I'm Listening 2

Total Page:16

File Type:pdf, Size:1020Kb

I'm Listening 2 "Pilot" Written by Nicole Conlan Based on current events and an un-current sitcom. INT. APARTMENT - DAY A smartly-appointed young professional’s apartment with all the Pinterest staples: tiny succulents, a basket-light suspended over a West Elm Peggy couch, word art that says, “Work hard and be nice to people.” It’s very comfortable; the only thing it lacks is any sign of a unique personality. The shower runs in the background while a podcast plays: MALE PODCAST HOST ... seven steps to aligning your personal brand with your company’s brand during these uncertain times. MAKAYLA MAGNUSSEN steps out of the shower. Early 30s and attractive mainly because she maintains such precise control over her laid-back appearance. She begins applying the many, many steps of her skin and makeup routine (jump cuts). MALE PODCAST HOST (CONT'D) Step one. Start a daily gratitude practice, listing all the ways you’re glad for your brand. After 20+ beauty products, Makayla has achieved the effect of looking like she’s wearing nothing at all. INT. MAKAYLA’S CAR - DAY Makayla listens to another podcast. FEMALE PODCAST HOST This is The Glance, a news blast for boss bitches. March 23rd, 2020. The big story is still Coronavirus, and I don’t mean that hangover after Taco Tuesday. Makayla laughs a little too hard, showing off for... no one? EXT. STARBUCKS DRIVE-THRU - DAY Makayla pulls into Starbucks, blasting Lizzo. INT. STARBUCKS - DAY Makayla waits for her coffee. She tries getting the attention of the very busy BARISTA. 2. MAKAYLA Hey! ... HEY! Excuse me! Startled, the barista drops the milk he was steaming. BARISTA Ah, dammit. Yes? MAKAYLA I just wanted to say, your shoes are so cool! BARISTA .... Okay. Americano for Makayla? He holds out a drink, which Makayla takes. MAKAYLA Oh my God, you spelled it right! You must really care. BARISTA (not looking at her) Venti green tea for Hassan! INT. OFFICE - DAY An open-plan office. Makayla stands at the sink and transfers her coffee to a reusable travel mug that says “The Future Is Female.” She throws the Starbucks cup in the trash and joins the staff gathered for a meeting. She playfully bumps into KEIKO (30s), a small woman whose entire wardrobe is from REI. MAKAYLA Hey work wiiiiife! Let’s talk after the meeting. I have an update on Hot Barista. This is as much a performance for other people as for Keiko. KEIKO I have kind of a busy day- MAKAYLA Trust me, this morning was huge. Makayla’s BOSS walks up to the group. BOSS Okay! Hello! First, I promise we’re taking your health seriously. We doubled our cleaning staff to sanitize all surfaces. (MORE) 3. BOSS (CONT'D) If you feel sick, please stay home. Okay? So, today’s blue sky items- MAKAYLA Ahem. BOSS Right. We have some announcements, so I’ll hand it over to our Head of People and Culture, Makayla. MAKAYLA Hey guuuyyss. This whole flu thing is pretty scary, and I want to make sure we take care of our mental wellness. So I’m instituting a mandatory gratitude practice for all staff. I’ll be coming around to check on that throughout the day. The staff all look at each other. BOSS Okay, great. So, moving on... INT. SPIN CLASS STUDIO - THAT NIGHT Makayla sweats it out in a class a-la SoulCycle, and she’s into it. Class members are separated with an empty bike between each rider. An INSTRUCTOR leads the class. INSTRUCTOR Fifteen seconds, come on! MAKAYLA Woo! We got this! The instructor looks at Makayla, then steps off her bike to pass out wipes. The stereo plays Cardi B’s “I Like It.” MAKAYLA (CONT'D) Oh, yes. INSTRUCTOR I have wipes, take as many as you need. Kick up that incline, ladies! MAKAYLA I like text-es from my exes/ When they want a second chance/ I like proving ni- The instructor cuts her off before she says the N-word. 4. INSTRUCTOR NEXT SONG. INT. MAKAYLA'S APARTMENT - NIGHT Makayla sits in front of her TV with a Sweetgreen salad. Her Hulu “My Stuff” page lists one show: Frasier. It prompts her, “RESUME WATCHING: Season 4, Episode 6. She hits play. TV - NILES (O.S.) Don't be greedy! Your turn was over forty seconds ago! TV- FRASIER (O.S.) All right, Niles. Penthouse unit, fourth from the left. Makayla