Reception | Overview | Production
RECEPTION
WHAT THEY'RE SAYING ABOUT THE WONDER YEARS
"Our parents created a massive population of frustrated
would-be TV watchers by making us do our homework, and thus
restricting our freedom to vegetate. All that did was make us
want TV even more. Now we've got nineteen-inch stereo color TVs
and four-head VCRs and wireless remotes; I don't think I ever
even dreamed such a day would come. Nor would I have imagined TV
reaching the point where people my age -men and women who grew up
on Leave it to Beaver and All in the Family and
The Mary Tyler Moore Show - have taken over the airwaves with
shows that reflect those memories. I saw the pilot for The
Wonder Years .... I remember feeling some awesome critical
cliches burbling up. Innovative. Thoughtful. Provocative. A show
about us. In its flawlessly accurate portrayal of Kevin
Amold, The Wonder Years had finally captured the truth as
I remembered it. The producers had seen the world of 1968 exactly
the way I had and given it a brilliant dramatic spin. But as I
have continued to watch The Wonder Years- and I do still
revel in its enormous insight-it has become apparent that its
producers are not brilliant innovators. Like most of us, they
merely observed the world changing around them in 1968-and wisely
noticed that by the mid-seventies, after all the fighting had
stopped, people still wanted the simple things. We still wanted
to watch TV. We wanted to laugh and cry. We wanted to see people
in real situations that we could believe in. Jed Clampett was
out; Archie Bunker was more our style .... Like Kevin, The
Wonder Years aspires to goals it can reach. And it has found
its success in trying not to confuse television with art."
-New York Magazine
"The Wonder Years, ABC's hearty half-hour slice of
life about a boy coming of age in 1968, is quite simply the best
show on television. There's more richness in one episode than you
see in dozens of other series."
-USA Today
"Years crosses the line between drama and comedy
and back again as it plays hopscotch through a memory book filled
with dreams and emotions which, for most of us, have been tucked
carefully away with all the other remnants of youth. For those
who lived through it, this reflection back is a pleasant on
n-target and pungent as a high-school locker. For those born in
the '70s and beyond, however, the seines may remain a piece of
nostalgia to be placed alongside sepia-toned snapshots of
grandpa. We hope not. The Wonder Years is charming ....
Fred Savage as Kevin is perfectly cast and quite effective-as are
the remainder of the cast. Steve Miner directed [the pilot] with
style and sensitivity."
-The Hollywood Reporter
"Here's about the nicest surprise I've ever had watching
TV .... If ever a new series deserved such a plum time slot, this
is it. As the series starts, it is 1968, a year noted in the
history books for, among other events, the premiere of The
Mod Squad. We follow young Kevin Arnold as he enters a
suburban junior high school and tries getting into the right
crowd, resisting authority (this is the '60s) and maybe, just
maybe, falling in love. Meanwhile, on TV, America fights the
Vietnam War. All the action is narrated by the adult Kevin, who's
not only older and wiser but also wittier, which means that he
can add a little perspective to the nostalgia. Back in those old
days, the present-day Kevin says, 'kids could still go for walks
after dark without the fear of ending up on milk cartons.' How do
I love this show? Let me count the ways: The Wonder Years is
fresh, imaginative and intelligent-but most of all, it is true,
all true. It is a show about my life. If you're old enough to
remember the Tet offensive but too young to remember the Korean
War, it is a show about your life too. Finally, here is the best
new series of this season."
-People Magazine
"An absolutely wonderful treat."
-New York Post
"Simultaneously pokes your funny bone and captures your
heart."
-San Francisco Chronicle
"The Wonder Years is charming."
-New York Times
"You'll laugh. You'll cry. But most of all you'll
identify."
-Miami News
"Warm, funny, evocative."
-Associated Press
"A 'Leave it to Beaver' with bite."
-Dallas News
"A series you can love as well as laugh at."
-Philadelphia Inquirer
"I really liked this show. It gave me the warm
fuzzies."
-Atlanta Journal
"Funny, moving and wise."
-Associated Press
"A delightful half hour."
-Detroit News
"Funny and poignant."
-Miami Herald
"Nostalgic and charming."
