LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

TV's All-time Greatest Openings Friday Night ABC 1971-72

COW Library : TV & Movie Appreciation : Tim Wilson : TV's All-time Greatest Openings Friday Night ABC 1971-72
CreativeCOW presents TV's All-time Greatest Openings Friday Night ABC 1971-72 -- TV & Movie Appreciation Editorial
Oahu Hawaii USA All rights reserved.

We talk about great movie title sequences in movies all the time, but prior to a thread in Creative COW's TV & Movie Appreciation Forum, I'd never seen much conversation about great TV opening sequences.

It can be hard to separate "opening sequences" from theme songs. Plenty of shows with fantastic theme songs had openers that are visually irrelevant. They're just there for the theme songs. There might as well be a black screen with some names on it.

That's obviously not always the case. There are of course a TON of great TV openings whose visuals are every bit as memorable as their songs. Two particular nights in the history of television struck me at the time as having five absolutely perfect openers in a row, at the top of five outstanding shows. I'm going to save the other night for a future article, but this time, I'm going to look at Friday night on ABC, 1971-72. Five great shows, five fantastic opening sequences, and, as a bonus, five incredibly memorable theme songs.

It happens that none of these shows debuted in the 1971-72 season. This is just when they landed in one place, driving each show to the peak ratings of its run. Indeed, the night worked so well that the network kept the same line-up for one more year. By the end of 72-73 though, half of these were gone. Two more seasons, they'd all be gone. Nope, 71-72 is the season that the shows of ABC's Friday night first came together in a truly magical way: The Brady Bunch, The Partridge Family, Room 222, The Odd Couple, and Love, American Style.

(Please note that the views that follow are entirely my own, and do not reflect the views of Creative COW, LLC, anybody who works at the COW, anybody you've ever heard of, or indeed, anybody else at all. It's just me.)

It's more common than you may recall off the top of your head, but TV openers often undergo some tweaks along the way, sometimes on a pretty major scale. The 1971-72 season is also the one by which each of these shows settled into the opening that is best remembered.

I'm noting the start times for the Central time zone, because that's where I was watching at the time. Folks outside that timezone fail to understand what it means to have prime time start at 7 PM (and for that matter, have Johnny Carson come on at 10:30 back in the day). It made for a much more intimate experience, but it also drove household habits in a way that later air times can't. Since TV wasn't allowed at our dinner table, my sister Nancy and I had to get back inside, finish dinner, and be ready to be in front of the TV at SEVEN.

Think that was easy on a Friday? When the week was finally starting to get leisurely? No way, man. It also took some considerable training of our parents to make sure dinner was done by 7, but my sister and I eventually managed to pull it off.

So let's get on with the shows!

This is what I call "an explain-y open," walking us through the show's premise. The Brady Bunch's creator, Sherwood Schwarz did this for an earlier show of his as well, Gilligan's Island. That one has a memorable theme, but not an especially memorable opening. However, the 9-up layout of The Brady Bunch is every bit as distinctive as the song, though. It looks simple now, but even a few years ago, this was a whale of a lot harder than it looked to actually create.

I worked for Boris FX around the turn of the century, a company whose long suits included DVE presets. Among other things, I managed the product line whose early claim to fame was in fact DVEs. My jobs included adding presets, and I gotta tell you, we got a ton of requests. We had a customer who kept asking, politely but increasingly firmly, for a preset for what he called "The Brady Bunch effect." It's obviously not technically an effect, but you know exactly what he meant.

I finally had to ask for my own curiosity what he was going to use it for -- it was for the 1998-2004 edition of Hollywood Squares! But he didn't say, "I need something for Hollywood Squares." That could mean anything. He said, "The Brady Bunch effect," which could mean only one thing.

You would expect The Brady Bunch opening visuals to change each season as the kids aged, and they did. It turns out that the vocals morphed a few times too. Watch the opener from Season 1 (1969-70) and see what you hear. Or what you don't hear.

Here's what you don't hear: any of the Brady kids singing! The theme was sung by The Peppermint Trolley Company! The Brady kids began singing the opening after producers heard "Bobby" and "Peter" goofing around on the set one day. Even THEY couldn't resist singing that dang song, and from Season 2 until the show ended with Season 5, the kids did the singing.

Ah, The Peppermint Trolley Company! This was An Actual Group that also happened to have a sideline playing the part of a rock band on TV in the mid-to-late 60s. Look 'em up sometime. The first time I noticed them was when they played the part of a Robin Hood-themed (!!!) rock group on The Beverly Hillbillies, but they were also really, really good on their own. In fact, they played themselves on Mannix, doing a very stripped-down version of this song for a recording engineer played by Harry Dean Stanton!

But the fully decked-out version of the song with its baroque orchestral arrangement is absolutely glorious. Check out this clip! They sound kind of like The Left Banke ("Walk Away Renee"), The Strawberry Alarm Clock ("Incense and Peppermints"), or one of the other psychedelic pop groups of the day. I gotta tell you, I think their song "Trust" was one of the best pure pop songs of 1968.

Back to The Brady Bunch opening. It played a crucial role for the show. In Season 1, it laid out the whole premise: a fella with three sons marries a gal with three daughters. In fact, the entire first season was ABOUT what happened after the song ended: "This group must somehow form a family." Okay, but HOW? Virtually every episode hinged on the specific challenges of blending the family.

Talking about this was quite tricky. Schwartz had written Mike Brady as a widower. He in fact talks about his deceased wife in the first episode. Schwartz had also written Carol Brady as a divorcee, but this was a no-go. ABC Standards & Practices had only recently approved ANY mention of divorce, but absolutely NOT if kids were involved. The father of Carol's girls is never mentioned at all.

While The Brady Bunch wasn't the first example of a blended family on TV (both Bonanza and Make Room For Daddy featured stepfamilies), The Brady Bunch was the first to focus on the actual blending as the entire subject of the show.

At least in Season One. The opening was in some ways even more important for subsequent seasons, because the blended family was taken for granted from Season 2 forward. Apart from explaining why the boys all had dark hair and the girls were all blond -- although anybody who saw Lady & The Tramp already knew that boys look like dad, girls look like mom; 'nuff said -- there was no reason whatsoever to assume that this was a blended family at all. It was just a big, mostly happy family. In fact, VERY happy considering that all six kids shared a single bathroom with (apparently) no toilet in it.

There were some truly great episodes in the magical season of 1971-72, including a guest turn from former Monkee Davy Jones, one of the great episodes of the era on any show. There was also this, which for virtually all of you will need no further explanation:

By the time the show premiered, their single "I Think I Love You" was already climbing the charts. A slick trick having a TV show tie-in when the show hadn't yet aired.

The premise is simple enough, and once again largely explained in the opening. Five siblings form their own garage band, only to discover that their widowed mother has an amazing voice. They cajole her into joining the group, and heartwarming hilarity and pop stardom ensue.

The pop music on The Partridge Family was entirely legit, featuring some of the best writers and session players to ever stride across the land. You music nerds already know The Wrecking Crew, a loose-knit group of musicians whose members backed everyone from Sinatra to The Doors, The Mamas & The Papas, The Beach Boys, Derek & The Dominoes and Frank Zappa -- and The Partridges. The great Hal Blaine himself played drums on every Partridge track.

The show's composer, Wes Farrell, also won an Oscar(!!!) for his score for Midnight Cowboy the same year that The Partridge Family debuted! No kidding. This pop music was the real deal.