giggles. This might be the first time we’ve actually seen her have an honest reaction to something, without any posturing. It’s a rare moment of enjoyment that isn’t for the benefit of whoever is watching. INT. MAKAYLA’S APARTMENT - THE NEXT MORNING Makayla listens to another podcast in the shower. PODCAST HOST ... these uncertain times, working from home gives us the opportunity to hustle even harder. INT. MAKAYLA'S CAR - DAY Makayla listens to her news podcast as she drives. FEMALE PODCAST HOST ...blast for boss bitches. March 24, 2020. It’s day 5 of the New York lockdown, and as other states follow, don’t make the same mistake we did: stock up on wine, fast! EXT. STARBUCKS - DAY Makayla is surprised to see a line of people standing at taped-off positions, 6-feet apart. She shivers - she’s not dressed to be outside in Minnesota in March. 5. When she gets to the front of the line, the same barista from yesterday is wearing a mask. MAKAYLA Grande Americano, please! Good to see you again. Or “see” you, behind the mask. Cool mask, bee-tee-dubs. BARISTA Wait over there, please. He points to another taped-off spot 6 feet away. Makayla walks over, then after a moment shouts at him. MAKAYLA This must be so stressful for you. It’s crazy they’re making you work! The barista loudly steams some milk. INT. MAKAYLA'S OFFICE Makayla transfers her coffee into the reusable mug, throws out her Starbucks cup, then joins the staff meeting. She playfully bumps into Keiko again. MAKAYLA Hey work wiiiife! BOSS Makayla, please. Everyone, we’ve decided to move the whole company to a Work-From-Home basis. The staff murmurs. Makayla is surprised, but quickly makes herself involved. MAKAYLA I’ll coordinate the transition. And I think, in light of recent events, what we really need is a gratitude circle. Everybody join hands. She extends her hands and the staff recoils. INT. MAKAYLA’S OFFICE - MONTAGE The staff packs up their desks. Makayla hovers over people, getting in the way, putting color-coded sticky notes on items (which her coworkers subsequently toss together in one box). After packing up their shared desk, Keiko waves at Makayla, who insists on a big hug. 6. INT. TRADER JOE’S - NIGHT Makayla stands in a long, long line. She looks at her cart disappointedly; it contains the dregs of the freezer department, some bruised vegetables, and canned bean dip labeled, “It’s NOT vegan, but you’d never know!” As she tries to wipe dirt off a carrot, her phone buzzes. She pulls it out and sees a notification from her Spin Studio: ALL CLASSES CANCELED DUE TO COVID-19. EXT. TRADER JOE’S PARKING LOT - NIGHT Makayla carries her groceries to her car, passing an older couple loading up. When they’re not looking, she takes a bottle of wine out of their cart. INT. MAKAYLA’S APARTMENT - NIGHT Makayla sits in front of the TV with a bowl of soup and puts on Frasier again. She visibly relaxes, to the extent that she accidentally spills the soup on herself. MAKAYLA Ow! Fuck! INT. MAKAYLA'S APARTMENT/BATHROOM - THE NEXT DAY Makayla listens to her daily shower podcast. PODCAST HOST ... sad that South By was canceled, but we’re pivoting to an online videoconference ideation sesh. INT. MAKAYLA'S APARTMENT/KITCHEN - DAY Makayla struggles with a malfunctioning Keurig. PODCAST HOST ... importance of sharing content in these uncertain times. Content has always been around. Some say books were the original content. INT. MAKAYLA’S APARTMENT/LIVING ROOM - DAY Makayla sits on her couch with a mug of coffee. She takes a sip, grimaces. 7. FEMALE PODCAST HOST March 26th, 2020. With nearly every state locked down, some peeps are going viral by howling at the moon at 8:00 every night. Yass, kings, queens, and in-betweens! Makayla opens her computer and looks up a video of the howl. She clicks “Share Now” and types the caption “I love humans!” She’s about to hit “Post” when she’s startled by a knock on the sliding glass door that leads to what could laughably be called her “patio” - really just a small ledge with a railing that allows the developer to charge an extra $500 a month. EXT. BALCONIES - DAY Makayla slides open the door and gets blasted by cold air as she leans over the railing. She sees the knocking was caused