creatures and their habitats, because as we learned from the covid-19 pandemic, if we don't protect them we're putting ourselves at risk. thanks for watching. thanks for watching. good night. -- captions by vitac -- www.vitac.com ♪ it's a time of enormous turmoil. >> the '60s are over, dad. >> here's michael at the foul line. good! >> we intend to cover all the news all the time. we won't be signing off until the world ends. >> isn't that special? >> any tool for human expression will bring out both the best and the worst in us, and television has been there. >> they don't pay me enough to deal with animals like this. >> people are no longer embarrassed to admit they watch television. >> we have seen the news, and it is us. ♪

♪ ♪ ♪ ♪ slowly but surely, the 1970s are disappearing. the 1980s will be upon us. and what a decade it is coming up. happy new year!

>> as we begin the '80s in the television world, the landscape was, on any given evening, nine out of ten people watching only one of three networks. >> more than 30 million people are addicted to it. social critics are mystified by its success. what is it? it's television's primetime prairie pot boiler "dallas." >> a move like that will destroy all of ewing oil and ruin our family name. >> i assure you, a thought like that never crossed my mind. >> brother or no brother, whatever it takes, i'll stop you from destroying ewing oil. >> "dallas" really did establish new terms of the weekly one-hour show that literally captivated america for 13 years. >> "dallas" is a television show which is rooted in the 1970s and one of the crazy things that emerges is this character, j.r. ewing, as a pop phenomenon. >> tell me, j.r., which slut are you going to stay with tonight? >> what difference does it make? it's got to be more interesting

than the slut i'm looking at right now. >> he was such a delicious villain. everyone was completely enamored by this character. >> at this point, so many people were watching television that you could do something so unexpected that it would become news overnight. >> who's there? [ gunshots ] >> the national obsession in 1980 around who shot j.r. it's hard to imagine how obsessed we all were with that question. but we were. >> who shot j.r. is about as ideal a cliffhanger as you possibly could get. >> who did shoot j.r.? we may never get the answer to that question. the people who produced that program are going to keep us in suspense for as long as they possibly can. >> we shot j.r., and then we broke for the summer. then coincidentally the actors went on strike, and it delayed the resolution, and it just

started to percolate through the world. >> i remember going on vacation to england that summer and that's all that people were talking about there. >> well, we know you don't die. i mean you couldn't die. >> we don't know that. >> how could you die? you couldn't come back next season. >> that's what i meant. i couldn't come back, but the show could still go. >> but you wouldn't. what is that show without j.r.? >> that's what i figure. >> well, i guess if you don't know by now who shot j.r., you probably do not care. but last night some 82 million americans did, and they watched the much touted "dallas" episode. it could become the most watched television show ever. >> who shot j.r. is a reflection of old-fashioned television. it's a moment that gathers everybody around the electronic fireplace, which is now the television set. >> one special american television program. critics said it transcends in popularity ever other american statement about war. and something special happened today to mobile army surgical

hospital 4077 that will touch millions of americans. it was the kind of event that would draw the world's breath. stage 9 20th century fox studios, the end of the korean war, the television series "mash." >> it's been an honor and a privilege to have worked with you. and i'm very, very proud to have known you. >> there were those landmark times when shows that had been watched through the '70s and into the '80s, like "m.a.s.h." had its final episode, and we were all sad to see them go. >> i'll miss you. >> i'll miss you. a lot. >> all over the country, armies of fans crowded around television sets to watch the final episode and to bid "m.a.s.h." farewell. >> the finale of "m.a.s.h." was unprecedented. 123 million people watched one television program at the same time. >> you know, i really should be

allowed to go home. there's nothing wrong with me. >> when we ended the show, we got telegrams of congratulations from henry kissinger and ronald reagan. the size of the response and the emotional nature of the response that we were getting was difficult for us to understand. >> who shot j.r. and the last episode of "m.a.s.h." are the last call for the pre-cable world of television. it's like they are the last time that that huge audience will all turn up for one event. >> all right. that's it. let's roll. hey. let's be careful out there. >> dispatch, we have a 9-11. armed robbery in progress. >> when quality does emerge on television, the phrase" too good for tv" is often heard. one recent network offering that seems to deserve that phrase is "hill street blues."

>> "hill street" is one of the changing points of the entire industry in the history of tv. >> we had all watched a documentary about cops and had this real hand-held in the moment quality that we were very enamored of. >> the minute you looked at it, it looked different. it had a mood to it. you could almost -- you could almost smell the stale coffee. >> we didn't want to do a standard cop show where, you know, you've got a crime and you got your two cops and you go out and you catch the bad guy and you sweat him and he confesses and that's it. cops have personal lives that impact their behavior in profound ways. >> well, what about it? is he here, or is he elsewhere? >> don't get excited, counselor. we're working on it. >> how is this for logic? if he's not here, and if he's not elsewhere, he's lost. >> we didn't say that. >> you lost --

>> never in my entire life have i listened to so much incompetence covered up by so much unmitigated crap. find my client or i swear i'll have you up on charges. >> there would be these ongoing arcs for these characters that would play out over five, six episodes, sometimes an entire season. and in a way for certain stories, over the entire series. and no one had really done that in an hour-long dramatic show. >> these past four months, i've missed you. i had to find that out. come home, pizza man. >> i think in the past, people had watched television passively, and the one thing i think we did set out to be were provocateurs. >> you fill it out. >> what the hell is the matter with you, man? >> obviously they don't pay me enough to deal with animals like this. the first thing they see is a white face, and all they want to

do -- >> listen to me. it was a white man that pulled the trigger, not a black one. it was a white one! >> it set a trend. the idea the audience can accept characters being deeply flawed even though they're wearing this uniform. i thought that was important to finally get across. >> don't do it. >> no biting! >> we wanted to make a show that made you participate, made you pay attention, and i think that worked pretty well. >> and the winner is -- >> "hill street blues." >> we got 21 nominations, and we went on to win eight emmys. it put us on the map literally, and that's when people finally checked us out. >> programming chief of one of the networks used to say to me about shows like "hill street" and "st. elsewhere," what the american people wants is a cheese burger, and what you're trying to give them is a french delicacy. and he said, your job is to keep shoving it down their throat until after a while, they'll say, that doesn't taste bad. and maybe they'll even order it themselves when they go to the restaurant.

>> nice of you to join us, dr. morrison. >> the success of "hill street blues" influenced everything that came after. then of course you saw shows like "st. elsewhere." >> you know what people call this? st. elsewhere, a place you wouldn't want to send your mother-in-law. >> when it first came on, it was promoted as "hill street" in a hospital. >> you gave your patients the wrong antibiotics. you don't know what medications they're on. you write the worst progress notes. you're pathetic. pathetic! >> bill? >> what? >> the doctor needs you right away. >> i'm sorry. >> "st. elsewhere" broke every rule there was and then built some new rules. >> bobby, the blood bank called a little while ago. they ran a routine panel on that pint of blood. t-cell count was off. >> they would have tragic things happen to these characters. there was real heartache in these people's lives, and you really felt for them. >> i've got aids? >> television at its best is a mirror of society in the moment.