In addition to laying out the show's premise, the opening of The Partridge Family establishes some absolutely critical points of reference.

Notably, it establishes that by far the hottest girl on the show was the mom, and the second hottest girl on the show was the oldest brother. Hot Mom? Hot older brother? I found this both confusing and distressing as a boy on the cusp of adolescence…until I gave in and just went with it. I'm certain that this explains a lot about me, and I think about the 70s in general.

Hey, where's the famous phrase "C'mon Get Happy" in this version of theme? This "when we're singing" version was in fact the original one. "Come On Get Happy" was the version playing in the show's second season: the magical season of 1971-72. Oddly enough, that version doesn't appear to be available online, but no matter. You can surely sing it.

The animated portion of the opening ends with a live-action shot of the back of the family's tour bus, with the sign "Careful Nervous Mother Driving." To me, this was a big deal for grounding the show at least a little bit in the real world. We learn in the first episode that Shirley Partridge worked in a bank when her husband suddenly passed away. Experience driving a bus would have been unlikely.

She was also nervous because there's no way a level-headed, small town single mom would think that trying to make a go in the music world with two teens and three pre-teens was a good idea. Needless to say, making your kid a star is now demanded as a god-given right. Not the case 40-odd years ago, I assure you.

Ah, but the very first episode of The Partridge Family didn't feature this famous animated opener at all! It opens with an "If you'd told me five months ago, I'd say you were crazy…" kind of VO from mother Shirley Partridge as she drives the bus into Hollywood. Exactly one minute into the episode, they're in a TV studio where Johnny Cash (yes, THAT Johnny Cash) introduces the band, as they kick into a genuinely luminous song, "Together (Havin' A Ball)."

Two quick asides. First, The Johnny Cash Show premiered in 1969, and his guests on that first episode were Bob Dylan, Joni Mitchell and Fannie Flagg. (The elder among you, like me, will be flooded with warmth by her name.)

Just for grins, as I was writing this, I looked to see who the guests were on The Johnny Cash Show the week that The Partridge Family debuted, the third week in September, 1970: Ray Charles, Arlo Guthrie and Liza Minelli! And two days later that same week, we see John introducing The Partridge Family. Sure. Why not?

Second aside, it's well known that The Partridge Family didn't do all their own singing. In fact, "the family" did virtually none of it.

Now, Shirley Partridge was played by Shirley Jones, who of course sang in real life. Her movie debut was as the lead in Oklahoma!, handpicked for the role by Rodgers and Hammerstein themselves. She was also the only singer for whom they ever chose to act as managers themselves, which I find absolutely amazing.

Her son Keith was played by her real-life stepson David Cassidy. David had, and has, a wonderful pop voice. Between his looks and his exceptional pop singing skills, he would easily have been a music star without this show.

Both Shirley and David sing on almost all of the Family's songs, with David singing lead. After the first episode, David also sang lead on the opening theme. But in the entire first episode, neither Shirley nor David's singing is heard at all.

The voices we heard were the voices we heard filling in for the rest of the Family on every episode: The Ron Hicklin Singers.

The Ron Hicklin Singers!

They also filled in as voices for The Monkees! And background vocals for Cher, Burt Bachrach, solo Ringo Starr, soundtracks for movies including Rosemary's Baby and Dirty Harry, and on and on. The Ron Hicklin Singers were, and indeed still are, absolutely first-rate pros in a role that barely exists anymore. I'll leave it to you to look him up, but he's got a nifty Facebook page that's very much worth checking out.

The radio nerds in the class are going to love this 1974 demo and pitch reel that includes some priceless banter and AM jingles. They really, really don't make 'em like this anymore.

So while we hear David and Shirley singing the Partridge Family opening from the second episode forward, they're always carried on the gentle wings of the Ron Hicklin Singers, whose voices stood in for the rest of the family on every track.

Actually, a third aside. Seeing that The Partridges were cleaning up with music -- four major hit albums in our magical year of 1971 alone -- the producers of The Brady Bunch decided to try to cash in as well. There were only a couple of episodes of The Brady Bunch where the kids "sang" on the show, all in this 1971-72 magical season…yet several albums with them "singing" began to appear at this time.

Except in rare, specific instances of solo vocals, the heavy lifting for the singing was performed by -- you know it: The Ron Hicklin Singers.

The Partidge Family: "SOUL CLUB"
Continuing with the Partridges: in the context of ABC's Friday evening in 1971-72 (and 72-73), I found The Partridge Family a huge step up from The Brady Bunch. Not just because of the psycho-sexual dynamics of my disturbing attraction to both Hot Mom and Hot Older Brother, and not just because of the pop music. I unapologetically still love the best of the music, but I was even more impressed with the show's occasional weight. Sure, it was a single-camera comedy with a laugh track, but it never shied away from a variety of social issues, including women's rights and racial justice.

My favorite 1971 episode, and one of the series' best, was "Soul Club." It featured one of the show's better songs, "Bandala." The episode also featured RICHARD PRYOR and LOU GOSSETT (as he was credited)!! It was in fact a back-door pilot intended to kick off a series with the two of them that sadly never came to pass.

Richard Pryor and Louis Gossett, Jr. in the 1971 episode of The Partridge Family, Soul Club
Richard Pryor and Louis Gossett, Jr. in the 1971 episode of The Partridge Family, "Soul Club"

Seriously, though? Trying to kick off a Pryor-Gossett show from The Partridge Family?! No kidding. Richard Pryor. Louis Gossett, Jr. The Partridge Family. Wow.

The pair played brothers who had intended to book The Temptations into their inner city Detroit social club, only to have the white, white, oh so white, Partridge Family roll up instead.

The Temptations concert had been the brothers' last hope to save their club. They'd gotten in deep to a loan shark, and were counting on The Temptations to deliver a big payday.

It was immediately apparent that the Partridges weren't going to be able to help them -- ah, until they actually DID help. Heartwarming hilarity ensued as the Partridges played a street fair benefit show. Along the way to saving the day (which they did), Danny Partridge is made an honorary member of "The Afro-American Cultural Society," a thinly-veiled and highly favorable representation of the Black Panthers.

In fact, when you look this up yourself -- and you should -- many accounts report that the episode DID feature the Black Panthers. (For a start, try Googling "Partridge Family Black Panthers.") Even without the actual Black Panthers, a number of scholarly sources have nevertheless cited the "Soul Club" episode as a pivotal moment in American cultural history. That part is absolutely true. This was the first positive depiction of militant black pride in mainstream media, and it was A Big Deal. I didn't need the perspective of history to tell me that. Watching on that Friday night in 1971, I could FEEL that it was a big deal.

None of which would matter in the context of a show about a singing musical family if there wasn't a great song somewhere in there. And there is: "Bandala," one of the best in the show's entire run.

Kind of a kick -- members of the Afro-American Cultural Society are shown serving as the song's string and horn sections! This might have been the only time in the show's run that it acknowledged that the plethora of sounds that we're hearing couldn't possibly have been coming only from the Partridges themselves.

Wait for Pryor and Gossett to show up around the 2-minute mark in this clip, "giving five" to each other in a variety of creative ways, some involving hip bumps. Yes indeed, friends. Hip bumps.

Also kind of a kick: I got to meet Shirley Jones in the mid-90s and told her some of what she and Shirley Partridge meant to me growing up. I definitely skipped the part about having a crush on her. But far more than the Brady Bunch, this is the theme from the night I've sung most over the years.

