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7 Television shares some traits with theatre (liveness, temporal immediacy, and usually a stage-bound set, either in a theatrical or soundstage setting) it also shares traits with cinema (the ability to record and edit, the framing eye of the camera and its ability for motion, the notional access to location changes). We talk, rightly, about film and theatre as divergent media with their own specificity television, for a variety of historical and disciplinary reasons, has much less definition as a specific medium-arguably, this is not surprising, because television is less a specific medium than a window through which we can see adaptations of other, older media, like film, theatre, and even radio. These sketches engage with the concept of adaptation in at least two, intersecting ways: the materials (book, songs, design, choreographic style), and medium.
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To the astonished exclamation of appreciation from ‘Brat Butler,’ she responds, ‘I saw it in the window, and I just couldn’t resist it.’ The parody itself has become a classic. The parodies were sharp, particularly about music and performance, but never mean there was affection as well as substantial knowingness: Joan Crawford reportedly loved ‘Mildred Fierce,’ though was a little more ambivalent about ‘Torchy Song.’ ‘Went with the Wind’ has widely been considered one of the greatest moments of American television, garnering one of the longest and most sustained studio-audience laughs in history when ‘Starlett’ appears at the top of the ‘Terra’ staircase wearing a dress made out of the curtains, with the still-attached curtain rod balanced across her shoulders. And Joan Crawford, Vivien Leigh, Shirley Temple, Judy Garland, and so many others (including a version of herself and her sister Chris, then played by Vicki Lawrence, 5 in a recurring sketch about modern life taking unexpected turns). As an adult, Carol Burnett got to be Grable.
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As a child, Carol Burnett wanted to be Betty Grable. 4 Going to the movies was a way of escaping a life of some deprivation. Burnett and her younger sister, Chrissie, lived with their grandmother in Hollywood from a young age because of their parents’ alcoholism.
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The show was also an opportunity for Burnett to do what she had always wanted to do-be in the classic movies she had adored growing up. The comedy style of the show relied heavily on parody of other media forms: the annual spoofs of the most memorable television commercials and the soap opera ‘As the Stomach Turns’ were recurring skits, and in later seasons, the family situation comedy was reworked into the surprisingly trenchant, sometimes genuinely melancholic ‘Family’ sketches. But the show also negotiated this generational shift through a combination of contemporary reference that was nonpolitical and a nostalgia that was warm but witty. The success of The Carol Burnett Show is certainly down to the musical, comedic, and acting talents of its star, 3 and to the chemistry among her regular players: Harvey Korman, Lyle Waggoner, Vicki Lawrence, and Tim Conway. Both of the more youth-oriented shows that debuted in 1967, Rowan and Martin’s Laugh-In (the format of which explicitly recalled vaudeville and burlesque) and especially The Smothers Brothers Comedy Hour often ran afoul of censors in an era of changing mores and a generationally charged political atmosphere. In the 1966–67 season, the year before the Burnett show premiered, ABC had made a big push to relaunch a Milton Berle variety show, but the gamble failed the medium’s first star did not reach new audiences. A look at the preceding list reveals that many of the variety shows ended in the next few years, most of them by 1971, particularly those fronted by performers from an earlier generation. Saturday Night Live had debuted in 1975, and the cable television revolution was on the horizon, but times were changing even at the beginning of The Carol Burnett Show’s run. Some shows, like The Lawrence Welk Show (originally ABC) and Hee Haw (originally CBS) had moved into syndication, along with the still-running, Dolly-less Porter Wagoner Show and The Muppet Show (1976–79), modelled even more literally on the theatrical roots of vaudeville while also operating as a backstage musical. By the time The Carol Burnett Show left the air in 1978, the only other variety show was the youth-oriented Donny & Marie Show, which would end in the next year.