Programmed for Patriotism: Classic Sitcoms Celebrate the Fourth of July

Left to right: Sofia Vergara and Ed O'Neil in

the "I Love a Parade" episode of Modern Family.

By Michael Lyons

How did our favorite TV shows spend their summer vacation?  Usually, we wouldn't have an answer to that, as summer is typically relegated to a line-up of reruns from the past season.

However, there have been several sitcoms through the years that not only provided a glimpse into summer for the show's popular characters but also let us see how they celebrated that most iconic summer holiday, The Fourth of July.

As we head into Independence Day weekend, here is a look back at just some of the popular shows that took time out for some patriotic programs set against The Fourth of July.

 

Happy Days, "Home Movies," 1981

In this episode from one of the last seasons of Happy Days (and a rare, two-part season episode at that!), Joanie (Erin Moran) makes a narrated home movie to send to her brother Richie, who is away in the army (Ron Howard had exited the show at this point).

Her movie is a look back at the summer of 1962 and all that's happened.  The "big news" is that she and Chachi (Scott Baio) have broken up.  This is where July 4th comes into play, as Joanie has to work at a beach concession stand on the Fourth, leaving Chachi alone to watch the fireworks, where he meets another girl...and the early '80s sitcom "drama" goes on from there.

While it may not be the most well-remembered of the Happy Days episodes, as is the case with many in the latter seasons, "Home Movies" revels in its July fourth and summer setting, filled with bar-b-ques, beaches, and plenty of innocence that reflects, not just the summer of '62 when the show takes place, but the overall, consistent tone of Happy Days itself.

 

Saved by the Bell, "Fourth of July," 1991

Speaking of innocence, there's this episode of Saturday morning's most popular sitcom, centering on the teens from Bayside High. Zach (Mark-Paul Gosselaar) and his friends get summer jobs at the Malibu Sands Beach Club.

For July Fourth, there will be a Miss Liberty Beauty Pageant, and Zach will be one of the judges which brings up his plight.  His friends Kelly (Tiffani Amber-Thiessen), Jessie (Elizabeth Berkley), and Lisa (Lark Vorhies) will be competing against Stacey (Leah Remini), daughter of the Malibu Club's owner and manager, Mr. Carosi (the voice of Lion King's Pumbaa himself, Ernie Sabella). 

 

Like all episodes of this show, it ain't deep, but the 90s nostalgia is on full display, as are some heavy July 4th vibes, reflected mainly in the pageant.  I'd vote for Jessie and her fantastic cosplay of the Statue of Liberty and Lisa for her passionate speech about how July 4th means sales at all of the stores. 

 

The Wonder Years, "Independence Day," 1993

More of a "dramedy" than a sitcom, The Wonder Years always blended humor with emotion and drama, and this episode, set on July Fourth, is no different.

This served as the series finale and the very last show.  Kevin (Fred Savage) leaves home and works at a resort, where his long-time girlfriend Winnie (Danica McKellar) is working.  The two argue and break up when he sees Winnie kissing another guy.

After events lead to both of them being fired from the resort, they end up reconciling and heading back to their hometown, just in time for the Fourth of July parade.

It's here that the voice of adult Kevin, the narrator (Daniel Stern), reflects on how he realized just how important his family and friends are, during that last July Fourth in his hometown, before heading off to college.

In the final shot, as the sun fades, street lights blink on, fireworks fill the sky, and the narrator looks back on his childhood; The Wonder Years does what it always did so well, fill our hearts and minds with wonder.

 

Modern Family, "I Love a Parade," 2018

We've seen how hysterical and out of control so many holidays can be for the Pritchetts and the Dunphys, and the Fourth of July is no different.

Jay (Ed O'Neill) and Gloria (Sofia Vergara) are huge fans of Independence Day, which gets even better as Jay is selected as grand marshall for the town's Fourth of July parade.

Among the other stories running concurrently with this is a sub-plot about Phil (Ty Burell) training his son Luke (Nolan Gould) for the annual hot dog eating contest.

Does the parade, the contest, or anything else in the episode go as planned?  It's Modern Family, so of course, it doesn't, but, as always, a very sweet message emerges.

And through it all, there's plenty of July Fourth spirit. As Jay states in the episode, "It's the perfect holiday.  You get to cook outside, blow stuff up, and wear shorts.  Easter should be taking notes."

