Popular Culture Review Vol. 3, No. 2, August 1992 | Page 89
"Where Everybody Knows Your Name"
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his wife in front of "the guys" coupled with his marital fidelity
make Norm, as his name says, "the norm," the average middle-aged
man. His perseverance on the barstool is alluded to in his last name,
"Peterson." He is steady like the son of Peter.
While all characters engage in their own ritualistic
activities. Norm's entrances into the bar are classic. He comes in, says
"Good evening, everybody," and is unfailingly greeted by a unanimous
"NORM." Then follows the obligatory joke. Woody may say, for
example, "How would a beer feel, Mr. Peterson?" and Norm would
answer, "Pretty scared if I was in the room." Or Woody might ask,
"Would you like a beer, Mr. Peterson?" and Norm might say, "Isn't it
a little early for that. Woody?" A perplexed Woody then asks,
"Early for a beer, Mr. Peterson?" and Norm would answer, "No, for a
stupid question like that." Disruptions and parodies of this ritual
serve either as a source of comedy or as a sign that something is wrong.
The representative of a higher-income class among the
regulars is Frasier Crane (portrayed by Kelsey Grammer), a
psychiatrist. He is further distinguished from the other patrons
because he is the only character who occasionally brings his wife to
"Cheers." But in many ways Frasier is just like the bar's employees
and other regulars: he enjoys sitting around, drinking, talking,
denigrating his wife, and playing tricks on others. This doubleness is
reflected in his name with "Frasier" as a fairly extravagant,
distinguished first name coupled with the last name "Crane," which
designates a vehicle used in construction (as well as a graceful bird).
Like Diane's literary expertise, Frasier's psychological training is
exploited for the sake of comedy, as it contrasts with the otherwise
common and crude conversation in the bar.
Apart from Cliff, Norm, and Frasier, there are a few more
regulars in the bar, but they do not have major speaking roles. With
the exception of Frasier's wife Lilith (played by Bebe Neuwirth), all
the bar's regulars are male. And Lilith's femininity is not stressed; in
fact, she seems intent on hiding it by wearing business suits and by not
opening her long hair. The ritualistic interaction of the main
characters in their long-established roles creates a sense of safety, a
prerequisite for comedy. This safety engenders the camivalesque
atmosphere of Cheers. It makes the bar a place for cheers and for
toasting to comraderie, a place "where everybody knows your name."
"Cheers" is also a place characterized by bonding—white bonding and