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The Jamie Foxx Show aired from August 1996 until September 2001 on The WB.

Jamie ( Jamie Foxx), was an aspiring actor in Los Angeles, working and living at King's Tower, the small hotel owned by his Uncle Junior and Aunt Helen ( Garrett Morris, Ella English). On the staff were Fancy ( Garcelle Beauvais), the sexy woman who worked the front desk; Braxton ( Christoper B. Duncan), an accountant; and Dennis( Andy Berman), the clumsy white bellboy.Jamie was infatuated with Fancy who, after training him, told him she didn't believe in office romances. Uncle Junior was a compulsive gambler. In a February 1998 episode, Fancy finally relented and slept with Jamie but he was so nervous he couldn't prerform-and he left her apartment totally embarrassed. At the beginning of March he moved in with Braxton and accidentally started a fire that forced both of them into King's Tower, Braxton in his own room, and Jamie with his Aunt and Uncle. A year later in the season finale, Jamie got a gig with the rap group K-Ci and JoJo, and as the episode ended , was about to embarkon a year-long tour-not realizing that Fancy was in love with him.

That fall Jamie had a falling out with the group and returned to L.A. broke . Fancy had been dating others and, although their was still chemistry between them, she and Jamie no longerr dated. Braxton's social life , however, had picked up. He was dating Cameron ( Susan Wood), the attractive blonde delivery person for GPS. In the May 1999 season finale Fancy was on the verge of marrying Dr. Silas Landry ( Alan F. Smith) when Jamie told her he loved her and she admitted she loved him too.

In October 1999 Junior and Helen promoted Braxton to General Manager and Fancy to director of sales. Jamie, whose acting/singing career was going nowhere took a job with Jingles 2000, a small advertising agency that specialized in commercial jingles. Bob ( Blake Clark), was his new boss; Phil, Mouse, Curtis and Nicole ( Alex Thomas, Suli McCullough, Chris Spencer, Rhona Bennett), his co-workers.Jamie and Fancy were having an affair, but he was still living at King's Tower. In January, out of guilt, he decided to start paying rent for his room, and at the end of the month he was promoted to supervisor at the jingle company. In May Jamie got fired for working on a demo tape for a recording contract at the company's studio. He and Nicole performed as a duo in Vegas and she put the moves on him-which created serious problems when Fancy showed up. Jamie was forced to choose between her and his singing career with Nicole.

At the start of the 2000-2001 season, Jamie decided to pursue his singing career but not to tour with Nicole. Although he broke up with Fancy, they eventually got back together on a tentative basis, while still dating others. In December Jamie proposed and she accepted. Junior and Helen decided to retire and announced they were giviving 75% ownership of the hotel to Jamie and his soon-to-be-bride. This bent Braxton-he had assume that he'd be in charge-out of shape. It also forced Fancy to tell everyone she had been offered a job as marketing director for a New York based hotel chain, which was a surprise to everyone. In the last original episode, which aired in mid January 2001, Jamie and Fancy got married and he gave her the key to the apartment in New York, where he had decided they would live, so she could take her big job. He also, with the Kings aproval, appointed Braxton to run the hotel and gave him 25% ownership.

During the show's first season, Star Jamie Foxx also played the recurring role of Tyrone Koppel, an arrogant local tv news personality.

A Review from The New York Times

Sitcoms Wrapped Around Comedians

Published: August 28, 1996

''The Jamie Foxx Show'' also constructs a situation that should have allowed the star to let loose, but turns out to be surprisingly strained. Mr. Foxx plays an actor named Jamie who moves to Hollywood and takes a job at a hotel owned by his kindly aunt (Ellia English) and gambler uncle (Garrett Morris). The show treats Jamie as if he were wacky and irrepressible, but there's not much evidence of that. Mr. Foxx drops in a Nat King Cole impression and a sight gag about Michael Jackson, but the episode focuses on its hokey plot. Jamie has to find a way to raise $10,000 in two days, or his uncle's bookie will take over the hotel. He decides to put on a show. The characters think it's a wild success, but it doesn't look that way from the other side of the television screen.

