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She's the Sheriff aired from September 1987 until May 1989 in first run syndication.

Following the death of her husband Jim , Hildy Granger ( Suzanne Somers) succeeded him as sheriff of Lakes County, Nevada, in the beautiful mountain country near Lake Tahoe. As a widow with two young children, Allison and Kenny ( Nicky Rose, Taliesin Jaffe) to support, Hildy definitely needed the job. Unfortunately her second in command , obnoxious Max Rubin ( George Wyner), was a constant thorn in her side. The other male deputies accepted her , but Max was constantly trying to undermine her authority and embarrass her, in a never-ending quest to get the job that was rightfully his. The other deputies included Lou Richards as Deputy Dennis Putnam; Guich Koock ( who had played a similar role in Carter Country a decade earlier) as Deputy Hugh Mulcahy; and Leonard Lightfoot as Deputy Alvin Wiggins. Helping out on the home front was Hildy's bubbly mother , Gussie ( Pat Carroll), who moved to Lakes County to take care of her grandchildren while her daughter was at work.

A pllot for this series, titled " Cass Malloy" was aired by CBS on July 21, 1982 with Caroline McWilliams in the lead role. It took some years to progress the project further but the subsequent series was set to star Priscilla Barnes as the sheriff. Shortly before production began, however, Suzanne Somers was brought in as her replacement. The move was ironic in that Barnes had replaced Somers in Three's Company in 1981.

She's the Sheriff was one of five sitcoms chosen by NBC to checkerboard across its weekday schedules in the fall of 1987.

An Article from the Washington Post

By Jeffrey A. Frank September 14, 1987

In "American Graffiti," she was a beacon of fleeting enticement driving a Thunderbird. She was discovered, much like Lana Turner, in a Hollywood restaurant. And then, suddenly, she became "Chrissy," the voluptuous naif of "Three's Company" -- implausibly blond, scantily clad and a bit of an airhead. The show thrived in the era of the "jiggly," or, as Suzanne Somers says today, more precisely, The Age of the "Five Jigglies" -- Farrah Fawcett, assorted Charlie's Angels and herself.

Then, in the summer of 1980, she left -- contract disputes and all that. And because Suzanne Somers is not now and never has been the befuddled blond she once played, she can look at what happened with a certain detachment, if not awe.

"It was phenomenal when you think about it," she says. "In one year, I was on 55 national magazine covers. I know that because after a while you just start counting because it gets so incredible. Including the cover of Newsweek and featured on '60 Minutes' with Morley Safer. And I really couldn't figure out what was happening. I wasn't going to push it away, but it was really ... And if you're lucky enough to be in the right place at the right time you can have a great ride.

"It was a great ride. There's a power attached to being on the number one show in the nation that I didn't realize was attached to it until I left ... I was used to calling up the head of movies at ABC or CBS and saying, 'I just got this script, I really like it,' and they'd say, 'When do you want to do it?' Or you called a press conference and the room is overflowing.I just figured that's the way it was."

This is the way it is now: She's almost 40, the mother of a 21-year-old son. She's served her time as an American blond archetype and even had her tussle with Playboy (she lost; they published). Recently she's been on the road on behalf of her new series, "She's the Sheriff" (it premieres here tomorrow at 7:30 on Channel 4), and early next year, Warner Books will publish her sort-of memoir of a Catholic girlhood, a Literary Guild featured alternate. But she knows that when people stare at her, it is because of the one role and one program that changed her life.

"In the beginning of my 'Three's Company' career," she says, "I had a manager who was very strategically oriented, Jay Bernstein, who made me crazy. He's a wonderful manager, but he made me crazy. He had me in a race where there was no race. He would call me in the morning and say, 'I don't know, Farrah's on four covers and Cheryl's on three covers, and you're only on two this month and you're slipping.' And he would get me crazy ...

"Jay said to me at one time, he said, 'I'd like to put you in the Judy Holliday mold,' he said, 'but no, maybe we can get you in the Marilyn Monroe mold, too,' and suddenly I didn't know who I was supposed to be ..."

