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,
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 mother with any problem and we ll understand. patrick gomez: in the 1950s, sitcoms were really giving us an idealistic version of america.
everybody was nice, those were not real people, they entertained and delighted us. dinner is on, we are sitting down. when you get to father knows best, it is patriarchal and dealing with tiny problems. i played but. he usually had a problem with truth telling on some level. what was that racket upstairs? father knows best represented the american dream. lead it to beaver enters the sitcom realm in 1957. what is that? the real key to leave it to beaver is that it is written from a child s point of view. why did you let stanley cut
dealing with tiny little problems. ah quiet evening at home can use it. and i played bud bud usually had a problem with the truth telling on some level what was all that racket upstairs? i didn t hear anything father knows best represented the good life. the american dream one story and then off the bed, you go and then leave it to beaver enters the sitcom realm in 1957. haircut. i think. real key to leave it to beaver is that it s written from a child s point of view. why don t you let stanley cut your hair? my money? you have the character of beaver and you have wally who s his older brother, who usually does things right? beaver is always the one that gets in trouble. and there were the parents to teach them. show them the right
the kids were very polite. everybody was very nice to each other. those were not real people, but they entertained and delighted us. all right, kids. dinner s on, we re sitting down. when you get to father knows best, it s very patriarchal. dealing with tiny little problems. ah, a quiet evening at home. i can use it. and i played bud. bud usually had a problem with truth-telling on some level. what was all that racket upstairs? i didn t hear anything. father knows best represented the good life, the american dream. i ll read you one story, then off to bed you go. then leave it to beaver enters the sitcom realm in 1957. what s that? a haircut, i think. the real key to leave it to beaver is that it s written from a child s point of view. why don t you let stanley cut your hair?