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| - In "Holy Crap", the Griffins watch an episode where Dick suffers from a number of mishaps and rather violent injuries parodying his antics on the show. In "PTV", The FCC censors out the words Dick and Dyke from the show's title, making the show the first victim of the David Hyde Pierce trouser malfunction incident. In "And Then There Were Fewer", the show's theme song is used in a game of "Name That Tune" between Stewie and Brian Griffin.
- (With thanks to TV Land for description.) The Dick Van Dyke Show was the first sitcom to focus as much, if not more, on the main character's work life as his home life, influencing later Work Coms such as The Mary Tyler Moore Show, The Bob Newhart Show and News Radio. Sally Rogers was an unusual character for the pre-women's lib period, in that she was both a working professional (not a teacher or nurse) and single (although she was portrayed as manhungry and desperate to end her spinsterhood).
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| abstract
| - In "Holy Crap", the Griffins watch an episode where Dick suffers from a number of mishaps and rather violent injuries parodying his antics on the show. In "PTV", The FCC censors out the words Dick and Dyke from the show's title, making the show the first victim of the David Hyde Pierce trouser malfunction incident. In "And Then There Were Fewer", the show's theme song is used in a game of "Name That Tune" between Stewie and Brian Griffin.
- (With thanks to TV Land for description.) The Dick Van Dyke Show was the first sitcom to focus as much, if not more, on the main character's work life as his home life, influencing later Work Coms such as The Mary Tyler Moore Show, The Bob Newhart Show and News Radio. Sally Rogers was an unusual character for the pre-women's lib period, in that she was both a working professional (not a teacher or nurse) and single (although she was portrayed as manhungry and desperate to end her spinsterhood). Also, this show was one of the mainstream shows to first use, even in a bit role, middle-class African-Americans in a non-criminal or servile role. In the episode, "That's My Boy??" Rob tells of wondering if his infant son belonged to his family due to paperwork confusion with another family at the hospital. Finally, the other family, the Peters, come to straighten things out, and to one of the longest laughs from a studio audience ever, they are revealed to be an African-American couple played by Greg Morris and Mimi Dillard. A small role, yes, but groundbreaking at the time. Though the show stayed away from Jive Turkey territory as much as possible, Kennedy era reflections abound, including Laura as a Jackie O. surrogate; the Mafia, via the imposing Big Max Calvada (executive producer Sheldon Leonard); The British Invasion ("The Redcoats are Coming"); a self-indulgent Hugh Hefner surrogate; Carl Reiner as a Jackson Pollack-like abstract painter; or Rob and Laura's praise for baby guru Dr. Spock.
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