{"id":138824,"date":"2023-10-06T18:16:31","date_gmt":"2023-10-06T18:16:31","guid":{"rendered":"https:\/\/magdelaine.net\/?p=138824"},"modified":"2023-10-06T18:16:31","modified_gmt":"2023-10-06T18:16:31","slug":"whatever-happened-to-the-classic-tv-sitcom","status":"publish","type":"post","link":"https:\/\/magdelaine.net\/lifestyle\/whatever-happened-to-the-classic-tv-sitcom\/","title":{"rendered":"Whatever happened to the classic TV sitcom?"},"content":{"rendered":"

By <\/span>Robert Moran<\/span><\/span><\/span><\/p>\n

<\/p>\n

Live studio audiences, multicam set-ups, 22-minute episodes: the classic sitcom was a specific sort of art. <\/span>Credit: <\/span>Michael Howard<\/cite><\/p>\n

Save articles for later<\/h3>\n

Add articles to your saved list and come back to them any time.<\/p>\n

Veteran television director James Burrows knows what it takes to make people laugh; the 82-year-old\u2019s been doing it for 50 years, ever since he directed his first episode of The Mary Tyler Moore Show<\/em> in 1974. He\u2019s the master of a certain kind of art, the classic TV sitcom, the sort of show that ruled broadcasting schedules for decades before The Larry Sanders Show<\/em> (1992-98) or Ricky Gervais\u2019 The Office<\/em> (2001-03) \u2013 no one can decide \u2013 convinced the world that laughter could thrive in more subtle scenarios.<\/p>\n

You could call Burrows the Sitcom Don; among his more than 1000 directing credits are 75 episodes of the classic Taxi<\/em> (1978-1982) and 237 episodes of Cheers<\/em> (1982-1993), which he co-created with Glen and Les Charles. He also helmed 246 episodes of Will & Grace<\/em> (1998-2020), 21 episodes of Caroline in the City<\/em> (1995-98), 15 episodes of Friends<\/em> (1994-98), and too many more to mention. He also has 11 Emmys to his name.<\/p>\n

\u201cOh my God, there\u2019s a lot of them,\u201d he offers gruffly, when I ask him to name the sitcom work he\u2019s proudest of. \u201cI think the Taxi<\/em> I did where Reverend Jim (Christopher Lloyd) becomes a cab driver \u2013 \u2018what does a yellow light mean?\u2019 \u2013 is one. The end of the first season of Cheers<\/em> when Sam (Ted Danson) and Diane (Shelley Long) get together and kiss at the end of the episode. And with Friends<\/em>, \u2018The One with the Prom Video\u2019, which is famous. And there\u2019s a number of Will & Grace<\/em> episodes, like the one where they do I Love Lucy<\/em>. I\u2019ve had more than my share of those kinds of shows.\u201d<\/p>\n

Burrows\u2019 latest work is the opening two episodes of Paramount+\u2019s new Frasier<\/em> reboot, a return to a series he first directed in 1993. The series is idyllic comfort TV \u2013 as soon as you hear those \u201ctossed salads and scrambled eggs\u201d, you\u2019re transported to a simpler time when problems were solved in 22 minutes and the speckled laughter of a live audience warmly enveloped you like white noise.<\/p>\n

<\/p>\n

Kelsey Grammer as Frasier Crane, Jess Salgueiro as Eve and Jack Cutmore-Scott as Freddy in the new Frasier.<\/span>Credit: <\/span>Paramount+<\/cite><\/p>\n

\u201cIt\u2019s the same way I\u2019ve always done it, ever since I did the first Mary Tyler Moore Show<\/em>,\u201d he says of filming the new Frasier<\/em> in the old way, in front of a live studio audience with a multicam setup (that allows for quick coverage and fewer takes). For Burrows, it\u2019s a tried and tested formula.<\/p>\n

\u201cTaping with a live audience, it creates an enormous amount of energy,\u201d he says. \u201cFor the actors, you can see a twinkle in their eyes when they land a laugh. And it\u2019s a teacher for the writers too, because if the actors read a joke and it doesn\u2019t get a laugh, they\u2019ve gotta go back and rewrite the joke. It happens a lot, sure.\u201d<\/p>\n

But what about the trusty ol\u2019 laugh track, surely it can plug straight into the silent gaps? \u201cNo, I\u2019ve never believed in it,\u201d Burrows shoots back. \u201cSometimes if you make an edit in a sitcom, if you cut out some lines, you have to smooth the edit soundwise, so that\u2019s where you might use a laugh track. But if you do it in front of an audience and they don\u2019t laugh? Your audience just told you the joke wasn\u2019t funny. So change the joke, you know? Don\u2019t rely on a machine.\u201d<\/p>\n

<\/p>\n

TV comedy master James Burrows. The 82-year-old has over 1000 sitcom credits to his name, stretching back to his first job on The Mary Tyler Moore Show in 1974.<\/span><\/p>\n

