r
4. 4 6.8 11.4 74.3
s. 5 8.5 14.3 88.6
----o--.-----]----::;-.t-·--··--·-a-.6--·--r?.-t-
7. 1 1.7 2.9 100 .• 0
....w
w
--==sr-rcoH- stJFiOE:i' --·- - - ·· - - - · - - - - - - - - - - · -~==------·----
£1t:I'INK 27 4:J.-a--M!SSING"
I-"
w
.J:>,
I
I
SITCOM SURVEY I
----- ·-----------------····--··---------------..-----·---·-····-··---- ·----1
·------~---
FILE NON~ME <CREAfiON D~TE = 85/10/3~ ) j
---------· ··- -------- -------~--------------------------- ------------
QUr,L6 AWARDS SUCH AS EMMYS !
a.s
"'·
5.
5
2 3.4
11.9
4.8
85.7
90.5
------------·--· ----------- .---··· -: -·----· ----o-.-----·1-- ---to-?'"" z-; ..- ·---92-;.,.....,
7. 3 5.1 7.1 100.• 0
---------------------------- --·--------·· --------------------. ···--- -------
BLANK 17 28.8 MISSING
.......
w
U1
s-I'rcmi ·:s·o,:.;ve:v- ~ -·----...--~ ..... -··----------- ·- --- - ... ~. __ ................... -,
.....
w
0'1
---·srrtorrstJRiTEY--~=---
5. 1 1. 7 3.2 22.6
~:>.----· -:s------~.1 '7.-;-- 3..lt3
------------------------------------·---------
MEAN 6,548 STD ERR .337 MEDIAN 7.188
MODE a.ooo STD DEV 1,877 VARIANCE 3.523
- - - tttJRffi~U S "" , 17 1 SKEWNESS -':l;-03:5 RI\NG~-----o;-oo-o-
MINIMUM 3,000 MAXIMUM 9,000 SUM 203,000
C,V, PCT 28,661 ,95 C, I, 5,860 TO 7.237
I-'
w
-..J
SITCOM SURVEY
- - - n I:E"- -NONAH~CREf'l TION" Dt'\T~-==-- S:5"Tl-o/3o-tJ
6 •7 1 ooor
.......
w
())
TABLE 4
01 1,0000 .3546 -.0196 -.0392 .12~2 ,0670 -.1007 -.3064 .0177 -.0346 -.1401
,.-----··------- --c -o, ...c-··::;9r-·c ---·::;9r--r·--58l ·r·-···::;aJ ..... c-- 5a,-c- 59J·c·-·-5n--.--59l c· ·:;:u -c 58)
j P"***'** f• .003 P• .441 P• .385 P• o175 P• ,309 P• ,224 P• ,009 P• ,447 P• .403 P• .141
>- • .~4·6--r;uooo----=ooan • .!3sa--..:;o9oT·---;-l:n~ooz::·- =;:?o:'iY -. oroR·--=·;o986 ·--·- ~,t3Y:! ... -
( 59) ( 0) ( 59) ( 58) ( 58) ( 58) ( 59) ( 59) ( 59) ( ::;:~) ( 58)
P• .OOJ P•****** P• .256 P• ,OJ6 P• ,249 P~ ,178 P• ,493 P• ,059 P• ,457 P• ,241 P• .149
OJ -.0196 -.0871 t.oooo .1661 -.0225 -.205::; .2679 -.0079 -.1783 -.ozJa .o~''
591 c 59> < o> c 581 c 58> c 581 < 59> < 591 c 59> < 531 < :.u>
---------~-=--;,·4tt__,.,--.-2:::1't>__,..,.n:nrt--,..-;-ro&-r.or--o~:s:s--~&1 ,... .o2o-.....---.-..?ll'f'W--,oae-·-,..,--.-4:sr--r,. .. · •418 ·-----·----
04 -.0392 .2388 .1661 1.0000 -.0311 -.0932 -.0272 .0633 .0973 -.1048 -. ;.!:~04
·--· --r--·5tn·· -t --·--::;t:u · ·-c .. ----:~al -c- -- .. o,-·- t - -- .. 5:1'> -·-r--·-s'Tl ----c---:stiJ ..··- r·- ·--·:sar--r-·-~a~·--· ::22) ··-·· ( :07)
pc .385 P= .036 P• .106 P•****** P• ,409 P= .245 P• .420 P• .319 P• ,234 f'E .230 r·,. .o~.o
UOJ .1~--;-o90T -.o.:2t» -.oJti t.oooo·--=;o~'64 .o-x tv .oo..:6 -.u ..r~s---·-=·;oa3s- - .... ... 0.1~.,.