An Article from The New York times

Two Upstart Networks Courting Black Viewers
Published: October 07, 1996

When the two would-be television networks, UPN and WB, announced their new prime-time schedules last spring, one trend was impossible to miss. In seeking to build a base of viewing that would make them at least somewhat competitive with the four established broadcast networks, both UPN and WB were relying heavily on comedies with black casts.

With shows featuring young black stand-up comedians like Steve Harvey and Jamie Foxx (WB), established black stars like Sherman Helmsley and Malcolm-Jamal Warner (UPN) and distinctively evocative titles like ''Homeboys in Outer Space'' (UPN), the new networks seemed to be making their strategic intentions clear.

So far the strategy, which takes advantage of appealing to black viewers, who watch the most television, and young viewers, who are most willing to watch new channels, seems to be paying off for both networks. Both networks have demonstrated improved ratings with several important demographic groups in the early weeks of the television season.

Perhaps because they feared that the idea of building a strategy around what television executives euphemistically label ''ethnic programming'' might sound cynical, executives at each of the companies went to some lengths last spring to deny that they had consciously plotted black-oriented program schedules. The idea, UPN executives argued, was simply to find the funniest comedies, and the other networks seemed to shy away from shows with black casts, so the contrast seemed more apparent.

At WB, the strategy was already being fine-tuned, so that the emphasis shifted to programs in the early evening that would appeal to entire families, no matter what their ethnic makeup.

Even now, while boasting of ratings results that show UPN's ''Moesha,'' about a savvy teen-ager with an affectionate family, to be the hottest comedy on that network, Lucie Salhany, the president of UPN said, ''I don't think it's anybody's strategy either way, NBC to broadcast 'Friends' because they want to reach a white audience or us to broadcast 'Moesha' because we're looking for a black audience.''

Similarly, Jamie Kellner, the head of WB, while citing strong initial ratings for ''The Jamie Foxx Show,'' about a young man working in his aunt's hotel, said, ''The talent on our ethnic shows, like Steve Harvey and Jamie Foxx, is designed to have crossover appeal to whites as well.'' He also pointed out that, unlike UPN, WB had added some comedies not dependent on black casts, like ''Nick Freno: Licensed Teacher.''

Ms. Salhany said she felt stung by criticism that ''we were ghettoizing our schedule.'' She said that was not the point: ''We just knew we had to reach viewers in the big urban markets because that's where most of our station strength is.''

Still, the fact that the two networks lean disproportionately toward comedies with black casts hardly seems debatable. Between them, WB and UPN have 11 such shows, more than half their total programming. The WB is better balanced, with 5 of its 10 comedies featuring black casts; UPN is 6 for 6. Each network offers shows three nights a week.

More tellingly, television programming and advertising executives agree that a black-oriented strategy is all but inevitable for a network trying to establish itself in a prime-time arena crowded with programs on four broadcast networks and innumerable cable channels.

''I think it makes total sense always to try to first get the audience that's available to you,'' said Peter Tortorici, the former president of CBS Entertainment and now an executive with Carsey-Werner Productions. ''These are not programs you find right now on the other networks.''

Indeed, aside from CBS's addition of ''Cosby'' this season, the established networks seem to be backing away from shows with black casts. Two that were on NBC last season, ''Fresh Prince of Bel-Air'' and ''In the House'' have been replaced on Mondays by ''The Jeff Foxworthy Show,'' which celebrates a comic being a redneck, and ''Mr. Rhodes,'' about a white teacher in an upper-class prep school.

''With ethnic programs, you appeal to the group that watches the most television, black and urban viewers, and you also usually get younger viewers as well,'' said Steve Sternberg, a senior partner with BJK&E Media, a buying service for advertisers. ''Younger viewers -- kids and teens -- see a lot of trends starting with blacks in music and other forms of entertainment.''