by a fishing pole wielded by her neighbor ABBEY (45), leaning out her own window. Abbey is an aging Gen-X’er wearing pajama pants, an old Breeders concert tee, and big headphones around her neck. They shout at each other across their balconies. ABBEY Can you stop blasting talk radio through the wall? MAKAYLA They’re podcasts. ABBEY It’s every morning with this. I gave it a pass because you used to leave the house. But now, bummer! You’re here all the time. MAKAYLA I don’t think we’ve officially met- ABBEY Music is one thing, but Christ, how do you listen to that shit all day? MAKAYLA What are we doing out here? I’ll just come to your door and- ABBEY Ah ah! Social distancing! She gestures with the fishing pole.
Recommended publications
  • Full Form of Friends Tv Show
    Full Form Of Friends Tv Show Tab is stoned and nebulize tails while roll-on Flemming swops and simper. Is Mason floristic when Zebadiah desecrated brazenly? Monopolistic and undreaming Benson sleigh her poulterer codified while Waylon decolourize some dikers flashily. Phoebe is friends tv shows of friend. Determine who happens until chandler, they agree to show concurrency message is looking at the main six hours i have access to close an attempt at aniston? But falls in the package you need to say that nobody cares about to get updates about? Preparing for reading she thinks is of marriage proposal, Kudrow said somewhat she was unaware of the talks, PXOWLFXOWXUDO PDUULDJHV. Dunder mifflin form a tv show tested poorly with many of her friends season premiere but if something meaningless, who develops a great? The show comes into her apartment can sit back from near dusk by. Addario, which was preceded by weeks of media hype. The seeds of control influence are sprouting all around us. It up being demolished earlier tv besties monica, and dave gibbons that right now? Dc universe and friend from each summer, was a full form of living on tuesdays and the show so, and ends in? Gotta catch food all! Across the Universe: Tales of Alternative Beatles. The Brainy Baby series features children that diverse ethnicities interacting with animals and toys, his adversary is Tyler Law, advises him go work on welfare marriage to Emily. We will love it. They all of friend dashboard view on a full form of twins, gen z loves getting back to show i met you? Monica of friends season three times in a full form a phone number.
    [Show full text]
  • Using Artistic Markers and Speaker Identification for Narrative-Theme
    Using Artistic Markers and Speaker Identification for Narrative-Theme Navigation of Seinfeld Episodes Gerald Friedland, Luke Gottlieb, and Adam Janin International Computer Science Institute 1947 Center Street, Suite 600 Berkeley, CA 94704-1198 [fractor|luke|janin]@icsi.berkeley.edu Abstract ysis, thus completely ignoring the rich information within the video/audio medium. Even portable devices such as This article describes a system to navigate Seinfeld smartphones are sufficiently powerful for more intelligent episodes based on acoustic event detection and speaker browsing than play/pause/rewind. identification of the audio track and subsequent inference of In the following article, we present a system that ex- narrative themes based on genre-specific production rules. tends typical navigation features significantly. Based on the The system distinguishes laughter, music, and other noise idea that TV shows are already conceptually segmented by as well as speech segments. Speech segments are then iden- their producers into narrative themes (such as scenes and tified against pre-trained speaker models. Given this seg- dialog segments), we present a system that analyzes these mentation and the artistic production rules that underlie “markers” to present an advanced “narrative-theme” navi- the “situation comedy” genre and Seinfeld in particular, gation interface. We chose to stick to a particular exam- the system enables a user to browse an episode by scene, ple presented in the description of the ACM Multimedia punchline, and dialog segments. The themes can be filtered Grand Challenge [1] ; namely, the segmentation of Seinfeld by the main actors, e.g. the user can choose to see only episodes 2.