< 581 < 581 c 581 c 57> c O> c 571 c 58> c 58> c 581 < 5:.!1 c ::.n
P• .175 P• ,249 P• ,433 P• ,409 P•****** P• .339 P• .465 P• ,492 P• ,428 P• ,2/8 P• ,393
06 ,0670 .1232 -.2055 -.0932 -.0564 1.0000 -.0689 .0244 .0563 .1~~2 -.111~
( 58) ( 58) ( 58) ( 57) ( 57> ( 0) ( 58) ( 58) ( 58) ( t.3) ( 51)
---------..,,..--;-:ro.,-p=--.17g-p-;r--o1JOr-p-....--;-;r..-:rro.--;-n....,-.:n:.-n..--v•--.-3o-4'-'P"' •12a P• • 3.!7 -p:..-··-;oa4- I"" .... ~o:::s- ·
07 -.1007 .0022 .2679 -.0272 .0119 -.06H9 1.0000 .1988 -.2114 .1934 -.0841
~-·--- . :59) - \ - ::;9 ,---t·-- -:s,.r .. , . --':!eJ·- ~·--· -·':!aJ T -~er-r---·- o,·- ·---·:s9r- -·t--·· :S9 > ( ···- ~3J •( :Ill)
P= I 22-4 f'• ,493 p~ ,020 P• .420 P= ,46~ r~ ,304 P•****** ~a .066 P• ·054 P~ ,UBl f': I :!~.5
010 -·. 0346 -.0986 -.0238 -.1048 -.08:!5 .1922 .1934 -.0917 .:!160 t.ouoo · .oll~ll
------·---·----r-- .. 5:sl --c· :13> ---c- -53r· c--·- 52l r·-- ·521 ·- ·c ... - ·:s:n- ·c ... --·:~3>- ( 53) .~ ..-- '!i3) -·· <. OJ C ~:"">
- · -..- o r r - - - - - - - ; 14or ----.. .-1392 ------;o277 ----·, 2%04 ---;.. ;0369 ---- -=·;-r rrz-·~a 41·---.-o457---=-;-o923-- ,~~otPa· - t .()0~.10
( 58) ( 58) ( 58) < 57> < 57> ( 57> < ~9> < 58) ( ~lO ( ~::) ( ())
P= .147 P= .149 P3 .418 P~ ,050 pa .393 P- .205 P• ,265 fa ,367 P~ .24~ P= .268 f·~••n••
....
w
1..0
1 / I ~\
TABLE 5 I ....
Ill
~b! 'OJ
§~§
li1 ...,
~ ....§ -:1<-~ ""'c,O
,g .j.J
;:; .!j ~ ....
Survey Results c.; !J Ill 1:1, lf1 <.J
P2rt I I ....
.j.J
g..,§·...
~ .!:': '() 0 ~;;;
Mean Scores '·If·..., ~!l.c::t:
~ ~:...
" ..., <.J QJ
... CJ 0
~ f!Jfff
4
oo"""'
---------- ' --
I J.ove I.ucy (1951) 1.0512.1512.6412.8312.6112.1613.8313.7411.431 I 11.45
1----- ---- 1- +----1 -4---+-----4-----
r'l'he 1\dventures of Ozzie &
llarrlet (1952) --r--
j2.12 1.911 2.02
.
2.88 2.58 3.33 2.77 3.12 2.21
___ ___ ··- __ _
3.23
llon~ymooners
The
I-
(19551
---t 1.04 1.78 2.42 2.45 2.26 1.96 2.43 2.44
-·-'---
1.52
---- ___1.51
. _____ _
The Andy Gr~rr~~n
-~- ... ~now
-- 1.59 1.98 2.45 2.33 2.5 2.45 2.19 2.26 2.11 2.44
I-_(!_96Q! --+ +----+----f +-----·-- •· --- _ .
The Die. k Van Dyke Show
r--091!_!1__
1.98~.4312.04
.