But I have to say, ever since I rolled that "Together" clip in the house a few days ago, neither my wife nor I have been able to stop singing it. Curse you, Partridge Family! Curse you, Ron Hicklin Singers!

(Yes, I skipped the show at 8 PM. I'll be back to it.)

More famous now as a playwright, Neil Simon got his start as a radio and TV writer, notably on Your Show of Shows, The Phil Silvers Show and Caesar's Hour. He in fact won two Emmy Awards for his TV writing.

September 24, 1970 saw the premiere of not one but TWO ABC shows that originated as Neil Simon plays, each of which had also been adapted into films before becoming TV shows.

Barefoot in the Park was Simon's second play, and after an adorable film starring Jane Fonda and Robert Redford, the TV show lasted only 12 episodes. The cast was one of the first on TV to be predominantly black. While you don't remember the stars, you may recall supporting actors Thelma Carpenter from The Wiz, and Nipsey Russell, also from The Wiz, but far more important for most TV viewers, a million game shows, talk shows, variety shows and more, from the 1960s to his passing in the 90s.

The other Neil Simon show debuting September 24, 1970 stuck around for 5 seasons. Barely. It was canceled every year, but strong summer ratings led to it being renewed four times.

It was based on Neil Simon's third play, The Odd Couple. The film adaptation starring Jack Lemmon and Walter Matthau would be remembered more fondly if it was more remembered at all: the TV version starring Tony Randall and Jack Klugman lasted for 114 episodes, and I think for most people entirely overshadowed the film.

Eventually abandoned for a truncated version, the original, full-length opening title sequence of The Odd Couple used in the first three seasons was a classic from the moment it aired. It's another explain-y intro, but still a lot of fun. Music by Neil Hefti, who also wrote the music to the Batman theme.

Indeed, anybody who watched the show can hum the musical theme every bit as immediately as any other instrumental theme on TV or in the movies -- even if they haven't seen it since its early 70s run. Easily up there among most memorable TV and movie themes ever, alongside The Pink Panther, Batman, The Twilight Zone, The Andy Griffith Show, Mission: Impossible, Hawaii Five-0, The Rockford Files -- you name it.

My wife and I also found ourselves still able to recite the narration that ran over the intro music. This is the version from our magical season of 1971-72. Along with some crackerjack acting that succinctly established the characters, be sure to note the ITC Souvenir Black font, a go-to look for the late 60s and early 70s.

The Odd Couple themselves are actually somewhat like The Brady Bunch, yes? A sort of blended family.

I should note that 1971-72 was the second season of the show, when it also switched from the first season's single-camera/laugh track format, to 3-camera/studio audience, the only show of the five this night for which this was the case. Future seasons retained the multi-camera/live audience format through to series end in 1975.

Now THIS opener was a piece of work.

The theme for the first season was performed by The Cowsills, which in a nice bit of recursion is the real-life family act that served as the model for The Partridge Family. (The Cowsills apparently balked at doing the show themselves when told that their real-life mother wouldn't be part of the project, but instead played by Shirley Jones.) The Cowsills were just tailing off from several years as one of the nation's top concert acts, so them performing the Love, American Style theme was considered quite a coup -- one of the first times that a major pop act recorded a TV show's theme when they weren't featured in the show.

Needless to say, it was released as a single. It sold quite well, and for obvious reasons, remains a staple of Cowsills concerts.

1971-72 was the season that Love, American Style stretched from 30 minutes to an hour. It was an anthology-style format, with anywhere between 3 and 5 segments, plus some 10-20 second mini-sketches to plug the holes in running time and provide some recurring elements. Producer Garry Marshall called it "the place where failed pilots go to die," because its loose format allowed un-picked-up pilots to be re-edited to become free-standing 15-20 minute segments within an episode.

(Co-producer Aaron Spelling used variations on some of these tricks for The Love Boat, including a virtually identical approach to the opening credits, with a porthole replacing the heart.)

One of those failed pilots that Marshall refers to is one that he himself wrote and shot in early 1971, called "New Family in Town," about a group of teenagers in the 1950s. What? The FIFTIES? This was the SEVENTIES, man. Who would be interested in a bunch of kids from the FIFTIES? No wonder the pilot flopped.

And so, at the beginning of the 1972 half of the 71-72 season, the failed pilot for "New Family In Town" was tweaked and retitled "Love and The Television Set," airing as one half of a Love, American Style episode. It starred Ronny Howard (as he was still billed) as Richie Cunningham, Marion Ross as his mother, and Anson Williams as his best friend Potsie. (His father Howard was played in the pilot by the great character actor Harold Gould.)

Here's the version of the opening theme that people remember, which began airing in this magical season of 1971-72, not by The Cowsills. It happens to be from the very episode featuring the stars of this very segment of Love American Style later renamed "Love and The Happy Days."

Before we go on, having mentioned that The Cowsills were now grazing greener pastures, any guesses who sang the Love, American Style theme starting in the magical season of 1971-72?

That's right. THE RON HICKLIN SINGERS! The same Ron Hicklin Singers who were bringing us the voices of Partridges and Bradys earlier in the same evening!

I remember "Love and The Television Set" like it was yesterday. The Andy Griffith Show was the most popular series on TV in 1968, when its star decided to step away, and anything Ronny Howard did was still news, at least to me. This episode revolved around the Cunninghams being the first family in the neighborhood to get a TV. You may not be surprised that watching TV was also a pretty big deal to me, so a plot hanging on this singular act was more than enough to keep my attention.

Remarkably when considered in retrospect, Potsie was originally a leering, sex-crazed beast trying to help his pal Richie "score" -- the word that was actually used. A genuinely unsavory fellow, verging on misogynistic in his lusts, a brainier Beavis. His bright idea was to have Richie entice girls into carnality using the promise of watching television as bait. Hilarity ensues, heartwarming conclusion with father and son bonding over choosing the right way to treat girls, with dignity, rather than taking shortcuts to fraudelent intimacy. The classic Love, American Style modus operandus: start spicy, end sweet.

In 1973, the year after "Love and The Television Set" George Lucas decided to make a film rooted in memories of his own small-town youth, set in the SIXTIES, and NOT the fifties. The tagline on the poster for that movie, American Graffiti, was "Where were you in '62?"

Lucas really enjoyed Ronny's performance on Love, American Style, and felt he was the perfect fit for American Graffiti -- whose success, recursively enough, led to the greenlighting of a show based on Garry Marshall's previously failed pilot as Happy Days the very next TV season, starring, of course Ronnie Howard, along with Marion Ross as his mother, and Anson Williams as a significantly more savory Potsie.

Which means that not every failed pilot that went to Love, American Style to die stayed dead.


There we are: 4 distinctive openings on 4 shows, each playing a huge part in setting up the shows. They were all also quite explain-y, yet still visually memorable, verging on iconic.

What about the fifth show? The one that aired at 8 PM Central? It played an even bigger part in my life than my simultaneous crushes on a mother figure and an older brother figure combined.

8 PM: ROOM 222
(Again please note that the views that follow are entirely my own, and do not reflect the views of Creative COW, LLC, or anybody else at all. It's just me.)

I'm just going to roll tape on this one. It's a full minute and half, a long time even then, and unheard of now.

The theme is light and delicate in a way that perhaps no other had been up until that time. Composed by the great Jerry Goldsmith, a 6-time Academy Award nominee who eventually won the Oscar for his score to The Omen! That one couldn't possibly be more different than this one, but you can't imagine how many great movie themes and scores he did that were just as different from each other as these -- Chinatown, Hoosiers, five Star Trek movies, so many more. Do yourself a favor and check him out.

