Gomalco

Running Head: LEAVE IT TO BEAVER 1

LEAVE IT TO BEAVER 7

Leave it to Beaver

Shannon Davison

Rasmussen College

Author Note

This paper is being submitted on July 26, 2015, for Geradine Ball’s G380 Visions of America Since 1945 course.

Leave it to Beaver

The first three decades of the twentieth century saw the emergence of new communication technologies and the television is capable of producing and distributing ideas, goods, and experience on a huge, universal scale. The 1950s was a unique period in American history as it witnessed the growth of television and the emergence of the middle-class society and the growth of leisure. In all, television started to emerge as a mega-business as it became an advertiser-supported medium. Television also posed as a major social force, and an ever-closer fit between television and society occurred when situation comedies appeared, more notable, the show “Leave it to Beaver.” “Leave it to Beaver” was a popular show that both reflected the 1950s culture and the rise of network television.

“Leave it to Beaver” was created by Joe Connelly and Bob Mosher. In 1957, the duo came up with the concept of developing an adult-appealing show about children, thus “Leave it to Beaver” was born. Unlike other shows of the time, including “Father Knows Best” and “The Adventures of Ozzie and Harriet,” the stories would be told through the eyes of the children. The show became a co-owe project in which creators, writers, and producers Connelly and Mosher controlled one half and comedian George Goebel’s Gomalco Production controlled the other half (Orlick, & Partington, 1988).

The family comedy focused on life told through the eyes of young boy, Theodore “Beaver” Cleaver. He was 7 when the show first premiered October 4, 1957 and a teenager when the show was taken off the air in June 1963. During the time it was aired in October 957, “Leave it to Beaver” was also competing with the show “The Real McCoys.” The show started out with Beaver, played by Jerry Mathers, as a rambunctious, dirt-loving boy who always found himself getting into some kind of trouble. His older brother, Wally, played by Tony Dow, was 12 when the show first aired. The boys’ parents, June and Ward Cleaver, played by Barbara Billingsley and Hugh Beaumont, were portrayed as the nice, middle-class couple in the town of Mayfield. Ward Cleaver worked outside the home as an accountant while June Cleaver stayed at home as the mother and housewife. Even if their boys got into mischief, they always offered unconditional love and nurture. The 234 episodes allowed for the boys to age and mature naturally, ending with Beaver entering high school and Wally leaving for college. With its down-to-earth writing and simple storylines, it appealed to both adults and children.

The post-war years resulted in television becoming an integral part of the domestic environment. Advertisements everywhere stressed the importance of owning a television, as it would domestic bliss and prosperity to the home. Even today, our most powerful images of traditional families are delivered to us by the TV Land reruns of 1950s sitcoms. Sitcoms such as “Leave it to Beaver” depicted a hard-working father, a loving mother, and children who followed the “rules” of society. Even though the stories were seen through the eyes of Beaver, he and his brother were always portrayed as mild-mannered, respectable children who never go themselves caught up in any of the teenage fads or crazes. Even the boys’ friends were mild-mannered, except for the rebellious Eddie Haskell, yet who always managed to stay respectful towards adults.

The 1950s was a pro-family period in American history. Divorce was almost nonexistent, marriage was highly praised, and the family was hailed as the most basic institution in society. It was thought that the idea of “family” would ultimately save America from being influence by communism. For this reason, it came to no surprise that television shows became increasingly dominated by anticommunist cold war programming. Furthermore, the “good life” of the 1950s put emphasis on a world of satisfaction and amusement. The “good life” in the 1950s made the family the focus of fun and recreation. On television, David Marc commented on how all “normal” families moved to the suburbs and lived a life of comfort and contentedness. The “good life” that was portrayed on “Leave it to Beaver” may have reflected cultural values, but it failed to offer solutions to the discontent and pain that underlined the romanticism of the time. First, mothers were not as giddy and dotty as June Cleaver. In fact, many women found themselves trapped and discontent with their day to day lives. Women of the time even complained of feeling alone, isolated, and empty. Likewise, men were feeling pressured into fulfilling their role as the “breadwinner” and prayed for promotions on a day to day basis (Coontz, 32). Of course, sitcoms like “Leave it to Beaver” failed to address real social issues of the time. Instead, in every episode of “Leave it to Beaver” the children would learn valuable lessons that their parents would discuss with them. The parents during this time would always remain calm and collected when offering their children advice and warning them to think twice before engaging in a troublesome situation Meehan, R. (2005). The troublesome situations that Beaver found himself caught up in, however, were never extreme and there were offered simple solutions.

After the United States had emerged from World War II with the economy virtually unharmed, television played an important part in the “boom” as advertisements promoted consumption and consumer society. Appliances, cars, and food supplies were marketed on television in order to educate families about how new consumer goods would keep them functioning as up-to-date affluent members of society. It was remarkable tow the boom was affecting every American city and town. For example, by the late 1950s there were over 500 stations with over 85 percent of all homes watching for some five hours every day (Hirsch, 2002). The television set was ultimately keeping families at home. This idea of family togetherness, however, was accompanied by repressed anxiety and frustration that did not surface itself in popular television shows of the time (Meehan, 2005). “Leave it to Beaver” for example depicted June Cleaver as a content housewife; Beaver and Wally as well-mannered, respectable children; and Ward Cleaver whose parental authority was never questioned. It was society’s aim, and therefore television’s aim, to have its members adhere to the conformity and ideal of family togetherness.

Television has drastically changed since the 1950s. First there was the rise of television shows, video, VCR, cable, satellite, DVD, and now HD television. As it had been in the 1950s, the television still affects the life styles, commerce, clothing, diet, and music everywhere. Whereas 1950s television broadcast had relatively few quality live dramas and anthology drama series, it really was in the 1980s and later that television aired a wide range of new programming services (Hirsch, 2002). While “Leave it to Beaver” was a rather simple show with low-key acting and non-complex subject matter, shows today have left that familiar terrain for more complex content. Of course there are still shows today that are somewhat similar to “Leave it to Beaver.” The Disney channel offers multiple shows about children and teenagers getting into trouble. Yet with the help and advice of their parents they always succeed in the end. This show, like “Leave it to Beaver,” always leaves the viewer with a satisfactory ending.

Television shows have come a long way since the 1950’s. Television shows are something that most of us carry with us throughout our lives. However, it did not become very popular until the beginning of the 1950s. From there, the need for television has escalated to staggering proportions. “Leave it to Beaver” is an excellent example of a popular show that reflected the culture of the time, as well as the rise of network television.