-New York Daily News
"ABC's The Wonder Years is the kind of small,
beautifully crafted weekly series that is so good it prompts
immediate speculation on how long it can be held together .... The
Wonder Years has some built-in pitfalls. The period is the
late 1960's. There's the Vietnam War, protesting students,
hippies, psychedelic music, drugs. So far, Kevin Arnold, who
started out as a 12-year old, has been able to stay on the
sidelines, preoccupied with the standard problems of
adolescence-going on dates, kissing, discovering that his parents
are real people with problems of their own. But what happens when
he's 14 or 15? Does he remain the ingratiating good kid, or does
he start rebelling and possibly experimenting with drugs? For the
moment, a bit edgy about the obvious dangers, the producers are
proceeding one week at a time. To date .... The Wonder Years has
painstakingly tread a paper-thin line between unpretentious
emotion and sentimentality..... Perhaps not surprisingly, The
Wonder Years is most affecting when least cute .... There is
Kevin visiting his father's office and finding out why he tends
to come from work grumpy and unapproachable. Or there is Kevin
discovering that he will never be as good a pianist as the
obnoxious Ronald Hersheimer. For the time being, these are
moments enough for any television series. Mr. Marlens has said
the series would probably end when the required period music
reached disco. That still leaves a hefty slice of time for a lot
more special moments."
-The New York Times
"The Wonder Years is Leave lt to Beaver-like,
no doubt about it. Beaver was about growing up in a
nuclear family in postnuclear America. So is The Wonder Years.
Beaver had a mom in the kitchen, a dad who made it home to
dinner every night, an older brother who could be difficult. So
does The Wonder Years. Beaver was a show that looked at
life from a kid's perspective. So is The Wonder Years. Beaver made
you laugh. So does The Wonder Years. What The Wonder
Years is is Leave It to Beaver with hormones and
headlines. Kevin is twelve and looking for love and any available
copy of Everything You Wanted to Know About Sex but Were
Afraid to Ask .... Kevin's life-or at least the margins of
his life-is also touched by events in the world outside his own.
The series is set in 1968, which means that each episode opens
with a time-capsule montage featuring footage of Nixon, Martin
Luther King Jr. and Vietnam protests. It means the occasional
late-Sixties reference played for laughs-Kevin's older sister
announcing at the dinner table that she's going to get
birth-control pills, junior-high girls wearing white go-go boots,
two pairs of adolescent guys' eyes poring over a sexual manual
while Gary Puckett's 'Young Girl' plays in the background,
narrator Kevin remarking that 'like about half the schools in the
country that year, my school was being renamed Robert F. Kennedy
Junior High.' And it means the occasional play for poignance, as
when the neighborhood cool guy introduced a few minutes into the
first episode is killed in Vietnam about fifteen minutes later
... While any number of television comedies have had suburban
settings, it's hard to think of one that tried this hard to find
poetry among the Pop-Tarts and patio picnic tables, to locate
lyricism in Levittown. Marlens and Black's The Wonder Years
tries. Really tries."
-Rolling Stone
"We just took what what's absolutely dirt ordinary to us
and tried to evoke it with some detail. It's surprising how many
people respond. They kind of jump at it because they never see
that on TV. You never see houses with bad linoleum in the kitchen
and stuff like that .... To give it reality, you take a lot of
details from things you actually remember .. and put them
together and use them in a story that's actually pretty
fictional."
-Carol Black, Co-Creator
"Obviously not everybody grew up in the suburbs in the
fifties and sixties, but a lot of people did or were parents to
people who did. We have the advantage of being of the age and of
the sensibility of just writing what is fun and what comes
naturally, and having a built-in audience."
-Neal Marlens, Co-Creator
"I think the television audience does feel some kind of
connection to this show. I don't think the audience looks at this
show as just entertainment. I think there is a general feeling
that this show almost feels like a documentary in some sort of
way; the audience responds to this as part of their lives, so
there is a lot of pressure there to not grab a story that's just
entertaining, but to find the universality in it, the thing that
speaks to the individual viewer and has something to do with
real, human lives, rather than just a diversion .... In one way,
the show is saying, 'Remember how it felt to feel?"'
-Bob Brush, Executive Producer
"It captures everybody's youth. We used to get calls and
letters all the time saying, 'How come you're using my junior
high school? How did you know my best friend?' Everybody is
convinced that it's about their specific life. I think that's
from the quality of the scripts. I thought the concept of the
show was brilliant, but concepts are concepts and so much of
filmmaking is execution. The scripts continue to be so good, and
writing like that touches universal feelings and experiences.
It's real. We all lived that exact life."
-Steve Miner, Supervising Producer
"There is almost always some resonating moment that
people can identify with and respond to, whether it's kids who
are watching the show now and are the age of the characters and
who aren't even taking in its historical context. I think there's
that universal aspect of just being a human being and trying to
get through your adolescence. I think that's what people respond
to."