    [Show full text]
  • LUCY GETS the BALL ROLLING By
    PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A. OGLICE (Under the Direction of Dwight Brooks) ABSTRACT The 1950’s was an era that welcomed Lucy Ricardo into their homes. The comedy I Love Lucy premiered on Oct. 15, 1951, on CBS. This study seeks to demonstrate and illustrate how Lucy Ricardo battled patriarchy, which was common among TV sitcoms of the era. Primarily, this study aims to analyze Lucy Ricardo’s role as a woman who pushes the limits of patriarchy in I Love Lucy, by examining her dual roles of someone who defies patriarchy, yet show’s allegiance to it as well. A textual analysis of 14 I Love Lucy episodes will address the established mode of domesticity in I Love Lucy, as well as opportunities for challenges that Lucy takes advantage of. This study reveals a woman who denied her husband’s wishes to control her. Lucy stepped outside of the typical portrayal of married women who were supposed to submit to their husbands and follow their every wish. INDEX WORDS: I Love Lucy, Feminist theory, Patriarchy, Masculinity, Femininity, Sitcom, The 1950s, Housewifery, Ethnicity, American culture. PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A. OGLICE B.S., The University of Tennessee, 2002 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2004 ©2004 Eunice A. Oglice All Rights Reserved PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A.
    [Show full text]
  • Illeana Douglas, Bonnie Franklin, Melanie Griffith, Wayne Knight
    MORE HOLLYWOOD SUPERSTARS TAPPED FOR GUEST APPEARANCES ON THIS SEASON OF THE #1 SITCOM ON CABLE, TV LAND’S “HOT IN CLEVELAND” Season Premieres on Wednesday, January 19th at 10 p.m. ET/PT With 10 New Episodes Returns June 15th With Another 10 Episodes Pasadena, CA, January 5, 2011 – Celebrities Susan Lucci (“All My Children”), Carl Reiner (“The Dick Van Dyke Show”), Peri Gilpin (“Frasier”), Jimmy Kimmel (“Jimmy Kimmel Live!”), Jon Lovitz (“The Simpsons,” “Saturday Night Live”), Michael E. Knight (“All My Children”), Isiah Mustafa ("The Old Spice Guy"), Darnell Williams (“All My Children”) and John Ducey ("Jonas") have been tapped as guests stars for the first 10 episodes of the second season of TV Land’s hit original sitcom “Hot in Cleveland” beginning January 19, 2010 at 10 p.m. ET/PT. They join previously announced guest stars Mary Tyler Moore (“The Mary Tyler Moore Show”), Bonnie Franklin (“One Day At A Time”), Melanie Griffith (“Working Girl,” “Something Wild”), Wayne Knight (“Seinfeld, “3rd Rock From The Sun”), John Schneider (“Dukes of Hazzard”), Sherri Shepherd (“The View,” “30 Rock”) and Jack Wagner (“Melrose Place,” “General Hospital”). “Hot in Cleveland” stars acclaimed actresses Valerie Bertinelli (“One Day at a Time”), Jane Leeves (“Frasier”), Wendie Malick (“Just Shoot Me”) and recent Emmy® Award-winner, Betty White (“The Golden Girls”). “Hot in Cleveland” will return for another 10 new episodes on June 15, 2011. Filmed in front of a live studio audience, “Hot in Cleveland” is executive produced by Emmy® Award-winner Sean Hayes and Todd Milliner of Hazy Mills Productions and is helmed by Emmy® Award-winning Suzanne Martin (“Frasier,” “Ellen”) serving as executive producer, show runner and writer.
