Brothers is an American sitcom that originally aired on the cable network Showtime from July 13, 1984, to May 5, 1989, totaling 115 episodes. It was produced by Gary Nardino Productions, in association with two separate divisions of Paramount Pictures: first by Paramount Video (1984–86) and by Paramount Television (1987–89). The show focuses on the three Waters brothers.
History Development David Lloyd, Greg Antonacci and Gary Nardino respectively created and developed Brothers in 1982, with the same format as what made it to the air. Lloyd, a veteran TV writer known for his work on The Mary Tyler Moore Show, Taxi and the then-new NBC sitcom Cheers, had the premise for this series suggested to him by his employers, TV producers Ed. Weinberger and Stan Daniels. Wishing to develop a new screenplay with a revolutionary theme, Lloyd took to Weinberger and Daniels' idea about exploring familial relationships with the presence of a major—and controversial—life change, that of a relative finally coming out and addressing his homosexuality. Lloyd fully developed the idea and assumed full credit for the creation of the project. He then partnered himself with then-Paramount Television president Nardino, who was looking to form an independent production company (he would leave Paramount in July 1983 to form Gary Nardino Productions), and Antonacci, a young actor-turned-director and producer, to write a pilot script with a modern, relevant point of view. The relationship of three adult brothers, inseparable and living in a world strongly underscored by masculinity, who soon have to confront the youngest brother's decision to be openly gay, quickly came to fruition in the screenplay aptly titled Brothers.
The project was originally shopped around to broadcast networks NBC and ABC, in hopes of being picked up for the 1983 fall television season. NBC agreed to screen the pilot due to Lloyd's work on Taxi and Cheers (both of which had aired on NBC during the 1982–1983 season), and due to the insistence of Weinberger and Daniels. Network executives (then headed by Brandon Tartikoff) saw the charm of the content, but were concerned about how homosexuality was going to be portrayed. NBC did put Brothers in the running of fall 1983 pilots, but ultimately passed on it, instead choosing a series from Weinberger, Mr. Smith, in its place. Lloyd, Antonacci and Nardino then offered Brothers to ABC, who instantly shot it down due to it dealing with gay themes. The creative team refused to give up hope on the project, and the same was said for its three leads, who from the beginning were Robert Walden (fresh off his Emmy Award-nominated role of Joe Rossi on CBS' Lou Grant), Paul Regina and Brandon Maggart. As the producers tried to find a new outlet to pitch it to, development was put on hold, allowing Regina to co-star in CBS' short-lived Zorro and Son (1983), and Maggart to assume a role on NBC's Jennifer Slept Here (1983–1984).
Eventually, Lloyd and company were approached by Showtime, who at the time had successfully begun to venture into the new field of original pay-cable TV series. In 1983, the channel had been the first in history to revive a canceled network series for original cable broadcasts, with The Paper Chase (which originally ran on CBS in 1978–1979). Showtime's mission was to produce and pick up original programming that was outside the boundaries of standard network TV fare, and saw Brothers perfectly fitting that mold. Both parties struck a deal that had its cast paid at the same rate as network stars, with a full out 26-episode order from the start. Fortunately, Lloyd didn't have to scramble around to recast two of his stars, since Regina and Maggart both saw their series get canceled, so his original choices were back in place. With the series' premiere in the summer of 1984, Showtime now boasted one more first — the first original situation comedy on cable TV.
Said Robert Walden of his experience working on Showtime, "There are fewer cooks in the kitchen, and the writers have more freedom. There's also something to be said for playing to 5 million or 6 million viewers instead of 30 million. You're reaching a higher common denominator." Since Nielsen Media Research had not yet adapted its ratings system to measure audience levels on premium cable, Showtime relied on qualitative research rather than sheer statistical reports. "We have research firms that do telephone interviews with our subscribers," explained Peter Chernin, a Showtime programming executive. "They call people and ask them how much they like particular shows. We also take into account the opinions of our local affiliates. All of them rated Brothers very highly."
Unlike the policies set at rival HBO, who had no intention of preparing any of their first forays into original series for syndication, Showtime had the market in mind as soon as they picked up Brothers. Since Brothers had such a successful first season by pay-cable standards, channel execs announced two unprecedented moves in the spring of 1985: not only would Brothers have a renewal for 50 more episodes, but the series would begin airing episodes simultaneously in broadcast syndication that November. Showtime giving the series such a large vote of confidence with two-season renewal was so history-making that never had a broadcast network given a series such an expansive episode order after its freshman year.
