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Sam Malone
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| Sam Malone | |
|---|---|
| Cheers character | |
 Sam flirting with a woman in "Behind Every Great Man" (episode 63, 1985) | |
| First appearance |
|
| Last appearance |
|
| Created by | Glen and Les Charles |
| Portrayed by | Ted Danson |
| In-universe information | |
| Gender | Male |
| Occupation | Owner/Bartender |
| Family | Derek Malone (brother) |
| Spouse | Debra (divorced) |
| Nationality | American |
Samuel "Mayday" Malone[1] is a fictional character and the protagonist of the American television show Cheers, portrayed by Ted Danson and created by Glen and Les Charles. Sam is a former relief pitcher for the Boston Red Sox baseball team who owns and tends the bar called "Cheers". He is also a recovering alcoholic and a notorious womanizer. Although his celebrity status was short-lived, Sam retains that standing within the confines of Cheers, where he is beloved by the regular patrons. Along with Carla Tortelli and Norm Peterson, he is one of only three characters to appear in all episodes of Cheers.[citation needed] Sam has an on-again, off-again relationship with the bar waitress Diane Chambers (Shelley Long) for the series' first five seasons until her departure from the series. Then he tries to seduce Diane's replacement, Rebecca Howe (Kirstie Alley), who frequently rejects his advances. Sam also appears in "The Show Where Sam Shows Up", a crossover episode of the spin-off Frasier.
Other actors auditioned for the role. Producers decided to give Danson the role primarily for his chemistry with Shelley Long as Diane. Critical reception for the character has been mostly positive. Some academics considered Sam an example of satirizing masculinity. For his performance as Sam, Ted Danson won two respective Emmy Awards as an Outstanding Lead Actor in a Comedy Series in 1990 and 1993 and two Golden Globe Awards as a Best Actor in a Musical or Comedy Series.
Role
[edit]At the time the series debuted in 1982, Sam has been the bartender and owner of Cheers for five years.[e 1][e 2] Chronologically within the series, Sam, who is Irish Catholic,[2] dropped out of high school in his senior year to play professional baseball.[e 3] He has one older brother, Derek, who seems to be a polymath and is a highly successful international lawyer. Derek and Sam are not close, and Sam is also not close to his parents (who it is implied, always favored Derek.)
Sam began his career in the minor leagues, where he met Coach Ernie Pantusso (Nicholas Colasanto). He eventually became a relief pitcher for the Boston Red Sox, wearing number 16. His major league career lasted approximately five years; he specifically mentions having pitched in 1973, and was a member of the 1975 AL champion Red Sox team. As well, Martin Crane saw him pitch at the Kingdome, which opened in 1977 – also the year that he became the owner of Cheers. Although his baseball career is not highly detailed throughout the series, Sam was at times a good-to-very-good pitcher (stories of him retiring star batters occur during the series), and was the team's bullpen ace for a while. Sam's baseball career declined when he became an alcoholic, and there are also numerous stories of him pitching poorly and giving up tape-measure home runs. Over time, Sam's role as a bartender turns him into the "resident ringleader for an assortment of poor souls and wanna-be's".[3]
Throughout the series, Sam has had casual female partners, usually one-dimensional or sexually very available, and sometimes takes them along in his red Chevrolet Corvette. But, all his advances are not successful. Sam is often rejected or humbled or even humiliated. However, in "Sam Turns the Other Cheek" (episode 49, 1984), Sam reveals that he avoids "married, underage, and comatose" women, so he does have some ethical standards. Sam is very kind-hearted and always stands by his friends. In "Teacher's Pet" (season 3, 1985), Sam earns his high school diploma despite an overall bad grade from the high school geography teacher, with whom he had a brief affair while he was her student. The episode "Sam's Women" (episode 2, 1982) reveals that Sam was married to his somewhat more sophisticated ex-wife, Debra (Donna McKechnie). (In some syndicated prints, Sam's past marriage is omitted, although it is mentioned again in the 5th-season episode, "Young Dr. Weinstein".) Notably, he has an on-and-off relationship with "a bright, attractive graduate student", Diane Chambers (Shelley Long).[4][5] One time after Sam and Diane ended their on-and-off relationship, in "Rebound, Part One" (episode 45, 1984), Sam relapses into alcoholism and excessively womanizes. Diane finds this out from Coach, and involves her new love interest Frasier Crane (Kelsey Grammer) in helping Sam slowly regain his sobriety in the following episode, "Rebound, Part Two". In the three-part episode "Strange Bedfellows" (episodes 93–95, 1986), Sam dates an intelligent, attractive politician Janet Eldridge (Kate Mulgrew), who eventually ends the relationship because of Sam's visible feelings for Diane. Throughout the fifth season (1986–87), Sam cyclically proposes to Diane, but she rejects every proposal until, in "Chambers vs. Malone" (episode 108, 1987), Diane finally accepts his latest proposal. In "I Do, Adieu" (episode 121, 1987), Sam and Diane try to marry but call off the wedding to let her start a supposedly promising writing career.
In the following episode "Home Is the Sailor" (episode 122, 1987), Sam sells Cheers to the Lillian Corporation six months before the episode and later returns to the bar to work under employment of the "voluptuously beautiful"[6] new manager, Rebecca Howe. Within this period, Sam constantly flirts with and attempts to seduce Rebecca, but she rejects all of his advances.[6] In "Cry Harder" (episode 194, 1990), Sam is able to buy back the bar from the Lillian Corporation after Sam has saved the corporation from financial victimization by Robin Colcord (Roger Rees), Rebecca's lover. At the last minute, Sam and Rebecca embrace and kiss. However, in the following episode "Love Is a Really, Really, Perfectly Okay Thing" (episode 195, 1990), Sam devastatingly tells Rebecca that he has no feelings for her. In "The Days of Wine and Neuroses" (1990), Sam rejects Rebecca's advances one night while she is drunk over her doubts when now-impoverished Robin proposed to her. In the tenth season (1991–92), they try to conceive a child, but by then, they have decided to stay friends. In "The Guy Can't Help It" (1993), Sam plays with the idea of marrying Rebecca (as a safety net "in case no one better comes along"), but several bar patrons and even Carla tell Sam his womanizing is getting him nowhere, prompting him to join Dr. Robert Sutton's (Gilbert Lewis) group meetings for sex addicts, a referral made by Frasier. In the series finale, "One for the Road" (1993), Sam reunites with Diane after six years of separation. They try to rekindle their relationship, but just before they fly off together to California, Sam and Diane begin to have doubts about their future together, and they re-separate. Sam returns to the bar, where his friends celebrate his return. Then, when Norm and Sam remain while everyone else leaves, Norm reassures Sam that Sam would return and never leave his one "true love"—which the TV Guide implies is the Cheers bar.[7][8]
In a Frasier episode, "The Show Where Sam Shows Up" (1995), Sam is engaged to Sheila (Téa Leoni), a fellow sex addict whom he met during group therapy, but he breaks off the engagement after she admits that she slept with two regular Cheers customers—Paul Krapence and Cliff Clavin—during their engagement. Unbeknownst to Sam, she slept with Frasier, which she does not reveal to Sam.