He added that young viewers watch shows, not networks. On the other hand, he said, ''viewers over 30 tend to look at the established networks first for programs and then start clicking the remote control.''

This strategy is hardly new. It is, many television executives said, precisely the formula that Fox Broadcasting used when it began to emerge as a prime-time programming force. (Several former Fox executives are now running WB.)

It is also no coincidence, these executives say, that as Fox has attempted to broaden its appeal to audiences beyond its urban and young viewer base, it left its flank open to incursion by the two upstarts.

''Fox stopped targeting ethnic audiences about three years ago, when they put 'New York Undercover' on the air,'' said one former Fox executive, referring to a show about a black and Hispanic police team. ''You can see how it's starting to hurt them. And then these new guys come along, look at the landscape with a six-network economy and say, 'Aha, I can do an ethnic show and take advantage of Fox.' ''

In a report over the past two years on the demographics of television viewing, Mr. Sternberg's company has produced information that may also have been factored into the strategies of the two new networks.

For example, citing Nielsen rating figures, Mr. Sternberg noted that while the average white household watches 50.2 hours of television every week, the average black household watches 75.1 hours a week. These black households naturally tend to favor programs with black casts, he said.

The two networks have also looked to add shows already on the air that would fit their strategy. When ''In the House,'' a black family comedy starring the rapper L. L. Cool J, was canceled by NBC, it was immediately snapped up by UPN. By then UPN had seen how well ''Moesha,'' a show originally developed by Mr. Tortorici at CBS, had done for UPN.

In much the same way, WB first saw good signs from ''Sister, Sister,'' a black family comedy it had imported from ABC. WB pushed its black comedy strategy hard last fall, with new shows like ''The Wayans Brothers.'' ''The Wayans'' is performing especially well, having scored its best ratings in 41 weeks last Wednesday. But even though WB did add both ''The Steve Harvey Show'' and ''The Jamie Foxx Show'' this season, it did not weight its schedule nearly as heavily with black-oriented comedies as UPN did, or indeed as WB itself did a season ago.

''We've been sort of lumped in with what the other guys did, but we're balancing ourselves out,'' said Mr. Kellner of WB. WB, he said, is aiming at family viewers who are unwilling to watch shows on the estsblished networks, like NBC's ''Friends'' and ''Mad About You,'' that are intended for adult viewers. While shows like ''Sister, Sister'' and ''The Parenthood'' do have black casts, he said, their content is about values and ''values are cross-cultural.''

Another factor in WB's shift toward more balance may have been the heavy skew toward black viewing it achieved at the start of last season. In a survey of the networks' schedules last November, Mr. Sternberg found that NBC's audience had 14 percent more white households than black ones. The figure for UPN last fall was 52 percent more black households than white ones. Fox had 105 percent more black households.

The figure for WB, however, was far less balanced: Black viewership of that network was 586 percent higher than white viewership.

In January, WB added the soap opera ''Savannah,'' which features the trials and tribulations of a group of white Southern belles.

The challenge for both these networks, many of the executives said, is to grow without abandoning the base they are establishing.

''The ethnic shows work to a point,'' Mr. Tortorici said. ''Then it becomes a question of execution. Are the shows fresh?''

''They have to get to the point where the program suppliers see that shows on these networks will have an afterlife in syndication,'' he said. ''It looks like 'Sister Sister' may establish that kind of track record for WB, and 'Moesha'' might do the same for UPN.''

If that happens, he said, the new networks will have more than justified their initial strategy.

To watch some clips from The Jamie Foxx Show go to

For a Website dedicated to Jamie Foxx go to

For some Jamie Foxx Show-related interview videos at the Archive of American Television go to

For another review of The Jamie Foxx Show go to

To watch the opening credits go to and
Date: Thu March 30, 2017 � Filesize: 62.5kb, 471.7kbDimensions: 1200 x 1600 �
Keywords: The Jamie Foxx Show (Links Updated 7/30/18)


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