 

And whether you elect to do one, or all of these things this Fourth of July weekend, here's hoping that one or all of these episodes help you enjoy the holiday.

 

Wishing everyone a Safe and Happy Independence Day!

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On The Right Track: The 45th Anniversary of "Rollercoaster!"

 

By Michael Lyons 

"Somewhere in the crowd is a killer who can turn their smiles into screams." - Original movie poster for Rollercoaster

 

This tag line for Rollercoaster sums up the film, sets the stage for this thriller perfectly, and reflects the decade in which it was made.  Emerging from a period of disaster movies and into an era where summer movies would reign supreme, Rollercoaster was lost in the "Star Wars summer" of 1977 but has emerged in the forty-five years since its release as a highly entertaining film.  

In Rollercoaster, Timothy Bottoms stars as a mysterious unnamed man who is terrorizing amusement parks by planting explosive devices on the tracks of rollercoasters.  After detonating one in the film's shocking opener, the authorities begin an investigation.

This brings in safety inspector Harry Calder (George Segal), who the mysterious bomber begins communicating with.  Harry gets pulled into the investigation and caught between the FBI and the anonymous psychopath.

Rollercoaster unfurls, not in an action-packed manner, but instead like a tightly-wound thriller, effectively directed by James Goldstone.  The destruction of the roller coaster in the opening sequence is staged in a disquieting, gripping way that immediately pulls the audience into the film.

Later scenes in the film, including one where the bomber communicates with Calder via an earpiece and forces him to make his way through a litany of rides in an amusement park, and another moment near the end of the film, where a S.W.A.T. team attempts to disarm a bomb, unfurl with Hitchcock-like tension.

Adding to these sequences is that Rollercoaster filmed much of the film on location at amusement parks like Virginia's Kings Dominion (where Hanna-Barbera's costumed characters make several cameos) and California's Magic Mountain (the film's gripping July 4th climax).

Through it all, Segal gives an excellent, "everyman" performance, adding a dose of great, cynical humor and sparring with the film's authority figures (and Hollywood acting legends), such as his boss, Simon (Henry Fonda in an extended cameo) and FBI Agent Hoyt (Richard Widmark, as grizzled perfection).

Rollercoaster opened on June 10, 1977, and was released in "Sensurround."  This short-lived sound system from Universal Studios was introduced with 1974's Earthquake. With "Sensurround," large sound speakers were installed in theaters that would enhance the sound in certain scenes of the film through a variety of technical methods, creating louder sounds that the audience would "feel," as well as hear, and would surround the movie goer, as well.

During specific sequences in Rollercoaster involving, the rollercoasters featured in the film, the audience would get the sensation of riding the rollercoaster with the characters, thanks to the booming audio trickery of "Sensurround."

Creating an "experience" for moviegoers, coupled with the setting of amusement parks, Rollercoaster seems as if it would have been just what summer movie audiences wanted. But, in June of '77, Star Wars seemingly steamrolled over all other competition at the box office.

This, coupled with mixed to negative reviews from critics, led to a modest box-office success (and eventually Universal eventually got out of the "Sensurround" business).

It was showings on cable and home video in subsequent years that led to a following for Rollercoaster, particularly from film fans who are aficionados of this era of film.

If it has slipped off or has never been on your radar (particularly as a movie that themes perfectly for summer), celebrate the forty-fifth anniversary of Rollercoaster by pressing "play," then lower the lap bar, keep your arms inside the car at all times and enjoy the ride!

Enjoy more of my articles and podcasts at Words From Lyons !

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Reel Memories: Looking Back at the Summer Movie Season of 1982, Forty Years Later

 

By Michael Lyons

The 1980s was a true "Golden Age" for summer movies.  The Jaws and Star Wars summers of the '70s gave way to a decade during which Hollywood realized that the warm weather months could be the bread and butter that made studio accountants extremely happy.

And, as the '80s started, these same studios held their most significant films, by some of their most talented directors, starring some of the screen's biggest names, for summer.

The result was some of the biggest films of all time, now all drenched in the soft glow of nostalgic popularity, most of which came out during the summer and many of which came out during the summer of 1982.

There were so many defining summers for summer movies during this decade, and deference must be paid to the summer movie season of 1982.  

