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Sesame Street
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This article is about the television show. For the show's setting, see Sesame Street (fictional location).
Sesame Street
Genre
Children's television series
Educational
Sketch comedy
Puppetry
Animation
Created by
Joan Ganz Cooney
Lloyd Morrisett
Theme music composer
Joe Raposo
Jon Stone
Bruce Hart
Opening theme
"Can You Tell Me How to Get to Sesame Street?"
Ending theme
"Can You Tell Me How to Get to Sesame Street?" (Instrumental version, 1969–2015)
"Smarter, Stronger, Kinder" (2016–present)
Country of origin
United States
Original language(s)
English
No. of seasons
48
No. of episodes
4,491[note 1]
Production
Producer(s)
Samuel Gibbon
Jon Stone
Location(s)
Reeves Teletape Studios
(1969–92)
Unitel Video, Inc. [some episodes]
(1987–93) Manhattan, New York City
Kaufman Astoria Studios (1993–present)
Astoria, Queens, New York City
Running time
60 minutes (1969–2015)
30 minutes (2016–present)
Production company(s)
Children's Television Workshop
(1969–2000)
Sesame Workshop
(2000–present)
Release
Original network
NET (1969–70)
PBS (1970–2016; second run, 2016–present)
HBO (first run, 2016–present)
Picture format
480i (SDTV)
(1969–2007)
720p & 1080i (HDTV)
(2008–present)
Audio format
Mono (1969–92)
Stereo (1992–2007)
Dolby Digital Surround (2008–present)
Original release
November 10, 1969 (1969-11-10) – present
Chronology
Related shows
Elmo's World
Play with Me Sesame
Bert and Ernie's Great Adventures
The Furchester Hotel
External links
Website
Sesame Street is an American educational children's television series that combines live action, sketch comedy, animation and puppetry. It is produced by Sesame Workshop (formerly known as the Children's Television Workshop) and was created by Joan Ganz Cooney and Lloyd Morrisett. The program is known for its images communicated through the use of Jim Henson's Muppets, and includes short films, with humor and cultural references. The series premiered on November 10, 1969, to positive reviews, some controversy,[1] and high viewership; it has aired on the U.S.'s national public television provider PBS since its debut, with its first run moving to premium channel HBO on January 16, 2016.[2]
The show has undergone significant changes in its history. The format of Sesame Street consists of a combination of commercial television production elements and techniques which have evolved to reflect the changes in American culture and the audience's viewing habits. With the creation of Sesame Street, producers and writers of a children's television show used, for the first time, educational goals and a curriculum to shape its content. It was also the first time a show's educational effects were formally studied.
Shortly after creating Sesame Street, its producers developed what came to be called the "CTW model" (after the production company's previous name), a system of television show planning, production, and evaluation based on collaborations between producers, writers, educators, and researchers. The show was initially funded by government and private foundations but has become somewhat self-supporting due to revenues from licensing arrangements, international sales, and other media. By 2006, there were independently produced versions, or "co-productions", of Sesame Street broadcast in twenty countries. In 2001 there were over 120 million viewers of various international versions of Sesame Street, and by the show's 40th anniversary in 2009, it was broadcast in more than 140 countries.
Sesame Street was by then the fifteenth-highest-rated children's television show in the United States. A 1996 survey found that 95% of all American preschoolers had watched the show by the time they were three years old. In 2008, it was estimated that 77 million Americans had watched the series as children. As of 2014, Sesame Street has won 167 Emmy Awards and 8 Grammy Awards—more than any other children's show.
Contents
[hide]
1 History
2 Format
3 Educational goals
4 Funding
5 Production
5.1 Research
5.2 Writing
5.3 Media
6 Cast, crew and characters
7 Reception
7.1 Ratings
7.2 Influence
7.3 Critical reception
8 See also
9 Notes
10 References
11 Works cited
12 External links
History[edit]
Main article: History of Sesame Street
Sesame Street was conceived in 1966 during discussions between television producer Joan Ganz Cooney and Carnegie Foundation vice president Lloyd Morrisett. Their goal was to create a children's television show that would "master the addictive qualities of television and do something good with them",[3] such as helping young children prepare for school. After two years of research, the newly formed Children's Television Workshop (CTW) received a combined grant of US$8 million ($53 million in 2017 dollars)[4] from the Carnegie Foundation, the Ford Foundation, and the U.S. Federal Government to create and produce a new children's television show.[5] The program premiered on public television stations on November 10, 1969.[6] It was the first preschool educational television program to base its contents and production values on laboratory and formative research.[7] Initial responses to the show included adulatory reviews, some controversy,[8] and high ratings. By its 40th anniversary in 2009, Sesame Street was broadcast in over 120 countries, and 20 international versions had been produced.[9]
"I've always said of our original team that developed and produced Sesame Street: Collectively, we were a genius."
—Sesame Street creator Joan Ganz Cooney[10]
Co-creator Joan Ganz Cooney, in 1985
Lloyd Morrisett, Co-creator
Sesame Street has evolved from its initial inception. According to writer Michael Davis, by the mid-1970s the show had become "an American institution".[11] The cast and crew expanded during this time, with emphasis on the hiring of women crew members and the addition of minorities to the cast. The show's success continued into the 1980s. In 1981, when the federal government withdrew its funding, CTW turned to, and expanded, other revenue sources, including its magazine division, book royalties, product licensing, and foreign broadcast income.[12] Sesame Street's curriculum has expanded to include more affective topics such as relationships, ethics, and emotions. Many of the show's storylines were taken from the experiences of its writing staff, cast, and crew, most notably, the 1982 death of Will Lee—who played Mr. Hooper[13]—and the marriage of Luis and Maria in 1988.[14]
In recent years[when?] Sesame Street has faced societal and economic challenges, including changes in viewing habits of young children, competition from other shows, the development of cable television, and a drop in ratings.[15] After the turn of the 21st century, Sesame Street made major structural changes. For example, starting in 2002, its format became more narrative and included ongoing storylines. After its thirtieth anniversary in 1999 and due to the popularity of the Muppet Elmo, the show also incorporated a popular segment known as "Elmo's World".[16] Upon its fortieth anniversary in 2009, the show received a Lifetime Achievement Emmy at the 36th Daytime Emmy Awards.[17]
On August 13, 2015, as part of a five-year programming and development deal, Sesame Workshop announced that first-run episodes of Sesame Street would move to premium television service HBO beginning with season 46, which premiered on January 16, 2016.[2] HBO will hold first-run rights to all newer episodes of the series, after which they will air on PBS member stations following a nine-month exclusivity window, with no charge to the stations for airing the content.[18] The agreement also gives HBO exclusive rights to stream past and future Sesame Street episodes on HBO Go and HBO Now – assuming those rights from Amazon Video and Netflix; on August 14, Sesame Workshop announced that it would phase out its in-house subscription streaming service, Sesame Go, as a standalone service; the service will remain in operation, likely with its offerings reduced to a slate content available for free or serving as a portal for Sesame Street's website.[19] The deal came in the wake of cutbacks that had affected the series in recent years, the changing viewer habits of American children in the previous ten years, and Sesame Workshop's dependence upon revenue from DVD sales.[20][21]
In April 2017, Sesame Street introduced Julia, a new Muppet who has autism, performed by Stacey Gordon, who has a son on the autism spectrum.[22]
Format[edit]
Main article: Format of Sesame Street
From its first episode, Sesame Street has structured its format by using "a strong visual style, fast-moving action, humor, and music," as well as animation and live-action short films.[23] When Sesame Street premiered, most researchers believed that young children did not have long attention spans, therefore the new show's producers were concerned that an hour-long show would not hold their audience's attention. At first, the show's "street scenes"—the action taking place on its set—consisted of character-driven interactions and were not written as ongoing stories. Instead, they consisted of individual, curriculum-based segments which were interrupted by "inserts" consisting of puppet sketches, short films, and animations. This structure allowed the producers to use a mixture of styles and characters, and to vary the show's pace. By season 20, research had shown that children were able to follow a story, and the street scenes, while still interspersed with other segments, became evolving storylines.[24][25]
"We basically deconstructed the show. It's not a magazine format anymore. It's more like the Sesame hour. Children will be able to navigate through it easier."