She looks startlingly slight (one, after all, has certain expectations), and is wearing a silky teal dress. And though the conversation will turn to (yes) poetry, and her book, the roller coaster of "Three's Company," and even Gary Hart, the point, of course, is "She's the Sheriff," and we might as well be done with it.

That's why a publicity person from WRC-TV is hanging around and why her husband Alan Hamel wanders in and out of an adjoining room. Somers plays the widowed sheriff, Hildy Granger, and the cast includes a number of television veterans, including Emmy-winner Pat Carroll as Hildy's mother.

"This new character is not dumb," Somers says. "I'm playing a real person now. You either like me or you don't. Because I'm not even dressing in a glamorous way. I wear a uniform, a khaki uniform with a shirt and tie, and it's interesting to see how people will react to that."

Some people (sexists, all of them) will be very saddened by that.

"Within the confines of a sitcom and on a three-day rehearsal week, I'm putting out the best work I can," she goes on. "That doesn't mean this is Shakespeare, but it does mean that within this little art form called sitcoms" (she pauses) "that I'm getting off."

And at that, she grins.

If her agent saw her as a Monroe or a Holliday, in fact her comedy depended on malapropism in the often tiresome conventions of situation comedy. But there was a quality of lost daffiness in her character, and if some blamed her personally for the lewd estate of television, others wished to swoop down to protect her.

She started as Suzanne Mahoney, one of four children born to a medical secretary and a gardener in San Bruno, Calif. -- a not altogether idyllic childhood, as she will reveal in "Keeping Secrets." It is a subject she does not want to talk about -- wait for the book -- but she says it is "a brutal account ... about being the child of a alcoholic. It's not about being a star. It's my life up to being a star. I never planned to write it, it just, I just couldn't help myself." Warner Books publisher Nansey Neiman would say only, "It's a powerful and moving story." Somers says she wrote it with her father's blessings.

Her high school nickname was "Boney Mahoney." At 17, in her first year at a Sacred Heart college in San Francisco, she got pregnant, which was, as she puts it, "frowned upon" -- and hastily married. "You're raised with this concept of sex is bad, nasty, dirty, unclean and you save it for the one you love," she says. "Which is always a huge mixed message to me. If it's bad, nasty, dirty, terrible and unclean, why are you going to give all that to somebody you love?"

Within a year, she was divorced, and at 19 she met Alan Hamel on the set of a show called "The Anniversary Game." "He was the game show host and I was the prize model and I got fired after the first day because I kept looking at the wrong television camera." Hamel, who for years ran a popular talk show in Canada, is now her personal manager.

George Lucas, she recalls, asked only if she could drive before he cast her in 1973's "American Graffiti," and that same year, "Touch Me," subtitled "The Poems of Suzanne Somers," was published. Then she heard about a part on a Dom DeLuise show called "Lotsa Luck," and, though she did not get hired, she boarded the roller coaster.

"I went and read for Dom DeLuise and while I was waiting I was sitting in the commissary very nervous and it was about 2 in the afternoon and no one was there and in walked Johnny Carson with his producer, Fred DeCordova. So they talked with me because I was the only girl there and they said, 'What do you do,' and I said, 'Well, I'm an actress. And an author.' So they wished me luck. And that afternoon, I just sent everyone in the 'Tonight Show' office a copy of my book. I mean the guy that cleans up got a copy of my book.

"And that week I got a call on Friday night to be on the 'Tonight Show.' And I thought it was because they loved my poetry. But they read the back flap and saw that I was the blond in the Thunderbird in 'American Graffiti.' And no one had ever known who that blond was. So that was my introduction to television.

"Johnny Carson liked talking to me because I was so, uh, non-Hollywood. There was nothing slick about me at all. I really was just a small-town girl. So he said to me the first time, he said, 'How long have you been in Hollywood?' And I said, 'One week.' And he said, 'Gee, you don't waste much time, do you?' And I said no."