>> "st. elsewhere" challenged people, and they challenged you as an actor, much less the audience, to think. the stuff they gave you was extreme, and what they did, whether they were dealing with aids or having one of their main doctor characters raped in a prison. >> they tackled lots of difficult subjects. >> "st. elsewhere" was run by people who were trying to stretch the medium, and in the '80s, television producers were encouraged to stretch the medium. >> okay. clear. ♪ some hot cocoa? mom, look! are you okay? head home this holiday with the one you love. visit your local mercedes-benz dealer today for exceptional lease and financing offers

at the mercedes-benz winter event. ♪ ♪ be it discovering talent in different continents... and entirely different sports, or discovering a smoother whisky by double-aging, sometimes, it's just better to stay curious.

dewar's

♪ a lot of people used to say, i was there. now people say they watch it on television. >> there's just a lot of excitement connected to sports in the '80s. you used to have to depend on the five minutes at the end of your local newscast. there just hadn't been enough, you know? give us a whole network of sports. >> there's just one place you need to go for all the names and games making sports news. espn "sportscenter." >> what happened in the 1980s is sports becomes a tv show.

and what are tv shows built around? they're built around characters. >> you can't be serious, man. you cannot be serious! you got the absolute -- >> mcenroe, the perfect villain. the new yorker that people loved to hate. borg the cool swede, never giving any emotion away. >> what tennis really wants is to get its two best players playing over and over again in the final. whether they are john mcenroe and bjorn borg or chris evert and martina navratilova, that's what we want to tune in to over and over and over. >> three match points to martina navratilova. >> this man has a smile that lights up a television screen from here to bangor, maine. >> and then there is magic johnson, this urban kid from michigan, and larry bird, this guy who worked carrying trash. one plays for the los angeles

lakers. the other plays for the boston celtics. it's a great story. >> lakers had several chances. here's larry bird. >> magic johnson leads the attack. >> look at that pass. oh, what a show! oh, what a show! >> when those championship games are in primetime and people are paying attention to that, television feeds into those rivalries and makes them bigger than they've ever been before. >> primitive skill. they're just as good as dead. >> every mike tyson fight was an event because every fight was like an ax murder. when he fought michael spinks, the electricity, you could just feel watching it on tv. >> he leads with the right hand. there he goes! >> tyson was made for tv because there was drama. >> it's all over. mike tyson has won it! >> not a lot of junior high school kids can dunk. especially at -- >> everybody tries, man,

everybody tries. >> i think that he is starting to transcend his sport that he's becoming a public figure. >> michael jordan becomes the model every other athlete wants to shoot for. they want to be a brand. and that's what television does for these athletes. it turns them into worldwide iconic brands. >> the inbounds pass comes in to jordan. michael at the foul line. good! the bulls win it! >> athletes in the '80s became part of an ongoing group of people that we cared about. we just had an e moore knonormo demand for sports and the '80s began to provide. thank goodness. >> cable television is continuing to grow. it's estimated it will go into 1 million more u.s. households this year. >> with cable television offering an array of different channel choices, the audience bifurcated. that's an earthquake. >> i want my mtv! >> i want my mtv! >> i want my mtv! ♪ >> a new concept is born. the best of tv combined with the best of radio. this is it.

welcome to mtv music television. the world's first 24-hour stereo video music channel. >> music television, what a concept. mtv was, pow, in your face. you were not going to turn us off. >> mtv did nothing but play current music videos all day long. so let me get this straight. you turn on the tv, and it's like the radio? >> i'm martha quinn. the music will continue nonstop on mtv music television, the newest component of your stereo system. >> when mtv launched a generation was launched. 18- to 24 years old were saying, i want my mtv. i want my mtv videos. i want my mtv fashion. >> yo. >> mtv was the first network really focused on the youth market and becomes hugely influential because they understand each other, the audience and the network. >> mtv had a giant impact visually and musically on every

part of the tv culture that came next. >> freeze, miami vice. ♪ >> friday nights on nbc are different this season thanks to "miami vice." it's a show with an old theme but a lot of new twists. described by one critic as containing flashes of brilliance nonetheless, shot entirely on location in south miami, the story centers around two undercover vice cops. >> i don't know how this is going to work, tubbs. i mean you're not exactly up my alley style and persona-wise. heaven knows i'm no box of candy. >> television very much was the small screen. it was interesting about tony's pilot screen play for "miami vice" is that it was exactly not that. very much the approach was, okay, they call this a television series. but we're going to make one-hour movies every single week. >> here we go. stand by. >> action. >> police! >> you were just describing the show as sort of a new wave cop show. >> yeah, it's a cop show for the

'80s. we use a lot of mtv images and rock music to help describe the mood and feeling of our show. >> in a lot of ways you don't get "miami vice" without mtv because in a lot of ways "miami vice" was a long video. the music was such a big part of that show. >> there was an allure to using great music that everybody was listening to as opposed to the routine kind of tv scoring of that period. ♪ i can feel it coming in the air tonight ♪ >> not only was it not afraid to let long scenes play out, it would drag. a car going from point a to point b could be a four-minute phil collins song, you know. and it was. ♪ >> being able to take a television series like "miami vice" and let's really rock and roll with this until somebody says, stop, are you guys crazy? you can't do that. and nobody ever did. >> freeze!

police. ♪ when you're camping with friends and you get the biggest spot, and you swam in the river all day in the warm afternoon sun... that's pure gold.

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>> when we entered the '80s, a lot of one-hour dramas that were light-hearted like "magnum p.i." were very popular. after "m.a.s.h." went off the air, the next season there wasn't a single sitcom in the top ten, first time that had ever happened in tv history. the prevailing feeling was that the sitcom was dead. >> brandon tartikoff, nbc programming chief, says reports of the sitcom's death were greatly exaggerated. >> time and time again, if you study television history, just when someone is counting a form out, that is exactly the form of programming that leads to the next big hit. ♪ >> 1984 "the cosby show" comes on. now, bill cosby is not new to tv. he's had other tv shows, but "the cosby show" is very different. it stands apart from everything else he's done.