Skit appearances
[edit]Ted Danson reprised the role of Sam Malone in pre-game segments of the 1983 Super Bowl[9] and of one of the baseball games of the 1986 World Series,[10] The Magical World of Disney episode "Mickey's 60th Birthday",[11] and The Simpsons episode "Fear of Flying".[o 1] In the Super Bowl pregame skit, Sam and his customers at the bar chide Diane for not knowing and ridiculing football. They meet Pete Axthelm, an NBC sportscaster who visits the bar.[o 2] In the pregame skit of the 1986 World Series game, Bob Costas interviews Sam at the bar.[10] In "Mickey's 60th Birthday", Sam forgets Rebecca's birthday and begs Mickey Mouse to sing "Happy Birthday to You" as her birthday present. Rebecca chooses Mickey over Sam, who still wants to seduce her.[o 3] In The Simpsons, Sam is dating twins while trying to marry Diane without Rebecca knowing.[o 1]
Development
[edit]
Conception, writing, and casting
[edit]Before the series began in September 1982, various actors considered or were considered for the role of Sam Malone. Before he was cast, Ted Danson appeared in films and television series. Danson appeared in the 1979 film The Onion Field, adapted from the nonfiction book of the same name, as Officer Ian Campbell, who was murdered by two criminals.[12] Danson also appeared in Taxi episode, "The Unkindest Cut" (1982), as one-time character Vincenzo Senaca—"a flamboyant and decidedly effeminate hairdresser, who ruined Elaine's locks [sic] but got his comeuppance at the end."[13] Cheers creators Glen and Les Charles—along with James Burrows—were executive consultants for the episode. Danson, William Devane and Fred Dryer were shortlisted for the role of Sam Malone.[14] Ed O'Neill auditioned for the role but did not win the part.[15] John Lithgow missed the audition because he was ill.[16]
Originally, Sam Malone was intended "to be a former wide receiver for the American football team, New England Patriots."[14] Fred Dryer was initially chosen for that role because he is a former football player, but the Charles brothers chose Danson because NBC executives noticed the chemistry between him and Shelley Long.[17][18] The character then evolved into a former relief pitcher for the baseball team Boston Red Sox.[14] To prepare for the role, Danson attended a bartending school in Burbank, California.[19]
Fred Dryer later appeared as Dave Richards, one of Sam Malone's friends and a sports commentator, in Cheers. Danson said:
I had no idea how unintelligent [Sam] was. At first I thought he was making these—because Sam would come out with these things that were funny, and I thought, well, maybe he's being ironic. You know, maybe he's smart enough to know that he's saying stupid things in the beginning. I think it took me about a year and a half before ... I had an inkling on how to play Sam Malone, because he was a relief pitcher, which comes with a certain amount of arrogance. You know, you only get called in when you're in trouble and you're there to save the day, and that takes a special kind of arrogance, I think. And Sam Malone had that arrogance. And I, Ted Danson, did not. I was nervous, scared, excited about, you know, grateful about my new job.[20]
— Ted Danson, NPR's "Fresh Air", September 17, 2009
Sam is "athletically handsome"[6] and a womanizer who casually dates and has sex with various women "who want to have fun".[6][21][22] However, his relationships invariably fail.[23] Les Charles said that Sam was a "straight man" to Diane; after Shelley Long's departure, he became more "carefree" and a "goof-off."[24]
Ted Danson wore a hairpiece to conceal his baldness for the role of Sam Malone during filming of Cheers. His baldness was revealed at the 42nd Primetime Emmy Awards (1990).[25] In the episode "It's Lonely on the Top" (1993), Sam Malone reveals his baldness to Carla (Rhea Perlman).
Danson earned US$450,000 per episode as Sam Malone during the last few years of Cheers.[26][27] In the final season of Cheers (1992–93), Danson decided to stop portraying Sam Malone, which contributed to the end of Cheers. Danson said about the way the character changed, "He got older, you know ... [the writers] tried to make him Sammy again. But he's 45 now. I'm 45. It's OK to be chasing around when you're 37. But when you're 45, it's kind of sad to be chasing around that way."[26] The producers tried to continue the show without Ted Danson, and they attempted to move the show to the first-run syndication, but these ideas were shelved.[17]
Some people think Cheers is 'Cheers'—the bar is the soul of the show. Other people think Cheers is Cheers plus Sam, and Sam is the soul. Because (Danson) had chicken pox, we had to do one show [sic] ["The Ghost and Mrs. LeBec" (1990)] without Sam, and it was a challenge. He's the one who's everyone's friend. He's the one who tells the truth. He's the one who takes care of everybody.[28]
— Cheri Eichen, Los Angeles Daily News, November 1990
Characterization and analysis
[edit]Sam's on-screen relationships with Diane and Rebecca were inspired by works about the "mixture of romance and antagonism of two people, [portrayed by Spencer Tracy and Katharine Hepburn], in a competitive situation".[29][30][31]
Sam is subject to a satire of masculinity. He is described as "a sleazy, promiscuous, aggressive, exhibitionistic narcissist",[32] one of the "new macho [heroes]" of the 1980s pop culture, "the target of humor," and not a "likely [candidate] to lead the post-feminist counter revolution."[33][34] A new macho hero of the 1980s is the opposite of a pre-1980s macho hero that "constituted an antifeminist backlash".[34][35]
Steve Craig from the University of North Texas wrote in his 1993 journal that Sam is a parody of "traditional male values" and of a negative stereotype of masculinity. Craig wrote that Sam's attempts to define and exemplify "his version of masculinity" are satirized throughout the series "to explore gender identity" without threatening the viewer's own definition of one's own gender.[36] In his 2011 book Primetime Propaganda, Ben Shapiro, an American conservative commentator, called Sam "a dog, a feminist caricature of men", and a cultural representation of the "lower-class conservative," in contrast to portrayer Ted Danson, who identifies himself as liberal.[37][38] Glen Charles, a creator of Cheers, considered Sam "a spokesman for a large group of people who thought that [the women's movement] was a bunch of bull and look with disdain upon people who don't think it was".[37]
Heather Hundley wrote that the series sends "double standards" about promiscuous men and women. Hundley said that Sam is portrayed as heroic.[32] She further wrote that Sam never suffers from consequences of his promiscuity and has been happily single and childless,[32][39] while it portrays Carla Tortelli as a "nymphomaniac"[40] who regrets her own promiscuities, which lead to out-of-wedlock pregnancies.[41] She said the series' portrayal of premarital sex is "negative and unhealthy", omitting other dangers of promiscuity such as sexually transmitted diseases and HIV/AIDS.[41] Mark LaFlamme of the Sun Journal called Sam's relationship with Rebecca Howe "mundane" and his flirtation with her "bawdy".[42]