For a time, she says, she was virtually living off Carson's $320 fees (appearing in the flaky final 30 minutes of the old 90-minute show). And after she'd been on the program dozens of times, ABC's then-programming head, Fred Silverman, took note and thought that when the right project came up, he would find a way to use her.

The right project debuted in March 1977 as a limited spring series, based on a British program called "Man About the House." The American version was called "Three's Company," which still runs and reruns in Washington and probably on Mars as well. For those who denounced the medium (and also for many of those who did not), the program was a prime example of its wretchedness; adjectives like "smutty" regularly were attached to it.

The premise was that a young man (Jack, played by John Ritter) shared an apartment with two women: the practical, conventional Janet, played by Joyce DeWitt, and the dizzy, shapely Chrissy Snow, played by Somers. By the time the show returned in the fall, it had become a national sensation -- and something of a scandal. What silliness! What double-entendre! What, uh, jiggles, most of which belonged to Suzanne Somers.

"It really was a great thing to do, playing that kind of naive, uh, innocent, pure character," she says of the Chrissy whom critics saw as anything but. "If you really dissect the show, Jack and Janet were parents. I was the little girl and they were my parents and their real job was to protect me from myself and various elements out there. And all I was really about was being pure, naive and honest. Not dumb, not really dumb, just a circuitious route to logic.

"When you look at it, the things I was saying, I usually came up with the right answer at the end of each show. But I came about it from a different angle than anybody. At the end of each show, all of them would go, 'Chrissy, how did you know that?' That's usually whatthe bottom line was at the end of each show.

"The reason people like Chrissy was that she didn't threaten anybody. She didn't threaten women because she was too good, she wouldn't steal their boyfriends or husbands. Men liked her because she was kind of cute and cuddly. And little girls liked her because they'd like to be like her and little boys liked her because they'd like," she's laughing now, "whatever they wanted to do. And it's sort of one of those characters who were very appealing."

When, seven years ago, Somers asked for a raise -- from $30,000 per episode to $150,000 and, more importantly, a piece of the show's earnings -- the producers resisted. And the result was that the last four years of the show were Chrissy-less.

"As I look back on it," she says, "everything about it was positive and wonderful and it gave me the visibility one needs to move on in this -- " She hesitates, never finding just the word. "But I did not leave 'Three's Company' in a way that, as I look back on it now, that I would have. It was -- everybody was so caught up in their own egos and the power of being the number one show at that time that no one thought it through, including myself, and it was just stupid the way we all handled it.

"I didn't know what I had."

"She'sthe Sheriff" is something of a respite for Somers, who, in that mysterious profession of "entertainer," has been working at a terrifying pace. Last year, she says, she went on the road and ended up putting on the beaded dress and doing her Las Vegas act 600 times. And while doing that, she wrote "Keeping Secrets."

"Sometimes," she says, "you don't know what's going on in this inner dialogue, your subconscious. Because every day last year I'd wake up in various hotels and I had all my papers next to me on the bed. I wouldn't even get out of bed. I'd just pick them all up, put them on the bed, and I would write until it was dark. And then when it was dark, I'd look outside and see it was dark and realize that it was time to put on my makeup and go downstairs and go on stage and do the show.

"I didn't plan on doing it {the book}, but I bet subconsciously I took all that work 'cause I ... so I'd be forced to be in these impersonal rooms like this where there was nothing to do but think and focus in on what I was writing."

"Touch Me," published when she was in her midtwenties, is now in its third printing. "One year I sold more poetry than Rod McKuen," she says, not minding the implied literary comparison. "It's a very low-key market, so that you don't go around saying, 'I was a bestselling poet of 19-whatever,' but I was."

The poems -- well, perhaps that is not the word. But the writing is very personal, sometimes painfully so, and it tells you something about Somers as a cynical young model:

The clammy ad exec has gray eyes

And a dour mouth forever insisting that Cleopatra

Is not quite right to sell the plots along the Nile ...

Or a newly divorced mother:

Sometimes I see my son

And remember when I thought I'd failed

Because so many told me

A mother who bore a boy

Should not send away his father.