For now, let's get back to talking about his theme for Room 222.

A solo classical guitar plucks a simple tune, adding light percussion, an unusually prominent but tasteful bass guitar, and a recorder (!!!) to solo the main theme. As the song proceeds, a drum comes in, with its lightly-sticked high hat cymbal strongly contrasted against heavy timpani. There's a visual thematic shift (back to that in a second) accompanied by a powerful string sting. The return of the solo classical guitar is laid over with a solo flugelhorn (the trumpet's rounder, gentler cousin) repeating the theme originally played on the recorder. No explain-y lyrics. Just a beautiful piece of music, given enough time to breathe.

It KILLED me that I couldn't listen to this over and over in 1971. Unlike every other theme from the night, it was never available as a single or on a soundtrack -- as far as I know, you still can't buy it. There were no readily available VCRs, so I just paid insane attention to it.

Remember, this was Friday night at 8PM. I was often back outside after supper. I might have missed The Brady Bunch some nights (admittedly expendable), maybe even The Partridge Family -- GASP!!! -- but I was definitely rooted in front of our black and white TV at 8, ear pressed to the speaker, demanding silence from anyone else in the room.

The visuals were huge on their own, too. The multiracial, well-groomed, and fully engaged students wearing a safe blend of modern yet conservative attire are a cliché now, echoed in every college's marketing materials. But this was a public high school, where in many parts of the real world, dreams of peaceful integration were quite a long way off.

It debuted in 1969, the year of the extremes of Woodstock and Manson, and offered an alternative path for both parents and young people to consider. It was also set in a place we hadn't quite seen before -- clearly urban, but also kind of clean and hopeful in a sort of suburban way, which was also something of a dream. (The exterior of the fictional Walt Whitman High was in fact Los Angeles High School, an iconic structure going back 100 years now.)

As we shift from the general scene-setting imagery in the first part of the theme, through the transition cued by the musical sting, things get REALLY interesting. Wheeling up, top-down, in his red convertible is one of the most freakishly handsome men in the history of television, a well-dressed BLACK man, gently smiling yet serious, with an undeniable air of authority. (Turns out that he's a history teacher, passionate about the subject and his students.)

The next person we see is a BLACK WOMAN -- the first time since Amos and Andy went off the air in 1953 that a show featured TWO black leads. (The predominantly-black Barefoot in the Park came a year later.) She was also gorgeous, which helped, and clearly a person of both authority and sincerity -- a guidance counselor, it turns out.

Next comes the older white gentleman, obviously both kindly and put-upon. Definitely the principal. You didn't need the label on his parking space to tell you that.

Finally comes a girl who looks like a student, but, we find out later, is actually a student teacher. And hey! A cute little visual punchline when she's so taken in by the vision of the school and its community laid out before her that the bus doors start to close on her. Ha ha! That Karen Valentine! What a hoot!

(The show opened to disappointing numbers, but Emmy wins for Valentine, Michael Constantine as the principal and for the show as Best New Series helped keep it on the air.)

Not every one of these details is laid out in their specifics in the opening -- we don't KNOW that the black woman is a counselor rather than a teacher, and the student/student teacher switcheroo was played to the hilt for the show's entire run -- but by the time the opening minute and a half has completed, we've already been told a STORY. Race, class, gender, the role of education in upward mobility, character arcs (for example, you can see that the black man and woman have a relationship of some sort, even though they're never in the same frame) -- it was all here, and had the grace to end with a visual punchline.

Alas, Room 222 isn't available for streaming at this writing. You'll have to buy it. TV production aficionados will find it more than worth the investment. The first episode opens in startling fashion: a consecutive series of 20-30 second handheld tracking shots. This was definitely new! I'm not sure I've seen it since.

We also see that the inside of the school isn't quite as idyllic as the outside: equipment wasn't always working, there were supply shortages, and some of the 3000 kids were goof-offs, and occasionally genuinely menacing.

Even as a single-camera comedy with a laugh track, Room 222 played up more dramatic topics, in achingly sincere fashion. From our magical 1971-72 season alone: in an episode entitled "What Is A Man?" a boy is harassed for personality traits seen as gay. A fast-talking student entrepreneur turns out to be a con artist. (The already-brilliant Bruno Kirby, billed as B. Kirby Jr.) Parents remove a child because of all the black students in the school. An elderly teacher is threatened with firing for teaching her students about venereal diseases without obtaining parental permission. Our passionate history teacher and his student teacher head into the ghetto to teach kids to read. Vietnam and Watergate even popped up. You get the idea.

And that IS the idea. These educators weren't just tackling alternative approaches to sociopolitical insights within an otherwise pretty conservative school environment. They were helping kids make sense of their own lives, and giving them hope for their futures. It was a utopia rooted in underfunded public schools and the realities of the limits of current social consciousness. Don't worry, kids. We're not there yet, but we're gonna get there someday!

Room 222 not only helped shape my politics and activism, but my own desire to become a teacher…which I was before I got into video production…where most of the video I produced was educational. Whenever possible, I avoided explaining things via voiceover, always preferring to tell stories with a combination of carefully combined pictures and simple but compelling music.

In other words, I tried to produce documentary shorts and news magazine segments with passages exactly like the opening of Room 222.

My last observation about Room 222's aching sincerity is to note that its creator was James L. Brooks, who pretty much cornered that market. His other TV work included That Girl, The Mary Tyler Moore Show, and Taxi among others. All sincere shows, all terrific opening sequences with memorable theme songs. His movies included the sincere Terms of Endearment and As Good As It Gets, both of which he wrote, directed and produced. He produced the very sincere Say Anything, and mentored its rookie director Cameron Crowe. Ditto Wes Anderson with his debut, Bottle Rocket.

Skipping ahead, Brooks also produced The Tracy Ullman Show, and its spin-off The Simpsons -- two more TV shows with great openers…although I'm not going to try and stretch the definition of Brooks's "sincerity" to include those last two.

For all that that Room 222 resonated with my nascent liberalism, the show was more complicated than that.

Early in the first season, a teacher transferring in from England is rejected as too progressive, and, a few episodes later, a teacher trying to be hip is flatly rejected by the students. The students are the ones who insist he act his age.

The first episode is in fact about a young black student who resorts to elaborate trickery in order to STAY in school and take advanced classes. (The episode ends with him signing up for Hebrew! "Shalom, y'all!" warm-hearted laughs, fade out.) Time and again, staying in school and applying oneself to careful study is seen as noble, the key to a bright future for everyone.

This is the third way to which I refer: portraying positive values that both liberals and conservatives could embrace, at least to some extent or another. (A neat trick that another show debuting in 1971 came to master, All In The Family.)

It's easy to call this approach pandering on the network's part, but I didn't, and don't. It seems admirable to me to set yourself firmly in a recognizable version of something resembling contemporary society, and present a hopeful future that includes positive portrayals of both progress and tradition.

The same was true for the rest of the evening. The Brady family quietly begged the question of why the family was blended, opting to simply show a happy family. The Partridges were playing modern music, yes, but mostly of a moon-June nature entirely in keeping with Tin Pan Alley/Brill Building conventions that had been in place for decades. The family Partidge is, again, notably happy. Mom's word was law, and while they worked as performers, the kids minded their manners and never missed school.