>> i wanted my eggs scrambled. >> coming right up. >> they talked about parenting. previous to that, on television, the kids were cool and the parents were idiots. and then "cosby" says the parents are in charge, and that was something new. >> instead of acting disappointed because i'm not like you, maybe you can just accept who i am and love me anyway because i'm your son. >> that's the dumbest thing i've ever heard in my life! >> you know, it helps the casting of anything helps a lot in television. and the kids were just great. >> if you were the last person on this earth, i still wouldn't tell you. >> you have to tell me what you did. just tell me what they're going to do to you. >> unlike every other show on tv, it's showing an upper middle class black family. this wasn't "all in the family"" they weren't tackling, you know, deep issues. but that was okay. the mere fact they existed was a deep issue. >> the decade was waiting for

something real. in other words, unless it's real, it doesn't seem like it moves anybody. if someone's feeling something, you get to the heart, you get to the mind. and if you can hit the hearts and minds, you got yourself a hit. >> how was school? >> school, dear. i brought home two children that may or may not be ours. >> "the cosby show" brought this tremendous audience to nbc, and that was a bridge to us. i mean our ratings went way up. ♪ sometimes you want to go where everybody knows your name ♪ >> even the theme song to "cheers" puts you in a good mood. >> evening, everybody. >> norm! >> norman. >> what's shaking, norm? >> all four cheeks and a couple of chins, coach. >> by the end of the "cheers" pilot, not only did you know who everybody was, but you wanted to come back and see what was going to happen.

it's like all you have to do is watch it once. you're going to love these people. these are universal characters, and the humor worked on so many levels. >> last night i was up until 2:00 in the morning finishing off kierkegaard. >> i hope he thanked you for it. >> you have to create a community that people are identifying with, and "cheers" gives you that community. >> i've always wanted to skydive. i've just never had the guts. what did it feel like? >> i imagine a lot like sex. not that i have to imagine what sex is like. i have plenty of sex and plenty of this too. why don't you just get off my back, okay? >> in the first episode, there was a rather passionate annoyance. i was saying, oh, something is going on here. a really intelligent woman would see your line of b.s. a mile away. >> i never met an intelligent woman that i'd want to date. >> on behalf of the intelligent women around the world, may i

just say, phew. >> when we saw what ted and shelly had together, we said, oh, no. we've got to do this relationship. >> ted and i understood what they were writing right away. >> if you'll admit that you are carrying a little torch for me, i'll admit that i'm carrying a little one for you. >> oh, i am carrying a little torch for you. >> well, i'm not carrying one for you. >> diane knew how to tease sam. sam knew how to tease diane, and i guess we know how to tease the audience. >> this incredible chemistry between the two of them ignited the show. that's what drove the show for the first five years. >> what's the matter? >> oh, i'm devastated. i need something expeditious and brutal to numb by sensibilities and blast me into sweet oblivion.

>> how about a boilermaker? >> make it a mimosa. >> we had the luck to be able to rotate cast, and every time we put somebody in, they were explosions. >> there was something very special about that setting, those characters, that i never got tired of writing that show. >> sophisticated surveys, telephonic samplings, test audiences. all of those things help to separate winners from losers and make midcourse corrections. but you can't cut all comedies from the same cookie cutters. all you can hope is that every night turns out like thursday. >> yo, angela! >> next. >> how rude. >> he's quick. i'll give him that. >> all of television said, oh, well, maybe the sitcoms are alive again. and that's all that it took. it took one success. >> a few years from now, something new may tempt the people who pick what we see. but it's a very safe guess that

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this is my last broadcast as the anchorman of the "cbs evening news." for me it's a moment for which i have long planned, but which nevertheless comes with some sadness. for almost two decades, after all, we've been meeting like this in the evenings, and i'll miss that. and that's the way it is, friday, march 6th, 1981. i'll be away on assignment and dan rather will be sitting in here for the next few years. good night. >> uncle walter had dominated, certainly cbs, but in a way, the country. people used to say that he was the most trusted man in the country. >> once walter cronkite retires, all three network news anchors within a period of a couple years switch over to a new generation. the '80s may have been the last gasp where people watching the media liked and trusted the media. >> nuclear arms and how to prevent global destruction are expected to be the major topic of president reagan's news conference tonight. that conference will be nationally televised within the

hour. leslie stahl is at the white house. >> the white house is hoping that tomorrow's -- >> in the '80s, women came into the newsroom. when i first joined, it was '72. there were very few. by the '80s, there were more and more. the decade of the '80s was still a time of sink or swim. you had to be resilient in your own way to survive in a period when you were going up against a lot of people who still didn't think women had what it took. >> these are some of the most famous faces in broadcasting. all of whom happen to be women. >> the best producers, i'm going to get fired -- the best producers at cbs news are women. and they are at the level of taking hold and making decisions about individual pieces. they're not yet executive producers of all the news shows, but they will be. >> the past 24 hours, christine craft has taken her cause to many of the nation's news and talk programs. >> i didn't set out to be joan of ark, but i think what happened to me deserves some attention.

>> christine craft had a very successful career, but there she was in her late 30s and the tv station said to her, we're taking you off the air because you've gotten older and you're not as attractive as you once were, which was outrageous. and she decided to make an issue of it. she filed a lawsuit, and it became a huge national topic of discussion. >> a jury said she got a raw deal because she is a woman. >> women in television news everywhere were asked, what do you think about christine craft. >> i think unfortunately in recent years, the emphasis has been increasingly on physical appearance. and to the extent this decision helps swing the emphasis back to substance and good journalism, i think we've got something to be happy out. >> it was important to make the point that what mattered was, what kind of reporter are you? but it took the kristine craft incident, i think, to bring that conversation out into the open. >> this coming sunday, a new television network opens for business. cnn. cable news network.

you are throwing all the dice on this one. >> why not? nothing ventured, nothing gained. >> well, on that original point, mr. turner, thank you very much, indeed. >> i wanted to see what was going on in the world. and there was no way that you could do it watching the regular television stations. the news only comes on at 6:00 and 10:00. but if there was news on 24 hours, people could watch it anytime. >> we signed on on june 1, and barring satellite problems in the future, we won't be signing off until the world ends. >> there was a widespread belief that this was a fool's errand. how could this possibly find an audience? well, he did. >> ready, camera three. >> good evening. i'm david walker. >> i'm lois harp. now here's the news. president carter has arrived -- >> television news before this was stuff that had already happened. for the first time, cnn brought the world to people in realtime. >> cnn, the world's most important network.

>> i didn't do cable news network because somebody told me it couldn't be done. i figured it was a very viable concept, and i went ahead and did it. it was after we announced that we were going to do it that the detractors showed up. >> is cable news network just going to be a new means of delivering the same kind of fare? >> no. it already does provide different fare. cable news network is a perfect and maybe the best example of that. >> people love news, and we had lots of it. and the other guys had not very much. so choice and quantity won out. >> new york city, hello. >> a major catastrophe in america's space program. >> i'm lou dobbs along with financial editor myron kandel. >> jessica mcclure trapped for almost three days in a dry artesian well. >> the iron curtain between east germany and west berlin has come tumbling down.

>> good evening. i'm pat bucannon, the conservative on "crossfire." >> the american people appreciated the new television. they certainly came to cnn in droves. >> mr. gorbachev and i both agree on the desirability of freer and more extensive personal contact between the peoples of the soviet union and the united states. >> we began to realize that the best way to get a message to a foreign leader was to have the president go in the rose garden and make a statement because everybody was watching cnn. >> cnn was a breakthrough. it changed the whole world. >> it changed quickly. the network news business. that business that we weren't the only ones. and it was hard. you know, it's hard to be on the top little perch and have to come down off it. >> on "special segment" tonight, the network news. the first in a two-part series on the profound changes taking place in television news. changes being brought about by business, competition and technology. >> there were a variety of reasons why people who worked at the broadcast networks were

freaked out in the 1980s. one of them was cnn and the rise of cable. another was being taken over by foreign entities in corporate america. >> new owners spent billions buying the networks recently, and all of them want their money's worth. >> people began to find out that news could be a profit center. and that focused a lot of attention on us. a lot from people in wall street, for instance. >> if you think about the news divisions of cbs, nbc and abc, they were part of a really proud tradition. a journalistic tradition that really matters. we serve the public. this is not about profit and loss. the people who worked at those news divisions were totally freaked out by what it meant that they were now owned by these larger corporate entities. >> if the television news isn't profitable at some point, there won't be anymore television news on the networks. >> i worry about people who are interested only in money and power getting a hold of television. it has higher purposes than that. >> we have seen the news, and it is us.