Or in more intimate moods:

I used to sleep with this guy

Who always sweetly asked me

When lovemaking had cooled to conversation

"Did I please you?"

Clinically, he asked, like putting wallpaper

On the west wall

Or adjusting the books on the shelf.

"You don't do poetry 'cause you want to get rich," she says. "You do poetry because -- you don't even plan to do poetry. Poetry just sort of comes out of you, and it comes out of me, uh, when I'm in pain. I haven't written a lot of poetry lately 'cause I'm not in much pain ... In the thirties, I'm finding the overall picture is clearing. And I'm getting near the end of the thirties. The forties are supposed to be even better than that. So I'll let you know."

Heading into her forties, she and her husband live in an adobe house 17 miles from Las Vegas. It is, she says, "in the middle of nowhere, no one around me, coyotes at night." She talks about getting into movies, but not with much urgency, and she wants to slow down: "I'm starting to get interested in the time off. To think. I find I'm sometimes too busy to think."

She has, after all, been busy in several ways since the birth of her son Bruce,who is now in college.

"All my adult life, since I was 17, my life always existed around a child's time frame, which was, 'No, I really can't stay, I've got to get back and get dinner, I've got to let the baby sitter go.'

"I'm glad that my career didn't happen for the first 10 years of his life. Because the first 10 years, we were poor but he didn't know it. And I gave him such quality time. Then around 10 years old, my career started happening, but he was secure and happy." Though, she concedes, he was often jealous of the time she spent working.

She also knows that she is disparaged with words like "bimbo" or worse, and some people may not think much of being an entertainer and appearing in "Hollywood Wives" and hosting "The Late Show," and in fact having had the life and looks of Suzanne Somers.

"You know," she says, "when you're in the public eye, and I've certainly been, for want of a better word, the butt of many jokes, Johnny Carson's monologues for years ... And I found myself using Gary Hart when I was doing monologues on 'The Late Show.' And after I did it, I thought, aw, I feel sorry for Gary Hart, that I was using him for fodder. And I thought, hey, that's what comes with the territory when you're in the public eye. I've been through it myself and he's been through it and you've got to take it. You've got to take it. And he just was -- talk about getting caught with your hand in the cookie jar! A major cookie jar."

She shakes her head, eyes agleam, looking like Chrissy Snow, but now more of a distant, older sister.

"All I can say about Gary Hart," she goes on, "is I hope whatever happened that Saturday night was really great. Really great. Because he had to give up his whole career ... So I hope whatever happened in that apartment was the greatest night of his life. He's got to be saying to himself, 'What did I do?' The trouble with being an adult is, for every action there is a reaction. And you can't take it back."

An Article on the first run syndication market of the 1980s from The New York Times

First-Run Syndicators Find Tight TV Market


Published: February 27, 1988

In recent years, the business of making programs for local television stations has been one of the fastest-growing segments of the entertainment industry, if also the least glamorous.

Shows like ''Wheel of Fortune,'' ''Entertainment Tonight'' and ''The People's Court'' have been big money makers.

But for producers of non-network shows, the business known as first-run syndication is now facing a much tougher environment: while demand from stations is relatively weak, the number of new shows being developed continues to grow strikingly.

''The business is dangerous,'' said Marvin Grieve, a program syndicator who is president of the Association of Program Distributors. ''It's crowded. There are too many programs and too few time slots.''

This year, the major studios and smaller production companies are offering the usual grab bag of trash, fun and games, and network-quality comedy and drama for the television season that starts in September. The programs range from talk shows with hosts like G. Gordon Liddy, the Watergate burglar; Don King, the flamboyant boxing promoter, and Howard Cosell, the former sports announcer, to situation comedies like ''The Munsters Today,'' to game shows like ''Pearl Bailey's Love Court,'' in which the singer will oversee a panel of ''love litigators'' mediating romantic disputes.