Neither of the odd couple were especially happy with their lot, and indeed, the series ends with Tony Randall's Felix remarrying his wife. And as I noted, even the apparently edgy Love American Style reinforced primarily family-oriented values -- even as the show itself, and indeed the entire evening, reflected the changing specifics of how families are shaped.


There you have it. Friday nights, ABC, 1971-72. Five fun shows, five remarkable opening sequences, a couple of them enduring for the ages, and one of them shaping a significant part of my life for the next 40-odd years.

Actually, I was thinking about Room 222 when I said "shaping 40-odd years," but my crush on a mother figure and a brother figure on The Partridge Family helped put the "odd" in "40-odd years."


Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Joseph Koskovics
This is a tremendous article. Truly excellent work. But I would like to mention that there is an out-of-print audio CD that has some of the underscores from Room 222 on it. If you look for "Room 222 / Ace Eli and Rodger of the Skies [Soundtrack, Limited Edition] 2005", you'll find those memorable tracks. Sorry to say it was tied in with a movie soundtrack that I never heard of, but it does have the Room 222 music on it.

Again, Thank you for this trip down memory lane.
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Douglas Bowker
Thanks again for putting so much background detail into these BTW. It must have taken you weeks at least, if not more to bring it all together.

I also always loved THE ODD COUPLE in the long-form opening. Even as a kid I thought "Wow, this is totally not the kind of opening you usually see for a show. I mean they're telling a whole story!" The timing and editing were perfectly done, and the voice-over that almost sounded like Walter Cronkite was excellent.

Also always liked the Partridge Family opening animation- great music accompanying it too of course.

Doug Bowker

Motion graphics, video and 3D Animation for the Medical and Technical World
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Mark Suszko
Just to throw a contrarian spin into the conversation, the way I remember these times, the general impression was that staying at home on a Friday or Saturday night was, frankly, for losers without any social or dating life, or for kids that were too young for dating/going out on weekends. Happening young people with disposable income went out "parking" with a date, or dancing at the disco, or to the movies, concerts, and private parties. Nerds stayed in at home to eat TV dinners and watch broadcast TV, there being no VCR's or serious home computers/ internet yet.

The network programming serving these audiences therefore skewed towards the sub-teens and their parents, stuck with baby-sitting them. We fondly remember some of these shows as better than they were, and at least in my case, finding them again on DVD or Youtube, a LOT of them were in hindsight just pure cheese, using dirt-simple and repetitive plots and tropes, horrible dialogue, and cardboard effects... with occasional flashes of brilliance.

We ate it up, even as we recognized it wasn't all that great, because there weren't many alternatives, especially if you weren't well-off. I remember doing a lot more reading back then, rather than watch stuff like The Love Boat or Punky Brewster. I did watch any sci-fi shows that came my way quite faithfully, though I spent more time groaning while watching The Six Million-Dollar man, than cheering it. When Steve Austin met Sasquatch, and fought an out-of-control Venus probe, well, the show jumped the shark using bionic muscles.

I did watch The A-Team a lot, but even then, it was more because I was fascinated with how bad it was. I would watch that show and say to myself: "I KNOW I could write something better than THAT".

A family fave in our home was Carol Burnett for the sketch comedy bits.

As cable TV started to take hold in more markets, MTV and imitators like Night Flight or broadcast imitators like Friday Night Videos were the hot new things to stay up for.
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Douglas Bowker
Great round up, but I think you really missed an opportunity by not including The Six-Million Dollar Man in the list. I just recently re-watched those opening credits and was frankly blown away at how well done they were! The timing, the graphics, the use of layers, documentary footage, music and voice-over; amazing! You could seriously not do a better job today with the same subject matter.

Doug Bowker

Motion graphics, video and 3D Animation for the Medical and Technical World
@Douglas Bowker
by Douglas Bowker
As a follow-up to my comment, I of course get that you had very particular criteria for your round-out, and SMDM was a few years later and not part of the range you were going for. Maybe a follow-up article?

Doug Bowker

Motion graphics, video and 3D Animation for the Medical and Technical World
@Douglas Bowker
by T. Payton
Ditto on Six-Million Dollar Man open. I'm watching it with my family and we never skip through the title sequence.

T. Payton
OneCreative, Albuquerque
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Chris Harlan
This is terrific, Tim. I haven't had time to experience the whole thing but will when I return (I'm on vacation in low bandwidth land.)

I too loved the opening theme to Room 222. So glad someone else does, too. I picked a typo, btw: Michael Constantine is the principal.
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Mitch Jordan
Another great wall to wall lineup of tv was on CBS in the 70's on Saturday night. I don't remember the order- Mary Tyler Moore, Bob Newhart, I think MASH, All in the Family and I don't remember what the hour drama was at 10. Do you remember that?
@Mitch Jordan
by Tim Wilson
Ha! You figured out my pick for the next chapter! This was actually my favorite night in the history of TV, and yes, wall-to-wall memorable openings: Saturday, CBS, 73-74. In order: All In The Family, MASH, MTM, Bob Newhart, and at 10/9 Central, not a drama, but The Carol Burnett Show.

This was the only season that MASH aired on a Saturday, btw, its second. It started on Sunday, then Tuesday, Friday, Tuesday and Monday in subsequent seasons.
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Brian Berneker
I've always been fond of the titles for "The ABC Friday Night Movie" ahh the memories!
@Brian Berneker
by Jiggy Gaton
yes, and i am not sure if it was true in 70s tv, but the friday night death slot would be an interesting article Tim...

and what day was star trek reruns on? that's what I need to remember...

Phoenix Studios Nepal: A small A/V Production House in Kathmandu.
@Jiggy Gaton
by Tim Wilson
The "death night" phenomenon was real, but at the same time, some of the most memorable AND highest-rated shows in TV history aired on Friday nights. Not all of these are both, but you'll get the gist: Dallas, Rockford Files, Incredible Hulk, Law & Order: SVU, The X-Files, Full House, Nash Bridges, Picket Fences, Falcon Crest, Knight Rider, Pefect Strangers, Beauty & The Beast (Linda Hamilton, Ron Perlman: I LOVED that thing), Dukes of Hazzard, Fringe, Miami Vice....

In fact, Miami Vice was riding high Fridays at 10/9 Central when ABC decided to slip it down to 9/8 Central to do battle with Dallas. I have no idea what they were thinking -- Falcon Crest was surely easier pickings? -- and indeed, MV's ratings fell. But Friday night was THE night in 86-87.

Hey, and you can look this up, but I sear there were plans for X-Files Mulder and Scully to visit their Friday night pals in Rome, WI on an episode of Picket Fences!

Agreeing that Friday night could definitely be bleak, this is a good group for more or less off the top of my head. Some of these weren't exactly high art, and not all were ratings champions, but these were hardly throwaways.

Mentioning the CBS lineup elsewhere in these comments (All In The Family, Mary Tyler Moore, etc), the one I have no clue about is Saturday. I'll look this up eventually, but I can't think of any major Saturday series after the mid-70s....
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Marco Solorio
I seriously love this article, Tim! I was just thinking a couple of weeks ago about how much I love (and miss) old TV show openings, namely their songs. The openings themselves actually occupied a fair amount of time, had cool music (the best part IMO), and helped immortalize these shows in our memories. With today's advertising money hunger, TV shows drop right in and drop right out without any kind of opening personality whatsoever. In a way, it sort of loses part of the soul of a show when there's no opening to it. Honestly, I could hum (or recite) the opening song's melody to just about any TV show from the 60's, 70's, 80's, and some of the 90's. Everything from M*A*S*H, The Bob Newhart Show (old and new), The Dick Van Dyke Show, CHiPs, Good Times, OMG the list goes on and on! Heck, even game show theme songs were cool! The $100,000 Pyramid and The Dating Game are old favorites, haha! Many of these songs also had show closers with an altered version of the opening song, which again, definitely doesn't happen today, irritatingly replacing that precious time with ad spots. Thanks for the blast from the past, Tim. I enjoyed the ride!

Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter

@Marco Solorio
by Tim Wilson
Thanks Marco! I'm actually working on a sequel to this in which the first Bob Newhart show will figure prominently. :-)

You're definitely right about show closing themes! These were often a work of art by themselves. The first that jumped out to me was "For Pete's Sake" as the closing theme for The Monkees, one of their greatest songs, imo. Frasier certainly made use of this, but you're also right that some of the great ones were rearrangements of the opening, in frequently all-instrumental form.

The show that's kind of getting this right now is True Blood, where the song playing over the close changes to reflect the story. Too many of the choices aren't as good as the producers think they are LOL, but I certainly appreciate the effort. And certainly no complaints about the effort put into the opening of that show, either....

Anyway, thanks for the kind words!
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Jeff Krebs
Hi Tim,
Now I'm in trouble - I actually knew the details. Seriously, as much as your wrote in the article - these facts have all been stuck in my head for years but nobody was interested in the intricate details except for me and now everybody who read your article. My family consistently mocks my knowledge base, we should have a conversation of the brilliant writing in the Waltons when you get a chance. Nobody understands anything except for "Goodnight Johnboy" and they are missing so much. - great article!

Jeff Krebs
@Jeff Krebs
by Tim Wilson
Thanks Jeff! (And everyone else!) I was a huge fan of The Waltons, and you're right -- it went far beyond what people remember, or at least beyond what people joke about. Peabody Award for season 1, Emmys aplenty, survival in a brutal timeslot (against Flip Wilson and Mod Squad, both huge), and yes, outstanding writing. That was always what struck more than anything else. The framework of the show was that these were stories out of John's book, and they really did justice to that literary framework.

A more recent show whose writing I adored (until the departure of the show's creator, Amy Sherman-Palladino) was The Gilmore Girls. Every bit as much attention paid to elegant writing...of a very different style of course, but a similar value placed on small town living and classical education. I mention this because The Gilmore Girls used the Walton family home as the Dragonfly Inn!

Thanks again,
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Dimitrios Karagiorgas
Holy Way-Back machine, Batman. Dude, thanks for this, seriously!
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Jiggy Gaton
Wow, what a trip down memory lane. Marcia! Marcia! Marcia! That could have been the slogan in my house growing up at the same time as you, with a pesky sister always there, doing so much better in math than I ever did. Loved all the clips, and found the Ron Hicklen demo enlightening. They sure did a lot of jingles eh? But on a sadder note: wtf has happened to TV and TV values in 2012? The Walking Dead, Breaking Bad, True Blood, Pretty Little Liars, Teen Wolf, Vampire Diaries, Sons of Anarchy, Gossip Girl... the list of high-value but morally twisted shows goes on. What impact will this have on the First Global generation... as I know all the SweetPopStuff from the 70s certainly impacted my own development. But I suppose it was not all love and light from the 70s tube... look at all the heads that messed up.

Phoenix Studios Nepal: A small A/V Production House in Kathmandu.
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Todd Terry
Why did I call Tim RON??? Forgive me, it's Tim, Tim, Tim....


Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.

Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Todd Terry
Awesome stuff, Ron... thanks so much.

I few years ago I bemoaned the fact the TV show openings were out of fashion, either reduced to ten seconds, or eliminated entirely. Can't remember singing the "Seinfeld" theme? Right!... there was none. True for many many other shows of that era. The show openings have come more back in vogue now, and I for one am glad.

It's fun to pick apart these from a technical point too. The Brady Bunch opening was actually a pretty advanced feat of optical compositing for its time... and probably cost a pretty penny. Conversely, you can also spot "shortcuts." The Love American Style flipping hearts are actually blank when they flip... only when they land do the titles and/or credits pop on... a much cheaper way than having a prod house (probably Anderson Optical back then) produce the full animation over and over again. The same thing happened with Batman back in the day. In the first season the Pows! and Ooofs!!! that popped up in fights were legit supers. After that though, they were full screen on colored backgrounds... produced in a big batch that the editor could simply cut it without expensive opticals.

As far as singing goes, I can remember even as a kid noticing that the closing credits of The Partridge Family included a little disclaimer line that said, to the best of my memory, "The voices of Shirley Jones and David Cassidy were augmented by other performers." I remember as a nine-year-old kid thinking "They're cheating us!"

And my last observation... boy, the Ron Hicklin Singers sure were busy!

Thanks again Tim!


Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.

@Todd Terry
by Tim Wilson
Thanks so much, Todd! Great points about the shortcuts these guys took. And no kidding, apart from using a Boris FX DVE preset, is there a very easy way to do "The Brady Bunch effect" except building it by hand? Admittedly easier in an NLE than an optical house. :-)

I could be wrong about this, but my instinct is that the recent-ish wave of full-scale credits began with The Sopranos, which I definitely place among the best ever. Otherwise, yeah, an awful lot of stings these days....
Re: TV's All-time Greatest Openings Friday Night ABC 1971-72
by Bill Dewald
Are are the clips and images reproduced here "fair use"? ;)
@Bill Dewald
by Tim Wilson
The first point to make is that we always IMMEDIATELY respond to requests by rights holders to take down anything they feel is infringing, regardless of any other considerations. We're here to uphold their rights, however they interpret them.

That said, we believe we're acting squarely in the mainstream of fair use standards. Citing the opinion handed down in Folsom v. March, myemphasis added:

[A] reviewer may fairly cite largely from the original work, if his design be really and truly to use the passages for the purposes of fair and reasonable criticism. ...

We can have a longer conversation about Fair Use, and we regularly explore its many facets in both the COW's Business & Marketing and TV & Movie Appreciation forums....but to the point of "fair and reasonable criticism," I think I'm there. :-)

I didn't note this in the article when I recommended buying Room 222 (and I most heartily do), but in fact the only one of these shows available for streaming or digital download is The Partridge Family! You'll need to buy the rest.

I certainly feel like I've done everything I can here to encourage that, rather than to, citing Folsom v March again, "prejudice the sale, or diminish the profits, or supersede the objects, of the original work." Quite the contrary!!!

Again, I'd be delighted to hear from any rights holders if they feel differently.

Otherwise, how'd you like the article? :-)
@Tim Wilson
by Bill Dewald
Right on - I was being sort of facetious. I'm glad to see this sort of aestetic discussion on the COW, and I'm sure it would suffer greatly without the multimedia aspect to it.

That said, I was only able to skim the text while on a render. I can't wait to dive into it all once I ship this show. Opens are a lost art.
Re: Friday night, ABC, 1971-72
by Kylee Peña
This post is awesome. You should preserve it as a blog post for future generations.

I love that you remember what times these shows were on. The definitive night of television when I was growing up was NBC's must-see-tv Thursday (hello, FRIENDS) and I really can't even remember the order the shows aired. I can't remember what time most shows I watch NOW are on, but I blame that mostly on DVRs.

I'm surprised I've never seen Room 222 before. I'd heard of it, I think, but I've never seen it on. I'm really surprised it never came up in my history of television class where we spent days and days looking at cultural implications of TV. There's a reason why I gave that course instructor a terrible rating. Anyway, it sounds kind of like what I thought Glee was going to be, minus the singing and stuff.

