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Television -- particularly situation comedy television -- has been designated as everything from the one-eyed idiot box to the scourge of mankind. Had these indignities been truly merited, television would have been relegated to the storage room of failed inventions, somewhere between the electric vegetable peeler and the countless flying contraptions that could never quite become air-borne. The fact remains, though, that television, especially the aforementioned sitcom format, has persisted. Today, all successful sitcoms owe their prosperity to one particularly astute and revolutionary program Threes Company. Threes Company, which enjoyed a seven-year engagement from 177 to 184, boasted a premise which, despite being based on a previously existing British comedy, still managed a remarkable freshness and innovation. To the casual observers, Threes Company was a buoyant, insubstantial program, the sole purpose of which was to instill mirth. For the true observers, though, the experienced and open-minded television viewers, those with an eye for keen and succint, half-hour social commentaries, Threes Company explored prodigious cultural question marks and demonstrated a powerful understanding of human nature. Threes Company dealt with everything from homosexuality to rebellion against establish-ed conventions, from the relevance of dramatic irony to the injustices of the con-temporary workforce, and from the trials and tribulations of marriage to the human beings shadowy, hidden dimensions. This program even prompted the discus-sion of characterization through fashion. Truly, Threes Company was a profound and sagacious cornerstone of popular culture. The first observation one would make, even with a cursory glance at the program, was its premise. An aspiring chef named Jack Tripper lived in an apart-ment with two women, florist Janet Wood and secretary Chrissie Snow (later, Chrissies cousin Cindy took her place for a short time, before being replaced for the remainder of the program by nurse Terry Alden), and enjoyed a perfectly Pla-tonic relationship with them. In spite of Jacks light-hearted libidinous advances, the characters never once succumbed to the more base desires, and instead op-ted for a friendly, non-romantic relationship while engaging in the preposterous exploits that made the show famous. While perhaps not so revolutionary today, in 177 this mixed-gender arrangement was the cutting edge of social habitation. Like many revolutionaries who had to operate in secret, such as J. Robert Oppenheimer and societies like the Molly Maguires, Jack and the girls, had to conceal the true nature of their circumstances. Knowing the landlord, Mr. Roper, an ill-tempered traditionalist, would never allow such an arrangement, the charac-ters told him, and later maintained the impression that, Jack was homosexual. That these characters had to resort to a pretense of this nature illustrated how contrary their behavior was to social convention. Jack adopted a persona that, in 177, was still taboo and in the closet, so to speak, in order to get away with an equally taboo and misunderstood situation. That he was willing to exchange one negative perception of him for another equally negative one disclosed how strong-ly Threes Company stressed the necessity to rebel against conventions and social norms, no matter the cost. Another social issue treated in numerous episodes was the difficulty in-herent in belonging to the contemporary American workforce. The Threes Com-pany characters faced innumerable problems in their places of employment. Terry, the nurse, was constantly overworked at the hospital, usually on the grave-yard shift, to borrow a phrase she abhorred. Janet was under tremendous pres-sure at the flower-shop, facing impending deadlines, difficult customers, lustful bosses, and even the occasional efficiency expert, called in to supervise the pro-ceedings. Jack, the hard-working chef, was also under dreadful pressure from his overbearing boss, Mr. Angelino. The hot-tempered Italian had a habit of firing Jack during fits of rage, and then rehiring him once he, Mr. Angelino, had calmed down. Even Ralph Furley, the eccentric second landlord of the characters apart-ment building, seemingly in control of his destiny, always had to answer to a high-er authority the owner of the building and Mr. Furleys own brother, Bart. The role the workforce plays in the average citizens life was made lucid by the pres-sures and insecurities faced by these characters. The considerable challenge of holding down a job was exhibited unequivocally in Threes Company, yet the cha-racters managed quite well to both pay their rent and to enjoy rewarding leisure time. Threes Company conveyed the message that such a balancing act, if pos-sible for these average, personable characters, is in fact a universally achievable goal. It must be stressed, though, that in living together, these characters did not, at any time, form any romantic attachments with one another. No two principle characters ever married any other main character, nor did the writers suggest that such an eventuality would ever take place (excluding the odd time when, for what-ever ludicrously-complex reason, marriage required simulation). This Platonic re-lationship served as a contrast to the marriage of the original landlords, the Ropers. Stanley and Helen Roper exhibited a union that, in all outward appear-ances, was terribly dysfunctional. Helen was a hopeless romantic, but Stanley was a tight-fisted, apathetic, and sometimes downright mean-spirited man. Their rancor was amusing to watch, but only because we knew that, at heart, Stanley was an old-fashioned knight-in-shining-armor. Though he would have never ad-mitted it, Stanley loved his wife dearly. We have seen how swiftly he could rush to her rescue and we have watched his heart-broken, desperate pining when the possibility arose that Helen might leave him. Through the Ropers marriage, Threes Company made clear its beliefs about love and long-term commitment. Additionally, when the series ended, all three characters were happily married (though, of course, not to each other) -- the classic comedic ending -- further illustrating the link Threes Company made between ideal marriage and hap-piness. Being the consummate program that it was, though, Threes Company was careful to provide the opposing viewpoint. Through Mr. Furley, the confirmed bachelor, Threes Company proved that the ever-changing world of the unattach-ed individual can be very satisfying, and that marriage is not the only source of happiness.