♪ some hot cocoa? mom, look! are you okay? head home this holiday with the one you love. visit your local mercedes-benz dealer today for exceptional lease and financing offers at the mercedes-benz winter event. the only thing a disaster can't destroy is hope. donate now at redcross.org

♪ ♪ be it discovering talent in different continents... and entirely different sports, or discovering a smoother whisky by double-aging, sometimes, it's just better to stay curious. dewar's

♪

♪ sometimes ambition in a woman is considered to be a dirty word unfortunately. >> i don't hear a lot of female voices reverberating in the halls of power in this business. >> i'm surprised there aren't more shows about women talking about who they are. >> directing seems to be an area that is almost impossible to break through. >> i think the '80s were the era when women were being looked at with a little skepticism but definitely with more acceptability. you could see the door opening, but it wasn't wide open. >> "cagney & lacey" was huge. that there would be two women and they had a serious job and they solved crimes and they were out on the streets, they were tough, that was emblematic or maybe out in front a little of what was actually happening in the country.

>> so we're a terrific team. >> this is true. >> there had been by that point hundreds of buddy cop shows. but these buddies were women. it had never been done before. >> i didn't go after this job because i couldn't find anything else. all right. i did not come here because i needed some kind of work to help pay the orthodontist. this means something to me. >> what the hell are we talking about here? >> we didn't even realize this was going to be such a big deal. and strangely, all these guys would say to us, well, yeah. i mean, it's a good script, but who is going to save them in the end? >> come on. we're taking you out of here. come on. >> where are you taking my wife? >> you don't take one more step. you understand me? sergeant nelson, you have until 8:00 tomorrow morning to turn yourself in to iad. if you don't, i will. >> it was the time where you really saw an emergence of women on television who were not

necessarily just 20 and blonde and had a small role, but women who had substantial roles. ♪ thank you for being a friend ♪ travel down the road and back again ♪ >> it was unpredictable that an audience, a young audience, a not-so-young audience and lots in between could relate to those older ladies. >> ma, if you couldn't see, why didn't you call me to come get you? >> i tried to, but every time i put in a dime and dialed, a condom popped out. i got five in my pocket. here, dorothy. a lifetime supply. >> she was recently named along with norman lear and jim brooks as one of television's most gifted creative writers. when you look back at the past will role models on television, it's easy to see susan harris'

impact. >> susan harris was the greatest writer of her generation at that time, singularly. so all credit to her for coming up with so many iterations of something so amazing. >> do you think there is a woman's voice as a writer? >> woman's voice? generally they speak higher, softer. women's voice. women have a different perspective. yes, there very definitely is a woman's voice. >> do you know how many problems we have solved over a cheesecake at this kitchen table? >> no, dorothy, exactly how many? >> 147, rose. >> it's cutthroat riprimetime a 23 new shows compete. here is one just about everybody predicts will be a big hit. "designing women" on cbs. giving each over the business. >> suzanne, if sex were fast

food, there would be an arch over your bed. >> she created one of the funniest most unusual shows in "designing women." they were a different group of women than you really saw on television. they are feisty. they were sexy. and linda's voice came through shining. >> a man can get away with anything. i mean, look at reagan's neck. it sags down to hear. everybody ravens how great he looks. imagine if nancy had that neck? they would be putting her in a nursing home for turkeys. ♪ >> they gave me this 23 minutes to address whatever topic i want. it's such a privilege. it's more than the president of the united states gets and it's thrilling to have that every week. i would be lying if i said i didn't put my opinions in the show. >> excuse me, but you look like you are in need of a little male

companionship here. >> trust me when i tell you, you have completely misassessed the situation at this table. >> moving on to scene b. >> i am a woman and i am a writer, but i don't really enjoy being called a woman's writer. i think labels are harmful to us. >> with murphy brown, just about everything about that program felt new. the civil rights movement and the women's movement had just begun to sort of be reflected in the programming that you saw on television in the '80. >> you know the done fridays club is for men only. >> they have great dinners with great guests and i don't get to go and it has to do with something you've got and i don't. a tiny pathetic little y chromosome. >> murphy brown was sea change because she was so popular and such a strong independent tough woman. >> no matter what you think of a

guest or their views, you are obligated to ask the questions in a dignified manner. she was unprofessional, right? >> do you believe this, jim? he thinks it's neat his office chair swivels and he is calling me unemployee official. they have more freshness ingredients compared to bargain liquid detergent. they have 3 super powered ingredients that fight stink oxi boost febreze odor remover and concentrated detergent. try gain flings and smell the difference.

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they helped put me in the white house. >> we were coming into a new era. >> i like to dedicate this to jimmy carter. >> the rock and roll aspect of the campaign was about trying to reach a younger generation with somebody who was hip enough to get it. ♪ >> are you having

you are in a good mood

tonight, and i tell you, we have put a great show together. it will be on a week from thursday. [ laughter ] >> johnny carson in the '80 is making the transition from the king of late night to a national treasure. he was a throwback to the old show biz stuff. >> i have been on with you for some time. you have been busy with other things. >> the tide is starting to turn in terms of where late night divisi television is going. johnny was not necessarily of his time in the '80, but he did sustain a certain timelessness. he is the king. [ laughter ] >> he is all right. he is just playing. >> playing! >> my next guest has a college degree, and he also has a high

school degree. >> that's right, i do. >> he hosted "the tonight show" prock particularly as often as johnny carson and now he has his very own show, weekday mornings at 10 on nbc. >> ladies and gentlemen, what you are witnessing is a good idea gone awry. fun-filled surprise turning into an incredible screw-up right here on live television. >> david letterman originally had a one-hour daytime show and nbc after like 13 weeks decided to cancel it. >> today is our last show on the air, monday las vegas. at least people have -- >> it was a dismal failure in terms of the ratings but not in terms of introducing us to letterman. >> david, thank you for being with us tonight. >> thank you for having me. >> in spite of this nonsense that goes around in the background, stay with it. don't give up and stay with us here in new york. [ cheers and applause ] >> dave is back in new york.