Throughout most of Cheers, Sam is "allowed to be happy [and to live] a rich life".[22] Towards the end of the series' run, however, Sam undergoes therapy for sex addiction. In a 1995 episode of Frasier called "The Show Where Sam Shows Up", Sam is depicted as a self-identified sexual addict; he gets help from group meetings and commits to changing himself.[43]
Sam Malone has been compared with some of Ted Danson's later roles. In 1998, David Bianculli from New York Daily News called Danson's guest appearance as a plumber in Veronica's Closet Sam Malone's "close cousin: a confident womanizer, and not the brightest guy in the room".[44] In 1999, Danson said that Sam Malone and John Becker (Becker) are both "very lonely men".[45]
First-run reception
[edit]Ted's a true leading man [...] If there's any kind of ripple in the chemistry of the show, he'll address it personally. He doesn't just read his lines and go back home.[28]
Woody Harrelson, who played Woody Boyd, called Sam the person who brings an ensemble together. Roger Rees, who portrayed Robin Colcord in Cheers, said that no other character could fill in Sam Malone's spot if he was written out of the show.[28] Rees also said that the show would not survive without Sam and Danson.[28] Television critic Phil Rosenthal from Los Angeles Daily News said Danson's performance as Sam was irreplaceable and that no other actor could capture Sam's "sexiness, vulnerability, and goofiness". Rosenthal credited Sam Malone for helping the series survive by becoming the show's central character.[28]
According to the April 1–4, 1993, telephone survey of 1,011 people by the Times Mirror Center for the People and the Press (now Pew Research Center),[N 1] Sam Malone was a top favorite character by 26%. The survey asked which character Sam should marry. 21% voted Diane Chambers, 19% voted Rebecca Howe, 48% voted Sam to stay single, and 12% had "no opinion" on this matter.[46][47] When asked which character should star in a spin-off, 15% voted Sam, 12% voted Woody Boyd (Woody Harrelson), 10% voted Norm Peterson (George Wendt), and 29% voted no spin-offs.[47] Frasier Crane (Kelsey Grammer), whose own spin-off Frasier debuted in September 1993, was voted by 2% to have his own show.[48]
According to a 1993 article in People magazine, newspaper columnist Mike Royko chose Diane to be with Sam. Novelist Jackie Collins picked Rebecca. Celebrated personality Zsa Zsa Gabor chose both as Sam's potential partner. Tennis player Martina Navratilova found Sam too good for either of them. Novelist-archaeologist Clive Cussler said Carla Tortelli (Rhea Perlman) was "Sam's best bet."[49]
Sam's appearance in Frasier received mixed notices. Scott D. Pierce from The Deseret News found him too "old and [tiring]."[50] Nevertheless, John Martin, a syndicate writer from The New York Times, enjoyed Sam's interaction with main characters of Frasier.[51] Frazier Moore from The Associated Press called Sam's appearance a ratings ploy but a must-see for a Cheers fan and any other viewer who lacks interest in the show Frasier.[52]
Retrospective reception
[edit]Bill Simmons writing for ESPN praised Danson's performance for giving life and color to Sam Malone.[53] In The Complete Idiot's Guide book, John Steve and Carey Rossi said Sam Malone "[brings] magic to establishment" and is praised for "successfully running [Cheers]."[54] The Shark Guys website ranked Sam at number three on its list of the "top ten coolest bartenders of all time".[55] In a 2009 NPR interview, Terry Gross called Sam "the opposite of intellectual".[20]
In a January 2023 episode of an NPR radio talk show Pop Culture Happy Hour, a radio listener calling remarked how Sam's "relentless predatory behavior toward his female coworkers" in "a show about sexual harassment in the workplace" would disturb today's contemporary viewers. In response, a cohost Linda Holmes said, despite the series's "hard" portrayal of Sam and Diane as a "mutual" relationship:
Sam is, in a bunch of different ways, a completely inappropriate person. He's an inappropriate boss. He's also inappropriate to women who come into the bar. He hits on every woman who comes into the bar. He is a very bad example of how you would want an actual person to behave.
Another cohost Aisha Harris also described him as "a vapid horndog" in the series "about people who, for the most part, are pretty terrible". However, Holmes and Harris further said that Sam has some depths, layers, and feelings, like other characters of the series.[56]
Accolades
[edit]The role of Sam Malone earned Ted Danson two Emmy Awards as the Outstanding Lead Actor in a Comedy Series: one in 1990[57] and another in 1993.[58] It also earned Danson two Golden Globe Awards as the Best Actor in a Musical or Comedy Series: one in 1990[59] and another in 1991.[60] Danson was awarded an American Comedy Award as the Funniest Male Performer in a TV Series.[61]
References
[edit]- Notes
- Primary sources
From Cheers:
- ^ "Give Me a Ring Sometime." Cheers: Season 1: The Complete First Season on DVD. Paramount, 2003. DVD.
- ^ "Sam at Eleven." 1982. Cheers: Season 1: The Complete First Season on DVD. Writ. Glen Charles and Les Charles. Paramount, 2003. DVD.
- ^ "Teacher's Pet". 1985. Cheers: Season 3: The Complete Third Season on DVD. Paramount, 2004. DVD.
From others:
- ^ a b "Fear of Flying". The Simpsons. 1994. Fox Broadcasting Company. KTTV.
- ^ Super Bowl XVII Pregame. NBC. January 30, 1983. Television.
- ^ "Mickey's 60th Birthday". The Magical World of Disney. NBC. November 13, 1988. Television.
- Non-primary sources
- ^ Bjorklund e-Book, p. 141
- ^ Bjorklund 2014, p. 141.
- ^ Davis, Walter T., Jr., et al. Watching What We Watch: Prime-Time Television Through the Lens of Faith. Louisville, KY: Westminster John Knox Press, 2001. Web. February 11, 2012. ISBN 0-664-22696-5.
- ^ Carter, Bill. "TELEVISION; The Tonic That Keeps 'Cheers' Bubbling Along". The New York Times April 29, 1990. Web. January 4, 2012.
- ^ Brooks, Tim, and Earle Marsh. The Complete Directory to Prime Time Network and Cable TV Shows: 1946 – present. Paperback ed. New York: Ballantine-Random House, 2007. Google News. Web. January 31, 2012.
- ^ a b c d Craig, Steve. p. 15
- ^ "TV's Best Finales Ever". TV Guide, 2010. Web. 1 June 2012.
- ^ Liner, Elaine (May 21–22, 1993). "TV's favorite bar turns off the tap". Corpus Christi Caller-Times. Texas. p. A1. Record no at NewsBank: 113001A60C3FB35B (registration required).
- ^ "Cast of Cheers with special material about the Super Bowl". Los Angeles Times. February 2, 1983. Part VI (Calendar), page 7. Microfilm.
- ^ a b Rosen, Karen (October 25, 1986). "TV-Radio - NBC could use some more of 'the rat stuff' in Series coverage". The Atlanta Journal-Constitution. Section D (Sports), page 12. At NewsBank: (registration required). At official website: (subscription required). Record no. 861005579.
- ^ Apikian, Nevart (November 11, 1988). "Mickey approaching 60th birthday". The Post-Standard. Syracuse, New York: The Herald Company. p. D13. NewsBank: (registration required). Syracuse.com: (subscription required). Record no. 8811110139.
- ^ Ebert, Roger (2007). Roger Ebert's Four-Star Reviews: 1967–2007. Andrews McMeel. pp. 559–60. ISBN 9780740771798. Retrieved August 23, 2015 – via Google Books.
- ^ Frutkin, Alan; Kroll, Gerry (August 20, 1996). "Gays on the tube". The Advocate. p. 16. Retrieved August 23, 2015 – via Google Books.