—Executive producer Arlene Sherman, speaking of the show's restructuring in 2002[26]
Upon recommendations by child psychologists, the producers initially decided that the show's human actors and Muppets would not interact because they were concerned it would confuse young children.[27] When the CTW tested the appeal of the new show, they found that although children paid attention to the shows during the Muppet segments, their interest was lost during the "Street" segments.[28] The producers requested that Henson and his team create Muppets such as Big Bird and Oscar the Grouch to interact with the human actors, and the Street segments were re-shot.[29][30] Sesame Street's format remained intact until the show's later decades, when the changing audience required that producers move to a more narrative format. In 1998, the popular segment "Elmo's World", a 15-minute-long segment hosted by the Muppet Elmo, was created.[31] Starting in 2014, during the show's 45th season, the producers introduced a bonus half-hour version of the program. The new version, which complemented the full-hour series, was both broadcast weekday afternoons and streamed on the internet.[32]
Educational goals[edit]
Main article: Educational goals of Sesame Street
As author Malcolm Gladwell has stated, "Sesame Street was built around a single, breakthrough insight: that if you can hold the attention of children, you can educate them".[33] Gerald S. Lesser, the CTW's first advisory board chair, went even further, saying that the effective use of television as an educational tool needed to capture, focus, and sustain children's attention.[34] Sesame Street was the first children's show to structure each episode, and the segments within them, to capture children's attention, and to make, as Gladwell put it, "small but critical adjustments" to keep it.[35] According to CTW researchers Rosemarie Truglio and Shalom Fisch, Sesame Street was one of the few children's television programs to utilize a detailed and comprehensive educational curriculum, garnered from formative and summative research.[36]
The creators of Sesame Street and their researchers formulated both cognitive and affective goals for the show. Initially, they focused on cognitive goals, while addressing affective goals indirectly, in the belief that doing so would increase children's self-esteem and feelings of competency.[37][38] One of their primary goals was preparing very young children for school, especially children from low-income families,[39] using modeling,[40] repetition,[41] and humor[34] to fulfill these goals. They made changes in the show's content to increase their viewers' attention and to increase its appeal,[42] and encouraged "co-viewing" to entice older children and parents to watch the show by including more sophisticated humor, cultural references, and celebrity guest appearances.[43]
After Sesame Street's first season, its critics forced its producers and researchers to address more overtly such affective goals as social competence, tolerance of diversity, and nonaggressive ways of resolving conflict. These issues were addressed through interpersonal disputes among its Street characters.[44] During the 1980s, the show incorporated the real-life experiences of the show's cast and crew, including the death of Will Lee (Mr. Hooper) and the pregnancy of Sonia Manzano (Maria) to address affective concerns.[13] In later seasons, Sesame Street addressed real-life disasters such as the September 11 terrorist attacks and Hurricane Katrina.[45]
The show's goals for outreach were addressed through a series of programs that first focused on promotion and then, after the first season, on the development of educational materials used in preschool settings. Innovative programs were developed because their target audience, children and their families in low-income, inner-city homes, did not traditionally watch educational programs on television and because traditional methods of promotion and advertising were not effective with these groups.[46]
Funding[edit]
As a result of Cooney's initial proposal in 1968, the Carnegie Institute awarded her an $8 million ($53 million in 2017 dollars)[4] grant to create a new children's television program and establish the CTW,[5][47] renamed in June 2000 to Sesame Workshop (SW).[48] Cooney and Morrisett procured additional multimillion-dollar grants from the U.S. federal government, The Arthur Vining Davis Foundations, CPB, and the Ford Foundation.[3] Davis reported that Cooney and Morrisett decided that if they did not procure full funding from the beginning, they would drop the idea of producing the show.[49] As Lesser reported, funds gained from a combination of government agencies and private foundations protected them from the economic pressures experienced by commercial broadcast television networks, but created challenges in procuring future funding.[50]
After Sesame Street's initial success, its producers began to think about its survival beyond its development and first season and decided to explore other funding sources. From the first season, they understood that the source of their funding, which they considered "seed" money, would need to be replaced.[51] The 1970s were marked by conflicts between the CTW and the federal government; in 1978, the U.S. Department of Education refused to deliver a $2 million check until the last day of CTW's fiscal year. As a result, the CTW decided to depend upon licensing arrangements with toy companies and other manufacturers, publishing, and international sales for their funding.[12]
In 1998, the CTW accepted corporate sponsorship to raise funds for Sesame Street and other projects. For the first time, they allowed short advertisements by indoor playground manufacturer Discovery Zone, their first corporate sponsor, to air before and after each episode. Consumer advocate Ralph Nader, who had previously appeared on Sesame Street, called for a boycott of the show, saying that the CTW was "exploiting impressionable children".[6]
Production[edit]
Research[edit]
Main article: Sesame Street research
Producer Joan Ganz Cooney has stated, "Without research, there would be no Sesame Street".[52] In 1967, when Cooney and her team began to plan the show's development, combining research with television production was, as she put it, "positively heretical".[52] Shortly after creating Sesame Street, its producers began to develop what came to be called "the CTW model", a system of planning, production, and evaluation that did not fully emerge until the end of the show's first season.[53][note 2] According to Morrow, the CTW model consisted of four parts: "the interaction of receptive television producers and child science experts, the creation of a specific and age-appropriate curriculum, research to shape the program directly, and independent measurement of viewers' learning".[53]
Cooney credited the show's high standard in research procedures to Harvard professors Gerald S. Lesser, whom the CTW hired to design the show's educational objectives, and Edward L. Palmer, who was responsible for conducting the show's formative research and for bridging the gap between the show's producers and researchers.[54] The CTW conducted research in two ways: in-house formative research that informed and improved production,[55] and independent summative evaluations, conducted by the Educational Testing Service (ETS) during the show's first two seasons, which measuring its educational effectiveness.[7] Cooney stated, "From the beginning, we—the planners of the project—designed the show as an experimental research project with educational advisers, researchers, and television producers collaborating as equal partners".[56] Cooney also described the collaboration as an "arranged marriage".[52]
Writing[edit]
Sesame Street has used many writers in its long history. As Dave Connell, one of Sesame Street's original producers, has stated, it was difficult to find adults who could identify a preschooler's interest level. Fifteen writers a year worked on the show's scripts, but very few lasted longer than one season. Norman Stiles, head writer in 1987, reported that most writers would "burn out" after writing about a dozen scripts.[13] According to Gikow, Sesame Street went against the convention of hiring teachers to write for the show, as most educational television programs did at the time. Instead, Cooney and the producers felt that it would be easier to teach writers how to interpret curriculum than to teach educators how to write comedy.[57] As Stone stated, "Writing for children is not so easy".[57] Long-time writer Tony Geiss agreed, stating in 2009, "It's not an easy show to write. You have to know the characters and the format and how to teach and be funny at the same time, which is a big, ambidextrous stunt".[58]
The Kaufman Astoria Studios, where Sesame Street is taped.
The show's research team developed an annotated document, or "Writer's Notebook", which served as a bridge between the show's curriculum goals and script development.[59] The notebook was a compilation of programming ideas designed to teach specific curriculum points,[60] provided extended definitions of curriculum goals, and assisted the writers and producers in translating the goals into televised material.[61] Suggestions in the notebook were free of references to specific characters and contexts on the show so that they could be implemented as openly and flexibly as possible.[62]
The research team, in a series of meetings with the writers, also developed "a curriculum sheet" that described the show's goals and priorities for each season. After receiving the curriculum focus and goals for the season, the writers met to discuss ideas and story arcs for the characters, and an "assignment sheet" was created that suggested how much time was allotted for each goal and topic.[59][63] When a script was completed, the show's research team analyzed it to ensure that the goals were met. Then each production department met to determine what each episode needed in terms of costumes, lights, and sets. The writers were present during the show's taping, which for the first twenty-four years of the show took place in Manhattan, and after 1992, at the Kaufman Astoria Studios in Queens to make last-minute revisions when necessary.[64][65][66][note 3]
Media[edit]
Main articles: Sesame Workshop funding sources, Music of Sesame Street, and International co-productions of Sesame Street
Early in their history Sesame Street and the CTW began to look for alternative funding sources and turned to creating products and writing licensing agreements. They became, as Cooney put it, "a multiple-media institution".[67] In 1970, the CTW created a "non-broadcast" division responsible for creating and publishing books and Sesame Street Magazine.[68] They decided that all materials their licensing program created would "underscore and amplify"[69] the show's curriculum. In 2004, over 68% of Sesame Street's revenue came from licenses and products such as toys and clothing.[70][71] By 2008, the Sesame Street Muppets accounted for between $15 million and $17 million per year in licensing and merchandising fees, split between the Sesame Workshop and The Jim Henson Company.[72]
Jim Henson, the creator of the Muppets, owned the trademarks to those characters, and was reluctant to market them at first. He agreed when the CTW promised that the profits from toys, books, computer games, and other products were to be used exclusively to fund the CTW and its outreach efforts.[51][73] Even though Cooney and the CTW had very little experience with marketing, they demanded complete control over all products and product decisions.[74] Any product line associated with the show had to be educational and inexpensive, and could not be advertised during the show's airings.[75] As Davis reported, "Cooney stressed restraint, prudence, and caution" in their marketing and licensing efforts.[75]
Director Jon Stone, talking about the music of Sesame Street, said: "There was no other sound like it on television".[76] For the first time in children's television, the show's songs fulfilled a specific purpose and supported its curriculum.[77] In order to attract the best composers and lyricists, the CTW allowed songwriters like Sesame Street's first musical director Joe Raposo to retain the rights to the songs they wrote, which earned them lucrative profits and helped the show sustain public interest.[78] By 1991, Sesame Street and its songwriters had received eight Grammys.[79]
Sesame Street used animations and short films commissioned from outside studios,[80] interspersed throughout each episode, to help teach their viewers basic concepts like numbers and letters.[81] Jim Henson was one of the many producers to create short films for the show.[82] Shortly after Sesame Street debuted in the United States, the CTW was approached independently by producers from several countries to produce versions of the show at home. These versions came to be called "co-productions".[83] By 2001 there were over 120 million viewers of all international versions of Sesame Street,[84] and in 2006, there were twenty co-productions around the world.[85] By the show's 40th anniversary in 2009, Sesame Street was broadcast in more than 140 countries.[86] In 2005, Doreen Carvajal of The New York Times reported that income from the co-productions and international licensing accounted for $96 million.[70]
Cast, crew and characters[edit]
Main articles: Sesame Street characters and List of guest stars on Sesame Street
Jim Henson, creator of the Muppets, in 1989
Caroll Spinney with Oscar the Grouch
Shortly after the CTW was created in 1968, Joan Ganz Cooney was named its first executive director. She was one of the first female executives in American television. Her appointment was called "one of the most important television developments of the decade".[87] She assembled a team of producers, all of whom had previously worked on Captain Kangaroo. Jon Stone was responsible for writing, casting, and format; Dave Connell took over animation; and Sam Gibbon served as the show's chief liaison between the production staff and the research team.[88] Cameraman Frankie Biondo worked on Sesame Street from its first episode.[89]
Jim Henson and the Muppets' involvement in Sesame Street began when he and Cooney met at one of the curriculum planning seminars in Boston. Author Christopher Finch reported that Stone, who had worked with Henson previously, felt that if they could not bring him on board, they should "make do without puppets".[5] Henson was initially reluctant, but he agreed to join Sesame Street to meet his own social goals. He also agreed to waive his performance fee for full ownership of the Sesame Street Muppets and to split any revenue they generated with the CTW.[72] As Morrow stated, Henson's puppets were a crucial part of the show's popularity and it brought Henson national attention.[90] Davis reported that Henson was able to take "arcane academic goals" and translate them to "effective and pleasurable viewing".[91] In early research, the Muppet segments of the show scored high, and more Muppets were added during the first few seasons. Morrow reported that the Muppets were effective teaching tools because children easily recognized them, they were stereotypical and predictable, and they appealed to adults and older siblings.[92]
"Sesame Street is best known for the creative geniuses it attracted, people like Jim Henson and Joe Raposo and Frank Oz, who intuitively grasped what it takes to get through to children. They were television's answer to Beatrix Potter or L. Frank Baum or Dr. Seuss."
