TV Intros

As requested by Ben Masters on Facebook, I am following up on my TV themes post and have a look at the visual aspect of TV intros. I don’t know about you, but if an intro is well done, I’m already getting into the mood for a show I want to watch. If the music and visuals match, the better the effect. So when I think about intros without primarily listening to the songs, the shows that have had a lasting effect on me with their introductions are definitely Charlie’s Angels, Bewitched and (you probably guessed it) Perry Mason. Like many other fans (so I’m sure), I’ve always wanted to know what was in that silly script that brought out Raymond Burr’s handsome dimple smile.

Charlie’s Angels, like Hart to Hart or Babylon 5 used narration to add to their pictorial introductions, explaining the background or premise of the show. While Lionel Stander introduced his screen bosses with scenes from the Hart to Hart pilot and only slight textual changes in the five years the show was on TV, Babylon 5 used a different introduction every season. Merging scenes from the show with the voices of lead characters, the season intros offered an outlook on the individual seasons, as well as a quick summary of what you needed to know to follow the plot of this complex show. And since I’m speaking of the 90s, who could forget ER, Home Improvement, Touched by an Angel, The X-Files or Chicago Hope – all equipped with visual intros that made clear what to expect from these specific program. Friends and Mad About You, two sitcom flagships of the era, also put us right into a quirky, urban mood, something Sex and the City would perfect in 1998 by making Manhattan a visual main character.

Looking at the evolution of these TV intros, in the 1980s, Cagney and Lacey and Scarecrow and Mrs. King already used their urban setting (New York City and Washington DC), as well as scenes from episodes to give the audience an idea of the content and nature of each show. The Golden Girls and Who’s the Boss did the same while The Cosby Show, Growing Pains, Roseanne or Valerie primarily introduced us to the type of family we were about to visit for half an hour every week. In the 70s, the intros of Happy Days, M*A*S*H, The Mary Tyler Moore Show or Family set the tone for very different shows while the 60s had already distinguished themselves from the often sponsor-laden intros of the 1950s. As the first era to introduce color TV, the 60s loved to use colorful effects and a contemporary style of music that showed a development away from family-friendly entertainment to more adult-oriented shows. While Hazel still proved to be traditional and rather quiet in the early 60s, Ironside‘s intro made clear the show was going to be filled with action, not unlike Adam-12.

In the new millennium, The West Wing tackled the unthinkable and turned politics into popular TV, the show’s intro already setting the mood and quality of a show that had a good run of seven seasons. The original CSI uses a similar pattern, creating a symbiosis of music and images, teasing the audience without giving too much away while the intro to the re-imagined Battlestar Galactica did not only set the tone for a dark-edged series, but also treated its audience to a glimpse into each new episode. Whether you enjoy the classic style of merging video material with a catchy tune like Trapper John M.D. did in in the late 70s and early 80s, prefer graphics as used in Cheers or are fond of the genuine way The Closer interlaced its credits with an already commencing episode – TV show intros are a like a good business card. Selling your product without being obtrusive while making a lasting impression on your audience.

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The Golden Girls

TV classics: The Golden Girls

USA 1985-92, seven seasons, 180 episodes, approximately 30 minutes each, NBC, color. Cast: Bea Arthur, Betty White, Rue McClanahan, Estelle Getty

Plot summary: It can be fun pushing towards retirement, if you share a house with friends and know where to get Miami’s best cheesecake to get over your troubles with family and men.

Review: Cynthia Fee sings Thank You For Being a Friend and the pictures introduce you to a show about friendship, pun and laughter. Bea Arthur is credited first, then Betty White, Rue McClanahan and Estelle Getty. As Dorothy, Rose, Blanche and Sophia, they share a house in Miami, three widows and a divorcée. Dorothy (Bea Arthur) is a teacher whose sarcasm matches her Ma’s (Estelle Getty) sharp tongue when Rose (Betty White) shares her small town wisdom and Blanche (Rue McClanahan) brags about her nightly escapades with men. They butt heads at times, are jealous of each other and sometimes snarky – all in all, however, they are good friends and there is nothing a piece of cheesecake couldn’t mend.

Premiering on September 14, 1985 on NBC, The Golden Girls were an instant hit on television, securing an audience from and beyond the Greatest Generation. With three small screen veterans as leading ladies, the show managed to build up on their previous fame without typecasting them. While Bea Arthur’s character showed certain parallels to Maude, Vivian Harmon and Sue Ann Nivens did not make a reappearance. Although originally auditioning for Blanche Devereaux, Betty White ended up playing naive Rose Nylund from St. Olaf, Minnesota, while Rue McClanahan got to show her playful side as a man-hungry Southern Belle. Blessed with fantastic scripts right from the start and Estelle Getty as TV’s new discovery, the show had a successful run of seven years and addressed many previously untouched topics.

Following Bea Arthur’s departure in the show’s popular finale in 1992, The Golden Girls lived on for another season at The Golden Palace and graced Nurses, as well as Empty Nest (both also created by Susan Harris) with occasional guest appearances. Twenty years after going off the air, The Golden Girls are still dearly remembered by a worldwide audience. Released on DVD and available as individual seasons or a complete boxset, the show still attracts fans across the generations by walking the fine line of entertainment and quality. Rewarded with sixty-five Emmy nominations, the writing and cast was top notch then and remains funny today. In times of reality TV and anything goes, the show is still refreshing and, like Betty White’s popularity, never seems to get old.

The 70s

On the next couple of Fridays I will bring you information about and recommendations from beyond my favorite decades, starting today.