There will also be more ambitious dramatic programming, including ''The Street,'' a late-night police show from MCA Television Enterprises. The success in syndication this year of ''Star Trek: The Next Generation'' from Gulf and Western's Paramount Pictures Corporation has led that studio to develop a series based on ''War of the Worlds.'' Paramount's ''Friday the 13th: The Series'' has spawned imitators like ''Nightmare on Elm Street: Freddy's Nightmares'' from Lorimar Telepictures Corporation. Few Offerings Will Be Produced

Few of the hundreds of new offerings, however, will be purchased by enough stations to justify being produced, industry executives said.

''There are an enormous number of pilots, and only a handful will get on the air,'' said Dick Gold, the president of Casablanca IV, a syndicator that is selling ''Howard Cosell: Speaking of Everything'' and ''Crimes of the Century,'' which will re-create cases of infamous malfeasance.

Part of the problem is that many of the prime afternoon and early evening time slots on local stations are already locked up by successful syndicated shows like ''Wheel of Fortune,'' ''Jeopardy'' and ''Oprah.'' Many stations also have depleted their budgets by buying the rights to reruns of network programs like ''The Bill Cosby Show.''

In a more general sense, the problems are the result of the widespread financial difficulties plaguing local television stations, especially those that are not affiliated with one of the three major networks.

Those independent stations are the major consumers of syndicated programming. Many of them were acquired over the last five years by new owners who took on heavy debt loads to buy them at top prices, only to see advertising revenues drop off and program costs soar. In the last year, 23 independent stations have gone bankrupt and others have found their cash flows badly crimped.

While advertising expenditures are picking up again this year, executives at both independents and network-affiliated stations remain hesitant about acquiring expensive programs. Aside from the few top-rated syndicated shows - ''Wheel of Fortune'' and ''Jeopardy'' are No. 1 and No. 2 -almost all shows will go for prices significantly lower than the syndicators are asking.

''Wheel of Fortune'' generates revenues of $400,000 an episode from fees paid by local stations as well as revenues from advertising time sold by the show's syndicator. By comparison, new shows often bring in a tenth of that or less. A Rude Awakening

''The last year taught us that we are going to have to be even more cost-conscious when it comes to acquiring programming,'' said Deborah McDermott, the general manager of WKRN-TV in Nashville, who is president of the National Association of Television Program Executives.

For many syndicators and program producers, today's tight market is a rude awakening after years of being able to sell new shows every season to the large number of stations that went on the air in the early and mid-1980's. There were 96 syndicated first-run shows on the air at the start of the 1987-88 season, compared with 88 in 1986 and 25 in 1980.

Lured by the huge success of ''Wheel of Fortune'' and ''Jeopardy,'' hundreds of small companies sprang up to supply stations with game, talk and courtroom shows and the like. Future Dim for Small Studios

Today, many of those small companies face a precarious future. Not only will they have trouble selling their shows, but they must face increased competition from Hollywood's biggest studios, which have steadily been expanding their operations in first-run syndication.

''The smaller guy will have a really hard time,'' said Al Masini, the president of Telerep, a syndicator and advertising sales representative.

Paramount, the Tracinda Corporation's MGM/UA Communications Company, the Walt Disney Company and MCA Inc., the parent of Universal Studios, have now joined Lorimar as powerhouses in the business. They bring not only experience in producing network-quality shows but also the financial strength to support the huge sales staffs necessary to market new programs aggressively to hundreds of individual stations.

''For the studios, making programming for first-run syndication is as important as making programming for the networks,'' said Lucille Salhaney, president of Paramount's domestic television division.

First-run syndication has become more attractive to the big studios as making shows for the networks has become less profitable.

Because of competition from independents and cable television, the networks' share of audience has declined to 70 percent this year, from 87 percent six years ago, according to the A.C. Nielsen Company.

Facing more pressure to cut costs, ABC, NBC and CBS have been holding the line on the fees they pay studios to make their shows. Studios generally lose money on a show's network run, but they have always banked on being able to make money on the sale of reruns. Now, however, the off-network market for reruns has dried up, except for a few blockbuster hits like ''The Bill Cosby Show.''