HBO criticized their competitor's decision over the early syndication airing of Brothers, stating that they would never engage in such a practice with any of their original series. They felt it would destroy subscription rates and revenue if the public could watch one of their series for free on a local broadcast station, rather than pay monthly to view it on HBO. Showtime later recanted their 1985 syndication rollout for Brothers, and then fought back by saying that their subscribers had a five-year head start on all their shows, which were all prepped for syndication and of which would enter it after those five years. Their defense also included the facts that the parent studios of their shows would continue to receive royalties from strong rerun performance in syndication, and that the latter market would attract higher-profile writers and directors to ensure a more quality production. The alternative, as Showtime put it, would be not prepping series for syndication and thus taking a gamble on a relatively unknown or untested creative team.
As premium cable found its way with successful original programming, HBO would follow suit in what Showtime realized all along concerning syndication, and both would find that concurrent airings of cable series on broadcast TV wasn't so risky. In 1988, Showtime made history once again when they struck a deal with the young Fox Broadcasting Company to begin airing their Brothers stablemate, the smash hit It's Garry Shandling's Show, on Sunday nights in order to raise Fox's profile among the broadcast networks. Not only did It's Garry Shandling's Show fulfill its mission for Fox, but it actually increased interest in Showtime, and subscription rates benefited.
Synopsis Set in south Philadelphia, Brothers centered on the lives and relationships of the Waters brothers; oldest brother Lou (Brandon Maggart), a somewhat uncouth, but well-meaning construction foreman; middle brother Joe (Robert Walden), a retired placekicker for the Philadelphia Eagles and owner of a sports bar called The Point After; and the youngest brother, Cliff (Paul Regina), a sports journalism major and later, an aspiring chef.
In the premiere episode, Cliff shocks his family when he runs away from the altar on his wedding day. Instead of getting married, Cliff reveals to his family that he is gay. The pilot and following episodes centered on the efforts of Joe and Lou coming to terms with Cliff's long-held secret of his true sexual orientation, with both coping in their own unique way. Joe, who was definitely more sensible and open-minded, didn't see Cliff's sudden declaration of homosexuality robbing any aspect of their relationship. Lou assured his baby brother "Cliffie" that he loved and respected him but was convinced early on that what Cliff was feeling was just a phase and came up with numerous efforts to "cure" him of being gay. Cliff's relationship with the both of them was part brotherly, but also that of fathers and son, since Lou and Joe had almost 20 years on Cliff (their mother died when Cliff was an infant, followed a few years later by their dad; Lou and Joe raised Cliff for the majority of his youth). He was very much independent minded and kidded around with his brothers in the usual way siblings do, but at times looked to them for guidance and was very much overprotected by Lou and Joe.
Cliff, earnest, bright and very much determined to lead a fulfilled life now that he truly found himself, took many a stand on same-sex issues and discussions; throughout the first season, whenever a situation or argument ensued regarding his decisions in life, Cliff gave heartfelt statements on how proud and secure he was being his true self, and that nothing anyone could do could possibly change his inner desires. When the series began, he was still in college, majoring in sports journalism, while working part-time for Joe at The Point After. Following Cliff's first failed attempt at marriage, he resumed splitting rent with Joe in his sleek uptown apartment.
Philip Charles MacKenzie played Cliff's out-and-proud new friend Donald Maltby, a successful writer/magazine editor whom Cliff sought out friendship with for advice and support in the time leading up to his coming out. During and after the fact, Donald continued to be Cliff's voice of reason as he learned to navigate his way around the LGBT world. It was an otherwise unlikely friendship, but Donald's fey, queen-like behavior versus the masculinity of Cliff never got in the way, surprisingly. Donald's womanly flamboyance always unnerved Lou, and caused some mild, but humorous friction between them. However, Donald always managed to get the last laugh on Lou with his sharp humor. He lived in a cozy loft apartment which was another common setting for the stories. Cliff and Donald sometimes frequented The Velvet Spike, a local gay club/bar.
Other characters included Joe's teenage daughter Penny (Hallie Todd), who was becoming independent at a faster rate than Joe anticipated; and The Point After waitress, Kelly Hall (Robin Riker), who traded zingers with them all while acting as a mediator between the Waters brothers when necessary. Seen in sporadic guest appearances all through the series was Lou's long-time wife Flo (Carol Locatell), who only showed up whenever she and Lou were having some sort of marriage dispute. These were usually worked out within the space of a single episode, but their "hot and cold" behavior became one of the show's key running gags. Lou and Flo had three kids—Bucky, Flo Jr. and Louella—who were originally all referred to and never seen. Bucky, however, would make the first of two guest appearances beginning in the second season, as played by John Putch. A seminary student, Bucky went on sabbatical from the ministry and paid his family a visit in the season two episode "Father, Father", and appeared again in the fourth season Thanksgiving episode, unexpectedly dropping into town to surprise everyone.
Themes and evolution