- ^ a b c Meade, Peter. "We'll Cry In Our Beers As Sam, Diane Split." Spartanburg Herald-Journal TV Update [Spartanburg, NC] April 29, 1984: 14. Google News. Web. January 21, 2012.
- ^ Gliatto, Tom; Griffiths, John (December 3, 1990). "At Last, Ed O'Neill Knows...Sort Of...What It's Like to Be Ryan O'Neal". People. Retrieved April 6, 2012.
- ^ Buck, Jerry (April 27, 1986). "He could have been a star of Cheers". Observer-Reporter. Washington, Pennsylvania. Associated Press. p. F5.
- ^ a b Carter, Bill (May 9, 1993). "Why 'Cheers' Proved So Intoxicating". The New York Times. p. 6.
- ^ Balk, Quentin, and Ben Falk. Television's Strangest Moments: Extraordinary but True Tales from the History of Television. London: Robson–Chrysalis, 2005. 166. Google Books. Web. February 10, 2012.
- ^ Kerr, Peter (November 29, 1983). "NBC COMEDY 'CHEERS' TURNS INTO A SUCCESS". The New York Times. Retrieved August 16, 2010.
- ^ a b Danson, Ted (September 17, 2009). "Ted Danson, On Life (And 'Death') After Cheers". NPR (Interview). Interviewed by David Bianculli. Retrieved January 11, 2012.
- ^ Piccalo, Gina. "Ted Danson is hip again." Los Angeles Times October 18, 2009. Web. January 4, 2012.
- ^ a b Hecht, 235. Google Books. Web. February 11, 2012 [1].
- ^ Blake, Marc. How Not to Write a Sitcom: 100 Mistakes to Avoid If You Ever Want to Get Produced''. London: A & C Black, 2011. Google Books. Web. January 31, 2011.
- ^ Harmetz, Alijean (September 23, 1987). "Changes on tap at 'Cheers'". The Ledger. p. 1C+.
- ^ Herman, Valli. "Actor Wins Praise for Appearing Without Hair Piece." Los Angeles Daily News. Rpt. in Sarasota Herald-Tribune September 24, 1990: 5E. Google News. Web. January 31, 2012.
- ^ a b Zurawik, David. "Last Call for Cheers. The Boston Bar is just a Sitcom Set, but for Viewers It Has Become a Real Place, Where Friends Hang Out." The Baltimore Sun May 16, 1993. Web. January 17, 2012.
- ^ Lippman, John. "Future of `Cheers' uncertain." Los Angeles Times February 7, 1991: 1D. Rpt. in The Gainesville Sun [Gainesville, FL] February 10, 1991: 7D. Google News. Web. January 17, 2012.
- ^ a b c d e Rosenthal, Phil (November 4, 1990). "Barkeep Sam Keeps Show, Cast at the Top". Los Angeles Daily News. p. L21 – via NewsBank.
- ^ Saunders, Dusty (July 31, 1987). "Many changes in store for 'Cheers'". The Vindicator. p. 12.
- ^ "Crowd at 'Cheers' toasts new season with new boss". The Register-Guard. TV Week. p. 13.
- ^ Baker, Kathryn (September 5, 1987). "Long's departure has 'Cheers' cast on edge". Times-News (Hendersonville, North Carolina).
- ^ a b c Hundley, p. 219
- ^ Tankel and Banks. pp. 287–9.
- ^ a b Kibby, Marjorie. "Representing Masculinity." The University of Newcastle [Australia] (1997). Miami Vice Chronicles. Web. January 17, 2012.
- ^ Tankel and Banks. p. 286.
- ^ Craig. pp. 15–6.
- ^ a b Shapiro, Ben. p. 122.
- ^ Shapiro, Ben. p. 122–123.
- ^ Hundley, p. 217
- ^ Hundley, p. 207
- ^ a b Hundley, p. 218
- ^ LaFlamme, Mark (October 23, 2013). "Street Talk: Wearing black socks and a leather coat at the beach". Sun Journal (Lewiston).
- ^ Hecht, 236. Amazon.com Web. February 11, 2012 [2]. Use search term "cheers sam" for results there.
- ^ Bianculli, David. "Deja Coup: Kirstie & Ted Together Again 'Cheers' Alumni Meeting Brightens 'closet'[dead link]." New York Daily News February 5, 1998. Web. March 29, 2012.
- ^ Meisler, Adam. "Aging and Grumpy but With a Bit of Sam Malone." The New York Times December 12, 1999: 3. Web. March 29, 2012. Whole article
- ^ a b Mills, Kim I. "TV viewers glad Sam stayed single." The Sunday Gazette [Schenectady, NY] May 2, 1993: A3. Google News. Web. January 21, 2012. In this web source, scroll down to see its headline.
- ^ a b Leefler, Pete. "Show Piles Up Viewer Cheers." The Morning Call [Allentown, NY] May 2, 1993: A01. Web. January 17, 2012. (subscription required)
- ^ "Mixed Reaction to Post-Seinfeld Era." Pew Research Center for the People & the Press. Pew Research Center May 10, 1998. Web. February 10, 2012.
- ^ Lipton, Michael A. (May 24, 1993). "Lights Out at Sam's Place". People.
- ^ Pierce, Scott D. (February 21, 1995). "Sam visits Frasier, but reunion is sort of a letdown". The Deseret News. Salt Lake City. p. C8. Record no. at NewsBank: 9502210256.
- ^ Martin, John, from The New York Times (February 21, 1995). "Cheers star visits Frasier". The Spokesman-Review. p. D2.
{{cite news}}: CS1 maint: multiple names: authors list (link) Google News Archive. - ^ Moore, Frazier (February 18, 1995). "Dumb and Dumber: Television's interactive craze". Ludington Daily News. Ludington, Michigan. p. 18. Retrieved June 23, 2012. Google News Archive.
- ^ Simmons, Bill (February 21, 2002). "Page 2: Dear Sports Guy..." ESPN. Archived from the original on December 10, 2008. Retrieved June 20, 2012.
- ^ John Steve, and Carey Rossi. The Complete Idiot's Guide to Starting and Running a Bar. New York: Alpha, 2008. Google Books. Web. January 14, 2012.
- ^ "The Top 10 Coolest Bartenders of All Time (Part 2)." The Shark Guys February 29, 2008. Web. May 21, 2012 "Movie and Television Bartenders". Archived from the original on February 22, 2012. Retrieved May 21, 2012..
- ^ Thompson, Stephen; Holmes, Linda (January 23, 2023). "Has Cheers aged like fine wine? Or has it gone bitter?". Pop Culture Happy Hour. NPR. Retrieved March 9, 2025.
- ^ Bjorklund e-Book, p. 461.
- ^ Bjorklund e-Book, p. 463.
- ^ Hollywood Foreign Press Association (January 22, 1990). "47th Annual Golden Globes". The Free Lance-Star. Fredericksburg, Virginia. The Associated Press. p. 29. Retrieved July 31, 2012 – via Google News Archives.
- ^ "Dances with Wolves shuts out gangster movies at Golden Globes". Bangor Daily News. Bangor, Maine. The Associated Press. January 21, 1991. p. 22. Retrieved July 31, 2012 – via Google News Archives.
