jim: ah. a quiet evening at home. i could use it. [slam] billy gray: and i played bud. bud usually had a problem with the truth telling, on some level. jim: what was all that racket upstairs? bud: i didn t hear anything. billy gray: father knows best represented the good life; the american dream. jim: i ll read you one story, then off to bed you go. bob: and then leave it to beaver enters the sitcom realm in 1957. wally: what s that? beaver: a haircut i think. tony dow: the real key to leave it to beaver is that it s written from a child s point of view. wally: why didn t you let stanley cut your hair? beaver: i losted my money. jerry mathers: you have the character of beaver and you have wally his older brother who usually does things right, beaver s always the one that gets in trouble. june: [gasps] marisa guthrie: and there were the parents to teach them, to show them the right path. ward: we want you to feel that you can come to me or to your
for timing her bits. desi: what do you think you re doing? well? jennifer armstrong: i love lucy became a phenomenon instantly. lorraine ali: when you think about the era that lucille ball came up in, and what she was able to achieve it s astounding. desi: hey! i m a father, i m a father! tom gilbert: when lucy and ricky had a baby, it was like huge. it was the highest-rated show of the series. it changed the dynamic because all of a sudden it became centered around the family unit. i think i love lucy was the big bang of the family sitcom. marisa guthrie: then the family moved to the suburbs. lucy: gee isn t this exciting. we are in our very own home. marisa guthrie: and that mirrored what was happening in america at the time.
tim allen: lucille ball was one of my favorites for timing her bits. desi: what do you think you re doing? well? jennifer armstrong: i love lucy became a phenomenon instantly. lorraine ali: when you think about the era that lucille ball came up in, and what she was able to achieve it s astounding. desi: hey! i m a father, i m a father! tom gilbert: when lucy and ricky had a baby, it was like huge. it was the highest-rated show of the series. it changed the dynamic because all of a sudden it became centered around the family unit. i think i love lucy was the big bang of the family sitcom. marisa guthrie: then the family moved to the suburbs. lucy: gee isn t this exciting. we are in our very own home. marisa guthrie: and that mirrored what was happening in
that kind of kicked it all off. lucy: first operating this evening. stop that now and go back and sit down!! linda lavin: it was a show about a ditzy woman who wanted to be in show business. man: have you ever considered acting? everyone: has she ever considered acting? linda lavin: .and her husband, who is latin and a musician. desi: honey, you know how i feel about this. i don t want my wife in show business. lucy: why not? marisa guthrie: lucille ball was always trying to emancipate herself from the wife and the homemaker role. bob saget: and every time she gets the opportunity, something goes awry. jaleel white: lucille ball was fearless in her physical comedy. you know, women were supposed to be demure and dainty and in their place.
jim: ah. a quiet evening at home. i could use it. [slam] billy gray: and i played bud. bud usually had a problem with the truth telling, on some level. jim: what was all that racket upstairs? bud: i didn t hear anything. billy gray: father knows best represented the good life; the american dream. jim: i ll read you one story, then off to bed you go. bob: and then leave it to beaver enters the sitcom realm in 1957. wally: what s that? beaver: a haircut i think. tony dow: the real key to leave it to beaver is that it s written from a child s point of view. wally: why didn t you let stanley cut your hair? beaver: i losted my money. jerry mathers: you have the character of beaver and you have wally his older brother who usually does things right, beaver s always the one that gets in trouble. june: [gasps] marisa guthrie: and there were the parents to teach them,