—Author Malcolm Gladwell, The Tipping Point[93]
Although the producers decided against depending upon a single host for Sesame Street, instead casting a group of ethnically diverse actors,[94] they realized that a children's television program needed to have, as Lesser put it, "a variety of distinctive and reliable personalities",[95] both human and Muppet. Jon Stone, whose goal was to cast white actors in the minority,[13] was responsible for hiring the show's first cast. He did not audition actors until Spring 1969, a few weeks before the five test shows were due to be filmed. Stone videotaped the auditions, and Ed Palmer took them out into the field to test children's reactions. The actors who received the "most enthusiastic thumbs up" were cast.[96] For example, Loretta Long was chosen to play Susan when the children who saw her audition stood up and sang along with her rendition of "I'm a Little Teapot".[96][97] As Stone said, casting was the only aspect of the show that was "just completely haphazard".[69] Most of the cast and crew found jobs on Sesame Street through personal relationships with Stone and the other producers.[69]
According to the CTW's research, children preferred watching and listening to other children more than to puppets and adults, so they included children in many scenes.[98] Dave Connell insisted that no child actors be used,[99] so these children were nonprofessionals, unscripted, and spontaneous. Many of their reactions were unpredictable and difficult to control, but the adult cast learned to handle the children's spontaneity flexibly, even when it resulted in departures from the planned script or lesson.[100] CTW research also revealed that the children's hesitations and on-air mistakes served as models for viewers.[101] According to Morrow, this resulted in the show having a "fresh quality", especially in its early years.[99] Children were also used in the voice-over commentaries of most of the live-action films the CTW produced.
Reception[edit]
Main article: Influence of Sesame Street
Ratings[edit]
When Sesame Street premiered in 1969, it aired on only 67.6% of American televisions, but it earned a 3.3 Nielsen rating, which totaled 1.9 million households.[102] By the show's tenth anniversary in 1979, nine million American children under the age of 6 were watching Sesame Street daily. According to a 1993 survey conducted by the U.S. Department of Education, out of the show's 6.6 million viewers, 2.4 million kindergartners regularly watched it. 77% of preschoolers watched it once a week, and 86% of kindergartners and first- and second-grade students had watched it once a week before starting school. The show reached most young children in almost all demographic groups.[103]
The show's ratings significantly decreased in the early 1990s, resulting from changes in children's viewing habits and in the television marketplace. The producers responded by making large-scale structural changes to the show.[104] By 2006, Sesame Street had become "the most widely viewed children's television show in the world", with 20 international independent versions and broadcasts in over 120 countries.[9] A 1996 survey found that 95% of all American preschoolers had watched the show by the time they were three years old.[105] In 2008, it was estimated that 77 million Americans had watched the series as children.[9] By the show's 40th anniversary in 2009, it was ranked the fifteenth-most-popular children's show on television.[106]
Influence[edit]
Main article: Sesame Street research § Summative research
As of 2001, there were over 1,000 research studies regarding Sesame Street's efficacy, impact, and effect on American culture.[54] The CTW solicited the Educational Testing Service (ETS) to conduct summative research on the show.[107] ETS's two "landmark"[108] summative evaluations, conducted in 1970 and 1971, demonstrated that the show had a significant educational impact on its viewers.[109] These studies have been cited in other studies of the effects of television on young children.[108][note 4] Additional studies conducted throughout Sesame Street's history demonstrated that the show continued to have a positive effect on its young viewers.[note 5]
"Sesame Street [is] perhaps the most vigorously researched, vetted, and fretted-over program on the planet. It would take a fork-lift to now to haul away the load of scholarly paper devoted to the series..."
—Author Michael Davis[110]
Lesser believed that Sesame Street research "may have conferred a new respectability upon the studies of the effects of visual media upon children".[111] He also believed that the show had the same effect on the prestige of producing shows for children in the television industry.[111] Historian Robert Morrow, in his book Sesame Street and the Reform of Children's Television, which chronicled the show's influence on children's television and on the television industry as a whole, reported that many critics of commercial television saw Sesame Street as a "straightforward illustration for reform".[112] Les Brown, a writer for Variety, saw in Sesame Street "a hope for a more substantial future" for television.[112]
Morrow reported that the networks responded by creating more high-quality television programs, but that many critics saw them as "appeasement gestures".[113] According to Morrow, despite the CTW Model's effectiveness in creating a popular show, commercial television "made only a limited effort to emulate CTW's methods", and did not use a curriculum or evaluate what children learned from them.[114] By the mid-1970s, commercial television abandoned their experiments with creating better children's programming.[115] Other critics hoped that Sesame Street, with its depiction of a functioning, multicultural community, would nurture racial tolerance in its young viewers.[116] It was not until the mid-1990s when a children's television educational program, Blue's Clues, used the CTW's methods to create and modify their content. The creators of Blue's Clues were influenced by Sesame Street, but wanted to use research conducted in the 30 years since its debut. Angela Santomero, one of its producers, said, "We wanted to learn from Sesame Street and take it one step further".[117]
As critic Richard Roeper has stated, perhaps one of the strongest indicators of the influence of Sesame Street has been the enduring rumors and urban legends surrounding the show and its characters, especially those concerning Bert and Ernie.[118]
Critical reception[edit]
Sesame Street was praised from its debut in 1969. Newsday reported that several newspapers and magazines had written "glowing" reports about the CTW and Cooney.[102] The press overwhelmingly praised the new show; several popular magazines and niche magazines lauded it.[119] In 1970, Sesame Street won twenty awards, including a Peabody Award, three Emmys, an award from the Public Relations Society of America, a Clio, and a Prix Jeunesse.[120] By 1995, the show had won two Peabody Awards and four Parents' Choice Awards. In addition, it was the subject of retrospectives at the Smithsonian Institution and the Museum of Modern Art.[43]
"Sesame Street is...with lapses, the most intelligent and important program in television. That is not anything much yet."
—Renata Adler, The New Yorker, 1972[121]
Sesame Street was not without its detractors, however. In May 1970, the state commission in Mississippi, the state Henson was actually from, that operated the state's PBS member station voted to not air Sesame Street because of its "highly integrated cast of children" which "the commission members felt ... Mississippi was not yet ready for".[122] According to Children and Television, Lesser's account of the development and early years of Sesame Street, there was little criticism of the show in the months following its premiere, but it increased at the end of its first season and beginning of the second season.[123][note 6] Historian Robert W. Morrow speculated that much of the early criticism, which he called "surprisingly intense",[124] stemmed from cultural and historical reasons in regards to, as he put it, "the place of children in American society and the controversies about television's effects on them".[124]
According to Morrow, the "most important" studies finding negative effects of Sesame Street were conducted by educator Herbert A. Sprigle and psychologist Thomas D. Cook during its first two seasons.[125] Social scientist and Head Start Program founder Urie Bronfenbrenner criticized the show for being too wholesome.[126] Psychologist Leon Eisenberg saw Sesame Street's urban setting as "superficial" and having little to do with the problems confronted by the inner-city child.[127] Head Start director Edward Zigler was probably Sesame Street's most vocal critic in the show's early years.[128]
In spite of their commitment to multiculturalism, the CTW experienced conflicts with the leadership of minority groups, especially Latino groups and feminists, who objected to Sesame Street's depiction of Latinos and women.[129] The CTW took steps to address their objections. By 1971, the CTW hired Hispanic actors, production staff, and researchers, and by the mid-1970s, Morrow reported that "the show included Chicano and Puerto Rican cast members, films about Mexican holidays and foods, and cartoons that taught Spanish words".[130] As The New York Times has stated, creating strong female characters "that make kids laugh, but not...as female stereotypes" has been a challenge for the producers of Sesame Street.[131] According to Morrow, change regarding how women and girls were depicted on Sesame Street occurred slowly.[132] As more female Muppets performers like Fran Brill, Pam Arciero, Carmen Osbahr, Stephanie D'Abruzzo, Jennifer Barnhart, and Leslie Carrara-Rudolph were hired and trained, stronger female characters like Rosita and Abby Cadabby were created.[133]
Sesame Workshop CEO Gary Knell, Executive Vice-President Terry Fitzpatrick, and puppeteer Kevin Clash (with Elmo) at the 69th Annual Peabody Awards, in 2010
In 2002, Sesame Street was ranked No. 27 on TV Guide's 50 Greatest TV Shows of All Time.[134] It also won another Peabody Award in 2009 for sesamestreet.org.[135] In 2013, TV Guide ranked the series No. 30 on its list of the 60 Best Series.[136] As of 2016, Sesame Street has received 167 Emmy Awards, more than any other television series.[137]
See also[edit]
International co-productions of Sesame Street
List of awards and nominations received by Sesame Street
List of human Sesame Street characters
Pop culture influenced by Sesame Street
Sesame Street (comic strip)
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Notes[edit]
Jump up ^ Season 44 (2013–2014) was the first time episodes were numbered in a seasonal order rather than the numerical and chronological fashion used since the show premiered. For example, episode 4401 means "the first episode of the 44th season", not "the 4401st episode" (it is in fact the 4328th episode).