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Threes Company had a sound grasp of the human character and took pains, despite its being a comedy, to depict the darker side of humanity. In per-haps an effort to avoid alienating them from the audience, none of the main cha-racters were ever shown having an overtly dark side. That is not to say they were perfect -- they had their quirks, their fears, and their malevolencies -- but rather they derived insight into the nebulous nature of humankind through the occasional frightening event that would occur. For example, in a memorably-dark episode, Jack was convinced a new tenant was an international bank robber who had just murdered his wife in the next apartment. In another episode, Janet and Jack found compelling evidence that Cindy had been forcibly kidnapped by a knife-wielding maniac. These two incidents were revealed as elaborate misunderstand-ings (the murderer was actually a ventriloquist and Cindys kidnapper was her elderly father), but the characters were not always so lucky. Jack was once arrested after being targeted and framed by diamond thieves. Janets flower shop was once robbed. Mr. Furley had his heart broken by a con artist. Together, the characters dealing with deleterious events, those both real and grotesquely exag-gerated, illustrated that dire things can, and do, befall even the most innocent and well-meaning of people. Threes Company rarely put its characters in any real danger, but vividly expressed that danger, both criminal and moral, does exist in other people and sometimes must be confronted. In continuing to humorously explore the somewhat less positive dimensions of the human being, Threes Company used dramatic irony -- when the audience is privy to information not known to the characters -- to illustrate how prejudice, misinterpretations and taboos can cloud our perceptions. Because of the human preoccupation with sex, dramatic irony was virtually always of a sexually-suggestive nature on Threes Company. For example, in one episode, Terry believed Jack was giving the wife of a colleague love lessons in the kitchen. Mr. Roper once thought a lurid diary belonged to Chrissie and that she was conse-quently in love with him. Jack thought a party being thrown for him was for reasons other than his graduation from chef school, so he put sawdust in the cake as a means of revenge. Despite the comical results of these incidents (Jacks associate ended up with a bowl of chicken cacciatore on his head, Mrs. Roper succumbed to a hysterical laughing fit, and Mr. Roper found the cake delicious), the dramatic irony was very revealing of human insecurities. The unconscious, Freudian taboos on sex came stampeding forth thanks to these misunderstandings. Threes Companys sexual morality was often evident in these ironies as well, as in the time Mr. Roper overheard Chrissie referring to a wart on her finger, thought she was pregnant, and was convinced she was about to abort the child. Threes Companys anti-abortion stance was made clear through Mr. Roper. Also, Mr. Furley, ever the homophobe, would constantly mis-understand Jacks statements as come-on lines, allowing Furley to expound his, and some would say the shows, opinions on sexual orientation. Although modern critics would argue that Threes Companys values are now archaic, it is unde-niable that the show believed strongly in its once revolutionary, now conservative politics, and naturally, the shows dated appearance provides a vivid roadmap for the changing values of North American culture. The extraordinary people in Threes Company who personify this changing culture were characterized in numerous ways, not the least of which was fashion. As their personalities often clashed on the small screen, so did their attire. Jack, Janet, and Chrissie (and later Cindy and Terry) were dressed in the popular cloth-ing of the time. Their average, utilitarian fashions reflected the everyday, blue-collar ambition the three actors were trying to portray in their characters. Con-versely, not all the characters had such admirable traits. Enter Larry Dallas, Jacks best friend and upstairs neighbour. Larry was a womanizing, scheming, used-car salesman a prime example of Platos unjust man. Larrys character reflected clearly in his ubiquitous, shiny, purple corduroy trousers, his debauchery revealed in his open-chested shirts and tasteless plastic neckties. No discussion of Threes Company, though, would be complete without an analysis of Ralph Furleys wardrobe. Mr. Furley possessed the most colorful, complex, and visually-astounding set of clothing of any character on television. His hallucinogenic Hawaiian shirts, bright yellow and pink cravats and pastel-colored pants reflected the myriad facets of his character. At heart, Ralph Furley was the most pleasant, congenial man one could hope to meet, but he used his loud and flashy wardrobe to conceal his insecurities. Afraid of failure, Mr. Furley assumed a calm, macho persona, which, unfortunately for him, was prone to spectacular collapses. Mr. Furleys frenzied shouting and hyperventilation re-vealed an extremely sensitive, emotional man. His presumptuous strutting and preening was humorous because it was so obvious and so very fragile. Mr. Furley came across as a sympathetic character whose soul was as broad as his shirt collars. In that small, two-bedroom, Californian apartment, we, as viewers, were treated to a seven-year long microcosm of society. Threes Company used tactful yet biting commentary on social conventions such as marriage and the nuclear family to illustrate both mankinds strengths and insecurities. Threes Company used startling dramatic irony in exploring our sexual attitudes. This program even managed to employ fashion to unveil the uniqueness in each person. Threes Company was a distinct, memorable portrait of a more innocent time; a time that thought, perhaps somewhat naively, that it was in the throes of vigorous change. More accurately though, Threes Company was actually pointing toward an even more complex and transient time to come.
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