- ^ "Awards presented". Times News. Hendersonville, North Carolina. The Associated Press. March 11, 1991. p. 11. Retrieved July 31, 2012 – via Google News Archive.
Bibliography
[edit]- Bjorklund, Dennis A (September 2014). Cheers TV Show: A Comprehensive Reference (e-Book ed.). Praetorian Publishing. ISBN 9780967985237.
- Craig, Steve. "Selling Masculinities, Selling Femininities: Multiple Genders and the Economics of Television." The Mid-Atlantic Almanack 2 (1993): 15–27. Internet Archive Wayback Machine. 1–21. Web. January 14, 2011.
- Hecht, Jennifer Michael. The Happiness Myth: Why What We Think is Right is Wrong: A History of What Really Makes Us Happy. New York: HarperCollins, 2007. ISBN 978-0-06-081397-0.
- Hundley, Heather (2005). "Sex, Society, and Double Standards in Cheers". In Winn, J. Emmett; Brinson, Susan L (eds.). Transmitting the Past: Historical and Cultural Perspectives on Broadcasting. The University of Alabama Press. pp. 205+. ISBN 0-8173-1453-9.
- Shapiro, Ben. Primetime Propaganda: The True Hollywood Story of How the Left Took Over Your TV. New York: Broadside–HarperCollins, 2011. Google Books. Web. January 15, 2012. ISBN 978-0-06-193477-3.
- Tankel, J. D., and B. J. Banks. "The Boys of Prime Time: An Analysis of `New' Male Roles in Television." Communication and Culture: Language, Performance, Technology, and Media 4 (1990): 285–95. Print.
External links
[edit]| Seasons | |
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| Episodes | |
| Characters | |
| Spin-offs and related series | |
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Sam Malone
View on GrokipediaSam Malone is a fictional character and protagonist of the American sitcom Cheers, which aired from 1982 to 1993, portrayed by Ted Danson as the owner and bartender of a Boston bar of the same name.[1] [2] A former relief pitcher for the Boston Red Sox from 1972 to 1978, nicknamed "Mayday" for his relief role, Malone retired from baseball amid struggles with alcoholism, subsequently purchasing and managing Cheers as a recovering alcoholic.[3] [4] His character is defined by charisma, athletic background, and prolific romantic pursuits, often clashing with intellectual waitress Diane Chambers while fostering camaraderie among bar patrons.[1] The role propelled Danson to stardom, earning him two Primetime Emmy Awards for Outstanding Lead Actor in a Comedy Series and contributing to the series' critical acclaim, including multiple Emmys for the show overall.[2]
Character Profile
Background and Core Traits
Samuel "Mayday" Malone served as a relief pitcher for the Boston Red Sox, earning his nickname from frequent on-field collapses attributed to his alcoholism, which undermined his performance in high-pressure situations.[5] His professional baseball career ended prematurely due to these struggles, leading to retirement and a transition into bar ownership as a means of financial stability after his athletic identity dissolved.[6] Malone purchased the Cheers bar in Boston during his active drinking phase, a decision that later provided a structured environment amid his post-career void.[7] As a recovering alcoholic, Malone maintains sobriety by immersing himself in the daily operations of Cheers, where the bar's social dynamics serve as both a temptation and a safeguard against relapse, reflecting patterns observed in real ex-athletes grappling with addiction and loss of purpose.[8] The character's backstory incorporates this realism to offset the bar setting's potential glorification of alcohol, portraying ownership as an ironic anchor forged from prior excess rather than mere leisure.[7] This draws from documented cases of athletes like MLB pitcher Sam McDowell, whose alcoholism parallels Malone's depicted trajectory of career derailment and recovery.[9] Malone embodies a charismatic yet flawed everyman, marked by a voracious libido that fuels serial womanizing, tempered by underlying insecurities about his diminished achievements beyond the mound.[10] His cocky exterior often masks impulsive decisions, particularly in personal conquests, while demonstrating loyalty to bar patrons and staff through perceptive support during their crises.[11] These traits highlight a psychological realism rooted in the vulnerabilities of former high-performers, where bravado compensates for identity erosion without resolving deeper impulsivity.[6]Role in the Cheers Universe
Sam Malone functions as the owner and head bartender of Cheers, the Boston tavern central to the series spanning 275 episodes from September 30, 1982, to May 20, 1993.[12] In this role, he directs daily operations, mixing drinks and engaging regulars like Norm Peterson and Cliff Clavin, whose ritualistic arrivals—Norm's barstool claim and Cliff's trivia digressions—underscore the bar's communal rhythm and generate episodic humor.[13] His management extends to staffing, retaining waitress Carla Tortelli for her sharp-tongued efficiency and later employing Woody Boyd to handle bar duties after Ernie Pantusso's departure, ensuring continuity amid cast changes.[14] As the emotional anchor, Malone's character traits—chiefly his boastful womanizing and recovered alcoholism—fuel comic relief and interpersonal tensions, particularly in the protracted will-they-won't-they dynamic with Diane Chambers that spanned early seasons and shaped romantic subplots.[12] These flaws causally link to group dynamics, as his flirtations often derail bar harmony or prompt interventions from the ensemble, amplifying the show's blend of farce and camaraderie.[14] Malone's decisions serve as narrative catalysts, propelling ensemble arcs; for instance, his impulsive sale of Cheers to the Lillian Corporation in 1987 introduced Rebecca Howe as manager and triggered multi-season efforts to repurchase the bar, highlighting how personal vanities drive collective stakes.[15] This pattern reflects a leadership style rooted in self-correction through trial, where bar ownership symbolizes Malone's anchoring flaws amid evolving loyalties. His canonical presence remains confined to Cheers, with no dedicated spin-offs, though the character featured in limited crossovers like a Frasier episode and promotional skits.[16]Creation and Development
Conception, Casting, and Writing
The character of Sam Malone was conceived in 1981 by brothers Glen and Les Charles as an ex-jock bar owner and recovering alcoholic intended to contrast with the intellectual waitress Diane Chambers, establishing a dynamic tension central to the series' early premise.[17] Originally envisioned as a former football player for the New England Patriots, the character's backstory was adjusted to a relief pitcher for the Boston Red Sox to better fit the casting and narrative needs.[18][19] The Cheers bar setting drew inspiration from the real-life Bull & Finch Pub in Boston, whose exterior served as the establishing shots for the fictional establishment.[20] Casting for Sam Malone involved evaluating numerous actors, with the final contenders including former NFL player Fred Dryer, who aligned closely with the initial ex-athlete archetype, and Ted Danson.[19] Danson was ultimately selected for his inherent charm that effectively masked underlying vulnerability, qualities deemed essential to portray the character's playboy facade and personal struggles.[19] Danson first appeared as Sam in the pilot episode "Give Me a Ring Sometime," which aired on NBC on September 30, 1982.[21] In the writing process, early scripts emphasized Sam's archetype as an unrepentant womanizer and bar proprietor, leveraging his ex-athletic background for comedic interactions within the ensemble.[8] The pilot adhered closely to this vision, with minimal alterations from the Charles brothers' original concept, though elements were moderated to align with NBC broadcast standards.[22] Writers balanced the character's humorous exploits with realistic depictions of his alcoholism recovery, drawing from first-hand observations of bar culture to ground the scenarios.[12]Evolution of Characterization