1.93
--
t.oo
--
r1.551 I 11. 39
I
The Beverly Hillbillies
(196?~'----------------~---~---+--
~-witched (1964)
1.11
3.32 2.28
3. 22 2. 42
1.51 1.75
1.47
~0 2. 94
1.93 1.75
2. 91 ~ 70 -~~ 2. 83
1.24 1.62
3.42 4.:?5
-1---t--r-,
2.32
2.40
1.25
=1= -·---
3.26
3.56
1.16
I
------------·
M*I\*S*II (1972)
fl. 4=-t:~~~~_j_~~~~J~J ~~~1~~.J 1- 751~:--~~---- ----- 1. 40
~~~~py Days ( 1973) I_1~. Lt~j!_:B'>j ~..::_~-~ ~.:!.~J:~--~2__(2. ~J:.:_~:J_ ___ J__ __ __J! :~~-
22 7
......
~
0
TABLE 6 7 I
I
.;.
'"f
t5:U
.. ,.
~
stJ.&
.!f ~ ...
Survey Results ~
~ --
Part II
~ g ~. 0 ...,
uo;;;;
Rankin~s (Bases on Me~n Scores) :::.e. Col'
,---, J ,, ff
f ;:::Jo
oo"""'
. -~-
'l'hc Honeymooners
~
(1955) 1 3 6
~--4---~
9 5 4_j_7 8 2 6
-- -~-,-----t--
The Andy Griffith Show 7 3
1 2 7 6 9 4 5 9
(1960)
I I --1---\- -1
The ( ~~~~ 1va:_~vke Show I 1 I 5 I 8 I 6 I 7 t-=----1 4 I 9 1. 3 +--- _j ___j ___~__
The Bevf!rly llillbilliea 6 4
2 7 3 1 5 8 9 12
r--~62)
Bewitched
-~~---------------
All ln the Family
(1964)
(1971)
r
I
2
1
t=8.
7
4
3
2
j 6t ~-
·-- -- -
8
2tl5
5
8
7
9
9
4
.~-;·-~---l--~--1-
--i---~~---
3
14
M*A*S*Il (1972)
11971~-t~~t~_l_!
_J~ B 9
4
5 I 7 I 1 4 I 6
f. ---
__
-- ----1-1-------1----·----·------
3
2
13
3
6
--
5
------ ·-
3 ±I
·--+--1----~----1---1---1·--
---
5±±7
.
itj
-- ------ --- --·
4
... _____ ·-----
15
.....
.c:..
.....
TABLE 7
Survey Results
Part III (Question I)
The Mary Tyler Moore Show 40% (4) M*A*S*H 33% (5) The Mary Tyler Moore Show 22% (7) The Mary Tyler Moore Show 21% (12)
I Love Lucy 20% (2) The Honeymooners 13% (2) The Honeymooners 9% (3) M*A*S*H 12% (7)
10% (I)
- I Love Lucy
Dobie Gillis Buffalo Bill 13% ( 2) The Dick Van Dyke Show 9% (3) 9% (5)
The Dick Van Dyke Show 10% (I) I Love Lucy 7% (I) All in the Family 9% (3) The Honeymooners 9% (5)
All in the Family 10% (I) Topper 7% (I) I Love Lucy 6% (2) The Dick Van Dyke Show 9% (5)
Barney Miller 10% _(I) The Dick Van Dyke Show 7% (I) He & She 6% (2) All in the Family 9% (5)
The Mary Tyler Moore Show 7% (I) M*A*S*H 6% (2) He & She 4% (2) !
All in the Family 7% (I) My Little Margie 3% (I) Barney Miller 4% (2)
The Bob Newhart Show 7% (I) Sergeant Bilka 3% (I) Buffalo Bill 4% (2)
Leave it to Beaver 3% (I) My Little Margie 2% (I)
1-"
"'"
N
TABLE 8
Survey Results
Part III (Question 2)
The Cosby Show 47% (9) The Cosby Show 39% (9) The Cosby Show 33% (17) The Cosby Show 37% (34)
Cheers 2 I% (4) Cheers 30% (7) Cheers 31% (16) Cheers 29% (27)
Family Ties II% (2) Newhart 13% (3) Family Ties 16% (8) Family Ties 13% c12> 1
Newhart II% (2) Family Ties 9% (2) Newhart 8% (4) Newhart 10% (9) I
Kate & Allie 5% (I) Kate & Allie 4% (I) Kate & Allie 6% (3) Kate & Allie 5% (5)
Who's the Boss? 5% (I) Hail to the Chief 4% (I) Who's the Boss? 4% (2) Who's the Boss? 3% (3)
Brothers 2% ( I) Brothers 1% (I)
....
~
w