So cool to see a title sequence named as a definitive thing in your life. Glad I asked! :)

twitter: @kyl33t
Re: Friday night, ABC, 1971-72
by Tim Wilson
[Kylee Wall] "The definitive night of television when I was growing up was NBC's must-see-tv Thursday (hello, FRIENDS)"

See now, there you go -- which edition of Must See TV? The one I liked best was

Family Ties
Night Court
Hill Street Blues

That was 84-85. Cheers famously finished dead last that season: #215 out of 215 shows or whatever. DEAD last. NBC kept it on out of true love, just like Community and some other recent shows. I admire them for that.

Then Family Ties got swapped out for Different World of course, and LA Law swapped in for Hill St. Blues. Then Wings ran before LA Law for a while. I really loved that show.

Then Mad About You, Wings, Seinfeld, Frasier, LA Law. (That was 93-94.)

Friends showed up in 94 I think, but in the spring - I think Hope & Glory was in the Fall. Seinfeld at 9, Laroquette was the 9:30 show, and I think that this was the first year of ER.

Then there were a bunch of years where Friends and Seinfeld were locked down but there was some real marginal stuff -- Caroline In The City, Boston Common, The Single Guy (hideous), Suddenly Susan (Judd Nelson as the boss/love interest for Brooke Shields!), Veronica's Closet (Kirstie Alley?!?) -- I mean there was a lot of dreck for pretty much the whole 90s.

Seinfeld actually dropped out of the Thursday lineup for sitcoms with Christina Applegate and Tony Shalhoub (don't ask me to remember their names). Then Will & Grace, and a bunch of other stuff I can't remember.

The fact is that I kept watching through ALL of this until the end of Friends, no matter how crappy it was. So I give NBC all credit in the world for creating this center of gravity. Never missed any of 'em. They totally freaking pulled it off. But after 1985, I'm not sure that there was a wall to wall night of great TV among 'em.

My next installment of great TV/great openings won't be quite as epic because it didn't change the course of my life, but three flawless hours are really, really hard to pull off. That might make a cool thread except you really need to be psycho to play. LOL

Anyway, I'm curious Kylee. Do you have any recollection of what else was in Must See TV in the years you're thinking of?
Re: Friday night, ABC, 1971-72
by Jeff Breuer
Wow! As always, thanks for the in-depth history lesson.

[Tim Wilson] "The fact is that I kept watching through ALL of this until the end of Friends, no matter how crappy it was. So I give NBC all credit in the world for creating this center of gravity. Never missed any of 'em."

I agree, regardless of the lineup NBC has for Thursday nights, how many people are watching it...even if I'M not watching it (Please at least keep Parks & Rec), I always think of Thursday as the NBC night. But granted I still think of Friday night as TGIF on ABC, even though I think that died with the 90's. Tim, you brought up some great intros that have songs that will be stuck in your head forever, the TGIF intros weren't as good as those you mentioned but their songs will be forever logged in many heads too.
Re: Friday night, ABC, 1971-72
by Tim Wilson
[Jeff Breuer] "But granted I still think of Friday night as TGIF on ABC, "

Even though I wrote 5000 words about Friday nights on ABC, I completely missed TGIF! What were the shows you watched there? Do you still tune in that night?

It's funny, one of the things I was thinking is that Friday nights are pretty dead to me now. I used to LOVE X-Files on Friday night -- the show's best years, Fringe's best years were before Friday, alas, but NBC's Grimm has picked up a whole new lease on life on Fridays...but that's it for me. I really can't tell you anything intelligent about ABC Fridays since 1975!
Re: Friday night, ABC, 1971-72
by Jeff Breuer
Growing up in the late 80s-early 90's, I was really into the big family shows like Family Matters and Full House and then shows like Step By Step, Hanging with Mr. Cooper and Boy Meets World came in. Those were the Golden Years of TGIF for me.

I will also mention, as a Muppet fan, that the Muppets were trying to stage a come back in the mid 90's and briefly had a show called Muppets Tonight on TGIF. The show tanked hard and fast, which I thought was a huge disappointment and never could figure out why. Maybe if I saw an episode now I would see it different. Or maybe I was just the only kid still watching Jerry Lewis and Tim Conway movies so I was the only kid who got it.

But I'm with you. On a special occasion like the 20/20 special on John McAfee in Belize or a sporting event I'll watch a live broadcast on a Friday night, but I can't remember the last time there was actual programming that brought me back on Fridays.
Re: Friday night, ABC, 1971-72
by Mark Suszko
You NEED to watch Parks and Rec tonight for Patton Oswalt's amazing improv Star Wars movie pitch/filibuster.
Re: Friday night, ABC, 1971-72
by Kylee Peña
Of course I think the world revolves around my generation and forgot Must See TV pre-dates ME. I want to say it was Friends, Will and Grace, an hour of something that sucked (aka homework time) and then ER. Was Third Watch on during this time? I swear it was.

The hour I skipped saw a lot of random crap over the years I watched.

twitter: @kyl33t
Re: Friday night, ABC, 1971-72
by Tim Wilson
[Kylee Wall] "Was Third Watch on during this time? I swear it was."

I had to look that up -- wtf, 132 episodes and I never saw a single second. Sorry kids, nothing personal. I never saw your show to decide whether or not I liked it. Jeez, I feel really bad about it.

Not enough to Netflix it or anything mind you. LOL

But no, to answer your question Kylee -- started on Sunday, three and a half seasons on Monday, one and a half on Friday. Maybe if they'd put it on Thursday I might have seen it. LOL

Having mentioned ER, remember Ron Eldard? Played an ambulance driver named Shep, who was involved with Julianna Margulies. He was NUTSO on Justified this season. As awesome as Patton Oswalt was, I think Eldard may need him an Emmy.
Re: Friday night, ABC, 1971-72
by Kylee Peña
[Tim Wilson] "Having mentioned ER, remember Ron Eldard?"

I didn't even realize that was him! I've only just gotten into his storyline I think but I love him already.

And I would have bet small amounts of actual money that Third Watch was on before ER on Thursday nights. Maybe I'm thinking of the one cross-over episode between the two shows. So it went to Friday night to die then, eh? Figures.

twitter: @kyl33t
Re: Friday night, ABC, 1971-72
by Mark Suszko
Thanks for the trip down memory lane. As a kid I watched all those shows, though "Love, American Style" and "The Love Boat" did often seem skeezy to me. I too have fond memories of Room 222. If you grew up in that era, in segregated all-caucasian neighborhoods, the show was one of the few positive examples you had on TV for how people could mix and function without those barriers. My dad would scoff at the show for being too liberal, I remember.

Is the History teacher driving Max Smart's Sun Tiger convertible? Kind of looked like it.

We didn't usually watch Partridge Family or Brady Bunch in first run, but DID watch the heck out of them in re-runs shortly after the first run. I had huge crushes on Maureen McCormick and Susan Dey, though I could tell there was something going on with Susan that wasn't quite right, even then.
Re: Friday night, ABC, 1971-72
by Tim Wilson
[Mark Suszko] "Is the History teacher driving Max Smart's Sun Tiger convertible? Kind of looked like it."

I tried to figure this out too. Some kind of Mustang? I've seen other people suggest Dodge Dart and Plymouth Valiant, but neither of those seem to me to fit the ice-cool/passionate hot Pete Dixon.