From May through August that year, audiences could go to see not one but two sequels to two of the most famous film franchises of all time; the first feature to extensively use computer animation; several landmark science fiction films; Don Bluth's first animated feature; Arnold Schwarzenegger's first starring role; Ron Howard's first major studio film as a director; and not one, but two Steven Spielberg films, with one going on to become the most popular and one of the most beloved films of all time.

It all happened forty years ago this summer.  And the movie season was kicked-off with two stars who would become the biggest names in action over the next decade.

 

May 

The month of May saw summer (or at least the summer movie season) start early on May 14th, with the release of Conan the Barbarian.  An eagerly anticipated adaptation of the stories by Robert E. Howard, the film would mark the first feature role for Arnold Schwarzenegger and signal the start of a career that would make him an action star.  Many consider it his best and defining role, and Conan the film, released smack-dab in the '80s sword-and-sorcery movie fad, is still one of the best of that short-lived genre.

Memorial Day Weekend of 1982 saw the return of one of the film's most iconic characters with  Rocky III.  Sylvester Stallone returned in the role that made him a star, and also as wrote and directed this third outing.  With an opponent named Clubber Lang, played with ferocity by Mr. T, who would become one of the decade's most emblematic figures.  Rocky III is a smartly crafted continuation of the Balboa saga, with a commentary on fame and an inspirational message about how it's never too late for a comeback that still resonates four decades later.

Want more from 1982's May at the movies?  How about the big-screen adaptation of Annie (directed by John Huston!) and Steve Martin in Carl Reiner's underrated, creative comedy Dead Men Don't Wear Plaid, which featured the comedian "spliced into" classic Hollywood film noir.

This was followed by a month that truly made 1982 a "Spielberg Summer."

June

This month started with Star Trek II: The Wrath of Kahn, a sequel that many feel saved the franchise.  While Star Trek: The Motion Picture was a hit, many were disappointed in it.  Still, there was enough there to warrant a second launch of the Enterprise.

Wrath of Kahn brought back the camaraderie that so many loved from the series, adding a healthy dose of humor, Ricardo Montalban as a fantastic villain (and a great connection to the TV show), and an emotional message ("The needs of the many outweigh the needs of the few").

With Wrath of Kahn, Star Trek really did feel like a motion picture!

Opening the same day was a movie that would forever change our perception of the "haunted house" plot paradigm.  Poltergeist, as the poster read, definitely knew what "scared us," telling the story of a family (parents Craig T. Nelson and Jobeth Williams are so perfectly believable) who find their new California suburban home haunted by the titular beings, vengeful ghosts caught between our world and the next.

Produced by Steven Spielberg and directed by Tobe Hooper (which is still a legendary Hollywood "behind-the-scenes" story), Poltergeist was upfront in its scares, combining the realism of William Friedkin's Exorcist with an otherworldly flair that became a Spielberg staple.

The result was a movie that continues to jolt audiences and inspires filmmakers (most notably James Wan, who has taken this to the next level), with iconic scenes as soon as one mentions them (clown doll hiding under your bed?).  Poltergeist also gave us the chilling line that entered the lexicon, "They're here!"

This could have also referred to a new generation of summer movies and blockbusters that would continue to make film history, particularly one week after Poltergeist when another Spielberg film debuted.

E. T. The Extra-Terrestrial opened on June 11, 1982, to gushing critical praise and lines at movie box offices that hadn't been seen since the summer of Star Wars in 1977. The story of a "boy and his alien," young Elliot and the otherworldly E.T., who wants to go "home," was a once-in-a-generation movie. 

 And, if you were lucky enough to see it in theaters during the summer of '82, you knew it.

Not since the days of Disney's classics like Pinocchio, or MGM's Wizard of Oz, had a movie so connected with our emotions, and not since George Lucas' Star Wars, Spielberg's Jaws, or the pair's Raiders of the Lost Ark, from recent summers, had such excitement been felt at a movie.

This writer still has a memory that rings in his mind of the rainy day, packed house at the Smithtown Movie Theater, bursting into applause as E.T.'s spaceship streaks a rainbow across the sky at the end of the film.

The impact of E.T. The Extra-Terrestrial can, obviously, in no way, be understated these four decades later.  This rare film soared beyond the screen and has secured a place in our hearts and minds that we save for those elusive "bests of all time."

As critic Roger Ebert wrote: "E.T. The Extra-Terrestrial is a reminder of what movies are for.  Most movies are not for any one thing, of course.  Some are to make us think, some to make us feel, some to take us away from our problems, and some to help us examine them.  What is enchanting about E.T. is that, in some measure, it does all of those things."

