Los Angeles -- TWO MAJOR ASPECTS of American life are rarely depicted on prime-time television programs -- watching television and worrying about money.
A recent three-week press tour here, sponsored by the networks to promote their fall schedules, has revealed no breakthroughs on the watching television front. But there is considerable evidence that the changing economy has caused programmers to sit up and take notice about the issue of money.
For the most part, prime-time television families have been almost like members of the British class system -- economically, they simply were what they were, stuck in their financial slot with no particular hope or desire for advancement. They weren't moving up, but they weren't moving down, either.
It wasn't really important what Beaver Cleaver's dad did to keep his family the picture of solid middle-class life. The same for Ozzie Nelson. The fathers just went to the office and the house got paid for and groceries appeared on the table.
That the Bunkers of "All in the Family" were working class and destined to stay that way was never a matter of discussion. The same for the upper-class status of the Huxtables of "The Cosby Show." Basically, in all these families, except for the occasional episode that uses economic problems as a plot device, money is just not an issue.
Indeed, in recent years when money has been a part of prime time, it has simply been celebrated in passing, in the greed of "Dallas" and the opulence of "Dynasty," for example.
The situation might be a bit different in the fall, however.
Consider the new ABC sitcom "Sibs," which focuses on a relationship between two sisters. It was created by Heide Perlman. James Brooks, whose credits range from "The Mary Tyler Moore Show" to "The Simpsons," is one of the executive producers.
"I think more than anything else I've ever been around, this show sees money as a factor in people's lives," Brooks said. "Amounts of money, who has it, who doesn't, what your prospects are of getting it."
Perlman said that this aspect of the show was inspired, in part, by her relationship with her sister Rhea, who plays Carla Tortelli on "Cheers."
"It has to do with when I was struggling and very poor and she was lending me money or giving me money and the dynamic of my resentment of that and how she used that as a power over me," Perlman said.
In addition, there are two new blue collar sitcoms, Fox's "Roc," which is set in Baltimore and stars Charles Dutton, and CBS' "Royal Family" with Redd Foxx.
There have been plenty of blue collar shows before, particularly in the wake of "All in the Family." Indeed, Foxx starred in one of them, "Sanford and Son." "Roseanne" is probably the best of the current bunch. "Married ... With Children" is also in that genre and does crudely poke fun at the father's inability to make ends meet. But both "Roc" and "Royal Family" are set up so that the earning, spending and saving of money should be essential issues in their stories, not just a setup for a cheap joke.
In "Roc," the title character is a hard-working trash collector married to a nurse. They are saving for their dream house. Their thrifty ways are challenged by the hustling attitude of Roc's brother.
"Royal Family" depicts an all-too-real aspect of the current economy -- a grown daughter and her children move back in with her just-retired parents. It appears that much of Foxx's crusty humor will come in complaints about the amount of money this is costing him.
Money is at the center of a new NBC show, "The Torkelsons," which centers around a big, lovable Oklahoma family that constantly and imaginatively struggles to get by. In the pilot, the mother figures out a way to replace the just-repossessed washer and dryer, then takes in a boarder to help make ends meet.
It is not surprising to see the networks sit up and take notice of the shaky economy; after all, they've been affected by it as much or more as any part of society.
The changing competitive situation with the emergence of cable combined with a depressed advertising market have sent tremors through network television. Layoffs abound.
In Hollywood, people are thinking that they have to be content with merely huge amounts of money instead of obscene amounts.
Veteran writers of TV shows who a few years ago would have posh development deals at studios -- meaning they get to sit around and think up new programs -- instead are scrambling for jobs as staff writers on existing shows.
And with high costs and restrictive union contracts, work is going elsewhere -- to Florida, Georgia, Canada. And the production of cheaper "reality" shows also reduces the number of people employed by the networks.