[Mark Suszko] "My dad would scoff at the show for being too liberal, I remember. "

Obviously no argument from me. My household was very conservative, but my parents liked the general wholesomeness (the only people having sex appeared to be Pete Dixon and Liz McIntyre...not married but not kids either) and the strong message about the value of education. I was also a public school kid, and I think they also liked the idea of high schoolers not going crazy just because college kids were.

[Mark Suszko] "I could tell there was something going on with Susan that wasn't quite right, even then."

I swear I think that some of her eating disorders had to do with trying to stay as svelte as David Cassidy, who I think was blessed with good genes as much as anything. I was a lumpy kid, and am still pretty lumpy, and had no freaking idea how somebody could be as slender as Keith. I found it impossible to live up to, and kinda still do. Pathetic to be in my 50s and still suck in my stomach more often than not, even at home. This obviously took a tremendous toll on women in those times, sometimes with fatal consequences, but I think it messed up a few fellas too.
Re: Friday night, ABC, 1971-72
by Mark Suszko
You kept up for a while with the hair at least:-)
Re: Friday night, ABC, 1971-72
by Mark Suszko
I did some wiki snooping on Mr. Dixon's red convertible and it looks like a dead ringer for a '64-ish Plymouth Valiant Spyder convertible, possibly made in Windsor Ontario, Canada. No way that front end is a Mustang, though the round headlight and shape of the chrome bumper might suggest it.

Related Articles / Tutorials:
TV & Movie Appreciation
Great Effects for Good Omens: Collaboration with Milk VFX

Great Effects for Good Omens: Collaboration with Milk VFX

Wouldn’t you know it? You’re a demon living on Earth for the past 6000 years, and you’ve finally persuaded your angelic counterpart to help you stop the end of the world, and now you can’t remember where you left the 11 year old Antichrist. Such are the tribulations of Good Omens, the newly posted Amazon Prime Video series based on the beloved 1990 classic fantasy novel by Terry Pratchett and Neil Gaiman. We spoke with the Oscar, Emmy, and BAFTA-winning team at Milk VFX about how they brought this epic comic fantasy to life.

Tim Wilson
TV & Movie Appreciation
Gods, Marvel, & Maui: Making VFX on a Pacific Island

Gods, Marvel, & Maui: Making VFX on a Pacific Island

It's safe to say that there's no other VFX vendor in the world quite like capital T, let alone one that is constantly contributing to films like Marvel Studios' Avengers: Infinity War and Black Panther, as well as the critically acclaimed TV series, American Gods. What makes capital T unique is that they’re a two person, husband and wife team, who work from their home office ??" a beach house in Hawaii. You'll be inspired by what 2 people can do, if also a little envious of where they're doing it!

Feature, People / Interview
COW News
TV & Movie Appreciation
Avengers: Infinity War - Thanos, Titan, and Weta Digital

Avengers: Infinity War - Thanos, Titan, and Weta Digital

At the center of one of the biggest films in history, Marvel Studios' Avengers: Infinity War, stands Thanos, a CG character whose emotional range became a major contribution to the film's success. Creative COW Contributing Editor Hillary Lewis spoke with Weta Digital VFX Supervisor Matt Aitken about the challenges of their work on this remarkably compelling character and his world.

Feature, People / Interview
Hillary Lewis
TV & Movie Appreciation
VFX Legion Completes Effects for SUPERFLY Remake

VFX Legion Completes Effects for SUPERFLY Remake

Producer Joel Silver and Director X called on VFX Legion to tackle 100+ shots designed to amp up the impact of the raw violence in Sony’s reboot of the iconic ‘70’s film. The reboot of ‘Superfly’ puts a modern, stylish spin on the original 1972 film about a Harlem drug dealer trying to score one last deal before getting out of ‘the game.’ Set in present-day Atlanta, the Mecca of today’s popping music scene, the action is driven by a hip-hop soundtrack curated by Future. The city’s distinctive style is the backdrop for a new generation of affluent, extravagant drug kingpins that takes violence to the extreme.

Editorial, Feature, Project
VFX Legion
TV & Movie Appreciation
Star Wars: How Much Is Too Much?

Star Wars: How Much Is Too Much?

When Disney announced that they would be making a new Star Wars movie every year for at least 10 years I was both excited and a bit skeptical. In 2012 when Lucas sold his company to Disney for $4billion, he included his outlines of Episodes VII, VIII and IX. But Disney and Co. decided to discard these stories and start over, also discarding the extended universe of comics and books that millions of SW fans had grown to love. Adding JJ Abrams to the mix was icing on the cake for SW fans who have become critical of SW. But Lawrence Kasdan was the saving grace, who wrote a script for VII that the original actors could get behind. So, how much Star Wars is too much?

Review, Editorial, Feature
Mike Cohen
TV & Movie Appreciation
The Long Road Home with Seth Reed

The Long Road Home with Seth Reed

Seth Reed is the Emmy®-nominated production designer for the National Geographic miniseries The Long Road Home. Seth joins Go Creative Show host Ben Consoli to discuss the challenges and benefits of shooting at Fort Hood in Texas and how he created the biggest standing set in North America.

Editorial, Feature, People / Interview
Ben Consoli
TV & Movie Appreciation
Favreau, Technicolor & MPC Make The Jungle Book Come Alive

Favreau, Technicolor & MPC Make The Jungle Book Come Alive

Todd McCarthy, veteran film critic and historian, in his review of director Jon Favreau's new, stunning adaptation of Rudyard Kipling's The Jungle Book declared, "...the visual effects team led by Robert Legato and (MPC's) Adam Valdez has both created sumptuous settings that look as lifelike as any CGI ever presented in a studio feature and integrated both humans and animal characters in them in seamless ways."

Editorial, Feature
Jon Favreau
TV & Movie Appreciation
VFX Legion | Hardcore Henry breakdown reel

VFX Legion | Hardcore Henry breakdown reel

Remote post-production and visual effects studio VFX Legion has released its breakdown reel for the incendiary Hardcore Henry. The reel reveals the work that went into the first-person perspective action film, from augmenting violence to stitching shots together into one continuous sequence.

Editorial, Feature
COW News
TV & Movie Appreciation
Renaissance Masters Go 3D with Nuke

Renaissance Masters Go 3D with Nuke

VFX legend Steve Wright helped Italy's Sky 3D tackle an epic project, as Italian all-3D television station set out to present the city of Florence and the masterpieces of Renaissance art housed in the Uffizi Gallery in a spectacular stereoscopic 3D movie shown in 60 countries around the world. While the majority of the film was shot stereoscopically, Steve's challenge was to use Nuke to present some of the world's most precious artworks fully dimensionalized. Here's how he pulled it off.

Editorial, Feature
Steve Wright
TV & Movie Appreciation
The Sisterhood of the X-Files Fandom

The Sisterhood of the X-Files Fandom

As the first show to create a rabid, real-time internet fandom, devotion to "The X-Files" has been growing in intensity with each year since the original series finale, with a fanbase that is clever, thoughtful, and largely female. Not that there's any shortage of male X-Philes, but there's a generation of women who was inspired to technical careers by the Gillian Anderson's Dana Scully. Kylee Peña is among them, and additionally very specifically inspired by the production values of "The X-Files" to build a career in the technology of TV storytelling in particular. Here's Kylee's look at what it has meant to be a female fan of the art, technology, and empowerment of "The X-Files" in the 21st century.

Editorial, Feature
Kylee Peña
© 2019 All Rights Reserved