In the first five seasons of Cheers (1982–1987), Sam Malone embodied the archetype of a suave, ex-athlete womanizer whose bravado masked underlying vulnerabilities, particularly in his tumultuous romance with Diane Chambers, which spanned flirtations, breakups, and a season 5 finale cliffhanger involving a proposed marriage that ultimately dissolved.[23] His character frequently referenced a prolific history of romantic conquests, reinforcing his self-image as an irrepressible stud, while episodes like "Rebound" (season 3, episode 3, aired October 18, 1984) exposed his struggles with alcoholism through a relapse triggered by emotional turmoil, followed by recovery aided by Diane and Frasier Crane, highlighting rare admissions of weakness amid his otherwise confident demeanor.[24] This period emphasized episodic growth tied to interpersonal conflicts, such as bar management stresses, but his core traits—charm laced with impulsivity—remained dominant, with early portrayals depicting him as wittier and more perceptive than later iterations.[6] Following Diane's departure after season 5, seasons 6–11 (1987–1993) shifted Malone's pursuits toward Rebecca Howe, evolving into a cat-and-mouse dynamic that transitioned from unrequited obsession to platonic friendship after physical intimacy, while introducing midlife reflections on loneliness and stalled ambitions, including abortive attempts to sell Cheers or start a family.[10] Traits like relentless womanizing intensified for comedic effect, rendering him increasingly one-dimensional and "dumber" in scripting choices, yet vulnerability resurfaced in acknowledgments of sex addiction alongside his sustained alcoholism recovery—no further relapses occurred after season 3, though behavioral patterns echoed empirical tendencies toward reversion in addictive cycles despite event-driven progress, such as threats to the bar's viability.[6][7] Failed ventures, like brief managerial stints or romantic bids for stability, underscored stagnation, with Malone aging into a figure trapped by nostalgia for his athletic past and the Cheers milieu. Malone featured in every one of the series' 275 episodes (accounting for syndication splits of longer installments), tracing arcs from the 1982 pilot's establishment of his bar-owning, recovering-alcoholic persona to the May 20, 1993, finale's affirmation of self-acceptance, where he declares contentment in returning to Cheers after a short-lived broadcasting stint, rejecting broader change in favor of familiar baselines.[13] This longitudinal depiction illustrated causal influences from real-time crises—romantic rejections, sobriety tests, ownership perils—prompting temporary maturation, but empirical realism in the narrative favored reversion to libido-driven, bar-anchored equilibrium over permanent transformation.[10][6]Portrayal and Performance
Ted Danson's Interpretation
Ted Danson approached the role of Sam Malone with initial self-doubt, recalling that he thought his performance in the Cheers pilot was "horrible" upon first viewing, which informed a portrayal blending bravado with underlying vulnerability.[25] This discomfort contributed to a nuanced depiction of the ex-athlete's charismatic exterior masking personal struggles, as Danson later reflected on the character's lothario traits serving deeper emotional layers.[26] Danson's acting technique emphasized authenticity through subtle physical expressions and scene spontaneity, earning critical recognition including Primetime Emmy Awards for Outstanding Lead Actor in a Comedy Series in 1990 and 1993.[27] [28] His ability to convey recovery and relational dynamics through understated gestures was highlighted in award contexts, distinguishing his work amid nine total nominations for the series.[2] To prevent typecasting as the suave bartender, Danson deliberately pursued contrasting roles post-Cheers, such as the misanthropic Dr. John Becker in the CBS sitcom Becker from 1998 to 2004, which showcased comedic irritability far removed from Sam's charm.[29] In 2025 interviews, he attributed sustained versatility to actors' agency in role selection, noting that while public perception lingers, deliberate choices like Becker and later projects in The Good Place enabled a diverse 40-year career trajectory unconfined to the Malone archetype.[30] [31][32]Key Episodes and Arcs
The pilot episode, "Give Me a Ring Sometime," which aired on September 30, 1982, establishes Sam Malone as the owner and bartender of Cheers, a recovering alcoholic and former Boston Red Sox relief pitcher whose charm masks underlying insecurities, while introducing his immediate romantic tension with new waitress Diane Chambers.[21][22] In the episode "Sam at Eleven," season 1 episode 4, aired October 21, 1982, Sam anticipates a high-profile sports news interview by a former teammate, only for the encounter to expose his ego-driven nostalgia for past athletic fame and prompt self-reflection on his diminished celebrity status.[33] Sam's sobriety arc faces a critical test in "Rebound: Part 1," season 2 episode 4, aired October 25, 1984, where emotional turmoil triggers a relapse into heavy drinking, illustrating the fragility of his recovery and the bar patrons' role in his stabilization efforts.[24] Business impulsivity defines episodes like "Home Is the Sailor," season 5 episode 22, aired May 7, 1987, in which Sam sells Cheers to finance a sailing expedition around the world, a venture that quickly falters due to his unpreparedness and leads to his prompt return, underscoring patterns of hasty decision-making over sustained commitment.[34] The series finale, "One for the Road," aired May 20, 1993, and viewed by an estimated 80.4 million people, provides narrative closure to Sam's arcs by depicting his failed attempt at a baseball comeback and ultimate realization that the bar represents enduring fulfillment amid unachieved personal ambitions.[35]Relationships and Dynamics
Romantic Entanglements
Sam Malone's romantic pursuits in Cheers centered on intense, often volatile attractions that underscored his compulsive need for validation amid personal voids left by alcoholism recovery. These entanglements typically followed a cycle of aggressive seduction, brief consummation, and inevitable dissolution due to Sam's emotional immaturity and partners' incompatibilities or higher aspirations. Over the series' 275 episodes airing from September 30, 1982, to May 20, 1993, no relationship achieved permanence, with Sam's libido depicted as a behavioral proxy for addictive patterns once dominated by alcohol.[36] The most defining arc involved Diane Chambers, a cerebral waitress hired in the pilot episode, whose relationship with Sam evolved from flirtatious tension in season 1 to a dysfunctional romance by season 2. Their pairing highlighted an intellectual chasm—Diane's literary pretensions clashing with Sam's visceral appetites—resulting in toxic on-off cycles marked by jealousy, infidelity accusations, and reconciliations fueled by unresolved passion. Multiple breakups ensued, including a pivotal split after Diane's refusal of Sam's proposals in season 5, culminating in her departure from the bar and Sam's life by the 1987 season finale, reflecting irreconcilable flaws rather than external forces.[36][10] With Rebecca Howe, installed as Cheers' corporate manager in season 6 premiering September 24, 1987, Sam fixated on her as a conquest, leveraging bar proximity despite her authority and disinterest. This dynamic inverted prior power imbalances, with Rebecca's professional detachment and serial attractions to wealthier suitors like Robin Colcord repeatedly rebuffing Sam's advances, yielding comedic humiliations rather than reciprocity. Sporadic physical encounters occurred, such as during feverish moments of vulnerability, but her ultimate rejection affirmed the pattern of unrequited obsession, spanning seasons 6 through 11 without progression to commitment.[37] Beyond these anchors, Sam's history encompassed frequent one-night stands and implied liaisons with over a hundred women across the series, often initiated via bar patrons or dates that exposed his reliance on sexual validation to mask deeper insecurities. Episodes recurrently portrayed these as fleeting highs substituting for sustained emotional bonds, aligning with character psychology where post-recovery impulses redirected from drink to dalliance, yielding no enduring success and reinforcing serial failure in monogamy.[10]Bar Family and Rivalries