Not long after E.T. hit theaters, another influential film debuted.  At the time, the film underperformed but is today considered a groundbreaking science fiction feat, and that was Blade Runner.  Director Ridley Scott quickly established his "style" with this rain-drenched, Tokyo-inspired, neon-infused vision of the future.  

A slowly-paced film starring one of the summer movie stars of the decade, Harrison Ford, Blade Runner would introduce us to terms like "neo-noir" and "cyberpunk" and become a fantastic cult favorite that creative generations are still examining.

Equally influential was director John Carpenter's re-imagining of The Thing.  A remake of the 1951 black-and-white B movie, The Thing from Another World (which was very influential for Carpenter), the film told the gruesome tale of a helicopter pilot (Kurt Russell) and a team of researchers in Antarctica who are overtaken by a parasitic lifeform.

The Thing featured gut-churning but incredibly compelling effects by Rob Bottin, astonishing in their pre-CGI-practicality.  Initially, a box-office failure, The Thing is now considered a gold standard of sci-fi and horror.

And so, the summer movie season of 1982 headed into July, where a groundbreaking film pointed toward the future of movies.

July

In the summer of 1982, a young animator named John Lasseter sat in a movie theater in wide-eyed wonder, knowing that he had seen his future path in animation.  The someday Pixar founding member and creator of such landmarks as Toy Story was watching Tron.

In July of 1982, the film certainly did lay the early groundwork for what was to come in the movie industry.  Telling the story of human computer programmers who find themselves inside a video game, Tron didn't wow critics and audiences with its story. Still, its extensive use of computer animation was a true harbinger of all that was to come.

Although not initially successful, it was a landmark film in that it was an early glimpse into the movie world we live in today, as CGI is now such a mainstay of every production.

Another animator, Don Bluth, had a seminal moment in July of 1982.  The animator who led a walk-out from Disney, wanting to chart a new course for animation, got that chance with The Secret of NIMH.

A dark tale of laboratory mice, NIMH brought a definite Disney look but different sensibilities, signaling Bluth as a significant player in animation, which would continue through the decade.

July of '82 was also prime time for some comedies that deserve a revisit while forgotten through the years.  These include the Broadway musical adaptation, The Best Little Whorehouse in Texas, starring Burt Reynolds and Dolly Parton, and director Garry Marshall's Airplane-like send-up of soap operas, Young Doctors in Love.

Then, there was Night Shift, Ron Howard's first major studio film as a director, which probably ranks as one of the most underrated comedies of the decade.  Two third shift employees of a New York City morgue - a mild-mannered introvert (Henry Winkler) and a loud-mouth ner do well (Michael Keaton) - find themselves working as pimps operating out of that morgue.

Night Shift is more than just this off-beat, funny concept; it's an all-around funny film with terrific characters, moments, development, and a scene-stealing, star-making turn from Keaton.

This month also saw an eagerly awaited adaptation with The World According to Garp.  From the best-selling John Irving novel, the film starred Robin Williams (in his first role that allowed him to display his acting and comedic skills) as a writer who leads quite the eccentric and, at times, tragic life.

As the summer of 1982 headed into the August finale, the summer movie season still had a few hits up its sleeve.

August

Just in time for back-to-school came Fast Times at Ridgemont High.  Chronicling a year for students at the titular high school, director Amy Heckerling's comedy (from a script by Cameron Crowe) is also a poignant, coming-of-age story that introduced the world to the talents of Sean Penn, as lovable stoner surfer Jeff Spicoli and allowed a generation to fall in love with actress Phoebe Cates.

This summer, there was room for drama with the now-iconic, An Officer and a Gentleman.  Richard Gere plays Zach Mayo, who struggles through training as a US Navy Aviation Officer, conflicting with a tough Sergeant, played by Louis Gossett, Jr., in an Oscar-winning role.

An Officer and a Gentleman was a late-summer box office success, with the film's hit Academy Award-winning song "Up Where We Belong" heard on radios for the rest of the year, and the film provided this summer with a romantic, happy ending.

Reflecting on the Summer Movie Season of 1982

It was quite the four months, filled with movies that still echo in the halls of motion picture history, pop culture fanaticism, and nostalgic warmth.

