ABSTRACT
By the mid-1950s, sitcom stars such as Lucille Ball, Desi Arnaz, Danny Thomas, and Ozzie and Harriet Nelson had taken hold of television viewers’ imaginations as well as their purse strings. This new breed of television performer, although borrowing and recasting certain characteristics of their vaudeo predecessors, represented developing trends in the broadcast industry’s management of stars and programming. In particular, shifting relationships among sponsors, networks, agencies, and independent production companies contributed to an acceleration of star-based marketing strategies that began in 1930s radio. Broadcasting stars were aggressively packaged and sold to audiences in more ways and forms than ever before, and the participation of stars in commercial processes was imperative. A 1953 Variety editorial noted, “The use of TV stars as pitchmen on their own shows has now reached the point where decision by some agencies on whether or not to buy a show is predicated on the willingness of the program’s star to become a part-time salesman.” 1