Jump up ^ See Gikow, p. 155, for a visual representation of the CTW model.
Jump up ^ Most of the first season was filmed at a studio near Broadway, but a strike forced their move to Teletape Studios. In the early days, the set was simple, consisting of four structures (Gikow, pp. 66–67). In 1982, Sesame Street began filming at Unitel Studios on 57th Street, but relocated to Kaufman Astoria Studios in 1993, when the producers decided they needed more space (Gikow, pp. 206–207).
Jump up ^ According to Edward Palmer and his colleague Shalom M. Fisch, these studies were responsible for securing funding for the show over the next several years.[109]
Jump up ^ See Gikow, pp. 284–285; "G" Is for Growing: Thirty Years of Research on Children and Sesame Street, pp. 147–230.
Jump up ^ See Lesser, pp. 175–201 for his response to the early critics of Sesame Street.
References[edit]
Jump up ^ Linton, Caroline. "'Sesame Street' Turns 45: 14 Most Controversial Moments." AM New York. November 2014. Accessed July 20, 2017. http://www.amny.com/entertainment/sesame-street-turns-45-14-most-controversial-moments-1.9601111
^ Jump up to: a b "Big Bird, Elmo and Cookie Monster Are Back as Sesame Street Debuts Its 46th Season Saturday, January 16th, 2016 on HBO" (PDF). Sesame Workshop. November 24, 2015. Retrieved November 24, 2015.
^ Jump up to: a b Davis, p. 8
^ Jump up to: a b Federal Reserve Bank of Minneapolis Community Development Project. "Consumer Price Index (estimate) 1800–". Federal Reserve Bank of Minneapolis. Retrieved January 2, 2018.
^ Jump up to: a b c Finch, p. 53
^ Jump up to: a b Brooke, Jill (1998-11-13). "'Sesame Street' Takes a Bow to 30 Animated Years". The New York Times. Retrieved 2010-10-09.
^ Jump up to: a b Palmer & Fisch in Fisch & Truglio, p. 9
Jump up ^ "Ten Controversial 'Sesame Street' Moments." Desert News. November 2014. Accessed July 20, 2017. http://www.deseretnews.com/article/865614987/10-controversial-Sesame-Street-moments.html
^ Jump up to: a b c Friedman, Michael Jay (2006-04-08). "Sesame Street Educates and Entertains Internationally" (PDF). America.gov. U.S. Department of State Bureau of International Information Programs. Archived from the original (PDF) on 2007-08-15. Retrieved 2008-10-09.
Jump up ^ Gikow, p. 26
Jump up ^ Davis, p. 220
^ Jump up to: a b O'Dell, pp. 73–74
^ Jump up to: a b c d Hellman, Peter (1987-11-23). "Street Smart: How Big Bird & Company Do It". New York Magazine. 20 (46): 52. ISSN 0028-7369. Retrieved 2009-08-11.
Jump up ^ Borgenicht, p. 80
Jump up ^ Davis, p. 320
Jump up ^ Goodman, Tim (2002-02-04). "Word on the 'Street'". San Francisco Chronicle. Retrieved 2008-10-09.
Jump up ^ 36th Daytime Emmy Awards. The CW.
Jump up ^ Frank Pallotta; Brian Stelter (August 13, 2015). "'Sesame Street' is heading to HBO". CNN Money. Time Warner. Retrieved August 13, 2015.
Jump up ^ Brian Fung (August 14, 2015). "Sesame Street is killing off its subscription streaming service, Sesame Go". The Washington Post. Graham Media Group. Retrieved August 15, 2015.
Jump up ^ "'Sesame Street' to Air First on HBO for Next 5 Seasons". The New York Times. The New York Times Company. August 13, 2015. Retrieved August 13, 2015.
Jump up ^ Brian Steinberg (August 13, 2015). "HBO Picks Up 'Sesame Street' As Kids' Viewing Habits Change". Variety. Penske Media Corporation. Retrieved August 14, 2015.
Jump up ^ "Sesame Street welcomes Julia, a muppet with autism". BBC News. March 20, 2017.
Jump up ^ O'Dell, p. 70
Jump up ^ Morrow, p. 87
Jump up ^ Gikow, p. 179
Jump up ^ Goodman, Tim (2002-02-04). "Word on the 'Street': Classic Children's Show to Undergo Structural Changes This Season". San Francisco Chronicle. Retrieved 2011-05-25.
Jump up ^ Fisch & Bernstein in Fisch & Truglio, p. 39
Jump up ^ Gladwell, p. 105
Jump up ^ Gladwell, p. 106
Jump up ^ Fisch & Bernstein in Fisch & Truglio, pp. 39–40
Jump up ^ Clash, p. 75
Jump up ^ Dockterman, Eliana (June 18, 2014). "We're Getting a Half-Hour Version of Sesame Street". Time Magazine. Retrieved February 13, 2015.
Jump up ^ Gladwell, p. 100
^ Jump up to: a b Lesser, p. 116
Jump up ^ Gladwell, p. 91
Jump up ^ Fisch, Shalom M.; Rosemarie T. Truglio (2001). "Why Children Learn from Sesame Street". In Shalom M. Fisch & Rosemarie T. Truglio. "G" is for Growing: Thirty Years of Research on Children and Sesame Street. Mahweh, New Jersey: Lawrence Erlbaum Publishers. p. 234. ISBN 0-8058-3395-1. CS1 maint: Uses editors parameter (link)
Jump up ^ Morrow, p. 76
Jump up ^ Morrow, p. 106
Jump up ^ Lesser, p. 46
Jump up ^ Lesser, pp. 86–87
Jump up ^ Lesser, p. 107
Jump up ^ Lesser, p. 87
^ Jump up to: a b Hymowitz, Kay S. (Autumn 1995). "On Sesame Street, It's All Show". City Journal. New York. Retrieved 2008-12-18.
Jump up ^ Huston, Aletha C; Daniel R. Anderson; John C. Wright; Deborah Linebarger; Kelly L. Schmidt (2001). ""Sesame Street Viewers as Adolescents: The Recontact Study". In Shalom M. Fisch & Rosemarie T. Truglio. "G" is for Growing: Thirty Years of Research on Children and Sesame Street. Mahweh, New Jersey: Lawrence Erlbaum Publishers. p. 133. ISBN 0-8058-3395-1. CS1 maint: Uses editors parameter (link)
Jump up ^ Gikow, p. 165
Jump up ^ Gikow, p. 181
Jump up ^ Palmer & Fisch in Fisch & Truglio, p. 3
Jump up ^ "Joan Ganz Cooney". Sesameworkshop.org.
Jump up ^ Davis, p. 105
Jump up ^ Lesser, p. 17
^ Jump up to: a b Davis, p. 203
^ Jump up to: a b c Cooney in Fisch & Truglio, p. xi
^ Jump up to: a b Morrow, p. 68
^ Jump up to: a b Cooney in Fisch & Truglio, p. xii
Jump up ^ Mielke in Fisch & Truglio, pp. 84–85
Jump up ^ Borgenicht, p. 9
^ Jump up to: a b Gikow, p. 178
Jump up ^ Gikow, p. 174
^ Jump up to: a b Lesser, p. 101
Jump up ^ Morrow, p. 82
Jump up ^ Palmer & Fisch in Fisch & Truglio, p. 10
Jump up ^ Palmer & Fisch in Fisch & Truglio, p. 11
Jump up ^ Lesser, Gerald S.; Joel Schneider (2001). "Creation and Evolution of the Sesame Street Curriculum". In Shalom M. Fisch & Rosemarie T. Truglio. "G" is for Growing: Thirty Years of Research on Children and Sesame Street. Mahweh, New Jersey: Lawrence Erlbaum Publishers. p. 28. ISBN 0-8058-3395-1. CS1 maint: Uses editors parameter (link)
Jump up ^ Murphy, Tim (2009-11-01). "How We Got to 'Sesame Street'". New York Magazine. Retrieved 2011-08-23.