you are going to host a late-night television program that premieres monday night. what are critics likely to say tuesday morning? >> i don't much care because i found a way to deal with that. pills and whiskey. >> you're on. >> oh, i'm son? i am enjoying listening to you snort. >> they gave him the late night show after "the tonight show," and at the time people thought, who is going to watch television at 12:30 at night? who is up? young people. college people. >> is it going well? i know this is the first show. this guy needs a little support. >> he was anti-establishment. he was thumbing his nose to any existing social structures. >> who are those women out there, by the way? >> neighbors. >> i will get rid of them. hey, excuse me. keep it moving. come on. >> he kind of spoofed the whole

notion of talk shows. >> it's the late night guest cam. please say hello to tom hanks. there he is. >> no one could go on the david letterman show and try to steer it towards a point of view or push something -- he just wouldn't stand for it. you are on to do one thing and one thing only. be as funny as the rest of show. >> we could get in a two-shot here. we could send the crew home, couldn't we? >> as a comedian, you want the biggest audience you could get. for dave, he knew a lot of things that he would do were going to alienate people. he didn't care. he wanted his thumbprint tout there. >> paul, do you have any accompanying music here for small town news? paul schaefer, ladies and gentlemen. >> the show making fun of itself and turning itself inside-out that way was something kind of new. >> don't we look like guys you

see hanging around together? >> absolutely. >> would you like to hang out with me n? >> no. >> i will say it again. this is the stupidest show. >> i thought i would never want to do it had show with you. >> now, why? because you thought i was a [ bleep ]? >> there is one rule i keep trying to abide by, and unfortunately i only get to it about 12% of the time, and that is it's only television. we are not doing cancer research. if the 40-year-odd history of commercial broadcasting taught us one thing, there is nothing sacred about television. >> stephen is upstairs. >> hey, dave i was curious, is there any way i can get mtv on this? >> that's just a monitor and all you can get on that is our show. >> oh, that's okay. >> there was a degree of cynicism that was needed in the art form at that time, and it's a cynicism that just became common sense after a while because it never got old.

>> i have watched johnny carson and you are no johnny carson. [ cheers and applause ] >> welcome to great white. i am bob mckenzie, my brother dug, and we have a big show -- >> it was a second city chicago company and a toronto company. the toronto one fueled the sc tv series which was syndicated and got to the states that way. >> hey! >> hail, hail, thank you very much for that marvelous reception. i want to thank my supporters in the cesarean-section. >> it's healthy to be an outsider. you know, as a comedian, and canadians are always outsiders, but they are looking at the other culture which is right next door to them. >> i love you. i want to marry your children. >> it was the type of comedy

that had only been accessible if you could have gotten into the improv clubs in chicago or toronto. i never saw anything like second city tv. >> james bridge man, parkdale. >> no, nevermind. >> it was far more conceptual in its humor because it didn't have to be performed in front of an audience. and there was also just the idea that it was this sort of low-rent thing. it was this sort of by the seat of their pants kind of operation that gave it an authenticity. >> now that our programming day has been extended -- >> put it in the fridge, butch. >> you were rooting for the show and the characters that they created. there was just something that you got behind, whereas, you know, "snl" right from the gate, and through the '80, was this big enterprise. >> after five golden years,

lorne decided to leave and so did those close to him, including me, al franken. >> so nbc had to pick a new producer. now, most knowledgeable people, as you might imagine, hoped it would be me, al franken. >> there was a question of whether "saturday night live" would continue at all, whether it would just die. >> the press hasn't been overly kind. >> yeah, i read that stuff. "saturday night live"? is it dead? >> come on. >> my favorite is vial from the yard. >> it's funny. >> they were having a hard time, and then came the man that saved the show, eddie murphy. there was buzz about him. so you tuned in, and there was this kind of explosion of talent in front of your eyes. ♪ hey! ♪ >> it really kind of rejuvenated the show. >> i am gumby, dammit!

>> the show regained status and clout and became even more of an institution than it had been. >> hey, bob. >> looks great today. >> listen, harry, tell me now! >> you hear me, through! you will never work in this town again. >> don't leave me hanging by a thread. >> we were worried because we had a new cast. but everyone loves us. >> i guyou guys have been so ni during our stay. >> isn't that special? >> we just want to pump you up. >> a lot of things that they could do on "saturday night live" they couldn't do on a sitcom. the humor was more daring and more satirical and it was political. >> you still have 50 seconds left. >> well, let me just sum up on track, stay the course, a thousand points of light. stay the course.

>> governor dukakis, rebuttal? >> i can't believe i'm losing to this guy. >> i'll get it. >> it's garry shandling's show. >> people were taking the old principles of comedy and trying to turn them into something new. we spent years watching dramas and sitcoms. if somebody played on that and parodied it, we got it instantly. >> i appreciate you coming in under these conditions. you want to hold the credits? okay. see, we were going to show the credits and you screwed that up, okay, because you're late. >> the garry shandling show was aware of the fact that it was a situation comedy. it highlighted the cliches in funny ways. >> are you looking into the camera? >> yeah. >> don't look into the camera. >> i didn't. >> don't. you don't come in here and look into the camera. >> i didn't. >> i'll bop you. i will. if i see a tape of this show and

you're looking into the -- >> about that time. >> peewee's playhouse on cbs, so-called saturday morning kids show that adults could watch and wink at each other while they were watching it, it was very clever. >> good morning. >> the secret word is good! >> it was a show certainly for kids and it was for stoned baby boomers who were totally wasted on saturday morning and watched peewee's playhouse and saw god. >> i sure had a lot of fun. see you all real soon. till then, everybody be good! some hot cocoa? mom, look! are you okay?

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i was a pretty fair little athlete. the wonder years was a guy in modern times looking back on his childhood. that in itself is not new, but the wonder years did it with a wit and with the music. it was a brilliantly written show, and a great performance by that entire young cast. >> hey, steve, it looks like your brother and his girlfriend have found each other. >> she is not my girlfriend. >> he has to cope with the timeless problems of growing up during one of the most turbulent times we have known. >> he is like a regular kid, except in the 1960s, and he is not really aware of many of the events, like in one of the episodes the whole family's

watching the apollo 8 take off, but i am sitting there trying to call a girl. >> the first episode of the wonder years, anybody who saw it remembers the ending where, you know, the first kiss with winnie and kevin arnold. the song that they play "is when a man loves a woman." that moment seemed so pure and so real. ♪ when a man loves a woman ♪ can't keep his mind on nothing else ♪ >> the tone of the baby boomers in the 1960s is about rebellion. by the 1980s it's time to grow up. so they shave their beards, put on power suits, a whole new notion. >> the yuppies, last year the politicians were all talking about winning their votes. now those young urban professionals and the rest of their baby boom generation are being wooed by advertisers and their agencies. >> by the '80 it was pretty clear that the generation after the generation of the '60s may

be embodied by alex keaton on family ties seemed to be more interested in the corner office than the new jerusalem. >> you are a young man, you shouldn't be worried about success. you should be thinking about hopping on a steamer and going around the world. >> the '60s are over, dad. >> thanks for the tip. >> you weren't laughing at michael j. fox's character for being too conservative. you were actually laughing at the parents for being too hopelessly liberal. >> what is this? i found it in the shower. >> that's generic brand shampoo. >> oh! >> this is him. this is a guy i have been telling you about. this is everything you want in a president. >> the genius of "family ties" it allows a youthful more critique of the '60s. >> michael j. fox as alex keaton really became the center of the show and the writers were smart