''The entire industry is now focusing on first-run syndication because it is recognized as the fastest-growing and potentially most profitable part of the business,'' said Shelly Schwab, the president of MCA Television Enterprises. The Lure of the Business

The lure of the business is easy to see. ''Wheel of Fortune,'' the most successful syndicated show ever, brings fees and advertising revenues of more than $100 million to King World Productions Inc., its syndicator, and Merv Griffin Enterprises, the unit of the Coca-Cola Company's Columbia Pictures Industries that produces the show. ''Wheel of Fortune'' reportedly costs about $8 million a year to make.

Lisbeth R. Barron, an analyst at Balis Zorn Gerard Inc., estimates that three of Lorimar's top syndicated shows - ''The People's Court,'' ''Love Connection'' and ''Superior Court'' - together bring in annual revenues of $45 million and generate $16 million in operating income. Most of that, she said, is from ''The People's Court.''

The circumstances are more complicated for syndicated situation comedies, of which there has been a glut for the last two years. Even a successful show such as Lorimar's ''She's the Sheriff'' does not make money on its initial run. The typical situation-comedy episode costs $300,000 to make, but brings in initial revenues of only $200,000 to $250,000. Betting on Rerun Sales

To make money in the long run, then, a studio is betting that it can sell the show all over again as a rerun. No one yet knows how successful a strategy that will be, since studios are only now beginning to offer their syndicated shows as reruns. If they cannot get the prices they hope for, Ms. Barron said, ''it does not bode well for first-run sitcoms.''

The business is also getting more difficult because stations are demanding that syndicated comedy and drama be of network quality - even though they do not pay network prices for it. Paramount's ''Star Trek: The Next Generation,'' one of the few new syndicated hits of the current season, is made by the studio's network division on a reported budget of about $1.3 million an episode, about what most hourlong network shows cost to make.

The studios said that after years of being at the bottom of the Hollywood totem pole, syndication is finally getting some respect from actors, writers, directors and other creative personnel. For one thing, syndicated shows are usually made in batches of at least 24 episodes, compared with as few as six for network programs, which means more job security.

An Article from the Chicago Tribune

Suzanne Somers Back As The `Sheriff`
August 14, 1988|By Marilyn Beck.

HOLLYWOOD — Suzanne Somers has received word that her ``She`s the Sheriff`` series goes back into production today (Aug. 14.) And that bit of news ``has put me in deep, deep water,`` she says.

Suzanne`s in the midst of a two-month nitery tour, and must suddenly find a way to juggle club dates with ``Sheriff`` shooting. ``I had been told I`d have six to eight weeks notice before I had to return to the series, but they`ve decided to rush into production, to get some fresh product ready before the competition does, with five existing scripts from last year. Nightclub contracts have 30-day-cancellation-notice clauses and . . . I`m going to try to fly back and forth and somehow handle everything, but I don`t know how.``

Suzanne, who`s become one of the top names on the nitery circuit, has also become a hot ticket on the lecture circuit as the result of her ``Keeping Secrets`` best seller that explored her life as the child of an alcoholic. The book is also doing good things for her acting career.

``The industry is suddenly seeing me in a more serious vein than it did. I`ve been signed for two dramatic TV movies. One, for CBS, is based on the true story of a mother whose child is dying of cancer; the other is a hot and steamy illicit sex story for ABC. I`ve also got a comedic TV movie-`Exit`-to do for ABC. Now it`s going to be a matter of finding time to do those projects.``

For more on She's the Sheriff go to's_the_Sheriff

For a Page dedicated to She's the Sheriff go to

For the Official Website of Suzanne Somers go to

For some She's the Sheriff-related interview videos at the Archive of American Television go to

To watch the opening credits go to

To watch the opening credits of the unaired pilot go to
Date: Sun January 20, 2008 � Filesize: 69.6kb, 63.2kbDimensions: 912 x 1125 �
Keywords: She's Sheriff: Cast Photo (Links Updated 7/21/18)


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