Jump up ^ "How to Get to 'Sesame Street' at the Apollo Theater". New York City Mayor's Office. 2008-11-19. Retrieved 2009-08-07.
Jump up ^ Spinney, Caroll; Jason Milligan (2003). The Wisdom of Big Bird (and the Dark Genius of Oscar the Grouch): Lessons from a Life in Feathers. New York: Random House. p. 3. ISBN 0-375-50781-7.
Jump up ^ Cherow-O'Leary in Fisch & Truglio, p. 197
Jump up ^ Cherow-O'Leary in Fisch & Truglio, pp. 197–198
^ Jump up to: a b c Davis, p. 167
^ Jump up to: a b Carvajal, Doreen (2005-12-12). "Sesame Street Goes Global: Let's All Count the Revenue". The New York Times. Retrieved 2009-06-10.
Jump up ^ See Gikow, pp. 280–285 for a list of many of the show's products.
^ Jump up to: a b Davis, p. 5
Jump up ^ Gikow, p. 268
Jump up ^ Davis, p. 205
^ Jump up to: a b Davis, p. 204
Jump up ^ Gikow, p. 220
Jump up ^ Gikow, p. 227
Jump up ^ Davis, p. 256
Jump up ^ Kohn, Martin F (1991-03-08). "Grammy's Greatest (Children's) Hits". Entertainment Weekly (56): 18. Retrieved 2009-07-08.
Jump up ^ Gikow, p. 236
Jump up ^ Morrow, p. 89
Jump up ^ Gikow, p. 246
Jump up ^ Cole et al. in Fisch & Truglio, p. 148
Jump up ^ Cole et al. in Fisch & Truglio, p. 147
Jump up ^ Knowlton, Linda Goldstein and Linda Hawkins Costigan (producers) (2006). The World According to Sesame Street (documentary). Participant Productions.
Jump up ^ Gikow, p. 263
Jump up ^ Davis, pp. 128–129
Jump up ^ Davis, p. 147
Jump up ^ Gikow, p. 15
Jump up ^ Morrow, p. 93
Jump up ^ Davis, p. 163
Jump up ^ Morrow, pp. 94–95
Jump up ^ Gladwell, p. 99
Jump up ^ Lesser, p. 99
Jump up ^ Lesser, p. 125
^ Jump up to: a b Borgenicht, p. 15
Jump up ^ Davis, p. 172
Jump up ^ Lesser, p. 127
^ Jump up to: a b Morrow, p. 84
Jump up ^ Lesser, pp. 127–128
Jump up ^ Gikow, p. 123
^ Jump up to: a b Seligsohn, Leo. (1970-02-09). "Backstage at Sesame Street". New York Newsday. Quoted in Davis, p. 197.
Jump up ^ Zill, Nicholas (2001). "Does Sesame Street Enhance School Readiness? Evidence from a National Survey of Children". "G" is for Growing: Thirty Years of Research on Children and Sesame Street. Mahweh, New Jersey: Lawrence Erlbaum Publishers. pp. 117–120. ISBN 0-8058-3395-1.
Jump up ^ Weiss, Joanna (2005-10-19). "New Character Joins PBS". The Boston Globe. Retrieved 2009-07-06.
Jump up ^ Truglio, Rosemarie T; Shalom M. Fisch (2001). "Introduction". In Shalom M. Fisch & Rosemarie T. Truglio. "G" is for Growing: Thirty Years of Research on Children and Sesame Street. Mahweh, New Jersey: Lawrence Erlbaum Publishers. p. xvi. ISBN 0-8058-3395-1. CS1 maint: Uses editors parameter (link)
Jump up ^ Guernsey, Lisa (2009-05-23). "'Sesame Street': The Show That Counts". Newsweek. Retrieved 2009-08-18.
Jump up ^ Mielke in Fisch & Truglio, p. 85
^ Jump up to: a b Mielke in Fisch & Truglio, p. 88
^ Jump up to: a b Palmer & Fisch in Fisch & Truglio, p. 20
Jump up ^ Davis, p. 357
^ Jump up to: a b Lesser, p. 235
^ Jump up to: a b Morrow, p. 122
Jump up ^ Morrow, p. 127
Jump up ^ Morrow, p. 130
Jump up ^ Morrow, p. 132
Jump up ^ Morrow, p. 124
Jump up ^ Gladwell, p. 111
Jump up ^ Roeper, Richard (2001). Hollywood Urban Legends: The Truth Behind All Those Delightfully Persistent Myths of Film, Television and Music. Franklin Lakes, New Jersey: Career Press. pp. 48–53. ISBN 1-56414-554-9.
Jump up ^ Morrow, pp. 119–120
Jump up ^ Morrow, p. 119
Jump up ^ Lesser, p. 165
Jump up ^ "Mississippi Agency Votes for a TV Ban on 'Sesame Street'". (1970-05-03). The New York Times. Quoted in Davis, p. 202
Jump up ^ Lesser, pp. 174–175
^ Jump up to: a b Morrow, p. 3
Jump up ^ Morrow, pp. 146–147
Jump up ^ Kanfer, Stefan (1970-11-23). "Who's Afraid of Big, Bad TV?". Time. Retrieved 2009-03-06.
Jump up ^ Morrow, p. 98
Jump up ^ Morrow, p. 147
Jump up ^ Morrow, pp. 157–158
Jump up ^ Morrow, p. 155
Jump up ^ Gikow, p. 142
Jump up ^ Morrow, p. 156
Jump up ^ Gikow, p. 143
Jump up ^ "TV Guide Names Top 50 Shows". CBS News. Associated Press. 2009-02-11. Retrieved 2011-06-19.
Jump up ^ 69th Annual Peabody Awards, May 2010.
Jump up ^ "TV Guide Magazine's 60 Best Series of All Time". 23 December 2013.
Jump up ^ DeMara, Bruce (2016-07-28). "Sesame Street tells veteran cast to hit the road". Toronto Star. Retrieved 2016-09-26.
Works cited[edit]
Borgenicht, David (1998). Sesame Street Unpaved. New York: Hyperion Publishing. ISBN 0-7868-6460-5
Clash, Kevin, Gary Brozek, and Louis Henry Mitchell (2006). My Life as a Furry Red Monster: What Being Elmo has Taught Me About Life, Love and Laughing Out Loud. New York: Random House. ISBN 0-7679-2375-8
Davis, Michael (2008). Street Gang: The Complete History of Sesame Street. New York: Viking Penguin. ISBN 978-0-670-01996-0
Finch, Christopher (1993). Jim Henson: The Works: the Art, the Magic, the Imagination. New York: Random House. ISBN 9780679412038
Fisch, Shalom M. and Rosemarie T. Truglio, Eds. (2001). "G" is for Growing: Thirty Years of Research on Children and Sesame Street. Mahweh, New Jersey: Lawrence Erlbaum Publishers. ISBN 0-8058-3395-1
Cooney, Joan Ganz, "Foreword", pp. xi–xiv.
Palmer, Edward and Shalom M. Fisch, "The Beginnings of Sesame Street Research", pp. 3–24.
Fisch, Shalom M. and Lewis Bernstein, "Formative Research Revealed: Methodological and Process Issues in Formative Research", pp. 39–60.
Mielke, Keith W., "A Review of Research on the Educational and Social Impact of Sesame Street", pp. 83–97.
Cole, Charlotte F., Beth A. Richman, and Susan A. McCann Brown, "The World of Sesame Street Research", pp. 147–180.
Cherow-O'Leary, Renee, "Carrying Sesame Street Into Print: Sesame Street Magazine, Sesame Street Parents, and Sesame Street Books" pp. 197–214.
Gikow, Louise A. (2009). Sesame Street: A Celebration— Forty Years of Life on the Street. New York: Black Dog & Leventhal Publishers. ISBN 978-1-57912-638-4.
Gladwell, Malcolm (2000). The Tipping Point: How Little Things Can Make a Big Difference. New York: Little, Brown, and Company. ISBN 0-316-31696-2
Lesser, Gerald S. (1974). Children and Television: Lessons From Sesame Street. New York: Vintage Books. ISBN 0-394-71448-2
Morrow, Robert W. (2006). Sesame Street and the Reform of Children's Television. Baltimore, Maryland: Johns Hopkins University Press. ISBN 0-8018-8230-3
O'Dell, Cary (1997). Women Pioneers in Television: Biographies of Fifteen Industry Leaders. Jefferson, North Carolina: McFarland & Company. ISBN 0-7864-0167-2.
External links[edit]
Find more aboutSesame Streetat Wikipedia's sister projects
Definitions from Wiktionary
Media from Wikimedia Commons
News from Wikinews
Quotations from Wikiquote
Data from Wikidata
Official website
Sesame Street at Curlie (based on DMOZ)
Sesame Street on PBSKids.org
Sesame Street on IMDb
Sesame Street-related interview videos at the Archive of American Television
Sesame Street on Muppet Wiki, an external wiki
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Fraggle Rock
The Ghost of Faffner Hall
The Hitchhiker
The Kids in the Hall
Maximum Security
Not Necessarily the News
One Night Stand
Philip Marlowe, Private Eye
The Ray Bradbury Theater
The Storyteller
Tales from the Crypt
Video Jukebox
1990s debuts
The Adventures of Tintin
Arliss
The Chris Rock Show
The Country Mouse and the City Mouse Adventures
Crashbox
Def Comedy Jam
Dennis Miller Live
Dream On
George and Martha
Happily Ever After: Fairy Tales for Every Child
HBO Comedy Half-Hour
Hotel Room
The Larry Sanders Show
Lifestories: Families in Crisis
A Little Curious
The Little Lulu Show
Mokku of the Oak Tree
Mr. Show with Bob and David
The Neverending Story
Oz
Perversions of Science
Pippi Longstocking
Rainbow Fish
Reverb
Sex and the City
The Sopranos
Spicy City
Tenacious D
Todd McFarlane's Spawn
Tracey Takes On...