enough to see that they had something special, and they wrote to that. >> it's not fair, alex. >> yeah, there is nothing you can do about it, jen. my advice to you is that you just enjoy being a child for as long as you can. i know i did. it's the best two weeks of my life. >> alex is a little bill buckley. "the wall street journal" is his bible. he has a tie to go with his pajamas. very conservative and very intense 17-year-old. >> the first thing your teacher will ask is what you did over the summer. a lot of kids will say i went to the zoo or the beach or i went to a baseball game. what are you going to say? >> i watched the iran-contra news. >> if mom and dad thought this generation was going to the dogs, think again. this is the generation that discovered hard work and success. >> american culture is changing in the '80. in terms of television there is a notion of demographic

segmentation. >> networks were beginning to not be afraid to appeal to a very specific demographic. >> hey, handsome. look at that shirt. is that a power shirt or what? >> nice suit. good shoulder pads. >> 30 something said we are not going to have cops, lawyers and doctors. we are just going to be about people. >> why did we start this business? >> to do our thing. >> right now we got two wives, three kids, four cars, two mortgages, a payroll, and that's life, pal. you be the breadwinner now. >> is that what i am? >> 30 something is a very important show as you are going into the era of television being more introspective and more emotional and some people weren't buying it. for other people when they talked about things like having kids and who was going to go back to work and some of these issues that hadn't been talked about a lot, it was important to people.

. >> i was so looking forward to doing this. being a grown-up for just an hour. >> in the beginning there was talk of this being the yuppie show and you mentioned it, you said that if there were a category for the most annoying show, this might win as well. >> it has nothing to do with yuppie. i think yuppie was made up by demogofficers and advertisers to sell soap. >> 30 something was not a giant hit, but it was a indonesniche . it attracted an upscale group of advertisers. >> the network aired who was watching, not how many were watching. that was catching on in the '80. >> the prosecution will ask you that you look to the law and this you must do. but i ask of you, that you look to your hearts as well. >> thank you. >> "l.a. law" was partly a classic lawyer show, but it was

enter twind with their personal lives and different lawyers sleeping together, trying to get ahead. >> the reality level on that show was like a foot or two off the ground, and you were willing to go with that because it was a whole new spin on a law show. >> huh-uh, tell the truth. if you had to do it all over again and she walked into your office and said take my case, would you? >> well -- >> of course you would because it is juicy, newsy, exciting stuff. >> it was really fun to take the "hill street blues" format and use it to frame an entirely different social and cultural strata with vastly different results. >> i wonder if i might engage with my client privately? >> certainly. what are you doing for dinner tonight? >> i was planning on having you. >> in that case, skip lunch. >> the formula had gotten established of how you can do

it, a dramatic show, and yet still have an awful lot of fun. we didn't used to be able to accept that very easily in a tv hour. and even before the '80 are out, it's like, okay, i get it. all right, what are the rules now? >> what are you doing? >> what i should have done all along. what i wanted to do originally. what i should have done last night. stop that, david! i am calling the police! hello, police. >> the networks realized there was an audience looking for something less predictable than traditional primetime fare. >> "moonlighting" said, okay, i see the formulas up to here. that's two different things. >> hello? >> hello. >> we are looking a little pale today. >> aren't we? >> "moonlighting" was an experimental show. they had a shakespeare episode, a black and white episode, a

musical episode. they tried a lot of different stuff. >> i don't give a flying fake about the lines in my face, the altitude of my caboose. >> well, i am at a loss. i don't know what a flying fake is? >> that's okay. they do. >> there is no trouble on the set. >> well, we have a very volatile relationship. there is a hate/love element to it. >> the flirtations were great. glen karen kept them apart for a long time. and bravo to him. >> what they did was took the sam and dianne dynamic from. [ cheers and applause ] and escalated it. [ cheers and applau "cheers" was will they or won't they. "moonlighting" was do they want to. >> i don't want you. i never wanted you. >> yeah, right. >> does entertaining mean at some point stopping the tease of dave and mattie? do they get together at some point? >> that's going to be resolved

this year. we like to think of it as 2 1/2 years of foreplay. >> people who watched for years were waiting for this moment and your emotions are already there built on to the emotions you are seeing on the screen. so when be my baby by the ronettes starts playing it's a perfect storm of romance. ♪ ♪ the night we met i knew needed you so ♪ since you're heading off to school, i got you this brita. dad... i just got a zerowater. but we've always used brita. it's two stage-filter... doesn't compare to zerowater's 5-stage. this meter shows how much stuff, or dissolved solids, gets left behind. our tap water is 220. brita? 110...

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in recent years it seems that television has become a kind of electronic confessional. where guests are willing to expose painful and sometimes embarrassing aspects of their lives quite readily to millions of viewers. >> at the beginning of the decade we get the dominance of phil donahue and that is a maturation of women's issues and he seemed to talk to them in the audience. he talked to them through the tv screen. >> i am glad you called. kiss the kids. we'll be back in a moment. >> if you look at the body of work we've had, you are going to see the '80 there. i am not here to say you are wrong, but let's understand this. when you bring a moral judgment without knowing them against them, for the way that they look, they feel that confirms

the reason for their rebellion, if that's what you want to call it. >> he really believed that daytime television needed to talk about the ideas we were thinking about, the issues we were concerned about. >> i don't want to characterize his question, but why don't you get this fixed instead of doing this screw which stuff? >> there is not a single recorded case in history of any transsexual that ever through psychological treatment changed. it has never happened yet. >> and we were putting very important people on the program. all kinds of people. gay people, people going to jail, people running for office, you know, sometimes the same people. it was a magic carpet ride. >> you really do paint a very, very grim picture of the sitting president of the united states. >> let me just say this. i think he is probably the laziest president i have ever seen. >> the audience for phil donahue built and built and built and built and led the way to oprah.

♪ >> hello, everybody! hello! >> oprah has a particularly magical combination of her own background, her own experience, her own incisive mind, and empathic spirit. >> thank you. i am oprah winfrey and welcome to the very first national oprah winfrey show! >> i was surprised at the rocket pace that oprah took off because it took us a lot longer. the donahue show rearranged the furniture, but oprah remodeled the whole house. >> there are a lot of other people out there watching who really don't understand what you mean when you say, you know, we are in love, because i remember questioning my gay friend, like, you feel about him like the way i feel about -- it's a strange

concept, you know, for a lot of people to accept. >> oprah was connecting with people in a way no one had on tv before and it was really special to see. >> did you know that for the longest time i wanted to be a fourth grade teacher because of you? >> no. i was not aware of inspiring anyone. >> i think you did exactly what teachers are supposed to do. they create a spark for learning. that's the reason i have a talk show today. >> oprah winfrey now dominates the talk show circuit both in the ratings and popularity. >> i want to use my life as a source of lifting people up. that's what i want to do. that's what i do every day on the show. we are accused of being tab li lloyd television, but i think we serve as a voice to a a lot of people who felt up until perhaps my show or some of the others that they were alone. >> this is what 67 pounds of fat looks like. i can't -- i can't lift it. it is amazing to me that i can't lift it but i used to carry it around every day.