Sam Malone regarded the staff and patrons of Cheers as a surrogate family, fostering deep non-romantic bonds that provided stability amid his personal turbulence. He served as a mentor to Woody Boyd, the ingenuous Indiana native who replaced Coach as bartender in season four (1985), imparting practical bartending skills and offering fraternal guidance to navigate urban life and workplace dynamics. This relationship highlighted Sam's role as an anchor for younger ensemble members, emphasizing mutual reliance within the bar's hierarchy. Interactions with Frasier Crane evolved from competitive banter—rooted in Crane's psychiatric sophistication contrasting Malone's ex-athlete pragmatism—into steadfast friendship, as seen in episodes where they collaborated against external threats to the bar.[38] Similarly, Malone's rapport with Lilith Sternin involved terse exchanges due to her clinical demeanor clashing with his affable charm, yet these tensions occasionally spurred constructive confrontations that reinforced group cohesion. Loyalty manifested in collective defenses of Cheers, such as when Malone repurchased the bar from corporate interests in the season eight finale "Cry Harder" (aired May 3, 1990), with regulars' support underscoring their interdependence during ownership crises. Biological family connections were minimal and strained; Malone's older brother Derek, portrayed as more accomplished, visited in the season one episodes "Show Down: Part 1" (aired March 24, 1983) and "Part 2," exacerbating Sam's longstanding sense of inadequacy and sibling rivalry.[39][40] Such rare familial intrusions accentuated Malone's emotional isolation beyond the bar, where barroom rivalries—like intellectual sparring with Diane Chambers—often catalyzed self-reflection and character development without descending into lasting enmity.[41] These dynamics illustrated causal mechanisms of growth through conflict, with the ensemble's interventions in personal dilemmas reinforcing familial-like bonds.Reception and Critical Views
Contemporary Audience and Critics
achieved significant commercial success with audiences during its run, climbing from an initial 74th-place ranking in the 1982-1983 season to consistent top-10 finishes in the Nielsen ratings for eight of its eleven seasons, including #1 in 1990-1991 with a 21.3 household rating.[42] The series' appeal lay in its escapist humor centered on the bar's camaraderie, where Sam Malone's roguish charm as a recovering alcoholic and former athlete provided relatable flaws balanced by loyalty to patrons and staff.[12] This dynamic resonated with viewers seeking light-hearted depictions of everyday social interactions amid personal struggles. Critics in trade publications like Variety lauded the show's character-driven storytelling, with Sam portrayed as a compelling anti-hero whose womanizing was offset by genuine vulnerability and growth, contributing to early accolades such as the series' 1983 Primetime Emmy win for Outstanding Comedy Series.[13] Ted Danson received Emmy nominations for Outstanding Lead Actor in a Comedy Series for all eleven seasons of Cheers, winning in 1990 and 1993, reflecting contemporary recognition of his nuanced performance as Sam.[43] While some reviewers noted tensions between Sam's playboy archetype and evolving gender norms—exemplified in clashes with intellectual waitress Diane Chambers—praise often centered on the bar ensemble's authentic camaraderie over isolated character critiques.[44] The series' popularity peaked with its May 20, 1993, finale, "One for the Road," which drew an estimated 93 million viewers, the second-highest for any primetime episode at the time, underscoring Sam's central role in the emotional send-off for the Cheers universe.[45] This audience engagement highlighted the character's enduring draw as a flawed yet endearing figure in 1980s-1990s television.Retrospective Evaluations
In retrospective analyses from the 2000s onward, Sam Malone's character has been praised for embodying unvarnished human flaws in a manner that contrasts with more idealized protagonists in later sitcoms. A 2024 Collider review of Cheers argues that the series, including Malone's portrayal as a recovering alcoholic and serial flirt, has aged well due to its authentic depiction of personal shortcomings, with few elements beyond a noted lack of on-screen diversity appearing dated by contemporary standards.[46] This view posits Malone's imperfections—such as his womanizing and emotional immaturity—as refreshingly realistic compared to sanitized heroes in modern television, allowing the character to retain relevance without requiring retroactive alterations. Critics, however, have highlighted narrative limitations in Malone's arc, interpreting his persistent romantic pursuits and bar-centric life as symptomatic of stagnation. A 2017 Medium retrospective frames Malone's journey as a "sad tale," suggesting that despite opportunities for growth, the character's reliance on fleeting relationships and avoidance of deeper commitment reflected unresolved inner turmoil rather than triumphant evolution, culminating in a finale that prioritized nostalgia over profound change.[10] Ted Danson, in 2025 interviews reflecting on his post-Cheers career, emphasized his deliberate pivot to diverse roles to evade typecasting as the charming but static bartender, underscoring a personal recognition that Malone's archetype risked pigeonholing him in perpetual levity.[47] Debates over Malone's behavior through a post-#MeToo lens reveal polarized interpretations, with defenders emphasizing era-specific context and on-screen consent dynamics. Forum discussions, including a 2025 Reddit thread, defend Malone's flirtations as products of 1980s social norms—charming rather than predatory—while acknowledging modern sensitivities without deeming the character irredeemable.[48] Detractors, conversely, critique his pursuits as emblematic of unchecked male entitlement, though such views have not led to widespread reevaluations or content warnings in streaming releases. Empirical indicators of enduring appeal include sustained streaming demand, with Cheers registering 14.1 times the average U.S. TV series audience metric in recent Parrot Analytics data, and no major platform cancellations despite cultural shifts.[49] This resilience underscores Malone's role in a series that prioritizes relatable imperfection over moral perfectionism.Cultural Impact and Legacy
Influence on Sitcom Archetypes
Sam Malone exemplified the flawed male protagonist archetype in 1980s sitcoms, characterized by a charming ex-athlete's bravado masking insecurities from alcoholism and serial romantic failures. This persona—rooted in physical appeal, unfiltered pursuits of women, and barroom authority—served as the emotional core of Cheers' ensemble, where the tavern functioned as a microcosm for interpersonal conflicts and resolutions. The model's causal efficacy lay in balancing redeemable vices with affable competence, enabling sustained narrative tension without alienating viewers, as evidenced by the series' Nielsen dominance from season 3 onward, averaging 20-25 million weekly viewers by 1985.[12] This template directly informed spin-off dynamics and Danson's later work, notably Becker (1998–2004), where Dr. John Becker echoed Malone's lonely, irascible yet magnetic loner traits, with Danson noting shared undercurrents of isolation driving both characters' relational patterns.[50] Cheers' syndication boom post-1985 amplified the archetype's reach, catalyzing format imitators like Wings (1990–1997), which transposed the bar's hub dynamic to an airport lounge for analogous group repartee among flawed regulars, leveraging Cheers alumni in production to replicate its blueprint.[51] Malone's archetype persisted by prioritizing causal realism in male leads—prioritizing authentic appetites over contrived redemption arcs—contrasting with post-2000s dilutions favoring equivocated masculinity, as retrospective critiques highlight its role in sustaining Cheers' 275-episode run through unflinching flaw exploitation for humor.[52]Representation of Real-World Issues
