Sitcom Internet Assignment (Essay Sample)

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Sitcom Internet Assignment
Are sitcoms on an upward or downward spiral? (Provide proof to support your contentions, e.g., Neilson ratings, increases or decreases of viewers, Emmy wins, etc.)
Undeniably, sitcoms based on the current studies depict a downward spiral trend. This is evident especially in the current Nielsen ratings whereby it is only “The Big Bang Theory” appearing at the top ten having votes of 17,801 viewers (“Nielsen”). This is contrary to the past trend when sitcoms used to dominate the best top ten preferred programs viewed by US citizens. Presently, people cite most of these sitcoms lack the necessary “glue” and creativity, which in the past used to draw large masses into watching them (Rowles). They are just like other “easygoing” shows comprising TV programs often trying hard to be clever in both entertaining and creating attention but in vain (Rowles). For instance, Rowles in his article cites the current “Modern Family” does not have those “gluing” and thrilling scenes, hence, many viewers currently only watch them because it is “just there”. This depicts lack of creativity leading to retarding nature of characters that almost throughout relayed episodes do not have anything new but the recycled depiction of behaviors. Hence, turning to be predictable such that viewers are always aware of the upcoming episode and what will present, which signifies absence of originality almost in all shows.
Therefore, current sitcoms seem to attract viewers only by use of well-crafted and scripted names or titles. This is evident in “Modern family” whereby the show ought to depict the reality characterizing 21st century family setting but assumes a conservative nature, which is even far from incomparable to the 1920s American sexual transition era (Rowles). Most of this show’s episodes do not deal with modern predicaments facing families to make them thrilling and entertaining but tend to focus on jealousy issues mostly represented by Petty. This has prompted some of its viewers claiming the show even in ten decades to come will remain the same irrespective of airing numerous episodes. Since, the show has never presented viewers with anything thrilling to challenge their imaginations to such an extent they are unable to guess the nature of next episodes (Rowles). Ojalvo, Doyne and Schulten in their study refer sitcoms as “cultural texts” whereby anybody is capable of predicting their entire outcomes. They are similar to numerous texts students normally analyze whereby eventually manage to get similar stylistic devices. This is absence of innovation on the part of scriptwriters and those behind sitcoms despite giving them fancy names bear similar materials. This is recycling of ideas with little or no change to add on the thrilling aspects contrary to the viewers who are changing by the day as they watch other varied programs. Hence, they depict a downward trend that has prompted numerous viewers stop watching them or doing so because they are “just there” while waiting for their favourite programs (Ojalvo, Doyne and Schulten).
The new sitcom family has certainly matured since the days of “I Love Lucy,” yet do the new sitcom families represent the diversity of American families today? Do we see African-American families? Asian families? Same-sex families? Are we seeing diversity or are the networks still playing it safe so as to not “offend” advertisers.
In the present age, despite directors and other proponents citing sitcoms have undergone immense transformation by presenting mature content, they have lacked representation of American racial diversity. Characters comprising most of the current sitcoms are whites, which is not a reflection of American families. For instance, after “Cosby” series, other telecasted shows like “Reed between the Lines” feature attractive and well off family having beautiful children facing daily challenges but manage to resolve them within 30 minutes (Braxton). This leaves viewers from other races questioning the issue of diversity when scripting as well as staging sitcoms especially in America whereby currently other races have assumed similar status with whites socially and even others surpassing the then superior white race. These encompass African Americans whereby some are even corporate leaders whereas others have dominated music industry (Braxton). Consequently, this depicts the level of indirect segregation characterizing majority of sitcoms despite citing they have matured whereas majority of their characters are whites in a society whereby other races have almost dominating every venture.
Presently, sitcom shows’ ratings vary with regions whereby those belonging to the whites seem to have heightened Nielsen rankings in their homes, which is also a similar trend with African Americans (Gibson). For instance, Gibson in his study features Lenny Henry citing both producers and scriptwriters have failed to tap immense talent evident among the minorities but instead focused on the mainstream races (blacks and whites). However, producers and scriptwriters do not work towards integrating these races but working on shows based on racial lines (Gibson). Hence, prompting varying viewers’ ratings by Nielsen because people choose which to watch reflecting their race. Absence of diversity has also denied other minorities adequate inclusion, for instance, Asian families because the industry’s dominant comprise the mainstream races, which are whites followed by African American but the two rarely take part in one sitcom. Presently, featuring of Asian families is almost nonexistent whereby in the mainstreams’ shows appear as stereotypes. This is evident especially in “Dads” show where the protagonist compels Veronica to dress like an “Asian School girl” so that she may entertain Chinese investors (Suebsaeng). This awkward depiction of minorities besides these shows declining to feature Asian families but tend to highlight stereotypes when referring them. Similarly, there is scanty representation of same-sex families due to varied perceptions held by society whereby advertisers wishing to sponsor gay shows in most cases shy away. This is evident with the recent disregarded “The New Normal” show due to its depiction of moral falsification to the naïve society (“CNSNews.com”). The aspect of diversity irrespective of which basis in airing sitcoms is nonexistent whereby the networks involved tend to play safe in attempt to lure more advertisers. This is because the latter when advertising their merchandises aim at attaining large pool of clientele, which is irrespective of race or region.
How is the sitcom mom faring today? Yes, she is working and often smarter than her husband, but have things really changed? How about female characters in general?
It is irrefutable the show has drawn numerous and varied reactions among viewers whereby the majority end up reviewing it negatively. The show has not managed to appear anywhere in the Nielsen rankings’ Top ten due to numerous viewers citing it depicts negative way of dealing with addition and immorality besides being predictable and obvious (Hinckley). This is evident in the way characters seem to face similar challenges that p...