Sure, there would be plenty of super movie summers ahead, such as the '84 summer of Ghostbusters and the Batman summer of '89.  And the parade of mammoth warm weather movies would continue well into the '90s with behemoths like Jurassic Park and The Lion King.

But, forty years ago this summer, moviegoers were in the midst of an amazing "Golden Age" that still shines just as bright today.

Sources:

rogerebert.com

My book Drawn to Greatness is now available on Amazon!

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Road Rage: The 45th Anniversary of "Smokey and the Bandit"

By Michael Lyons 

"The film I had the most fun on was Smokey and the Bandit," - Burt Reynolds in a 2015 interview.

That fun had by Reynolds seems to be reflected by everyone involved in Smokey and the Bandit, and audiences who have watched it enjoyed it and become fans in the forty-five years since it was released.

The story is simple, a hotshot, local legend driver, named Bo "Bandit" Darville (Reynolds in his most iconic role) and Cledus "Snowman" Snow (Jerry Reed, as the perfect, amiable sidekick) accept a bet from a rich father-and-son Big Enos and Little Enos (Pat McCormick and Paul Williams).

Bandit and Snowman must drive from Atlanta to Texarkana and back again in 28 hours to bring back 400 cases of Coors beer (at the time, transporting Coors east of the Mississippi was still considered bootlegging and was illegal).

While en route, the two pick up a runaway bride named Carrie (Sally Field, who was so great with Reynolds, it's no wonder they had chemistry on screen and off) in Bandit's sleek, black Trans Am. They are all pursued by Sheriff Buford T. Justice (Jackie Gleason, in a role that became as iconic for him as Bandit did for Reynolds).  Along with Justice is his dim-witted son, Junior (a hysterical Mike Henry).

All of this is directed by Hal Needham, a veteran stuntman who made his debut with this film and brought his skills to the proceedings.  After all these years, the speeding, chasing, and destructive automobile choreography is still a marvel to watch.

Smokey and the Bandit is easy to take as a warm summer afternoon.  It hit squarely upon the CB craze of the time but also hits squarely with its laughs, thanks to its stars.

Reynolds has never been more charming, with his trademark smirk and high-pitched laugh.  This film was at the height of his box-office ascension, and it's easy to see what audiences responded to.  Field proves to be the perfect contrast: an outsider bemused by all that's going on as the world speeds by.

And Gleason created one of the most memorable characters of the decade and, many say, in comedy history.  Sheriff Justice also brought with him endlessly quotable, profanity-laden lines ("You someb****!" "I'm gonna bar-b-q your a** in molasses!" and "What we have here is a total lack of respect for the law!").

Initially, Needham's movie had a modest budget and generated little interest until Reynolds signed on.  With a script that was constantly being revised, most of the scenes in the final film were improvised.  This included a now-famous meet-up between Justice and the Bandit at a diner (the "Diablo Sandwich" that Justice orders here has become such a curiosity among fans that recipes have surfaced online).

Released on May 19, 1977 (at Radio City Music Hall!), this low-budget, mostly improvised car chase movie made $126 million in the states, coming in as the second highest-grossing film of the year - behind Star Wars!

The popularity of Smokey and the Bandit inspired several copycats, such as the film Convoy (1978) and TV's The Dukes of Hazzard.  

It was a moment in time that was short-lived, and even by the time the sequel Smokey and the Bandit II hit theaters in 1980 (and definitely by the time the strange Smokey and the Bandit Part 3 came along in 1983), the car chase/car crash comedy seemed to be fading as a genre.

But, Smokey and the Bandit still stands out as an immensely enjoyable and, as Reynolds said, fun film

As the film celebrates its 45th anniversary this summer, it's always an entertaining ride for audiences to hop in Bandit's Trans-Am with Sheriff justice in high-speed pursuit!

Sources: Cheatsheet.com

My book Drawn to Greatness: Disney's Animation Renaissance is now available on Amazon!

For more of my articles, head over to my web site, Words From Lyons

Rerun Relief: Looking Back on "Summer Replacement Shows"

Tony Orlando & Dawn

By Michael Lyons

Another TV season is coming to a close.  However, it seems as if the TV season never ends in our current world.  Streaming now brings an endless supply of new shows, even during what was once considered the barren wasteland for television networks: summer.