2000s debuts
Animated Tales of the World
Big Love
Bored to Death
Carnivàle
Cathouse: The Series
Classical Baby
Costas Now
Da Ali G Show
Deadwood
Def Poetry Jam
Eastbound & Down
The Electric Company
Entourage
Extras
Flight of the Conchords
G String Divas
Harold and the Purple Crayon
Hung
I Spy
In Treatment
Joe Buck Live
John from Cincinnati
K Street
Kindergarten
KO Nation
The Life & Times of Tim
Little Britain USA
Lucky Louie
The Mind of the Married Man
The No. 1 Ladies' Detective Agency
On the Record with Bob Costas
Pinky Dinky Doo
Pornucopia
Project Greenlight
Rome
Six Feet Under
Stuart Little: The Animated Series
Summer Heights High
Tales from the Neverending Story
Tell Me You Love Me
True Blood
Tourgasm
Unscripted
The Wire
2010s debuts
After the Thrones
Angry Boys
Any Given Wednesday with Bill Simmons
Boardwalk Empire
The Brink
Doll & Em
Enlightened
Family Tree
Funny or Die Presents
Getting On
Girls
Hello Ladies
How to Make It in America
Ja'mie: Private School Girl
Jonah from Tonga
The Leftovers
Life's Too Short
Looking
Luck
Masterclass
The Newsroom
The Ricky Gervais Show
Togetherness
Treme
Vice Principals
Vinyl
Miniseries
All the Rivers Run
Angels in America
Assume the Position with Mr. Wuhl
Band of Brothers
The Casual Vacancy
The Corner
Elizabeth I
Empire Falls
From the Earth to the Moon
Foo Fighters: Sonic Highways
Generation Kill
House of Saddam
The Jinx: The Life and Deaths of Robert Durst
John Adams
Laurel Avenue
Mildred Pierce
The Night Of
Olive Kitteridge
The Pacific
Parade's End
Show Me a Hero
Tanner '88
[show]
Current and upcoming
Current
All Def Comedy (since 2016)
Animals. (since 2016)
Ballers (since 2015)
Big Little Lies (since 2017)
Boxing After Dark (since 1996)
The Comeback (2005; since 2014)
Crashing (since 2017)
Curb Your Enthusiasm (since 2000)
The Deuce (since 2017)
Divorce (since 2016)
Game of Thrones (since 2011)
Hard Knocks (since 2001)
HBO World Championship Boxing (since 1973)
High Maintenance (since 2016)
Insecure (since 2016)
Last Week Tonight with John Oliver (since 2014)
Real Sports with Bryant Gumbel (since 1995)
Real Time with Bill Maher (since 2003)
Room 104 (since 2017)
Sesame Street (since 2016)
Silicon Valley (since 2014)
Tracey Ullman's Show (since 2016)
True Detective (since 2014)
Veep (since 2012)
Vice (since 2013)
Vice News Tonight (since 2016)
Westworld (since 2016)
The Young Pope (since 2017)
Upcoming
American Lion (TBA)
Barry (2018)
Confederate (TBA)
Esme and Roy (TBA)
Gentleman Jack (TBA)
Here and Now (2018)
Mosaic (2018)
Sharp Objects (2018)
Succession (2018)
See also
HBO Storybook Musicals
HBO Latin America original series
HBO Canada original series
[show]
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e
The Jim Henson Company
Henson Family
Jim Henson
Jane Henson
Lisa Henson
Cheryl Henson
Brian Henson
John Henson
Heather Henson
Major works
The Muppets†
Sesame Street‡
TV series
Fraggle Rock (1983–1987)
Fraggle Rock: The Animated Series (1987–1988)
The Storyteller (1988–1991)
The Jim Henson Hour (1989)
The Ghost of Faffner Hall (1989)
Jim Henson's Mother Goose Stories (1990–1992)
Dinosaurs (1991–1994)
Dog City (1992–1994)
CityKids (1993–1994)
Secret Life of Toys (1994)
Jim Henson's Animal Show (1994–1997)
Aliens in the Family (1996)
The Wubbulous World of Dr. Seuss (1996–1998)
Bear in the Big Blue House † (1997–2006)
Brats of the Lost Nebula (1998)
Farscape (1998–2002)
Construction Site (1999)
Family Rules (1999)
Mopatop's Shop (1999–2005)
The Fearing Mind (2000)
The Hoobs (2001–2003)
Telling Stories with Tomie dePaola (2001)
Animal Jam (2003)
Bambaloo (2003-2007)
Five Minutes More (2006)
Pajanimals (2008, 2011–2013)
Sid the Science Kid (2008–2013)
Dinosaur Train (2009–2017)
Me and My Monsters (2010–2011)
That Puppet Game Show (2013–2014)
The Doozers (2013–2014)
Jim Henson's Creature Shop Challenge (2014)
Hi Opie! (2014–2016)
Splash and Bubbles (2016–present)
Julie's Greenroom (2017–present)
The Dark Crystal: Age of Resistance (2019)
TV specials
The Great Santa Claus Switch (1970)
Emmet Otter's Jug-Band Christmas (1977)
The Christmas Toy (1986)
Monster Maker (1989)
The Song of the Cloud Forest (1989)
Mr. Willowby's Christmas Tree (1995)
Theatrical
films
The Dark Crystal (1982)
Labyrinth (1986)
The Witches (1990)
Buddy (1997)
Rat (2000)
Good Boy! (2003)
Five Children and It (2004)
MirrorMask (2005)
Alexander and the Terrible, Horrible, No Good, Very Bad Day (2014)
The Star (2017)
The Happytime Murders (2018)
Other
projects
Time Piece (1965, short film)
The Cube (1969, teleplay)
Gulliver's Travels (1996, miniseries)
Jack and the Beanstalk: The Real Story (2001, miniseries)
Farscape: The Peacekeeper Wars (2004, miniseries)
The Sam Plenty Cavalcade of Action Show Plus Singing! (2008, web series)
Unstable Fables (2008, DTV film)
Oscar's Hotel for Fantastical Creatures (2015, web series)
Turkey Hollow (2015, TV film)
Henson
Alternative
Puppet Up! (2006–present)
Late Night Liars (2010)
Simian Undercover Detective Squad (2011)
Neil's Puppet Dreams (2012–2013)
No, You Shut Up! (2013–2016)
Good Morning Today (2013–2014)
Divisions
Jim Henson's Creature Shop
Henson Recording Studios
Jim Henson Home Entertainment
Jim Henson Pictures
Jim Henson Records
Jim Henson Television
Related
Jim Henson Company Lot
Jim Henson Foundation
HIT Entertainment
† Sold to The Walt Disney Company in 2004, ‡ Muppet characters only; sold to Sesame Workshop in 2000
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PBS Kids original programming
Former
1960s–1980s debuts
Mister Rogers' Neighborhood (1968–2001)
The Electric Company (1971–1977)
Zoom (1972–1978)
3-2-1 Contact (1980–1988)
Powerhouse (1982–1983)
Reading Rainbow (1983–2006)
Newton's Apple (1983–1999)
Kidsongs (1985–1998)
Square One Television (1987–1992)
Gerbert (1988–1991)
Shining Time Station (1989–1995)
Long Ago and Far Away (1989–1993)
Thomas & Friends (1989–2017)
1990s debuts
Where in the World Is Carmen Sandiego? (1991–1995)
The Big Comfy Couch (1992–2006)
Barney & Friends (1992–2009)
Lamb Chop's Play Along (1992–1997)
Ghostwriter (1992–95)
Kino's Storytime (1992–97)
Tots TV (1993–1998)
Theodore Tugboat (1993–2001)
Bill Nye the Science Guy (1993–1998)
The Adventures of Dudley the Dragon (1993–1999)
Katie and Orbie (1994–2002)
The Magic School Bus (1994–1997)
Globe Trekker (1994–2010)
The Huggabug Club (1995–2000)
The Puzzle Place (1995–1998)
Wimzie's House (1995–1996)
Wishbone (1995–2001)
Groundling Marsh (1995–1997)
Kratts' Creatures (1996)
Where in Time Is Carmen Sandiego? (1996–1997)
Adventures from the Book of Virtues (1996–2000)
In the Mix (1996–2012)
Teletubbies (1997–2001)
Caillou (1997–2010)
The Charlie Horse Music Pizza (1998–1999)
Noddy (1998–2000)
Jay Jay the Jet Plane (1998–2005)
Elmo's World (1998–2009)
Zoom (1999–2005)
Zoboomafoo (1999–2001)
Redwall (1999–2002)
Dragon Tales (1999–2005)
2000s debuts
Between the Lions (2000–2010)
The Dooley and Pals Show (2000–2003)
Clifford the Big Red Dog (2000–2003)
Corduroy (2000–2001)
Elliot Moose (2000–2001)
Marvin the Tap-Dancing Horse (2000–2002)
George Shrinks (2000–2004)
Seven Little Monsters (2000–2004)
Timothy Goes to School (2000–01)
Anne of Green Gables (2001–2002)
Sagwa, the Chinese Siamese Cat (2001–2002)
DragonflyTV (2002–2008)
Angelina Ballerina (2002–2006)
Liberty's Kids (2002–2003)
Make Way for Noddy (2002–2007)
The Berenstain Bears (2003–2004)
Boohbah (2003–2006)
Jakers! The Adventures of Piggley Winks (2003–2007)
Clifford's Puppy Days (2003–2004)
Franny's Feet (2004–2011)
Curiosity Quest (2004–2015)
Peep and the Big Wide World (2004–2011)
Maya & Miguel (2004–2007)
Postcards from Buster (2004–2012)
It's a Big Big World (2005–2010)
Danger Rangers (2005–2006)
The Zula Patrol (2005–2008)
Signing Time! (2006–2008)
Wunderkind Little Amadeus (2006)
Fetch! with Ruff Ruffman (2006–2010)
Curious George (2006–2015)
SeeMore's Playhouse (2006–2008)
Design Squad (2007–2011)
WordGirl (2007–2015)
WordWorld (2007–2011)
Super Why! (2007–2016)
Mama Mirabelle's Home Movies (2007–2008)
Animalia (2007–2008)
Biz Kid$ (2008–2012)
Betsy's Kindergarten Adventures (2008–2009)
Sid the Science Kid (2008–2013)
Martha Speaks (2008–2014)
Lomax, the Hound of Music (2008)
The Electric Company (2009–2011)
Angelina Ballerina: The Next Steps (2009–2010)
Dinosaur Train (2009–2017)
2010s debuts
Mack & Moxy (2016)
Current
Sesame Street (since 1969, second run since 2016)
Arthur (since 1996)
Cyberchase (since 2002)
Bob the Builder (since 2005; aired first-run on Nick Jr. from 2001-04)
SciGirls (since 2010)
The Cat in the Hat Knows a Lot About That! (since 2010)
Wild Kratts (since 2011)
Daniel Tiger's Neighborhood (since 2012)
Peg + Cat (since 2013)
Odd Squad (since 2014)
Nature Cat (since 2015)
Ready Jet Go! (since 2016)
Splash and Bubbles (since 2016)
Upcoming
Pinkalicious & Peterrific (February 19, 2018)
Luna Around the World (Fall 2018)
See also
PBS network shows
Educational television
PBS Kids Bookworm Bunch
PBS Kids Go!
