The Crew

The Electric Company is an educational American children's television series that was produced by the Children's Television Workshop for PBS in the United States. PBS broadcast 780 episodes over the course of its six seasons from October 25, 1971 to April 15, 1977. After it ceased production that year, the program continued in reruns from 1977 to 1985, the result of a decision made in 1975 to produce two final seasons for perpetual use. CTW produced the show at Teletape Studios Second Stage in Manhattan, the first home of Sesame Street. The Electric Company employed sketch comedy and other devices to provide an entertaining program to help elementary school children develop their grammar and reading skills. It was intended for children who had graduated from CTW's flagship program, Sesame Street. Appropriately, the humor was more mature than what was seen there.

An inquisitive and often naïve boy, Theodore 'The Beaver' Cleaver, has adventures at home, in school, and around his suburban neighborhood. The show also starred Barbara Billingsley and Hugh Beaumont as Beaver's parents, June and Ward Cleaver, and Tony Dow as Beaver's brother Wally. The show has attained an iconic status in the US, with the Cleavers exemplifying the idealized suburban family of the mid-20th century.

Welcome to Beacon Street Pizza, the perfect workplace and hangout for aimless wise-guy Berg, neurotic Pete and campus beauty Sharon. Pete and Berg are roommates and students at a local Boston university, while Sharon struggles with her work and relationships. Together, these three best friends try to navigate life and love in Boston!

Good Times is an American sitcom that originally aired from February 8, 1974, until August 1, 1979, on the CBS television network. It was created by Eric Monte and Mike Evans, and developed by Norman Lear, the series' primary executive producer. Good Times is a spin-off of Maude, which is itself a spin-off of All in the Family along with The Jeffersons. The series is set in Chicago. The first two seasons were taped at CBS Television City in Hollywood. In the fall of 1975, the show moved to Metromedia Square, where Norman Lear's own production company was housed.

Best friends, roommates, and polar opposites, Laverne DeFazio and Shirley Feeney work together at the Shotz Brewery in Milwaukee and keep each other's spirits up at home.

A long-running dramedy centering on the Winslow family, a middle-class African American family living in Chicago, and their pesky next-door neighbor, ultra-nerd Steve Urkel. A spin-off of Perfect Strangers.

Sitcom following a successful African-American couple, George and Louise “Weezyö Jefferson as they “move on up” from working-class Queens to a ritzy Manhattan apartment. A spin-off of All in the Family.

Join sadomasochistic superheroes Johnny Knoxville, Bam Margera, and the rest of the Jackass crew as they terrorize your TV screens and everyone that gets in their way (especially themselves) with their own sick and twisted interpretation of physical entertainment. Their brand of pranks, goofball antics, and unabashed brutal comedy are sure to bring new meaning to the phrase "Don't Try This At Home!"

A multigenerational, working-class family experience life's struggles with faith, love and, most importantly, humor. Curtis, aka 'Pops', the uncle and head of the household, has house and home turned upside down when an unexpected event forces his nephew, CJ, and CJ’s kids to move in, putting three generations under one roof. This chaotic living situation takes its toll on cranky Pops, who is reluctant to have his routine disturbed. In addition to CJ’s family, Pops and Ella’s son, Calvin, a wise-cracking, broke college student, hangs out at home, making it impossible for any peace and quiet. It soon becomes evident just how wide the gap is, as the family tries to find a way to coexist through all of life’s hilarious ups and downs.

On the Buses is a British comedy series created by Ronald Wolfe and Ronald Chesney, broadcast in the United Kingdom from 1969 to 1973. The writers' previous successes with The Rag Trade and Meet the Wife were for the BBC, but the corporation rejected On the Buses, not seeing much comedy potential in a bus depot as a setting. The comedy partnership turned to a friend, Frank Muir, Head of Entertainment at London Weekend Television, who loved the idea; the show was accepted and despite a poor critical reception became a hit with viewers.