From the hills of West Virginia, Amos McCoy moves his family to an inherited farm in California. Grandpa Amos is quick to give advice to his three grandchildren and wonders how his neighbors ever managed without him around.
The misadventures of two of New York's finest in the 53rd precinct in the Bronx. Toody, the short, stocky and dim-witted one, either saves the day or messes things up, much to the chagrin ... See full summary »
This The George Burns and Gracie Allen Show (1950) spin-off found George Burns relocated to his downtown office working as a producer and trying to deal with an assortment of entertainers and oddball theatrical acts, as well as his previously established friends.
Harry von Zell
George Baxter was a highly successful corporation lawyer who was always in control of everything at the office, but almost nothing at home. When he returned from the office at day's end, to... See full summary »
The bulk of the filmed episodes were shot over the course of a day with two cameras. Episodes were then edited and screened for a preview audience, and audio of the crowd's reaction was recorded to give an organic reaction to each joke rather than "canned laughter". At the end of each preview screening, George and Gracie would come out and film their "Say goodnight, Gracie" closing tag scene live in front of the audience. See more »
When the show transitioned from live broadcasts to film in the third season, found himself footing the bill and decided to drop the "Love Nest" theme which had been utilized in both the original radio series and the first two seasons of the show to avoid paying royalties. During the third season a stock music "theme" from the Mutel music library was utilized; for the fourth season 's "Two-a-Day" was used. "Love Nest" returned in the fifth season and replaced the other two themes for syndicated reruns. See more »
Back in the days before supermarket tabloids, there was a story that most Hollywood insiders already knew. George Burns and Gracie Allen, two stage performers who had made their names in the post-vaudeville era, loved each other. For real. Keeping in mind that this wonderful show is often contrasted to I LOVE LUCY -- where the stars ended up in one of the most public divorces Hollywood has ever seen -- that fact is worth remembering. Also worth remembering is that Burns basically played himself. And in his case, playing himself meant playing of the most charming, talented, and gifted storytellers in the world. George Burns practically invented comic timing. And he was a well-liked individual. (So well liked that years later when they were casting the role of GOD, giving him the part was a no-brainer!). Also interesting is the use of the hidden camera to watch the other characters. Not only a "show inside a show," but anticipating a trend that was decades away. Marshall McLuhan was a young man when this show aired, but somehow you know he watched it. Bottom line, not merely a show, a piece of history. With commercials.
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