PBS Kids Preschool Block
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Daytime Emmy Award Lifetime Achievement
Charita Bauer, Larry Haines, Mary Stuart (1985)
Pamela Ilott (1986)
Mark Goodson (1990)
William J. Bell (1992)
Douglas Marland (1993)
Dick Clark (1994)
Betty Corday, Ted Corday (1995)
Phil Donahue (1996)
Fred Rogers (1997)
Oprah Winfrey (1998)
Bob Barker (1999)
Barbara Walters (2000)
Ralph Edwards (2001)
John Cannon (2002)
Art Linkletter (2003)
Rachel Ames, John Clark, Jeanne Cooper, Eileen Fulton, Don Hastings, Anna Lee, Ray MacDonnell, Frances Reid, Helen Wagner, Ruth Warrick (2004)
Merv Griffin (2005)
Caroll Spinney (2006)
Lee Phillip Bell, James Lipton (2007)
Regis Philbin (2008)
Sesame Street (2009)
Agnes Nixon (2010)
Pat Sajak, Alex Trebek (2011)
Bill Geddie (2012)
Monty Hall, Bob Stewart (2013)
Russell Morash (2014)
Betty White (2015)
Sonia Manzano (2016)
Mary Hart (2017)
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Daytime Emmy Award for Outstanding Children's Series
Entertainment Children's Series
(1974–1984, retired)
Zoom (1974)
Star Trek: The Animated Series (1975)
The Big Blue Marble (1976)
Zoom (1977)
Captain Kangaroo (1978)
Kids Are People Too (1979)
Hot Hero Sandwich (1980)
Captain Kangaroo / Once Upon a Classic ("A Tale of Two Cities") (1981)
Captain Kangaroo (1982)
Captain Kangaroo / The Smurfs (1983)
Captain Kangaroo / The Smurfs (1984)
Children's Instructional Programming
(1976–1979, retired)
Schoolhouse Rock! (1976)
Sesame Street (1977)
Schoolhouse Rock! (1978)
Schoolhouse Rock! (1979)
Informational Children's Series
(1976–1979, retired)
Go (1976)
The Electric Company (1977)
Animals, Animals, Animals (1978)
The Big Blue Marble (1979)
Children's Informational/Instructional Series
(1980–1984, retired)
Sesame Street / 30 Minutes (1980)
30 Minutes (1981)
30 Minutes (1982)
Sesame Street (1983)
ABC Weekend Specials (1984)
Children's Series
(1985–present)
Sesame Street (1985)
Sesame Street (1986)
Sesame Street (1987)
Sesame Street (1988)
Newton's Apple (1989)
Reading Rainbow (1990)
Sesame Street (1991)
Sesame Street (1992)
Reading Rainbow (1993)
Sesame Street (1994)
Nick News with Linda Ellerbee (1995)
Reading Rainbow (1996)
Reading Rainbow (1997)
Reading Rainbow (1998)
Bill Nye, the Science Guy (1999)
Bill Nye, the Science Guy (2000)
Reading Rainbow (2001)
Reading Rainbow (2002)
Reading Rainbow (2003)
Assignment Discovery (2004)
Reading Rainbow (2005)
Zoom (2006)
Reading Rainbow (2007)
Greatest Inventions with Bill Nye / Jack Hanna's Into the Wild (2008)
From the Top at Carnegie Hall (2009)
The Electric Company (2010)
The Electric Company (2011)
The Electric Company / Jack Hanna's Into the Wild (2012)
R. L. Stine's The Haunting Hour (2013)
R. L. Stine's The Haunting Hour (2014)
R. L. Stine's The Haunting Hour (2015)
Sea Rescue (2016)
Give (2017)
Pre-School Children's Series
(1995–present)
Sesame Street (1995)
Sesame Street (1996)
Sesame Street (1997)
Sesame Street (1998)
Sesame Street (1999)
Sesame Street (2000)
Sesame Street (2001)
Sesame Street (2002)
Sesame Street (2003)
Sesame Street (2004)
Sesame Street (2005)
Sesame Street (2006)
Sesame Street (2007)
Sesame Street (2008)
Between the Lions (2009)
Sesame Street (2010)
Sesame Street (2011)
Sesame Street (2012)
Sesame Street (2013)
Sesame Street (2014)
Dino Dan: Trek’s Adventures (2015)
Sesame Street (2016)
Sesame Street (2017)
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TCA Award for Outstanding Achievement in Youth Programming
Faerie Tale Theatre (1985)
WonderWorks (1986)
Pee-wee’s Playhouse (1987)
Degrassi Junior High (1988)
The Jim Henson Hour (1989)
Jim Henson (1990)
War in the Gulf: Questions & Answers with Peter Jennings (1991)
Peggy Charren – Action for Children’s Television (1992)
Nick News (1993)
Nick News (1994)
Nick News (1995)
Wishbone (1996)
Bill Nye the Science Guy / Wishbone (1997)
Blue’s Clues (1998)
Blue’s Clues (1999)
Between the Lions (2000)
Between the Lions / Sesame Street (2001)
SpongeBob SquarePants (2002)
Reading Rainbow (2003)
Nick News (2004)
Degrassi: The Next Generation (2005)
High School Musical (2006)
Kyle XY (2007)
WordGirl (2008)
Yo Gabba Gabba! (2009)
Yo Gabba Gabba! (2010)
Sesame Street (2011)
Switched at Birth (2012)
Bunheads (2013)
The Fosters (2014)
The Fosters (2015)
Daniel Tiger's Neighborhood (2016)
Speechless (2017)
[show]
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Chuck Jones
Short
subjects
The Night Watchman (1938)
Dog Gone Modern (1939)
Robin Hood Makes Good (1939)
Prest-O Change-O (1939)
Daffy Duck and the Dinosaur (1939)
Naughty but Mice (1939)
Old Glory (1939)
Snowman's Land (1939)
Little Brother Rat (1939)
The Little Lion Hunter (1939)
The Good Egg (1939)
Sniffles and the Bookworm (1939)
The Curious Puppy (1939)
Mighty Hunters (1940)
Elmer's Candid Camera (1940)
Sniffles Takes a Trip (1940)
Tom Thumb in Trouble (1940)
The Egg Collector (1940)
Ghost Wanted (1940)
Stage Fright (1940)
Good Night, Elmer (1940)
Bedtime for Sniffles (1940)
Elmer's Pet Rabbit (1941)
Sniffles Bells the Cat (1941)
Joe Glow, the Firefly (1941)
Porky's Ant (1941)
Toy Trouble (1941)
Porky's Prize Pony (1941)
Inki and the Lion (1941)
Snow Time for Comedy (1941)
The Brave Little Bat (1941)
Saddle Silly (1941)
Porky's Midnight Matinee (1941)
The Bird Came C.O.D. (1942)
Porky's Cafe (1942)
Conrad the Sailor (1942)
Dog Tired (1942)
The Draft Horse (1942)
Hold the Lion, Please (1942)
The Squawkin' Hawk (1942)
Fox Pop (1942)
The Dover Boys (1942)
My Favorite Duck (1942)
Case of the Missing Hare (1942)
Point Rationing of Foods (1943)
To Duck or Not to Duck (1943)
Flop Goes the Weasel (1943)
Super-Rabbit (1943)
The Unbearable Bear (1943)
The Aristo-Cat (1943)
Coming Snafu (1943)
Wackiki Wabbit (1943)
Spies (1943)
The Infantry Blues (1943)
Fin'n Catty (1943)
Inki and the Minah Bird (1943)
Tom Turk and Daffy (1944)
Bugs Bunny and the 3 Bears (1944)
Private Snafu vs. Malaria Mike (1944)
The Weakly Reporter (1944)
A Lecture on Camouflage (1944)