-Mark B. Perry, Story Editor
"The material is usually very strong and emotionally kind
of runs the gamut, mixing both humor and pathos. I think the
ability as a director to deal with that is rather rare, whether
it be in the feature world or television. To be able to mix the
two, sometimes in the same breath, is not only rare but for a
director is a challenge, refreshing and sometimes dangerous ....
I think the bottom line is that there are characters on screen
that you care about, and that makes it appealing. Somehow we know
every week that those characters are going to live and
breathe."
-Michael Dinner, Producer and Director
"For adults, I think it's really interesting because it's
somebody looking back and remembering different things about
their life....There's just something about older Kevin looking
back and remembering something with sort of bittersweet fondness,
that the nostalgia of it is what I think affects adults. For
kids, it's the relatability to what Kevin is going through they
identify with. It's a very personal show. I think the shows that
touch people the most, the ones that work most for us, are from
things that have happened to us. When we sit around a story
session, we don't pitch situations, we start talking about things
that happened to us .... Because the stories are personal, a lot
of people relate to them."
-Jill Gordon, Co-Executive Producer and Writer
"I think the appeal is basically nostalgia, first of all.
Even without nostalgia, because kids like the series and people
from all generations like the series, what it evokes, more than
the folkiness of the time period of the sixties, is everyone's
adolescence and teenage years. It reaches the audience and the
stories resonate emotionally with the audience because no matter
what era you're in-the sixties, the fifties, the seventies, the
eighties, the nineties-kids go through the same sort of life
experiences, the same sort of Traumas joys, happiness and fears.
That's what the show gets to the core of. We recognize ourselves
in what happens to Kevin, no matter what particular time period
we come from."
-Todd W. Langen, Story Editor
"I think about the events of that day again and again, and somehow I know Winnie does to, whenever some blowhard starts talking about the anonymity of the suburbs and the mindlessness of the TV Generation. Because we know that inside each one of those identical boxes, with its Dodge parked out front and its white bread on the table and its TV set glowing blue in the falling dusk, there were people with stories. There were families bound together in the pain and struggle of love. There were moments that made us cry with laughter and there were moments, like that one, of sorrow and wonder."
Those words closed the first episode of The Wonder Years, and began one of the most innovative and appealing series ever to appear on network television.
A show like Happy Days essentially took nostalgia for a bygone time-in this case the 1950's-and presented it in a way we would like to remember the era. As seen through the eyes of Richie Cunningham and his "typical American family", as well as such friends as the extremely cool Arthur "Fonzie" Fonzarelli, the 50's was a decade in which fun was the operative word and life was carefree. Scoring with the chicks was more important than anything else, and the cold war paranoia of the time barely raised its red head. Conversely, the era of The Wonder Years is the late-60's/early-70's, perhaps one of our nation's most tumultuous periods and the perfect catalyst for comedy, drama and pathos.
Although similar in that it is seen through the eyes of an American family (the Arnolds), The Wonder Years differs from Happy Days in that the events chronicled are much closer to reality, and sustained through believable characters and scripts which have the uncanny ability to tap into the memories of a Generation. In addition, the stories are presented through the dual perspective of the unseen 34 years old Kevin Arnold, whose narration adds a 1990 slant to his memories, and the 14-year-old version, who lives out the events on-screen, from an adolescent's point of view.
"That dual perspective is a burden, but it's also a wonderful tool in that it allows such resonance to a story," explains executive producer Bob Brush. "It's not often that you get a chance to kind of put a self-reflecting mirror on an event so that everything has two meanings. It allows us to do stories which are small stories, and view them with a greater meaning and perspective because of the older narrator. I think it's pretty much the key to why the show works. On the one hand, you have the emotional enthusiasm of the younger kid, against the wiser, cooler perspective of the older guy, so it gives you the opportunity for a tremendous synthesis in the ideas.
The idea for The Wonder Years synthesized in the minds of the show's creators, NeaI Marlens and Carol Black, during the summer of 1987. This husband and wife writing/ producing team had previously collaborated on ABC's Growing Pains, a series which was initially deemed by critics to be a white version of The Cosby Show, but has managed to come into its own as an enjoyable, long-running sitcom. While it hasn't revolutionized the medium, it has provided plenty of entertainment. They also worked together on the motion picture Soul Man, in which C. Thomas Howell finds the only way he can get into college is to pretend to be a minority.