Watching Frasier Crane\u2019s familiar pomp (eg, while sitting in a uni pub: \u201cWhat is it about the city of Boston that leads me to forego the more sophisticated temptation of the fermented grape? Sitting here with a cold brew in my hand, I feel amalgamated with the hoi polloi!\u201d \u2013 I mean, it\u2019s classic Frasier<\/em>), you\u2019ll suddenly be struck by how much the classic sitcom has fallen out of favour. In Australia, the format\u2019s long disappeared, killed off by panel shows and reality TV. But even in the States, hallowed ground for the genre, Burrows has seen its twilight.<\/p>\n

\u201cI think there\u2019s two or three on the air here \u2013 The Conners<\/em>, The Neighborhood<\/em>, and Bob Hearts Abishola<\/em>, which is a four-camera show that films without an audience,\u201d he says. \u201cAnd I don\u2019t know why they\u2019ve disappeared. They\u2019re the funniest television and the most inexpensive, and yet the studios don\u2019t want to make them. And I don\u2019t know why they don\u2019t do them anymore.\u201d<\/p>\n

<\/p>\n

The original cast of Cheers, including Kelsey Grammer, Woody Harrelson and Shelley Long. Burrows created the series with Glen and Les Charles, and directed 237 of its 275 episodes.<\/span><\/p>\n

It\u2019s always been the case that comedy doesn\u2019t command the same respect as drama, but the sitcom seems a particularly maligned format, seen as chintzy and unserious. However, it feels like having to land so many punchlines and build character in under 30 minutes is a much more difficult task.<\/p>\n

\u201cI don\u2019t do drama, I never did,\u201d says Burrows. \u201cI did a Lou Grant<\/em> once \u2013 I don\u2019t know if you remember that show? That was Ed Asner from The Mary Tyler Moore Show<\/em>, we spun him off into a one-camera show that was kind of a dramedy. But I don\u2019t see the world that way. I see the world this way,\u201d he says, comically skewing his glasses cock-eyed.<\/p>\n

\u201cMy dad was a writer on Broadway and somebody asked him once, \u2018Why don\u2019t you ever do drama?\u2019 And he said, \u2018I do drama, it just happens to be funny.\u2019 That\u2019s how I feel about it.\u201d<\/p>\n

Entertainment Weekly<\/em> was already bemoaning the \u201cdeath of the sitcom\u201d in 1999, an era that was still producing enduring classics like Friends<\/em> and Everybody Loves Raymond<\/em>, and almost a decade before an all-timer like How I Met Your Mother<\/em>, broadcast with a laugh track, even existed. In Australia, the classic sitcom format had already been dead for years.<\/p>\n

Older Millennials might remember watching Acropolis Now<\/em>, All Together Now<\/em>, and even TV shows without a \u201cnow\u201d in the title, like the legacy-tainted Hey Dad..!<\/em>. But there\u2019s a whole generation of viewers who\u2019ve grown up without a classic Australian sitcom. It\u2019s not like they\u2019re unfamiliar with the format \u2013 Friends<\/em> has famously been a streaming success with Gen Z, and free-to-air networks still fill their schedules with reliable repeats of Seinfeld<\/em>, The Big Bang Theory<\/em> and Two Broke Girls<\/em>.<\/p>\n

<\/p>\n

Nick Giannopoulos, Mary Coustas and George Kapiniaris of local sitcom Acropolis Now, which ran on the Seven Network for 63 episodes between 1989-1992.<\/span><\/p>\n

But, in Australia, TV comedies have long shied away from the format of yore, and recent favourites like Rosehaven<\/em>, Utopia<\/em>, Fisk<\/em> and Colin From Accounts<\/em> have continued the complete shift away from multicam, live audience setups. Why are we so averse to the classic sitcom?<\/p>\n

Matt Okine, the creator, writer and star of ABC\u2019s recent Mother and Son<\/em> reboot, says it was one of the first factors he had to consider when tackling the series.<\/p>\n

\u201cWhen we first pitched the idea of Mother and Son<\/em> with the original creator, Geoffrey Atherden, one of the first questions he asked was whether we would film in front of a studio audience. He told us about the culture of the show back in the day \u2013 rehearsing all week and then filming on Saturday nights to a packed studio. It sounded like an event people could really hinge their weekend around, like going to the theatre,\u201d Okine says.<\/p>\n

\u201cWe ultimately decided against it because we wanted our re-imagining of this show to be seen through a 2023 lens. That\u2019s not just the storytelling element, but also the style in which it\u2019s filmed as well. Filming in front of a live audience would\u2019ve felt too much like the original and we\u2019re trying to do everything we can to show the differences between then and now \u2013 that includes the shooting style of the show and how we consume it.\u201d<\/p>\n