Going Home (1944, unreleased)
Gas (1944)
Angel Puss (1944)
Outpost (1944)
From Hand to Mouse (1944)
Lost and Foundling (1944)
Hell-Bent for Election (1944)
Odor-able Kitty (1945)
In the Aleutians - Isles of Enchantment (1945)
Trap Happy Porky (1945)
It's Murder She Says (1945)
Hare Conditioned (1945)
Fresh Airedale (1945)
No Buddy Atoll (1945)
Hare Tonic (1945)
Secrets of the Caribbean (1945)
Quentin Quail (1946)
Hush My Mouse (1946)
Hair-Raising Hare (1946)
Fair and Worm-er (1946)
Roughly Squeaking (1946)
Scent-imental Over You (1947)
Inki at the Circus (1947)
A Pest in the House (1947)
Little Orphan Airedale (1947)
House Hunting Mice (1948)
A Feather in His Hare (1948)
What's Brewin', Bruin? (1948)
Rabbit Punch (1948)
Haredevil Hare (1948)
You Were Never Duckier (1948)
Daffy Dilly (1948)
My Bunny Lies over the Sea (1948)
Scaredy Cat (1948)
So Much for So Little (1949)
Awful Orphan (1949)
Mississippi Hare (1949)
Mouse Wreckers (1949)
The Bee-Deviled Bruin (1949)
Long-Haired Hare (1949)
Often an Orphan (1949)
Fast and Furry-ous (1949)
Frigid Hare (1949)
For Scent-imental Reasons (1949)
Bear Feat (1949)
Rabbit Hood (1949)
The Scarlet Pumpernickel (1950)
The Ducksters (1950)
Dog Gone South (1950)
8 Ball Bunny (1950)
The Hypo-Chondri-Cat (1950)
Homeless Hare (1950)
Caveman Inki (1950)
Rabbit of Seville (1950)
Two's A Crowd (1950)
Bunny Hugged (1951)
Scentimental Romeo (1951)
A Hound for Trouble (1951)
Rabbit Fire (1951)
Chow Hound (1951)
The Wearing of the Grin (1951)
Cheese Chasers (1951)
A Bear for Punishment (1951)
Drip-Along Daffy (1951)
Operation: Rabbit (1952)
Feed the Kitty (1952)
Little Beau Pepé (1952)
Water, Water Every Hare (1952)
Orange Blossoms for Violet (1952)
Beep, Beep (1952)
The Hasty Hare (1952)
Going! Going! Gosh! (1952)
Mouse Warming (1952)
Rabbit Seasoning (1952)
Terrier Stricken (1952)
Don't Give Up the Sheep (1953)
Forward March Hare (1953)
Kiss Me Cat (1953)
Duck Amuck (1953)
Much Ado About Nutting (1953)
Wild Over You (1953)
Duck Dodgers in the 24½th Century (1953)
Bully for Bugs (1953)
Zipping Along (1953)
Lumber Jack-Rabbit (1953)
Duck! Rabbit, Duck! (1953)
Punch Trunk (1953)
Feline Frame-Up (1954)
No Barking (1954)
The Cat's Bah (1954)
Claws for Alarm (1954)
Bewitched Bunny (1954)
Stop! Look! And Hasten! (1954)
From A to Z-Z-Z-Z (1954)
My Little Duckaroo (1954)
Sheep Ahoy (1954)
Baby Buggy Bunny (1954)
Beanstalk Bunny (1955)
Ready, Set, Zoom! (1955)
Past Perfumance (1955)
Rabbit Rampage (1955)
Double or Mutton (1955)
Jumpin' Jupiter (1955)
Knight-mare Hare (1955)
Two Scent's Worth (1955)
Guided Muscle (1955)
One Froggy Evening (1955)
A Hitch in Time (1955)
90 Days Wondering (1956)
Bugs' Bonnets (1956)
Broom-Stick Bunny (1956)
Rocket Squad (1956)
Heaven Scent (1956)
Gee Whiz-z-z-z-z-z-z (1956)
Barbary Coast Bunny (1956)
Rocket-bye Baby (1956)
Deduce, You Say! (1956)
There They Go-Go-Go! (1956)
To Hare Is Human (1956)
Scrambled Aches (1957)
Ali Baba Bunny (1957)
Go Fly a Kit (1957)
Boyhood Daze (1957)
Steal Wool (1957)
What's Opera, Doc? (1957)
Zoom and Bored (1957)
Touché and Go (1957)
Drafty, Isn't It? (1957)
Robin Hood Daffy (1958)
Hare-Way to the Stars (1958)
Whoa, Be-Gone! (1958)
To Itch His Own (1958)
Hook, Line and Stinker (1958)
Hip Hip-Hurry! (1958)
Cat Feud (1958)
Baton Bunny (1959)
Hot-Rod and Reel! (1959)
Wild About Hurry (1959)
Fastest with the Mostest (1960)
Hopalong Casualty (1960)
Who Scent You? (1960)
Rabbit's Feat (1960)
Ready, Woolen and Able (1960)
High Note (1960)
Zip 'N Snort (1961)
The Mouse on 57th Street (1961)
The Abominable Snow Rabbit (1961)
Lickety-Splat (1961)
A Scent of the Matterhorn (1961)
Compressed Hare (1961)
Beep Prepared (1961)
Nelly's Folly (1961)
A Sheep in the Deep (1962)
Zoom at the Top (1962)
Louvre Come Back to Me! (1962)
Martian Through Georgia (1962)
I Was a Teenage Thumb (1963)
Now Hear This (1963)
Hare-Breadth Hurry (1963)
Mad as a Mars Hare (1963)
Transylvania 6-5000 (1963)
To Beep or Not to Beep (1963)
Tom and Jerry (cartoon shorts, 1963–1967)
War and Pieces (1964)
The Dot and the Line (1965)
The Bear That Wasn't (1967)
Man: The Polluter (1973)
Chariots of Fur (1994)
Another Froggy Evening (1995)
Superior Duck (1996)
From Hare to Eternity (1997)
Television
specials
How the Grinch Stole Christmas! (1966)
The Pogo Special Birthday Special (1969)
Horton Hears a Who! (1970)
The Cat in the Hat (1971, producer)
The Cricket in Times Square (1973)
A Very Merry Cricket (1973)
Yankee Doodle Cricket (1975)
The White Seal (1975)
Rikki-Tikki-Tavi (1975)
Mowgli's Brothers (1976)
Bugs and Daffy's Carnival of the Animals (1976)
A Connecticut Rabbit in King Arthur's Court (1978)
Raggedy Ann and Andy in The Great Santa Claus Caper (1978)
Raggedy Ann and Andy in The Pumpkin Who Couldn't Smile (1979)
Bugs Bunny's Looney Christmas Tales (1979)
Daffy Duck's Thanks-for-Giving Special (1980)
Bugs Bunny's Bustin' Out All Over (1980)
A Chipmunk Christmas (1981)
Peter and the Wolf (1995)
Feature films
Sleeping Beauty (1959, layout artist)
Gay Purr-ee (1962, screenplay)
The Phantom Tollbooth (1970)
The Bugs Bunny/Road Runner Movie (1979)
Bugs Bunny's 3rd Movie: 1001 Rabbit Tales (1982)
Daffy Duck's Fantastic Island (1983)
Who Framed Roger Rabbit (1988, animation consultant)
Gremlins 2: The New Batch (1990, animation sequences)
Stay Tuned (1992, animation sequence)
Mrs. Doubtfire (1993, animation supervisor)
Four Rooms (1995, animation sequences)
Books
Daffy Duck for President (1997)
Comics
Crawford (1977–1978)
Characters
Bugs Bunny
Charlie Dog
Claude Cat
Daffy Duck
Elmer Fudd
Gossamer
Hubie and Bertie
Marc Antony and Pussyfoot
Marvin the Martian
Michigan J. Frog
Penelope Pussycat
Pepé Le Pew
Porky Pig
Ralph Wolf and Sam Sheepdog
Sniffles
The Three Bears
Wile E. Coyote and the Road Runner
Witch Hazel
Other works
Chuck Amuck: The Movie
Chuck Jones: Extremes & Inbetweens – A Life in Animation
Authority control
WorldCat Identities
VIAF: 183875289
LCCN: n79065347
GND: 4116482-9
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