Sam Malone's characterization as a recovering alcoholic offered a candid examination of addiction's persistence, incorporating relapses that paralleled documented rates of 40 to 60 percent recidivism among those in alcohol recovery programs.[53][54] The bar environment functioned as a realistic trigger for temptation, emphasizing environmental and psychological causal mechanisms in relapse without endorsing or romanticizing alcohol use, as evidenced by Sam's predominant abstinence depicted across the series.[55] This approach balanced portrayals of recovery milestones—such as sustained sobriety amid daily exposure—with the empirical reality of addiction's cyclical nature, avoiding oversimplification into permanent triumph or defeat. In terms of gender dynamics, the series rendered Sam's elevated sexual drive as a standard attribute of masculinity, not an aberration requiring correction, consistent with 1980s data indicating adults averaged 57 instances of intercourse annually, with men self-reporting higher frequencies and greater numbers of partners than women.[56] Surveys from the period further documented rising casual sexual encounters, particularly among men, aligning with the normative framing of such behavior in the show rather than framing it through a lens of dysfunction.[57] Retrospective analyses in the 2020s have underscored the verisimilitude of these elements, contrasting Sam's flawed yet resilient archetype with modern narratives favoring uniformly restrained protagonists, thereby highlighting the original depiction's grounding in observable human variability over idealized moral templates.[10][58] While some critiques decry potential normalization of vices, causal evidence from addiction outcomes and behavioral surveys supports the portrayal's fidelity to statistical norms without causal endorsement of relapse or promiscuity as desirable endpoints.[59]Controversies and Debates
Womanizing and Modern Consent Critiques
Sam Malone's womanizing in Cheers centers on persistent flirtations and advances toward women, often depicted through comedic scenarios where his high libido drives exaggerated pursuit. These behaviors align with 1980s sitcom tropes, portraying Sam as a charming but flawed ex-athlete whose romantic overtures frequently meet resistance yet escalate for humor without culminating in coercion.[60] For instance, in interactions with bar patrons and staff, Sam's propositions emphasize verbal exchanges, with rejections typically leading to temporary setbacks rather than dominance or harm.[61] A prominent example occurs in seasons 6 through 8, where Sam relentlessly courts his boss, Rebecca Howe, making repeated sexual advances despite her professional authority and initial refusals. This dynamic, intended as romantic tension, involves Sam leveraging his charisma in a workplace setting, which the bar's ensemble often enables through lighthearted commentary.[58] No episodes depict physical force or non-consensual acts; instead, Rebecca's agency is highlighted through her ability to rebuff Sam, occasionally yielding to mutual attraction on her terms, underscoring the show's causal view of libido as a comedic vice rather than inherent toxicity.[62] Retrospective analyses from the #MeToo era frequently reframe these portrayals as endorsing harassment, with outlets like ScreenRant (2023) labeling Sam's persistence as manipulative flirtation verging on predatory, particularly in power-imbalanced scenarios like the Rebecca arc.[58] Similarly, Cracked (2025) argues that Sam's immediate advances on female customers would invite lawsuits under contemporary standards, citing the bar environment's tolerance as complicit.[62] Such critiques apply post-2010s consent frameworks emphasizing preemptive boundaries, viewing 1980s persistence as presumptive entitlement.[61] Counterarguments emphasize contextual norms, noting that Sam's archetype reflects era-specific humor where male pursuit tropes drove plots without implying real-world predation, as evidenced by the absence of assault narratives or victimized outcomes for women characters.[60] Empirical review of the series shows explicit verbal consent mechanics—advances are overt, rejections empower female roles like Diane Chambers or Rebecca, who navigate Sam's overtures with wit and autonomy, often flipping dynamics for laughs. This portrayal aligns with causal realism in heterosexual dynamics, where initial mismatches resolve through communication rather than unilateral imposition, challenging hypersensitivity in modern reinterpretations that overlook the show's non-harmful resolutions.[63] While progressive-leaning media amplify these as timeless red flags, the original intent and viewer reception treated them as benign exaggeration, not advocacy for misconduct.[64]Alcoholism and Recovery Portrayal
Sam Malone's backstory as a former Boston Red Sox relief pitcher whose career collapsed due to alcoholism mirrors documented patterns in professional athletes, where heavy drinking often contributes to performance decline and early retirement. Studies indicate that male athletes exhibit binge drinking rates of 57-62% in the two weeks prior to surveys, with alcohol use linked to coping mechanisms amid competitive pressures.[65] His nickname "Mayday Malone," referencing distress signals during games exacerbated by intoxication, draws from real-life athlete struggles, such as those in sports psychology literature associating fame-induced stress with substance dependency.[6] The character's decision to own and operate a bar as a recovering alcoholic highlights a high-risk environment, consistent with industry data showing elevated substance abuse among bartenders and owners, where 39% report harmful drinking patterns due to constant exposure.[66] Despite this, Sam's portrayal integrates realistic recovery elements, including attendance at Alcoholics Anonymous meetings, reliance on a sponsor, and interventions by friends like Diane Chambers and Frasier Crane following his relapse in the season 3 premiere "Rebound" episodes, triggered by romantic heartbreak.[24] These depict relapses as setbacks rather than triumphs, aligning with clinical observations that environmental cues in alcohol-centric settings precipitate recurrence in sobriety maintenance. Critics have debated whether the Cheers bar setting glamorizes alcoholism by normalizing heavy drinking among patrons, potentially undermining Sam's sobriety narrative in a 1980s context where such portrayals reflected cultural attitudes toward casual alcohol use without overt stigma.[67] However, the series counters this by illustrating consequences, such as Sam's emotional turmoil and temporary loss of control, avoiding endorsement of relapse as consequence-free; no empirical studies link viewer exposure to increased alcoholism rates, though retrospective views question its fit with modern recovery emphases on total abstinence from triggers.[46] Proponents argue it inspired awareness by humanizing recovery's challenges, including "dry drunk" behaviors like Sam's impulsivity, while detractors see enablement in the bar's centrality, yet the causal progression from athletic fame to addiction and relapse remains verifiable through athlete-specific risk factors rather than fictional exaggeration.[68]Recognition and Accolades
Ted Danson's performance as Sam Malone in Cheers garnered substantial acclaim, culminating in two Primetime Emmy Awards for Outstanding Lead Actor in a Comedy Series, awarded in 1990 and 1993.[69] These victories came after multiple nominations, highlighting the character's enduring appeal as a charismatic yet flawed bartender.[70]
Danson also secured two Golden Globe Awards for Best Actor in a Television Series – Musical or Comedy for the role, out of nine nominations spanning the series' run from 1982 to 1993. The portrayal contributed to Cheers' overall success, with the series receiving 117 Emmy nominations and 28 wins, including recognition for its ensemble dynamics centered around Malone.[71]