Anatomy of the Children’s Sitcom

Welcome to my new series Anatomy of the Sitcom in which I will be dissecting different types of sitcoms and analyzing their influences on each other from the viewpoint of a screenwriter. For this inaugural entry I am going to start all the way back at the beginning. 

Okay, not the beginning beginning – my beginning! My sitcom journey, like many others, began as a child watching anything and everything on Disney Channel and Nickelodeon. These shows are a perfect introduction to this series because children’s shows typically include straightforward plots and characters. Having a strong understanding of simpler programs will be our first stepping stone towards sitcoms with more complex storytelling. 

The Concept:

The most important part of any show is the concept. Who are these people? What is their “world?” Why are we getting a look into their lives at this exact moment in time? The answers to these questions can vary greatly, but for many children’s sitcoms the answer is simple: the series follows a group of children (or teenagers) on their journey to maturity. 

The very first live action sitcom aired on the Disney Channel, Even Stevens (2000), is a trailblazer for this format. The series follows the wacky antics of the Stevens family as the main characters, siblings Louis and Ren, attempt to navigate the trials of middle school and each other. The success of this series spawned many shows that followed a similar format, prominently Lizzie McGuire (2001) and Drake and Josh (2004). These series presented a relatable slice of life style, but it began a race for the next big thing.

That’s So Raven (2003) follows Raven Baxter’s time in high school, but there’s a twist – she can see the future. This completely changed the game. Series that started airing afterwards began including a special spin on the norms – for better or worse. The Suite Life of Zack and Cody (2005) follows the Martins’ lives in the luxurious Tipton Hotel, Hannah Montana (2006) follows Miley Stewart’s secret life as a pop superstar, and iCarly (2007) chronicles the rise of Carly’s viral web show. Though these concepts began to stray from the average life of a normal kid, these series still explored how the uniqueness of their lives had an impact on their experiences at home and school. 

At the heart of all these series is reality. Distorted reality that almost certainly could never be achieved by a child? Sure, as long as it all connects back to something very real and grounding (unpopularity at school, bickering with siblings, evading punishment from parents, etc.). No matter how wacky the situations get, always remember the writing goal: to follow a group of children on their journey to maturity.

The Story:

But where is this all going? Are we just writing about the social lives of middle and high schoolers? Why should the viewer care? Defining the story is an important step so that you can plan for the long term and cultivate an audience that becomes invested in the journey of these characters. In the pilot episode it is vital to establish, or at least hint at, an end goal for the series. 

In Good Luck Charlie (2010) the goal is raising Charlie, Austin and Ally (2011) promises superstardom for the titular characters, and Phineas and Ferb (2007) strives for the best summer ever. While these end goals may not be spoken about in every single episode, it is built into the DNA of the series. It should be something that is worked towards, earned, and marks the ultimate “win” for the main character(s).

Once you work out what the end goal is, it is time to make them earn it! A common thread I have found through all these shows is that they all include an Arena. The arena should be directly linked to your end goal, often serving as the casual reminder of said goal. Your arena can be a web show set, the hallways of a high school, or a house that is abnormally large – yet still feels like too small of a space for a rambunctious family. Whatever you decide, it is important that this arena feels alive. It should be unique to the characters and feel otherworldly to any outsider (side character) that enters. The purpose of the arena is to challenge the characters in a way that those around them aren’t. It is the job of the writer to bridge this location and the “real world” to create the plot of any given episode.

A great example of this is Wizards of Waverly Place (2007). Their arena, the wizard lair, serves as the focal point of all episodes. Whether their issues stem from being viewed as uncool at school, struggling with dating, or working at their parents restaurant, their solution always involves magic. And, of course, they learn all their magic in the lair. It is the only place where the prevailing quality that makes them unique, wizardry, is not only out in the open, but embraced. In the arena, the main characters are the heroes. Episode by episode the Russo children become better wizards, ward off monsters, and gain respect from their peers, which inches them closer and closer to their end goal – winning the family wizard competition. The arena gives the main characters a location to spread their wings and prove themselves to the world and to the viewer.

The writers should always be focusing on new ways to build the arena and the “real world” through each other. This symbiotic relationship causes conflict, character growth, and should be considered the north star of a series.

Authority:

Another important aspect for the writer of a children’s sitcom is to understand the power of authority. Since the main characters are kids, they must always have someone to answer to. Authority can range from parents, to teachers, to a nanny that is only a mere five years older than the children they are raising (seriously, what is Jessie (2011)). While it is important to establish the highest authority, the writer must find ways to give the younger characters authority over the world as well. When all adults are gone who is in charge?

Even though it is nonsensical, an example of this is Rico Suave in Hannah Montana. Rico is the manager of Rico’s Surf Shop and uses that authority to boss his years-older employee, Jackson, around. Is Rico working at this shop legal? Probably not. Does it matter? Nope! His entire purpose is to be an antagonist on a level playing field with the main characters. This way, there can be a constant “fair” power struggle because it is, as they say, someone their own size. 

Allowing younger characters to hold positions of authority reinforces the feeling that kids run the world in some way. It gives the characters agency and meets the viewer at their level. 

Character Dynamics:

While it would be impossible to put together a comprehensive list of all character dynamics used in children’s sitcoms, I must point out the most commonly used. I have broken these dynamics down into two central categories: Family and Friendship.

Family: Embarrassing parents, nagging siblings, and a main character that must fight daily to survive it all. While the families in children’s sitcoms never hurt each other too deeply, a large portion of conflict arises from arguments, competitions, and orders from one another. Growing up is already tough enough, but imagine how much harder it gets when your biggest issues are the people you live with? 

Family dynamics can be made even more interesting, though. Phineas and Ferb follows a blended family, Carrie in The Suite Life of Zack and Cody is a single mother, and iCarly opts to have the titular character’s older brother, Spencer, be her legal guardian. Mixing things up and including a non-traditional family can offer uncommon episode storylines, brew conflict, or even simply give representation to children who don’t always see their family on TV. 

Friendship: A great friend group can be the heart of a series. Friends, much like in real life, help the characters grow and learn more about themselves. They often teach how to fit in (Keely Teslow in Phil of the Future (2004)), to embrace your quirks (Harper Finkle in Wizards of Waverly Place) and to not take life too seriously (Cat Valentine in Victorious (2010)). Not to mention the love-hate relationship that slowly inches towards a romance as both parties become more mature and understand the world around them better (nearly all these shows).

Including a proper friend group for the main character allows them to experience the pains of growing with people experiencing similar issues. It highlights camaraderie, community, and gives the sense that your characters (and viewers) are not alone. 

What Have They Learned?

The viewers love the jokes, the characters, and the story, but how do we, as writers, wrap it all in a bow? Well, it’s no different than any other type of show – teach a lesson. Children’s television is a great medium for this because I would argue the entire purpose is to teach a younger audience about life in some way. Whether the characters learn to embrace individuality, find confidence in themselves, form lifelong relationships, or just get through the most awkward years of life, they must always be learning something in each episode. 

As you write, always remember the base goal for this type of series: to follow a group of children on their journey to maturity. As long as you follow that, you have the golden ticket to a brilliant sitcom for children. 

– Cody