"It was, like, that time of year where you have to go in and pitch something [to the networks]," Carol Black told New York magazine, "and we were sitting around trying to think of something to pitch and really, like, going, 'Young couple runs a restaurant, in-laws move in.' Running out of ideas. We played around with writing a screenplay that used narration as a device. We just started to think that there was a lot of Potential fun in that 'cause you can really play with the contrast between the narrator's point of view and what the characters are doing. And you can go inside their head and expose what they're really thinking about when they're saying something different. You could really do so many funny twists with the contrasts. We thought it was fun-and then we just sort of jumped from there to thinking that the effect is accentuated when you have an adult narrator looking back on childhood."
"The format is different," elaborated Neal Marlens elsewhere. "The whole idea of an accurate depiction of kids told in this format is new. The next thing we thought is that no network in their right mind is going to buy this idea as an idea. The next idea was to set it in an era when we were that age. We both grew up in that period and in that environment in the suburbs, and it just struck us as a particularly interesting time to write about. Maybe particularly interesting to us because it was our period, but also because, historically, there was so much happening. I think people are finally ready to look at that period in a sort of period way. Obviously not everybody grew up in the suburbs in the fifties and sixties, but a lot of people did or were parents to people who did. We have the advantage of being of the age and of the sensibility of just writing what is fun and what comes naturally and having a built-in audience."
Black has also stated, "We just took what's absolutely dirt ordinary to us and tried to evoke it with some detail. It's surprising how many people respond. They kind of jump at it because they never see that on TV. You never see houses with bad linoleum in the kitchen and stuff like that. To give it reality, you take a lot of details from things you actually remember. Like, my mother wore shorts exactly like the [Bermudas worn by Kevin's mother], and I had a teacher who drew a picture on the chalkboard of a reproductive system that looked exactly like one in an episode that we used. But you must take little things like that that you do remember and put them together and use them in a story that's pretty fictional."
In explaining how the show actually came into being, Marlens said, "We were on an overall deal at New World Television, so we were being paid whether we wrote or not. We had the luxury as writers of writing something, which is what every writer always clamors for the opportunity to do, and we figured, 'Let's put up or shut up. Let's write the damn thing. If it's good, people will want to make it; if it's not, it'll be over in 10 days.' I think they went to all three [networks] at the same time. ABC read it first. They called and said, 'We'd like to shoot this pilot. "'
The script that ABC approved for production introduced us to the world of 12-year-old Kevin Arnold, and clearly established that the series point of view would be through his eyes. We met his family: Jack, the typical 60's father who broke his back for his family, but didn't feel any particular need to be overly friendly to them; mother Norma, a traditional American housewife-sort of an intelligent Edith Bunker, happy to serve her family, and slowly realizing that there could possibly be more to life; older siblings Karen, a blossoming Flower Child who fights back every value her family has tried to teach her; and Wayne, who obnoxiously refers to Kevin as "butthead" and will go to any means to torture his younger brother ("As we always say, Wayne is Wayne," laughs Bob Brush). In addition, we get to know his nerdy best friend, Paul Pfeiffer; and Winnie Cooper, the first true love of his life.
In bringing this vision to the screen, Marlens and Black approached director Steve Miner, whose credits include Soul Man and the original Friday the 13th. Needless to say, this choice seemed a bit surprising.
"Why? You don't think Friday the 13th would lead naturally to The Wonder Years?" asks Miner with a smile. "You start off killing the Teenagers, but after a while you figure that you'll let them live and talk. Basically, I got involved through my association, both professional and personal, with Neal Marlens and Carol Black on Soul Man. They co-produced that film and I directed it. We worked closely together, became good friends and shared certain sensibilities. They called me up one day and said, 'Would you read a script for The Wonder Years?' It was probably the best 32 pages I'd ever read. I called them and told them that, and they said, 'Would you like to direct it?' I said, 'I'd kill to be able to direct it,' and that's how I got started with the show."
So impressed was ABC with the pilot, that they greenlighted a total of six episodes for the spring of 1988. Miner was brought aboard as a supervising producer.
"I was involved with the show from the beginning," Miner explains, "even before we knew which network was going to do it. I remember we spent so much time in casting, and I think it shows that we were so careful in that. Interestingly, no matter who we talked to in terms of casting directors, everyone said the same thing: we had to look at Fred Savage. We screened some footage on him and all felt strongly that he would be perfect. The other cast members just fell into place. It was tough in the sense that we wanted to do it right. We also had to be careful in choosing locations and deciding on the look.
