Oliver's tax refund check motivates the farmers of Hooterville to request their refunds, too. Not understanding that you have to actually pay taxes first, they write in and state their losses for the...
Widower Sheriff Andy Taylor, and his son Opie, live with Andy's Aunt Bee in Mayberry, North Carolina. With virtually no crimes to solve, most of Andy's time is spent philosophizing and calming down his cousin Deputy Barney Fife.
Widower Steve Douglas raises three sons with the help of his father-in-law, and is later aided by the boys' great-uncle. An adopted son, a stepdaughter, wives, and another generation of sons join the loving family in later seasons.
Sick of the complications of life in Manhattan, successful, wealthy attorney, Oliver Wendell Douglas buys a run down farm from con-man, Eustace Haney, much to his sophisticated Hungarian wife, Lisa's chagrin. When they arrive at the ramshackle place, Oliver and Lisa try to get used to the bizarre town of Hooterville while trying to make the shack home with the help of their humble but slightly slow hired hand, Eb. Ironically, Lisa is the one who makes friends with their cow, Eleanor, their chicken, Alice and Fred Ziffel's television-loving pet pig, Arnold who he treats like a son and seems to be smarter than the citizens in several ways.Written by
The red, open-cab truck driven by county agent Hank Kimball was a Ford Bronco Roadster. It was updated yearly through the run of the series, (1965 - 1971), as soon as a new model became available. See more »
In the opening song when Oliver sings "You are my wife," he reaches for Lisa with his left hand. As Lisa sings "Goodbye city life," Oliver reaches in and grabs her with his right hand. See more »
After the closing credits, the Filmways logo appears, and Eva Gabor's [off screen] voice is heard (in Lisa Douglas' character role in an Engilsh Park Avenue style) saying, "This has been a Filmways presentation, dahling." See more »
This programme was traditionally thought of as just another of the cornpone country comedies that CBS used to be noted for, like "Petticoat Junction" or "The Beverly Hillbillies". But with its button-down straight man, Eddie Albert, surrounded by a wild assortment of extraordinary oddballs, "Green Acres" looks both backwards to the screwball comedies of the '30s and ahead to the Bob Newhart series of shows which followed a similar premise.
I am a fan of the British absurdist tradition, as exemplified both by university humour, like "Monty Python" and "Fawlty Towers", with its basis in the antics of the Goons (and Alfred Jarry), and by John Lennon's disassociated imagery, with its basis, probably, in Edward Lear (and Hilaire Belloc), but I personally happen to believe that this particular show belongs to a distinct comedy continuum, one that's entirely American. But I do agree completely that where these two styles are concerned, fans of one are bound to appreciate the other.
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