Woody embarks on his new life as City Councillor. Norm embarks on his new life as civil servant as Woody pulled some strings to get Norm an accounting job at City Hall. And Rebecca and Sam embark on ...
Sumner Sloan, Diane's ex-fiancé and old English professor, tells her that he submitted one of her old unfinished novels to an editor at a publishing house, the editor who sees promise in it and sees ...
The lives of the disparate group of employees and patrons at a Boston watering hole called Cheers over eleven years is presented. Over much of this period, Sam Malone, a womanizing ex-Boston Red Sox pitcher and an alcoholic, owns the bar, its purchase and this life which was his salvation from his alcoholism which was largely the cause of the end of his baseball career. He ends up having a love-hate relationship with intellectual Diane Chambers, who he hires as a waitress and whose cultured mentality is foreign to anyone else in the bar. He also has an evolving relationship with Rebecca Howe, who managed the bar for the Lily Corporation which bought it from Sam, but whose outward business savvy belied the fact that she was a mess of a woman who was struggling to find her place in life. The regular patrons are largely a bunch of self-identified losers, who bond because of their shared place in life, and because Cheers is their home away from home, and in many ways more a home than ... Written by
Sadly, the set used for the bar is no longer available for viewing by the public. In 2006, The Hollywood Entertainment Museum was closed, and the set is now being held in storage. But there are plans in the next couple years to re-open a larger museum where the set will be featured again. See more »
In a episode #3.5 Diane states that people who where born late are usually smarter, then she admits that she was born late. Yet in an early season four episode, she states she was premature. See more »
Frazer; how can you expect Frederick to develop the verbal skills he'll need if you sit around with him in a bar all day?
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The style of the opening credits never changed throughout the series' 11 year run, unless a new cast member was added. See more »
A dominant block-buster of a television series that put NBC on top in the ratings race in the 1980s and the network has not looked back since. When "Cheers" first came into homes around the nation in 1982, it was greatly ignored by the viewing public. The Emmy Awards more than anything resurrected a series that had no life after a first season that found the series consistently in the gutter of the Nielsen Ratings. After several big-time awards (including one for Best Comedy Series) "Cheers" sky-rocketed and was almost always a top 5 show and most of the times the number 1 program in America. In modern-day Boston, a small tavern does prove that there are still places where everyone does indeed "know your name". A former baseball player (Ted Danson) owns a bar that caters to many (bar-flies George Wendt and John Ratzenberger, former professional coach Nicholas Colasanto, waitress Rhea Perlman and love interest Shelley Long). Quirky stories, heartwarming moments, heartrending situations and consistent comedy would always follow the key players. As the years passed, the cast changed (Long left the show and was replaced with Kirstie Alley who became the owner and Colasanto passed away in real life and the Woody Harrelson character was created), but the constant was always the show's outstanding group of creative writers and top-notch directors. Psychiatrist Kelsey Grammar (and wife Bebe Neuwirth) would also come along early in the series and just add more color, heart and intelligence to a show that had a surplus of all those elements throughout its 11-year-run. From the emotionally-charged theme song to its smallest of bit players, "Cheers" proved that there could be quality on television and that it could sustain and withstand unfortunate problems with its players in real-life. Monumentally important to the art of television study. A truly outstanding achievement for all involved. 5 stars out of 5.
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