"A pilot is very important for a number of reasons," he continues, "one of which is to set the tone and the look. A script can be interpreted in so many different ways, both in tone and visually. Carol, Neal and I spent a lot of time discussing how we wanted it to look, finding the right locations and making it just right. It was a great script, we got a great cast, yet there's always that sinking feeling when you finish shooting it. Nothing looks better than dailies or worse than the rough cut. Neal was fairly positive the whole time, but I remember screening the rough cut and Carol and I looking at each other and saying, 'Does this work?' There's always that moment, but we just dove in there and fixed whatever we didn't like. We spent a lot of time in the editing room, as we did on all the episodes. It's just part of the process when you're doing a film. You've got to cut the bad stuff, the material that works on paper but doesn't quite come off right. You make three films basically. You write one, you shoot one and it becomes something a little different, and when you cut it together and finish it, it's something else. It's just part of the process.
"The thing that this show does so well, when it's done well, is balance the humor and the touching moments," he adds. "If the show was going to succeed, moments like the one in which we learn Winnie's brother was killed in Vietnam, had to work. To push it that far with the pilot was a stroke of brilliance, I thought. It was just so well written."
Bob Brush notes, "I feel a tremendous responsibility because I think the television audience does feel some kind of connection to this show. I don't think the audience looks at it as just entertainment. I think there is a general feeling that this show almost feels like a documentary in some sort of way; the audience responds to this as part of their lives, so there is a lot of pressure there to not grab a story that's just entertaining, but to find the universality in it, the thing that speaks to the individual viewer and has something to do with real, human lives, rather than just a diversion.
"One of the remarkable concepts in the creation of this show that Marlens and Black had, was that they settled on a time of life for their hero where so many primary emotions still exist at the surface," he continues. "Adolescence is a time when you're just learning to bury your emotions and put on a false face. I think that this allows the audience to strip away the facades, and remember what it was like to really feel things deeply before we all developed the capability to pretend that it didn't matter or pretend that we didn't care, or dismiss what we feel to be childish. Adolescence is such a wonderful mix of the childish and the adult, it really is about very deep emotion and that's certainly how we approach the show. We look for the emotions that ring the truest and remind us of what it's like to feel. I think that's one thing the show is about and I suspect that's why the audience responds to it, because in one way it's saying, 'Remember how it felt to feel?'
"It's a wonderful tool, because there's something nihilistic at the heart of a lot of American comedy, and this is just the opposite. This is saying, "These things are not nothing; these things are not to be dismissed.' Even though we have an older narrator who's always saying, 'Gosh, we were just being stupid,' at the same time he's saying, 'Maybe it wasn't so stupid. Wouldn't it be wonderful if we could be stupid like that again sometimes?"'
Todd W. Langen, who served as story editor for the series and is now writing motion pictures, including the first two Teenage Mutant Ninja Turtles live-action adventures, concurs: "The overall appeal seems to be nostalgia, but even without nostalgia-because kids like the series and people from all generations like the series-it evokes everyone's adolescence. It reaches the audience and the stories resonate emotionally with that audience because no matter what era you're in -the 60's, the 50's, the 70's, the 80's, the 90's kids go through the same sort of life experiences, the same sort of traumas, joys, happiness and fears. That's what the show gets to the core of. We recognize ourselves in what happens to Kevin, no matter what particular time period we come from. I think that's the appeal of the show."
Explains co-executive producer Jill Gordon, "It's a very personal show. I think the shows that touch people the most, the ones that work the most for us, are from things that have actually happened to us. When we sit around a story session, we don't pitch situations. We start talking about things that happened to us in the past. There's a reason you remember certain things, and they're like deep psychotherapy sessions, trying to remember what it was about that moment that you remembered, and why you remember it today. Because the stories are personal, a lot of people relate to them."
Current supervising producer/ director Michael Dinner points out, "The material is usually very strong and emotionally kind of runs the gamut, mixing both humor and pathos. I think the ability as a director to deal with that is rather rare, whether it be in the feature world or the television world. To be able to mix the two, sometimes in the same breath, is not only rare but, for a director, a challenge, refreshing and sometimes dangerous. I've done material before in the feature world that mixed humor and pathos in a similar way. It was a film called Heaven Help Us, and very similar tonally to The Wonder Years. I remember the first public preview of the movie, and sitting next to a woman. In the course of a single scene she was laughing to begin with, and crying the next moment. That's pretty powerful. So, certainly, the mixture of humor and pathos is very appealing. The Wonder Years is a fairly stylized piece. Not as stylized as Twin Peaks, but it's not flat television. The bottom line is that there are characters on screen that you care about, and that makes it appealing.