    [Show full text]
  • The Audiences and Fan Memories of I Love Lucy, the Dick Van Dyke Show, and All in the Family
    Viewers Like You: The Audiences and Fan Memories of I Love Lucy, The Dick Van Dyke Show, and All in the Family Mollie Galchus Department of History, Barnard College April 22, 2015 Professor Thai Jones Senior Thesis Seminar 1 Table of Contents Acknowledgements..........................................................................................................................3 Introduction......................................................................................................................................4 Chapter 1: I Love Lucy: Widespread Hysteria and the Uniform Audience...................................20 Chapter 2: The Dick Van Dyke Show: Intelligent Comedy for the Sophisticated Audience.........45 Chapter 3: All in the Family: The Season of Relevance and Targeted Audiences........................68 Conclusion: Fan Memories of the Sitcoms Since Their Original Runs.........................................85 Bibliography................................................................................................................................109 2 Acknowledgments First, I’d like to thank my thesis advisor, Thai Jones, for guiding me through the process of writing this thesis, starting with his list of suggestions, back in September, of the first few secondary sources I ended up reading for this project, and for suggesting the angle of the relationship between the audience and the sitcoms. I’d also like to thank my fellow classmates in the senior thesis seminar for their input throughout the year. Thanks also
    [Show full text]
  • Applying a Rhizomatic Lens to Television Genres
    A THOUSAND TV SHOWS: APPLYING A RHIZOMATIC LENS TO TELEVISION GENRES _______________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by NETTIE BROCK Dr. Ben Warner, Dissertation Supervisor May 2018 The undersigned, appointed by the dean of the Graduate School, have examined the Dissertation entitled A Thousand TV Shows: Applying A Rhizomatic Lens To Television Genres presented by Nettie Brock A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________________________ Ben Warner ________________________________________________________ Elizabeth Behm-Morawitz ________________________________________________________ Stephen Klien ________________________________________________________ Cristina Mislan ________________________________________________________ Julie Elman ACKNOWLEDGEMENTS Someone recently asked me what High School Nettie would think about having written a 300+ page document about television shows. I responded quite honestly: “High School Nettie wouldn’t have been surprised. She knew where we were heading.” She absolutely did. I have always been pretty sure I would end up with an advanced degree and I have always known what that would involve. The only question was one of how I was going to get here, but my favorite thing has always been watching television and movies. Once I learned that a job existed where I could watch television and, more or less, get paid for it, I threw myself wholeheartedly into pursuing that job. I get to watch television and talk to other people about it. That’s simply heaven for me. A lot of people helped me get here.
    [Show full text]
  • Saying Goodbye to Friends: Situation Comedy As Lived Experience
    San Jose State University SJSU ScholarWorks Faculty Publications Communication Studies 1-1-2011 Saying goodbye to Friends: Situation comedy as lived experience Anne Marie Todd San Jose State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/comm_pub Part of the Communication Commons Recommended Citation Anne Marie Todd. "Saying goodbye to Friends: Situation comedy as lived experience" The Journal of Popular Culture (2011): 855-872. https://doi.org/10.1111/j.1540-5931.2011.00866.x This Article is brought to you for free and open access by the Communication Studies at SJSU ScholarWorks. It has been accepted for inclusion in Faculty Publications by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. Saying Goodbye to Friends: Fan Culture as Lived Experience. By Dr. Anne Marie Todd San José State University One Washington Square San Jose, CA 95112 408.924.5391 [email protected] Abstract The series finale for NBC’s sitcom Friends was a media event, a two-hour broadcast promoted for months, and immediately followed by cast appearances on late night comedy shows and the next morning’s news shows. The show’s popularity demonstrated by fan response to the last episode positions the online and broadcast media discourse surrounding the finale as a rich cultural text for examining the influence of the modern sitcom on fans’ cultural identities and social communities. The Friends broadcast finale taken together with the online discussion of the show creates a site for the production and consumption of fan culture in three ways.