<\/p>\n

Denise Scott and Matt Okine in the ABC\u2019s new Mother and Son.<\/span><\/p>\n

But at this point, the classic sitcom seems so sidelined as old-fashioned its return would feel like a breath of fresh air. Okine, who had previously worked in the TV comedy space with his Stan series The Other Guy<\/em>, still sees the appeal of the format.<\/p>\n

\u201cI\u2019m still keen to tackle the live sitcom format one day,\u201d he says. \u201cIt sounds obvious, but comedy makes people happy and brings people together. I have fond memories of my dad and I watching the original Mother and Son<\/em> together\u2026 I wanted to make a show that brought families together the same way the original did.\u201d<\/p>\n

Julie Eckersley, head of scripted at SBS, whose recent commissions include the original \u201cdramedy\u201d While the Men Are Away<\/em>, agrees it\u2019s possible for the local industry to do the classic sitcom again but suggests it\u2019d take a cultural shift from both makers and viewers.<\/p>\n

\u201cWe haven\u2019t traditionally, or for a long time, done shows with that canned laughter in. But I know people who put on Seinfeld<\/em> and Friends<\/em> as a nightly thing to go to sleep, exactly because of that comfort,\u201d she laughs.<\/p>\n

The first thing we\u2019d have to change, she says, is our writers\u2019 rooms. \u201cWhen you look at how the US do it \u2013 the punch-ups, the rigour, that group of writers always on \u2013 that\u2019s just not how we create television, and \u2013 this is something that\u2019s been discussed in the recent strikes \u2013 it\u2019s become increasingly expensive. But if you were to put your mind to making a world-class Australian sitcom, I think you\u2019d want to get that rigour of the ongoing writers\u2019 room set up, and in a way you can afford it.\u201d<\/p>\n

Eckersley has comedy experience on both sides of the camera. Before her SBS appointment, she was a producer on shows including The Family Law<\/em> and Maximum Choppage<\/em>, and before that she was a regular comedy performer.<\/p>\n

\u201cComedies like The Family Law<\/em>, they\u2019re created in the more traditional way that Australia creates television, which is you write draft one, you go away, you come back, you go away, you come back \u2013 and what\u2019s good about that is there\u2019s time. It makes it manageable rather than having a whole lot of writers on the floor working day in and day out.\u201d<\/p>\n

<\/p>\n

Kitty Flanagan as Helen Tudor Fisk in the ABC comedy Fisk. The series is shot in what\u2019s become the traditional Aussie sitcom way: on location and without canned laughter.<\/span><\/p>\n

She remembers her last experiences shooting live multicam while a performer in the mid-\u201900s, with Shaun Micallef on Newstopia<\/em> and Rebel Wilson on The Wedge<\/em>. \u201cIt was super fun, but you get one or two takes and you\u2019ve just got to keep on moving. It\u2019s start, stop, canned laughter, repeat. It\u2019s a very particular thing. So while Frasier<\/em> is comforting, I do think audiences require emotional satisfaction, and can you get that from performance and writing when you\u2019re shooting that quickly?\u201d<\/p>\n

If she\u2019s intrigued to see how it\u2019d fare, Eckersley is also sceptical that a return to the formula of yore is the answer for Australian comedy. \u201cThere\u2019s always room for multiple things in the market but when you look at where comedies have got to, in terms of Schitt\u2019s Creek<\/em> and The Good Place<\/em> and Bojack Horseman<\/em>, the medium has certainly become very sophisticated and satisfying, starting from that lighter touch but going to those big character places,\u201d she says. \u201cAnd when you look at Colin From Accounts<\/em> or Fisk<\/em>, No Activity<\/em> and even Bluey<\/em>, they feel like our versions of what an international comedy can be.\u201d<\/p>\n

After 50 years of doing sitcoms, Burrows has his own theories on what makes a successful comedy. And studio audience or not, the core necessity is obvious.<\/p>\n

\u201cFor me, when I do a show, I have to try to mould the cast into a homogeneous group that likes one another, works together, and hopefully that transmits across the screen. The characters, they have to be identifiable \u2013 you have to want to watch them every week to see what they\u2019re going through,\u201d he says.<\/p>\n

\u201cBut then, you\u2019ve gotta make sure it\u2019s funny. If you\u2019re doing a sitcom and it\u2019s not funny, you can take the \u2018com\u2019 out of it and just call it a \u2018sit\u2019,\u201d he jokes. \u201cAnd then add an \u2018h\u2019, because that\u2019s what the show will be.\u201d<\/p>\n

Frasier<\/em> streams on Paramount+ from Friday, October 13.<\/strong><\/p>\n

Find out the next TV, streaming series and movies to add to your must-sees. <\/i><\/b>Get The Watchlist delivered every Thursday<\/i><\/b>.<\/i><\/b><\/p>\n

To read more from<\/b> Spectrum<\/i><\/b>, visit our page here.<\/b><\/p>\n

Most Viewed in Culture<\/h2>\n

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