>> there is nothing more endearing to an audience to than to have that kind of honesty and humility and courage on the part of a host. and that, i think, has a lot to do with her power. >> feels like i can do some good here and i really do think that the show does a lot of good. ♪ >> american television is drowning in talk shows. but it's never seen anything like morton down any jr. >> i want to tell you -- >> sit down and shut up. >> other competitors take the television talk show in two directions. you see the phenomenon of daytime television shows becoming less tame and more wild. >> the '80s brought a lot of bellage rens to television whether it was morton downey jr. being the offensive caricaturish person he was or geraldo, doing his own outlandish things.

>> we are going to get into the mind of another all-american boy who came under the influence of satanism and took part in a crime. >> he takes the power of the talk show to a whole other level trying to put people on stage who hate each other, who are going to fate. >> in the case of the church of satan we have not had any problems with criminal behavior. >> yet when you hear story after story after story of people committing these wretched crimes, violent crimes in the devil's name? >> the more attention, the more conflict, the more violence there is, the more the ratings go up. the american people love to complain about it, but they loss love to watch. >> geraldo rivera back in a controversy tonight. he drew sharp criticism with his special on devil worship. today he found himself in a real free for all. >> i get sick and tired of seeing uncle tom here -- >> go ahead. >> sit down! >> hey, hold it. hold it.

>> sit down. >> rivera suffered a broken nose. he says the wishow will be broadcast later this month in its entirety. >> that's not something i would have done, but there was a lot of hypocrisy. one of the major magazines put the picture of geraldo getting hit with a chair on the cover and the article said, isn't this awful, look what happened to television. yet they couldn't wait to sell use it to sell their magazine. >> over the years broadcasting his tdeteriorated. >> give people light and they will find their own way. relax. america will survive the talk shows.

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♪ big thing that changes in the '80s is the number of hours spent watching television goes up. the number of hours spent talking about television goes up. one of the symbols of this phenomenon is entertainment tonight. >> hi, welcome to our opening night. the premier tea edition of entertainment tonight. >> the critics were unanimous in

that they said it will never last because there simply isn't enough entertainment news to fill a half hour every night. >> entertainment tonight has surveyed tv critics in the united states and canada to find out which television shows had the most impact on viewers over the years. >> up until this time nobody had done television like this. nobody. >> burt reynolds, the hottest actor in hollywood. >> i am surprised to see you here. >> i am glad to see you. we could meet here every night. >> a lot of what makes successful television programming is being in the right place at the right time, and it was the right time. >> entertainment journalism evolved as w evolved the veers got nmore curious. >> we could go behind the scenes in our effort to really give an insider's look. >> the crafty old j.r. of

"dallas" fame with his his mother as he was presented a star on the hollywood walk of fame. >> it was honorific of the industry. they would do serious coverage of it. it wasn't salacious. and you would see actors speaking of speaking as actors instead of on a johnny carson show. >> this is on camera. >> this is on camera. >> it was the beginning of a lot of money being made talking about entertainment and celebrities. >> robert redford plays the good guy in the movies. don't delta tell that to his nes in utah. >> the audience grew and grew and that was showing us that the appetite for celebrity news was big. it was big. >> get ready for "lifestyles of the rich and famous," television's most dazzling era of excitement i am robyn leach in monaco. and you've got a vip ticket to the private party. >> your sunday newspaper is

still delivered with the comics around the news. and that was what i always thought lifestyles was. we were the comic around the news. except we is it as seriously as they did news. >> finally in the driving seat of his own career, he burned rubber in a new direction. david hasselhoff, rock idol. >> it was a time where pushing the limits with wealth and austentatiousness in a lot of cases was very comfortable. >> one of the earliest stories we presented on "lifestyles" was about the amazing real estate wizard donald trump. if he didn't shock and surprise you back then, he has had plenty of time since. >> with all of this costing billions, not millions, do the figures ever frighten you? >> the answer is no. it's my business. it's my life. it's my lifestyle. i love it. the good, the bad. >> does this bring with it political aspirations? >> no political aspiration. >> your show has gotten a lot of

ridicule. there are people who say it's nothing more than trash. >> that doesn't upset me because i think it's the best trash on television. i am not in the business of brain surgery. i am in the business of fluff. >> that's the fantasy element. at a time when the access is possible, it's escapism and it's aspirational. you want to stand in a hot tub with a glass of champagne? rock on. >> we have never seen that wealth before. we didn't mock it. we didn't say it was right and we didn't say it was wrong. we were just through the keyhole. >> sometimes it amazes me. i walk away from a shoot and i think, well, we did it again. >> there was more of everything in tv by the '80s. your opportunities for watching stuff is increasingly vast. >> nbc presents real people. >> i am michael b. wilson. it dawned on me the application of a small motor on a pair of roller skates might be a great

thing. >> somebody said each one of us will be a star for 15 minutes, and i think that's probably going to happen. >> american culture used to celebrate privacy. in the 1980s as we are watching celebrities play out on stage, hey, i want to join, too. all the world becomes a stage and you start seeing shows like real people or people's court. >> t"the people's court" where reality television is taken one step further. >> to see more tv producers had to come up with new and different ways to give them television. >> don't be stupid. >> i told you not to be stupid! >> what "cops" did was took away the script and brought the camera people and crews on location to try to catch actual things happening. >> cocaine, possession of a stolen firearm no less. what else are you gonna do? not, it's our mission. from our expert technicians armed

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♪ with this ring. >> with this ring. >> i thee we had. >> i thee wed. >> the biggest television event of the 1980s is the marriage of charles and diana. it's like the world stops when that happens. i mean, that was like just massive. >> this was the final act of a spectacle that th spectacle may never again be seen in this century. >> the archbishop called the wedding the stuff of fairy tales. >> good evening, the royal

couple at this hour is off on the honeymoon while a lot of people here in london tonight are still talking about the events of the day. >> when you have great moments like the royal wedding, they are a part of history and it's done beautiful thi beautifully and everybody has a chance to watch it on television. everyone wants to drink a toast to chuck and di. >> a princess who must be aware, as it was on this day, that every single move she makes this public will be recorded and observed. a very difficult life indeed. >> we will be back in a moment with closing observations and one final look at what has just defiably been called the wedding of the century. >> by the authority of the state of new york, i pronounce that they are husband and wife. you may kiss the bride. [ applause ] >> your wedding was seen by an astonishing number of people. 16 to 19 million viewers. how do you account for that popularity? >> i can't. i can't.

the way it's grown, it's amazing to me. >> it did appear in the '80s that it was a good time for daytime soap operas, especially for "general hospital" which had a huge success with luke and laura's wedding. >> i remember when they got married because it was nighttime newsworthy. the soap opera discovers the blockbuster mentality, the sweeps month mentality. what can we do to get more people watching? have a wedding, a kidnapping, an evil twin. and primetime stole from daytime. >> after "dallas" proved that ewing oil was better than real oil for cbs, the networks rushed to give the public more. >> primetime soap operas, "dallas," "dynasty," they are all about excess. this is about being over the top, stabbing each other in the back, going for the gusto and having fun. >> i know what's wrong with you. the empty-armed madonna, mourning the baby she couldn't

have, and the baby that she almost got to adopt. that is it, isn't it? >> you miserable bitch! >> there was a bigness to the stories and they could afford to do on a network if you are doing one episode a week. you can't do that if you do five episodes a week for a daytime show. the production value gave it that pizzaz. >> if you can't have it, watch other people with it. or so say the three networks who are programming nearly 0% of their prime tame fare with series about the very rich and the public is devouring it at such a rate that make-believe money has become ratings gold. >> the characters were larger than life. they were more evil. >> and more cunning and manipulative and more gorgeous. i mean, really, look at the way they were dressed. look at the way they lived. everything was fascinating. >> alexis.

