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"FRIENDS."   Term Paper ID:28380 Click to get this paper

Essay Subject: Strategies employed to keep TV sitcom "fresh" each season. Contends character-based format keeps show's appeal going.... More...

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Paper Abstract: Strategies employed to keep TV sitcom "fresh" each season. Contends character-based format keeps show's appeal going. Paper Introduction: The television series Friends premiered in September 1994 and throughout the first six years of its run has used several strategies to keep the program fresh. On the one hand the series presents somewhat stereotyped characters in incidental situations that have no, or little, bearing on the future 'lives' of the characters. Thus anyone who did not regularly view the program would have no difficulty comprehending the nature of the not-bright-but-sweet Joey Tribbiani or Monica Geller's obsessive perfectionism and her strong urge to mother everyone else. An occasional viewer could enjoy these characters, therefore, in passing plots in which, for example, Rachel's boss wants to date Chandler, Joey goes on an unsuccessful audition, or Phoebe decides to become a Christmas fundraiser for a Salvation-Army-like group. On the other hand, the series creates extended story Text of the Paper: The entire text of the paper is shown below. However, the text is somewhat scrambled. We want to give you as much information as we possibly can about our papers and essays, but we cannot give them away for free. In the text below you will find that while disordered, many of the phrases are essentially intact. From this text you will be able to get a solid sense of the writing style, the concepts addressed, and the sources used in the research paper. On the other hand, the seriescreates extended story arcs that can run through several seasons and dependon the interrelationships of the cast, their friendships and love-affairswith others, or their interactions with their families. Thus anyone who did notregularly view the program would have no difficulty comprehending thenature of the not-bright-but-sweet Joey Tribbiani or Monica Geller'sobsessive perfectionism and her strong urge to mother everyone else. Audiences come back equally, therefore, for thesilliness of jam and monkeys and to see what happens to the characters. Created by Marta Kauffman and David Crane. At the same time two story arcs progress:the coming birth of Ross's son and Monica's need to find a way to occupyherself. Thus the program consistently provides for the needs of thecasual viewer while building, and maintaining, a large audience with aninterest in the growth of the characters and the changes in theirsituations. But the episode reaches its climax with Joey's discussion withMonica, who has been plagued throughout by her own lack of direction (thusthe attempt to start a jam-making business). Joey is thecharacter least susceptible to development; even if he were eventually tosucceed in his profession he would hardly have to change at all. Thus itis sometimes necessary to anchor him emotionally with the other charactersand his surprising reaction to Monica's decision does this whilemaintaining the integrity of the basic character. Work CitedFriends. But Rachel could almost be said to be looking back at her oldself and the moment indicates, without specifying it, the distance she hasmoved from being a dreamy, self-involved person with little more on hermind than Joey and a similar lack of awareness of the fact. But these arcsalso operate in conjunction with extended character arcs -- such asRachel's gradual transformation from a spoiled, pretty, rich girl to anindependent person whose intelligence is being used for the first time inher life. The writers and actors build on traits that might, atfirst, seem like mere clichés without ever discarding those basics. As each episodeworks subtly and gradually at character and story development the loudestlaughs fall to the incidental storylines but deeper interest is stirred bythe developing stories. He simply knows her well and has, therefore,an instinctive understanding of what she really wants. But such traits are also counteracted bysurprises emanating from the characters that make it clear why they carefor each other and, not incidentally, make them even more attractive to theviewer. Joey's perpetual inability to get the joke and his assumption thateveryone else is on his wavelength is, for example, played out to farcicallength in an episode in which his great love of jam is the principalincidental story line. On the one hand the series presents somewhatstereotyped characters in incidental situations that have no, or little,bearing on the future 'lives' of the characters. He makes a decision totalk her out of it, but the words that he uses are perfectly sincere andreflect the way the character usually conceptualizes things. Thekey to this is that the most stereotypical aspects of the characters veryoften are played as farce; thus Ross' longing for companionship isfulfilled with a ridiculous multi-show arc involving his devotion to aCapuchin monkey named Marcel. This is thekind of gag that balances the incidental -- new viewers would have notrouble with it -- with the developmental -- regular viewers would sensethe growing difference in Rachel. She has decided to opt forartificial insemination and single parenthood and Joey begins to tell herhow he has always "pictured" her future married life and her family. But the general tone of the episode revolves aroundtransition as Ross is coming to terms with his wife's lover and his role inhis unborn child's life and the newly jobless Monica is trying to set goalsfor herself. Speaking in a dreamily reminiscent tone Joey asks Rachel, "RememberSaturday afternoons when your mom would drop you off at the theater with aspoon and a jar of jam?" With her always masterful timing Jennifer Anistontakes a beat, tilts her head and says in a soothing tone of voice, "You'reso pretty." Had any of the more intellectually developed characters --Chandler, Monica, or Ross -- made a remark of this sort it would also havebeen funny. He isnot suddenly turned into an analytical character who could discuss why thisdecision is wrong for Monica. Anoccasional viewer could enjoy these characters, therefore, in passing plotsin which, for example, Rachel's boss wants to date Chandler, Joey goes onan unsuccessful audition, or Phoebe decides to become a Christmasfundraiser for a Salvation-Army-like group. At one point Joey sits in the coffee house and speaks with Rachel,who is also in transition and whose story arc will soon lead to changingjobs. The paradox of the series, and what keeps it fresh, is that eventhough the six characters are stereotypes who could be summed up in a fewquick phrases it is still a character-based program in which characterdevelopment is cumulative rather than a farce in which the charactersremain the same. His description ofher future is not, however, completely guileless. Thus the episode manages to move two character arcs forward, with theslight nudge to Rachel and an advance in Ross's level of acceptance ofCarol and Susan and the baby. Bright/ Kauffman/Crane Productions in association with Warner Brothers Television. The television series Friends premiered in September 1994 andthroughout the first six years of its run has used several strategies tokeep the program fresh. The jam which, of course, provided most of the hilarity in theepisode is incidental and need never be mentioned again. NBC. 1994-. 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