At one time, the major networks looked upon the summer season of beaches, pools, bar-b-ques, and vacations as a time when people were not sitting at home and watching tv; instead, reruns ruled the schedule, and the networks regrouped for the new TV season in the fall.

However, a tactic became so popular among the three major networks - ABC, NBC, and CBS, that there was even a term for it: "The Summer Replacement Show."

These were new shows that would be produced specifically for the short two-three month stint of summer, in place of reruns, to try and coax audiences back in front of their TV screens.

What follows are just some of these "summer replacements," some famous, some forgotten and some now just a "misty water-colored memory" of the "lazy, hazy, crazy" summer TV days of the past.

 

The Ken Berry 'Wow' Show (ABC, Summer, 1972)

Ah, the era of a variety show! Berry, The F-Troop star, got the chance to showcase his singing and dancing talents with his variety show, which came with a very '70s name, look, feel, and overall time-capsule-like tone of the decade.

In addition to comedy sketches, Berry's show also featured several famous guest stars, including Carol Burnett, Phyllis Diller, and George Burns.  Also, the show provided a career kick-off for regulars Teri Garr, Cheryl Ladd, and Carl Gottlieb, who would go on to a career as a screenwriter, penning such films as Jaws (!) as well as a young comedian named Steve Martin.

 

The Burns and Schreiber Comedy Hour (ABC, Summer 1973)

When comedy teams were popular came this duo, a favorite on variety shows, who were given a chance at their own variety show during the summer of '73.

Jack Burns, with his deep voice and "slick" tone, and Avery Schreiber, with his wild hair and physical comedy, were a good match, and they had great chemistry together in sketches.  They would also end the summer in "grand style," co-hosting the "Preview Show" for the line up ABC's offerings on Saturday mornings.

Burns and Schreiber would eventually go their separate ways. Schreiber went on to star in several TV shows and movies, including Mel Brooks' Robin Hood: Men in Tights (1993), and became well known for a number of years as the spokesperson for Doritos.  

Burns transitioned behind the camera, entertaining a new generation as he became a writer for The Muppet Show and co-wrote the script for The Muppet Movie. 

Tony Orlando and Dawn (CBS, Summer, 1974)

The group responsible for hit songs like "Tie a Yellow Ribbon" and "Knock Three Times," which seemed to provide the soundtrack for the '70s, were given their own variety show during the summer of 1974.

The show was initially brought in to replace the popular Sonny and Cher Show (which started as a summer replacement show) after that famous couple broke up.  Tony Orlando and Dawn proved so popular that they eventually continued into the regular network schedule beyond the summer and aired for another two years.

 

The Seinfeld Chronicles (NBC, Summer, 1989)

Before it made history as "the show about nothing" and was renamed just Seinfeld,  Jerry had this modest sitcom that debuted quietly in July of 1989.  The first episode starred Seinfeld and Jason Alexander, with Michael Richards as a character named "Kessler," not Kramer.

Julia-Louis Dreyfus would later join the show, making it complete. NBC would temporarily add the show to its regular schedule in May of 1990 and then as a permanent prime time member in 1991.

 

Northern Exposure (CBS, Summer, 1990)

This quirky show about the inhabitants of a small town in Alaska, starring Rob Morrow and Janine Turner, at first, seemed like a more grounded version of Twin Peaks.  It was shuffled into the summer line-up, which helped it find its audience, and it became a popular favorite on CBS and part of the network's regular line-up for five years.

 

Who Wants to Be a Millionaire (ABC, Summer, 1999)

Regis Philbin hosted this blockbuster adaptation of the same-titled British game show that became so popular from its initial summer run that it not only joined ABC's regular prime-time line-up but, for some time, it was shown multiple nights during the week.

It also entered our pop culture lexicon ("Is that your final answer?") and has gone on to have new iterations, hosts, and re-boots (including the most recent, hosted by Jimmy Kimmel, airing in 2020).

Who Wants to be a Millionaire also kicked off a trend where networks look to produce game shows, and reality shows, as part of their summer line-up.

 

New versions of these types of shows continue during the warm weather months (Family Feud and 100,000 Pyramid will be back this summer), as do other new shows that continue to be introduced during this season.

So, while the term "Summer Replacement Show" isn't used as much anymore, it's safe to say that networks (which now include endless cable and streaming services) have learned their lesson about the summer season.

It's not the barren wasteland once thought, and sunburned viewers may just find themselves watching next fall's biggest hit.