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Senior's Friends Learned That Junior Was No idiot only thing they agreed on. Junior watnted to turn out profitable half- hour films in a hurry. The “old man,” then only 58, saw TV as embracing formats of an hour or longer. “Big shows,” he insisted. “Get away from the radio formula. Sell ’em the way magazines sell space—two and three sponsors on the same show.” Five years later NBC announced its “revolutionary” magazine concept, its 90-minute “spectaculars”—big shows with two and three sponsors. Roaches, father and son: they> pose with TV star Reed Hadley. But in 1949 TV wasn’t ready for the big show. In 1951, Junior and his father made two hour-long films, “The Three Musketeers” and “Hurricane at Pilgrim Hill.” Both are still sitting on the shelf. Junior, meanwhile, borrowed money and plunged into his first TV film venture, The Stu Erwin Show. Ring¬ ing in his ears were the denunciations of many of his father’s old friends. They accused him of trying to pull the whole Roach dynasty down around his father’s head. “They all thought I was an idiot,” he says, “and it actually helped. Left me with nothing very serious to live up to.” Over a period of six short years, Junior has become what is perhaps the most prolific TV film producer in the world: My Little Margie, Racket Squad, Public Defender, Duffy’s Tav¬ ern, Trouble with Father, Passport to Danger and the upcoming Sonja He- nie Show. He has eight new shows in various stages of preparation, ranging from initial script to finished pilot. And on his sprawling, 18-acre lot are produced such other shows as Life of Roach studios: movies put builders to work. Riley, Waterfront, So This Is Holly¬ wood, Amos ’n’ Andy, You Are There and It’s a Great Life. “Quality,” Junior says, “has got to be the keynote. Give ’em good enter¬ tainment and you stay in business. But it’s not the movie business. It’s an entirely different proposition.” Junior, whose easy-going manner