Somehow we know every week that those characters are going to live and breathe, and we care about them."
Bob Brush adds, "What I find is that there is certainly a commonalty of specific experience among a huge portion of the American population who grew up in suburban areas. I think that one of the things that this show has done is speak to people who always felt that somehow growing up in the suburbs was meaningless; that they should have grown up in the vitality of the city or the tranquility of the country, and growing up in the suburbs was nothing. I think what they've found in the show is a voice that says, 'Your lives were not meaningless. The suburbs had real people in them too.' A lot of my writers have that experience of modem American-rootless America in a way-an America that was transplanted from where they began to a place where the houses were no older than 20 years, who began to reform their lives. The point is that there is a commonalty among most Americans. Most Americans went to school, most Americans remember how jerky and emotionally terrifying it was to be in seventh, eighth or ninth grade, so you've got that on one hand. On the other hand, the stories we do, I think, come from an emotional truth, which has been true since the beginning of time. The truth of what it's like to be an adolescent, and the stories that we pick ring true beyond the specifics of what they're about.
"One of the ways I like to describe the show is that it's about something as small as a paper clip, and as we examine the paper clip we realize that there are resonances to it. I have a four year old and a six-year old, and when I get down on the floor to play with them, I look up at the bottom of the dining room table and I remember what it was like to look up at the bottom of the dining room table. It all floods back. When our stories really work, they're usually about experiences that we all remember, which may not have seemed very important then, but in the perspective of looking back and remembering, we realize it wasn't just a school election or basketball game. Who we were had a lot to do with our family and our friends, and everything was meaningful at that age. Small children have very little capability of judging one thing being more important than another. Everything is important to a little kid, once it captures their attention."
Brush, who took creative control over the show when Marlens and Black departed following the second season, adds, "We've been trying to develop along with our characters. At the very beginning, when they were in seventh grade, there was very much a sense of a wide-eyed kind of terror at the workings of the universe. Things were very fragmented and shattered. How do you piece together a series of experiences? I thought in the pilot, which is one of the most brilliant things I've ever seen in television, it was interesting that what clothes to wear, or having a teacher say something to you, had almost an equal impact as a man dying in Vietnam. There was a kind of 'how do you sort it out? How do you know?' Every experience is big, and in the end, which had been the most important experience, seeing Winnie Cooper in her Go-Go boots or finding out that Brian Cooper had died in Vietnam? What we try to do is pay a lot of attention to the kids here and how they're developing, and try to stay true to where they are. Over the last couple of years they have grown and become much more emotionally capable and sophisticated, which happens between seventh and ninth grade. We're trying to track the stories along with that, so their universe is becoming a little more integrated. They're still fighting all of these wars, but they understand more and are capable of expressing more."
REGULAR CAST
Fred Savage: Kevin Arnold
Dan Lauria: Jack Arnold
Alley Mills: Norma Arnold
Jason Hervey: Wayne Arnold
Olivia d'Abo: Karen Arnold
Danica McKellar: Winnie Cooper
Josh Saviano: Paul Pfeiffer
Daniel Stern: Narration-Kevin as an adult
PRODUCTION CREDITS-YEARS ONE & TWO
Executive Producers: Carol Black & Neal Marlens
Co-Executive Producer: Bob Brush
Supervising Producers: Jeffrey Silver, Steve Miner
Associate Producer: Caroline Baron
PRODUCTION CREDITS-YEAR THREE
Executive Producer: Bob Brush
Co-Executive Producers: Bob Stevens & Jill Gordon
Producers: Ken Topolsky and Matthew Carlson
Associate Producer: James C. Hart
Story Editors: Todd W. Langen & Mark B. Perry
PRODUCTION CREDITS-YEAR FOUR
Executive Producer: Bob Brush
Co-Executive Producer: Bob Stevens, Jill Gordon
Supervising Producer: Ken Topolsky
Producers: David Chambers, Michael Dinner
Associate Producers: Bruce J. Nachbar, Sue Bea Belknap
Executive Story Editor: Mark B. Perry
Story Editors: Eric Gilliland, Mark Levin, Jeffrey Stepakof
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COPYRIGHT © 1991 BY EDWARD GROSS.
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