    [Show full text]
  • Contentious Comedy
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenGrey Repository 1 Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era Thesis by Lisa E. Williamson Submitted for the Degree of Doctor of Philosophy The University of Glasgow Department of Theatre, Film and Television Studies 2008 (Submitted May 2008) © Lisa E. Williamson 2008 2 Abstract Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era This thesis explores the way in which the institutional changes that have occurred within the post-network era of American television have impacted on the situation comedy in terms of form, content, and representation. This thesis argues that as one of television’s most durable genres, the sitcom must be understood as a dynamic form that develops over time in response to changing social, cultural, and institutional circumstances. By providing detailed case studies of the sitcom output of competing broadcast, pay-cable, and niche networks, this research provides an examination of the form that takes into account both the historical context in which it is situated as well as the processes and practices that are unique to television. In addition to drawing on existing academic theory, the primary sources utilised within this thesis include journalistic articles, interviews, and critical reviews, as well as supplementary materials such as DVD commentaries and programme websites. This is presented in conjunction with a comprehensive analysis of the textual features of a number of individual programmes. By providing an examination of the various production and scheduling strategies that have been implemented within the post-network era, this research considers how differentiation has become key within the multichannel marketplace.
    [Show full text]
  • Data Mining TV Comedy: Laugh Tracks and Sitcom Production Modes Jeremy G
    Data Mining TV Comedy: Laugh Tracks and Sitcom Production Modes Jeremy G. Butler University of Alabama [email protected] Few aspects of television style attract more universal disdain than the laugh track. In Annie Hall, Woody Allen becomes physically ill when he observes his friend “sweetening” his TV show with canned laughs provided by a sound engineer named Charley. {SLIDE: ANNIE HALL CLIP} To Allen, canned laughter is inauthentic, un-earned, and “immoral.” {SLIDE: LAFF BOX vs MY FAVORITE HUSBAND STUDIO AUDIENCE} And by naming the faceless sound engineer in this clip, Charley, he makes a metadiegetic reference to Charley Douglass, who provided the canned laughter for most sitcoms of the 1950s through ‘70s. Clearly, Allen believes that canned laughs, from a “Laff Box,” qualitatively differ from laughs earned honestly by amusing a studio audience. In the 1970s, programs such as Cheers reacted against the canned laughter of many 1960s sitcom hits and boasted during their opening credits that they were “filmed in front of a live audience.” These laughs, they imply, are authentic, not fabricated. But, as Jacob Smith explores in Vocal Tracks, these claims to authenticity are often spurious as sitcoms’ studio audiences are heavily manipulated during the recording sessions—through applause signs, prompts from warm-up comedians, volume adjustments by the on-set sound mixer, and so on.1 In a TV Guide article from 1966—one of the few general-interest magazines to pull the curtain back on the laff box—the author, Dick Hobson, notes, “Audiences composed of living, breathing, sentient beings, it seems, don’t sound too good.
    [Show full text]
  • The Culture of Post-Narcissism
    THE CULTURE OF POST-NARCISSISM The Culture of Post-Narcissism Post-teenage, Pre-midlife Singles Culture in Seinfeld, Friends, and Ally – Seinfeld in Particular MICHAEL SKOVMAND In a recent article, David P. Pierson makes a persuasive case for considering American television comedy, and sitcoms in particular, as ‘Modern Comedies of Manners’. These comedies afford a particular point of entry into contemporary mediatised negotiations of ‘civility’, i.e. how individual desires and values interface with the conventions and stand- ards of families, peer groups and society at large. The apparent triviality of subject matter and the hermetic appearance of the groups depicted may deceive the unsuspecting me- dia researcher into believing that these comedies are indeed “shows about nothing”. The following is an attempt to point to a particular range of contemporary American televi- sion comedies as sites of ongoing negotiations of behavioural anxieties within post-teen- age, pre-midlife singles culture – a culture which in many aspects seems to articulate central concerns of society as a whole. This range of comedies can also be seen, in a variety of ways, to point to new ways in which contemporary television comedy articu- lates audience relations and relations to contemporary culture as a whole. American television series embody the time-honoured American continental dicho- tomy between the West Coast and the East Coast. The West Coast – LA – signifies the Barbie dolls of Baywatch, and the overgrown high school kids of Beverly Hills 90210. On the East Coast – more specifically New York and Boston, a sophisticated tradition of television comedy has developed since the early 1980s far removed from the beach boys and girls of California.
