It was also the first time a show's educational effects on young children were studied, and the first time both summative and formative research were reflected in a television show's content.

In 1967, when Cooney and her team began to plan the show's development, combining research with television production was, as she put it, " positively heretical ".

Cooney credited the show's high standard in research procedures to Harvard professors Gerald S. Lesser, whom the CTW hired to design the show's educational objectives, and Edward L. Palmer, who was responsible for conducting the show's formative research and for bridging the gap between the show's producers and researchers.

The CTW conducted research in two ways: in-house formative research that informed and improved production, and independent summative evaluations, conducted by the Educational Testing Service ( ETS ) during the show's first two seasons, which measuring its educational effectiveness.

The research team, in a series of meetings with the writers, also developed " a curriculum sheet " that described the show's goals and priorities for each season.

When a script was completed, the show's research team analyzed it to ensure that the goals were met.

Jon Stone was responsible for writing, casting, and format ; Dave Connell took over animation ; and Sam Gibbon served as the show's chief liaison between the production staff and the research team.

After being named executive director of the CTW, Cooney began to assemble a team of producers: Jon Stone was responsible for writing, casting, and format ; David Connell took over animation and volume ; and Samuel Gibbon served as the show's chief liaison between the production staff and the research team.

Sesame Street was the first children's television program that used a curriculum with clear and measurable outcomes, and was the first to use research in the creation of the show's design and content.

Ten to fifteen percent of the show's initial budget of $ 8 million was devoted to research, and researchers were always present in the studio during the show's filming.

A " Writer's Notebook " was developed to assist writers and producers in translating the research and production goals into televised material ; this connected the show's curriculum goals and its script development.

Palmer and his team's approach to researching the show's effectiveness was innovative ; it was the first time formative research was conducted in this way.

For the 1983 season, the show's producers and research staff decided they would explain Mr. Hooper's death to their preschool audience, instead of recasting the role: the writer of that episode, Norman Stiles, said, " We felt we owed something to a man we respected and loved ".

The show's production team was tested when many core cast members left the programme in the early 1970s.

Due to the show's strong themes of female empowerment, the most powerful members of the team are often female ( Buffy and Willow ), while the men play passive roles such as that of father-figure ( Giles ) and supportive best friend ( Xander ).

The show's creator Humphrey Barclay would also go on to create the TV show Do Not Adjust Your Set, featuring the rest of the Python team.

He had been asked to join the show's writing team when it started in 1989, but decided instead to work on Get a Life.

Despite this record though, Merton is one of only three people to have played all three roles of the show's format at various points: he is usually captain of his team, but along with being the first post-Deayton presenter ( series 24, episode 3 ), he has also been a guest on Hislop's team ( in series 11, episode 1 ).

During the UK tour's summer break director Christopher Luscombe and the show's creative team recreated the UK production in Seoul, South Korea with a new cast of American, Australian and New Zealander actors and local celebrities as the Narrator.

Dirge later became a writer on Vasquez's series Invader Zim, while Rikki Simons became a member of the show's coloring team and the voice of the show's crazed robot GIR.

The seminars set forth the new show's policy about race and social issues and provided the show's production and creative team with " a crash course " in psychology, child development, and early childhood education.

At HBO, Tompkins came into much greater national prominence alongside Larry Merchant and Sugar Ray Leonard as a member of the HBO Boxing show's team.

The final segment featured Dunphy thanking his production team and the viewers and, in a nod to the show's theme tune and the battle with The Late Late Show, Dunphy's final words were " I fought the law, and the law won ".

However, the show's popularity meant the BBC resurrected Brittas and brought on a team of new writers, who carried the show on for a further two series, including one further Christmas special in 1996.

According to theatre legend, the show's new title, along with the title number, was born from the haste with which the show was revamped: at a late-night production meeting, an exasperated and over-worked member of the production team cried out " And just how in the world are we going to end the first act?

The team returned for the 2002 University Challenge-Reunited " champion of champions " series for the show's 40th anniversary, and they won the series in convincing style, beating Keele University in the final 375-185.

The first Switchback in the aforementioned season 15 was a remake of the Roadblock encountered by teams during the show's season six stop in Stockholm ; the original Roadblock was notorious as one team struggled for more than six hours before being told they had been eliminated from the race.

Clark also developed a method of rapidly spinning into his costume at super speed which became a trademark change, especially during the third and fourth seasons of the series, and extremely popular with the show's fans.

Between 2001 and 2004, Joss Whedon and Jeph Loeb developed a 4-minute pilot episode for Buffy the Animated Series, which was set during the show's first season.

Shortly after creating Sesame Street, its producers developed what came to be called " the CTW model " ( named for the show's production company, The Children's Television Workshop ), a system of television show planning, production, and evaluation based on collaborations between producers, writers, educators, and researchers.

Smith and the show's writers worked to give Lisa a more defined personality, and she has developed greatly during the series.

Mirkin moved the show's focus toward Homer Simpson, and also developed some of its secondary characters, including Apu Nahasapeemapetilon.

Between 2001 and 2004, Joss Whedon and Jeph Loeb developed a 4-minute pilot episode for Buffy the Animated Series, which was set during the show's first season.

Instead of the traditional variety mix of sketches, guest stars and musical interludes, the show's humour derived from characters and situations developed in a half-hour storyline.

The show's principal puppeteer is Fred Rogers himself, who also developed many of the puppet characters in the 1950s for Josie Carey's program, The Children's Corner.

* This episode was originally developed for the show's second season but had to be " scuttled " because a fan posted a story idea on GEnie that was very similar to the plot of the episode.

Following the end of that show's run, Steve Smith developed another series, The Red Green Show.

A live production of Blue's Clues, which used many of the production innovations developed by the show's creators, toured the U. S. starting in 1999.

Script drafts, once developed and approved by the show's creators and research team, were tested at public and private schools, day care centers, preschools, and Head Start programs by three researchers, who would narrate the story in the form of a storybook and take notes about the children's responses.

A strong bond developed between Harris, Mumy, and some of the rest of the cast during the show's three-year tenure, and all thanks to Harris's contribution.

The series rode the momentum of creator Ross Bagdasarian's original hit musical gimmick and developed the singing Chipmunk trio as rambunctious kids – particularly the show's namesake star – whose mischief contrasted to his tall, brainy brother Simon and his chubby, gluttonous brother Theodore, as well as their long-suffering, perpetually put-upon manager-father figure, David Seville.

Club praised the Brian character, and stated that " Brian has always been the show's best character and its most developed one ".

GFW Radio developed a " fiercely dedicated listener base " over the years ; the show's last episode came after Green's departure from Ziff Davis, as well as that of GFW editor Shawn Elliott.

Sitcom Three's Company character Chrissy Snow played by Suzanne Somers played off a variety of stereotypes including the " dumb blonde ", but also as daughter of Reverend Luther Snow ( Peter Mark Richman ), the character-as well as much of the show's humor-was developed around aspects of Chrissy's innocence and naïvety based on a stereotype of her religious upbringing in small town America.

However during the show's run their relationship never developed.

A two-part crossover episode with Holby City was developed for the beginning of the show's second series, broadcast in 2008.

Much of the show's content, particularly dialogue between Katz and Ben, was improvised through a process called " retroscripting ", in which a vague outline is developed but the actual dialogue is ad-libbed.

A storyline of this magnitude had not been developed for the series before this time, and even today it is remembered as one of the most ballyhooed ratings events in the show's history.