1. Visual representation of the family depicted in the popular
1950s CBS television program
Sarah Baker
CMS332
Fall 2011

2.  The Ricardos
 Lucy: The main character of the program and largely of
the family itself, as a wife and mother she plays the
distinctive role of a housewife in terms of gender, but
also provides evidence of an independently-minded
female in various humorous and extravagant
situations; these ultimately lead to the facilitation of
maintenance and management.
 Ricky: This husband and father role is developed
through the characterization of an often hot-tempered,
thick-accented, very loving Cuban man; he is displayed
as a provider and powerful financially (Ricky is a
famous singer/bandleader), but sometimes takes on
another persona when his underdeveloped grasp of
certain English terms provides a slightly less-powerful
view of him.
 Little Ricky: The young and only child of the family is
understandably adored and doted upon, but his role in
the program serves mainly as a structural component
in accordance with the two-parent biological family.

3.  The Mertzes
 Ethel: Lucy’s “partner in crime” and often
cautiously so, this wife and friend serves as
a confidant, a co-conspirator, and takes on
somewhat of a “sisterly” role.
 Fred: As a husband and, similarly to the
Ricardos’ situation, the sole financial provider,
he is often noted for his money-conscious
(or “cheap”) behavior. Fred is a good friend
and husband, often finding himself “along for
the ride” when it comes to Lucy and Ethel’s
generally wild antics.

4. “Families have been described according to blood ties and legal ties, as networks
of persons who live together over periods of time supporting each other, and
as groups of people who have ties of marriage and kinship to one another.”
(Galvin, Bylund, and Brommel, 2012, p. 4).
Though the featured family in
the program is focused on a
two-parent biological family,
a larger family definition is
also evident in the
relationship between the
Ricardos and the Mertzes.
The Ricardo family has ties of
marriage and kinship, as does
the Mertz family, but there is
a family cohesion and
understanding between the
two units based on a close,
long-maintained, and
supportive friendship.

5.  In terms of the four levels of cohesion as discussed by Galvin, Bylund, and
Brommel (2012), the larger family context would be considered somewhere
between connected and cohesive. Though members experience emotional
independence, they also strive for loyalty and togetherness. Individuality is clearly
maintained with a sense of involvement and belonging. (p. 31).

6.  Within Lucy and Ricky’s marriage, specifically, there is a constitutive rule
that Lucy does not inform Ricky of decisions that she thinks he may not
approve of. Instead, she formulates a plan—generally along the lines of a
quest for fame or stardom—elicits the help of Ethel, and proceeds without
Ricky’s knowledge. This almost always results in Ricky finding out and an
argument of sorts occurring. In this, a relational rule emerges when Ricky
ends up becoming angry and yelling in Spanish, something that Lucy comes
to expect (and pokes fun at) in these situations.

7.  Due to the comedic nature of the program itself, the development of family secrets are
also humorous. The most prominent family secret does not fall under any of the
categories explained by Galvin, Bylund, and Brommel, but does fit in with conventional
secrets as suggested by Vangelisti. This type of secret may be private, but not necessarily
“wrong” or “taboo” in any way.
 Lucy’s hair color: This minor family secret is kept from just about everyone, even
Ricky, who always questions her seemingly endless trips to the beauty salon. Lucy’s
signature bright red hair color and what lies beneath it is perhaps a secret that
serves evaluation, privacy, and defense functions for Lucy.

8.  Though minor conflicts emerge, the Ricardo’s marriage on
a fundamental level exhibits positive communication
patterns. Lucy and Ricky consistently engage in the
maintenance strategy of assurances – “stressing love,
support, and commitment, implying the partners are
faithful and the relationship has a future.” (p. 108).

9.  The maintenance strategy of social networks is significant within both the Ricardo
family and Mertz family as separate units, and also in terms of the collective family
they create together. This strategy “includes involving family and friends in
activities as well as sharing interconnected networks. Social support contributes to
relational stability because others are there to help.” (p. 108).

10.  “These rituals involve
interactional, territorial,
and/or situational patterns or
habits couples develop.” (p.
115). Indicative in part of the
time period in which the
program aired, Lucy and
Ricky slept in separate beds;
both an interactional and
situational habit, this pattern
is evidence of a couple ritual
that the partners engage in on
a daily basis.

11.  As a couple, Lucy and Ricky would be considered a traditional gender-organized
couple type. According to Galvin, Bylund, and Brommel (2012), this couple uses gender
as a conscious method of dividing labor in the relationship and see their roles, though
different, as equal. (p. 172).
Ricky is seen as the sole financial
provider for the family, and Lucy
is characterized as a traditional
(though scatter-brained)
housewife. While Ricky works
and essentially gives Lucy an
“allowance”, she maintains
household responsibilities while
providing the primary care for
Little Ricky. It is evident in
particular program episodes,
however, that role reversals occur
and/or Lucy creates her own
money-making scheme, etc. In
keeping with the comedic value
of the program, these scenarios
are generally depicted in a
mocking manner.

12.  “Society provides models and norms for how
certain family roles should be assumed, thus
creating role expectations… Media has provided
many family role models through television
specials, situation comedies, movies, or talk
shows.” (p.163). As a television program, the
family in I Love Lucy reinforces role expectations
by essentially placing the women in the “home”,
and the men in the “workplace.” Ricky and Fred
are both financial providers, while Lucy and Ethel
maintain household responsibilities.

13.  “In episode after episode Lucy rebels against the confinements of domestic life for women, the dull
routines of cooking and housework, the petty humiliation of a wife's financial dependence, the
straightjacket of demure femininity. Her acts of rebellion--taking a job, performing at the club, concocting
a money-making scheme, or simply plotting to fool Ricky--are meant to expose the absurd restrictions
placed on women in a male-dominated society. Yet her rebellion is forever thwarted. By entering the public
sphere she inevitably makes a spectacular mess of things and is almost inevitably forced to retreat, to
return to the status quo of domestic life that will begin the next episode.”
(Retrieved from Archive of American Television: http://www.emmytvlegends.org/interviews/shows/i-love-
lucy)

14.  Though the program depicts a family structure that was
generally consistent with the time period in which it aired,
the role expectations as they relate to family communication
patterns are not as gender-divided as one would imagine.
 Lucy is not the “typical” housewife. Rather, she is scatter-
brained when it comes to household maintenance and a
daily “chore” often results in an imaginative, far-fetched
plan to achieve something that inevitably ends up being a
disaster.
 Ricky is not the “typical” dominant male in the sense that
although he is the provider and his views adhere to the time
period, he often engages in Lucy’s antics (sometimes
unknowingly),and displays bargaining or compromising
influence strategies that often yield positive results in terms
of relational maintenance.

15. 1. Archive of American Television. (n.d.). Retrieved from The Television
Academy Foundation website:
http://www.emmytvlegends.org/interviews/shows/i-love-lucy
2. Galvin, K. M., Bylund, C. L., & Brommel, B. J. (2012.). Family
Communication (8th ed.). United States: Pearson Education.
3. I Love Lucy. (n.d.). Retrieved from Wikipedia website:
http://en.wikipedia.org/wiki/I_Love_Lucy
4. All images retrieved using Google Images.