The 1970s

Fashion in the 70s was colorful with patterns that could make you dizzy. Skirts were super long or super short. You had knee-high boots and ethno-chic tunics. Trousers were flared and paired with platform shoes. Popular colors were hippie rich and often psychedelic. A deep rich brown combined with a bright orange and sunny yellow, or a combination of colors that weren’t necessarily easy on the eyes. 1970s fashion was about fun, second wave feminism and comfort. The music world presented ABBA from Sweden and Saturday Night Fever on dance floors worldwide. Glam rock and punk entered the scene, while microwave ovens became more popular in US homes.

On TV, Mary Tyler Moore had her successful debut, as well as The Muppets. Following affirmative action, Woodstock and the relaunch of an arduous gender debate in the 60s, 1970s television was the mirror of a society still heavily entangled in the Vietnam war. M*A*S*H was a direct answer to the pains and fears of an entire generation, inspired by its preceding feature film and novel. Other examples for successful shows from that era are Happy Days, my decade favorite Hart to HartThe Love Boat, or The Waltons with their rather classic entertainment qualities. New family realities and changing structures were picked up on The Brady Bunch, The Odd Couple, The Partridge Family or Three’s Company, the ongoing debate on gender equality on a variety of shows that circled around female leads. Not that TV hadn’t presented women as central heroes before, but the tone had changed and the atmosphere. Charlie’s Angels, Maude, Police Woman or Wonder Woman didn’t have much on Lucy Ricardo, Donna Stone, Samantha Stephens or Susie McNamara. It was a different fabric these “new women” were made of, independent and hard-boiled yet often sexed up. They were supposed to find their way in a man’s world, no matter what, and their wardrobe and wisecracking attitude helped them accomplish that goal.

On the silver screen, gritty, sexed-up, shocking or taboo-breaking was in vogue: The Godfather, The GraduateKramer vs. Kramer, Norma Rae, One Flew Over the Cuckoo’s Nest or Taxi Driver were big hits, as well as the emerging genre of disaster movies kicked off by the adaptation of Alex Haley’s Airport. Personally, I’ve never been a big fan of either one of these films although I have always greatly appreciated each film’s stellar cast. Cabaret or Love Story  are more my cup of tea, along with the surfer movie Big Wednesday for three simple reasons: California, William Katt and his mother Barbara Hale. I guess you can see my priorities.

Classy TV Ladies

So this is the odd Friday post after I was indisposed last week. Sorry about that! But this week I’m back and on a roll about something a dear friend of mine stirred up over breakfast only yesterday. Whatever happened to the warmhearted, caring and classy TV lady?! Mind you, I may jump decades a little in this entry, but I can’t help it. Where did my darling women go?! You know the bunch: Donna Stone, Samantha Stephens, Jennifer Hart, Elyse Keaton, Amanda King, Claire Huxtable,  JB Fletcher or Maggie Seaver?! All essentially different characters but obviously of undesired making these days. Or are they?!

When the topic arose yesterday morning, I found my friend raving about these shows: The Cosby Show, Family Ties and Growing Pains. All shows with strong working mother types. Granted, all comedy shows and not all too popular in style anymore – at least not production-wise, DVD sales however tell another (more successful) story. So the 1980s may be in vogue and families could be buying these childhood memories for their own kids these days, but isn’t it strange how appealing those stories and characters still are, especially to young women who seem to grow tired of being bombarded with a sexed-up stereotype of power Barbie?!

You see, I greatly enjoy Castle and The Good Wife, both shows with strong, likeable female leads. Brothers & Sisters also featured a motherly type of rare making in today’s shows and a bunch of crazy yet charming (adult) kids.  But these shows seem to be on the endangered species list. How many other popular programs can you name that make you feel like coming home to a family of respectable adults who really nurture their kids?! Donna Stone (The Donna Reed Show) and Samantha Stephens (Bewitched) really seem to be from another lifetime when you watch them doting on their families in the 1950s and 60s. But weren’t Maggie Seaver, Claire Huxtable and Elyse Keaton just the same only two, three decades later?! All working moms but always capable and affectionate towards their families despite their equally cherished careers?! And what about those female characters without children, like JB Fletcher, Jennifer Hart or my all-time favorite Della Street?! How come they were so much less neurotic and snotty and able to smile even if they were up to their necks in hazard?!

I don’t know, maybe it’s just me but although I greatly enjoy some of what TV has to offer these days, including The Closer with its quirky female characters or Rizzoli & Isles with that team of unalike female leads, I cannot help but wonder why there are so few shows out there who pick up on that yearning for a more mature kind of female characters who are in touch with both, their professional qualities and their warmth. The West Wing did good in its own unique way without the sexual (yet highly entertaining) in-your-face attitude of Sex and the City, granted. But with all due respect for feminism and women’s lib, was Della Street that much less liberated by choosing to be a working girl and dressing adequately for success? Or did Claire Huxtable ever make a secret of loving her family but, at the same time, struggling to combine it with her dedication to her profession?! Hardly so, yet they both never came across as dodgy, moody or condescending. They were charming instead and had a respectful sense of humor about their situation, the men in their lives and the obstacles that came with both, something I greatly value when I now watch DVD reruns of the shows they were such pivotal parts of.

Call me a hopeless romantic or an idealist but I like to see the best of both worlds depicted on screen: female characters who get to prove their skills with implicitness in both their workplace and at home (husband and children included or not). I loved growing up with that image and it has always instilled a sense of tranquility in me that there is more to life than only the choice between Cagney or Lacey, Mary Tyler Moore or Sue Ann Nivens, mother or career woman. And I hope there will be a larger variety of shows which introduce independent yet sane and benign female characters again who make me feel like coming home.