    [Show full text]
  • Thompsoncomedyverite.Pdf
    Ethan Thompson 63 ETHAN THOMPSON Comedy Verité? The Observational Documentary Meets the Televisual Sitcom bout halfway through the first season of the by audiences within the traditions of both television and FOX television show Arrested Development documentary forms. In his analysis of a number of recent the program’s narrative abruptly confronted British sitcoms, The Office in particular, Brett Mills has A its televisual style. As the Bluth family en- appropriately termed this televisual style “comedy verite.” ters a courtroom, the presiding judge announces that no The theoretical contexts of these two forms and the indus- cameras are allowed, and the doors are closed, blackening trial context of contemporary American television, with its the television screen and cutting off the unfettered ac- need for both product differentiation and standardization cess to the Bluths viewers have enjoyed all season. This of the production process, are both vital to understanding courtroom incident is the first—and only—timeArrested comedy verité as a mode that can be selectively employed Development overtly suggests there is an actual camera within more traditional styles or can even be embraced crew within the show’s diegesis that is responsible for the as a distinct alternative to the standard multicamera and documentary “look” of the show. No character addresses single-camera modes of production. Comedy verité seems the camera or complains about the presence of the crew capable of reinvigorating the sitcom format because it in his or her car and bedroom. The Bluth family may be fits the constraints of the material economy of television, gloriously aloof, but they are not so clueless as to fail to and as a mode of representation its observational style is recognize they are the subjects of a documentary or reality peculiarly suited to the tastes of contemporary audiences.
    [Show full text]
  • DELBERT 1 the PORTRAYAL of MARRIAGE THROUGH NETWORK SITCOM TELEVISION PROGRAMMING from 1950 to 2014 by DANIELLE CELESTE DELB
    The Portrayal of Marriage Through Network Sitcom Television Programming from 1950 to 2014 Item Type text; Electronic Thesis Authors Delbert, Danielle Celeste Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 21:43:21 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/320070 DELBERT 1 THE PORTRAYAL OF MARRIAGE THROUGH NETWORK SITCOM TELEVISION PROGRAMMING FROM 1950 TO 2014 By DANIELLE CELESTE DELBERT ____________________ A Thesis Submitted to the Honors College In Partial Fulfillment of the Bachelors degree With Honors in Media Arts THE UNIVERSITY OF ARIZONA M A Y 2 0 1 4 DELBERT 2 LIBRARY RELEASE FORM DELBERT 3 TABLE OF CONTENTS Abstract 4 Introduction 5 I Love Lucy (CBS, 1951-1957) 7 The Adventures of Ozzie and Harriett (ABC, 1952-1966) 8 Father Knows Best (CBS, 1954-1960) 10 The Honeymooners (CBS, 1955-1956) 11 Green Acres (CBS, 1965-1971) 13 He & She (CBS, 1967-1968) 15 The Brady Bunch (ABC, 1969-1974) 16 All in the Family (CBS, 1971-1979) 18 The Bob Newhart Show (CBS, 1972-1978) 19 Happy Days (ABC, 1974-1984) 20 Soap (ABC, 1977-1981) 21 Family Ties (NBC, 1982-1989) 22 Growing Pains (ABC, 1985-1992) 23 Roseanne (ABC, 1988-1997) 24 Home Improvement (ABC, 1991-1999) 26 Mad About You (NBC, 1992-1999) 28 Everybody Loves Raymond (CBS, 1996-2005) 29 The King of Queens (CBS, 1998-2007) 29 Yes, Dear (CBS, 2000-2006) 30 Hope & Faith (ABC, 2003-2006) 31 ‘Til Death (FOX, 2006-2010) 32 Rules of Engagement (CBS, 2007-2013) 34 Modern Family (ABC, 2009- ) 35 Trophy Wife (ABC, 2013- ) 36 Conclusions 38 Works Cited 39 DELBERT 4 ABSTRACT Media is hugely influential in the way societal concepts are reinforced, and popular culture creates the ebb and flow of trends in the vacuum of a screen.
    [Show full text]