>> yes? >> i didn't thiank you for your present. >> it's he you should slap, dear, not i. >> we all wanted to live like the carringtons, and it ended up being a wonderful picture of fun and debauchery. >> there was a sense of con speckious consumption as being okay and those shows exploited that. >> primetime families like the carringtons who live in luxury on the "dynasty" sound stage are not the only rich folk on tv. in the last five years, more than half of all new shows have featured the wealthy. ten years ago that figure was zero. >> it was an accident. your father's dead. >> a wine family. there is lorenzo lame owes and ronald reagan's first wife on that show. >> emma is pregnant.

>> i know a doctor who can take care of it right away. >> that will never happen. >> all of those shows were, oh my god, what's next? what's gonna happen with that? he can't get away with that. then you tune in, it was appointment television. >> what will become of the missing twins on "knott's landing". >> they all had spinoffs. the colbys was a spinoff for "dynasty." they were seeing how much they could max it out because it was really successful. >> where is your son miles? isn't he going to be a part of this venture or is he playing polo as usual? >> the colbys can always find room for another trophy. >> you had people fighting over oil and mansions and it was fantasy, but in a kind of so over the top way that it was fun. >> there is nothing devious about using your femininity. >> these shows took themselves so unseriously that they were

camp, but that was okay with the central audience that was loving them. >> it was entertainment. we weren't trying to do high drama. we were glossy. we knew what we were there for and we did it as best we could. some hot cocoa? mom, look! are you okay? head home this holiday with the one you love. visit your local mercedes-benz dealer today for exceptional lease and financing offers at the mercedes-benz winter event.

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experience the wonders of at nizuc resort & spa, where paradise is personal. nizuc is a world to discover unto itself, day or night, indoors or out. something wonderful awaits. australia's most important export may be neither its animals, nor its beer, nor its films. rupert murdock. in the midst of building what "forbes" magazine says is the most extensive media empire, in

history. >> a huge development in television, the hegemony of the three broadcast networks was presumed to be complete. and rupert murdock, having disrupted the business in australia, the television business in britain. he says i'm going to make another one. this was a big, bold bet. meantime, he will have to become an american citizen if he wants to own tv stations here. something, murdock says he is willing to do. >> some people say it will take you 20 years to get fox network on par with the big three. do you intend to wait that long? >> the reaction to murdock's idea for a fourth network was similar to the reaction to ted turner starting cnn. it's ridiculous. you know, what does he know about television? >> we don't think of ourselves as abc, cbs, or nbc. there is no question, we have inferior lineup of stations to our counterparts. that means we'll have to work harder to get our message across

and get shows sampled. >> they had an idea that, in order to succeed, we have to differentiate ourselves from networks. we have to do things they would not do. >> fox starting throwing anything against the wall not knowing what was going to go. things like "21 jump street." joan rivers, in terms of late night. >> we have been banned in boston, which i think is wonderful. >> and the tracy almond show. it was a sketch show, and they needed something to go between the sketches. again, they were looking for something different. >> i got to have those candy bars. >> better not be thinking of stealing those candy bars. >> that's it! >> "the simpsons" would never have come along, had it not been for the "tracy ullman show." >> i got a ride home, didn't i?

>> fox was thrilled that it was different. they said, sure, be experimental. do whatever you want. we're just happy to have a show on the air. >> i'm home! >> "married with children" was their first, big, big hit, in that way, that said if all the rest of television is going this way, we're going that way. >> bud, kelly, you want to come down and help me in the kitchen? that should buy us about ten minutes. seven more than we'll need. >> the title of married with children, on the script, was not the cosby show. how great. i mean, you have to love that. just taking the piss out of american families. fun. great fun. >> never want kids, i got two of them. how the hell did this happen? >> the bundys were almost like a purposeful reaction to the huxtables and it was funny

because you had this wonderful, perfect, black family, and these horrible, miserable, white people. and you could find things to relate to, in both. >> howdy, neighbor. >> there was a lot of fun to be had, you know, in al and peg bundy. >> married with children, it does very, very well. and then, back on abc, they came up with another, major hit. "roseanne." >> oh, yeah? >> yeah. and you think everything gets done by some wonderful wizard. oh, poof, the laundry's folded. poof. dinner's on the table. >> you want to fix dinner? i'll fix dinner. i'm fixing dinner. >> honey, you just fixed dinner three years ago. >> typical, american families weren't on television, for the longest time. the donna reid days, you know, early days, the father knows best, hardly anybody really lived like that. that was the way advertisers wanted you to live.

>> me, too. but i bet it's a different list than what you've got. >> the ideal situation's if you can subvert whatever common stuff is said about families and about parenting. >> what's in this? >> i got you kids new leg irons. >> her loudness and her unfilteredness were key to why we liked her. she was saying stuff about working-class people. she was saying stuff about men and women. so, it was about marriage and about raising kids, and about how hard it is. >> i am just going to look like a freak, that's all. >> shut up. >> this is why some animals eat their young. >> tv in the '80s was a big deal for the evolution of drama. it just pushed everything forward. >> you think, perhaps, this generation are paying more attention to the dialogue, to the relationships they see on television than in years previous? >> clearly, the people that are watching our shows are. and -- and -- and "cheers" and

seen elsewhere. these are shows that are smartly written. it's their words that define 'em, and i think that's what people like. >> we're supposed to be here is the one thing people can trust. if you go out there like a bunch of nightriders, what the hell are you but just another vicious, street gang? >> that decade spawned an extraordinary number of shows that really carved out a unique niche for themselves. we began to turn television into an art form. and for the first time, people were proud to say i write for television. >> up until that point, television was second class. in the '80s, it was something else, entirely. and it was new and it was kind of interesting. >> it's like, everyone in the '80s starts to want to tell their stories. that's what really changes things. the unexpected welcome in the

'80s predictability locket its cache. >> impact on every era, every decade. >> television still shapes the thinking of america like no other element in our country. sometimes, for the better. sometimes, for the worse. >> it gave rise to people pursuing artistic content in a way i think has raised the bar in television production, exponentially. >> there is a shift, in the '80s, from just wanting to placate the audience, to wanting to please and challenge the audience. that's the decade when it happened. >> we had one hell of a run, didn't we, partner? >> we sure did, sunny. >> i'm going to miss you, man. >> i am going to miss you, too, sunny. >> can i give you a ride to the airport? >> why not?