Brandon Tartikoff

I was honored to attend the reception at USC for Brandon Tartikoff last Thursday night. His wife, Lilly donated all of his papers and memorabilia to the university. It was a very cool night. George Lucas was even there. Then I arrived home to find this Friday Question from Bill, so I thought what better time to address it?

(This is) about Brandon Tartikoff, who so many producers/writers/even actors from the 80s seem to recall as a true champion of high-quality television. Did you ever have any dealings with Brandon Tartikoff, and what in your view made him such a "good" network executive, as opposed to the kind that are constantly the butt of jokes today? Did he really have a sixth sense for excellent television, or was he just lucky? And has the industry changed too much for similar execs like him ever to appear again?

I did have personal dealings with Brandon. He even shot hoops in my driveway with me and my son. But to answer your bigger question – what made him so extraordinary was that he hired the best creative people and gave them the freedom to do their thing. And if he believed in you he protected you. He had enough confidence in his own judgment that if a new show was not getting the numbers he stuck with it, reaonsing that the audience would eventually find it. This was true with CHEERS, HILL STREET BLUES, FAMILY TIES, LAW & ORDER and others.

He was so respectful of talent (in front or behind the camera) that even when he passed on your project or cancelled your show, he did it in such a humane way you couldn’t wait to bring your next thing to him.

He never pepper-sprayed you with notes. He never made decisions based solely on research. He never tried to clone other hit shows from competing networks.

He was also accessible. If you had a problem you could call him. In all ways, he made you feel like you were a partner.

Is it possible to have another executive like that in today’s television world? Absolutely. All it takes is someone at the top adopting Brandon’s philosophy. Networks are not obligated to micro-manage every show. And as is ALWAYS the case, the best shows come from the networks that interfere the least. Then it was NBC. Now it’s HBO, SHOWTIME, and AMC.

But it takes someone with courage and a genuine passion for television (not just a passion for financial success).

Was Brandon infallible? No. There were plenty of MAINIMALS along the way. But that’s the price you pay for taking chances.

Certainly luck plays into any programmer’s success, but if the best writers, producers, and directors want to come to you first, the odds of getting the best shows are greatly increased.

I dealt with Brandon on several occasions. My writing partner, David Isaacs and I had a pilot at NBC in 1979. I talked about this in a previous post, but by telling us not to do the notes that other NBC execs had given us, he turned the entire project around.

We had terrible clashes with NBC over casting on that pilot. For the lead we wanted Andrea Martin (then on SCTV) and the NBC casting queen would not approve her. She was lobbying for Toni Tennille. The part was modeled after Gilda Radner.

The series never got on and three years later I’m walking to the stage for the very first CHEERS table reading. Brandon takes me aside and says, “You were right. We should’ve gone with Andrea Martin.”

We then dealt with Brandon all through the run of CHEERS. I remember once him telling all of us not to change things in our show because the ratings were low. Just stay the course. We wanted to kiss him.

I played softball with him a few Sundays. You could strike him out and not fear your show would be cancelled on Monday. And like I said, he was in my neighborhood one day, saw that my son and I were shooting baskets, walked up the driveway, and asked if he could join us.

When people say they’ll always remember someone it’s usually lip service. But a day doesn’t go by when I don’t walk out of my house, see that backboard above the garage, and think of Brandon Tartikoff… and how lucky I was to have known him and worked for him.

The biggest laugh we ever got

Some Friday Questions for your weekend pleasure:

Splenda has a low calorie question:

In sports, veteran players who might be a risk are sometimes given an "incentive-laden" contract. Their actual salaries are near the minimum, but there are a bunch of bonuses added to the contract, so if the player performs well, they get paid more. Is this ever done in television? Can NBC go to the Parks and Recreation actors/producers/show runner and say, "We will keep the show, but only if no one accepts a raise. But the contracts will say that if you win your time slot next season, each of you will receive a bonus equal to 15% of your salary."

They can try. As long as the terms are within the conditions of the SAG contract (and are legal), networks and agents and attorneys can be creative as they please. Actors might trade salary hikes for ownership stakes, or get bonuses based on ratings. I believe there are some actors who have it in their deals that no other cast member can be paid more than them. So if other co-stars get raises, he gets one too.

More creative accounting: Actors take producer credits now, getting an additional salary for that even though, in most cases, they don’t do anything. But to be fair, most showrunners are also happy they don’t do anything.

Often times these negotiations are complicated. And that’s before they wrestle with the issue of credit – where their title card goes, how big, how does it compare with other cast members? Does the actor get an “and” before his name? Money is sometimes the easy part.

Mike asks:

If someone living in 1912 could look ahead 100 years, would they be impressed or depressed by what they saw? Technology has moved on, but has society?

Mike, I’m very impressed that you think I could answer that question. Not sure which article in my blog led you to believe I had the depth capable of tackling such a question – maybe it was my piece on porn star karaoke – but alas I’m not sure I’m sufficiently qualified. But I will mull it over. In the meantime, is there anything you want to know about say... MANNEQUIN 2?

ScottyB has a question about filming sitcoms in front of live audiences:

Since minutes mean money, how do y'all deal with occasions when a bit ends up being so good that the audience laughter just goes on *forever* (which is pretty much a writer's crowning glory)? That's gotta eat up a whole mess of time on the clock since you basically have to shoehorn in every available stage second.

That’s a writer’s favorite problem. Actors are always told to wait for the laugh, even if it’s inordinately long. The laugh can be pulled up in editing. It’s as easy as cutting to a reaction shot.

Back in the “old days” when these shows were often on film (as opposed to today’s HD tape… which looks sorta, kinda like film), film was indeed wasted holding for laughs. So if the laugh was big and long enough, directors would stop cameras. This happened very rarely. For a writer it’s the equivalent of a walk-off grand slam home run.

My writing partner, David and I had one the first year of CHEERS. It was in the “Boys in the Bar” episode. Sam is in the poolroom with Diane. He just learned that his former roommate on the Red Sox is gay. Sam says, “I should’ve known. We were on the road in a piano bar and he requested a show tune.” For whatever reason, that killed the audience. Must’ve been a five-minute sustained laugh. I took a little home run trot around the stage with that one.

Lots of interest in CHEERS lately (with the 30th reunion and all). Here’s another CHEERS question – this one from Bradley.

On average, how long did it take to film an episode of Cheers?

We’d start at 7. The audience was usually let out around 9:30. Then there would be pick-ups – retakes after the good folks had left. To do all the pick-ups during the initial filming would kill any momentum. So depending on the number of pick ups, you could be there an extra ten minutes or several hours.

The first year, Jim Burrows did a lot of fabulous shots to establish the bar. I remember one that started in the pool room and crossed all the way across the bar to the front door, with all kinds of activity going on. It’s maybe my favorite shot of the series (besides my credit). That first year we usually wrapped around midnight. They were long nights.  But the results were sure worth it.

Over the next few years the show and actors found their groove. Pick-ups usually lasted to about 10:30.

During the last two seasons, when no one in the cast knew their lines, the audience was there for at least three hours because someone goofed up a line every ten seconds.  Personally, that was hard to watch. 

Here’s another CHEERS one. It’s from Robert Pierce:

Was there a reason why Al, Paul and a bunch of the other barflies had the same first names as their characters? Was it just easier or was it a writing technique?

Give me a second. I’m still trying to figure out what people in 1912 would be thinking. Yes, it was just easier and avoided any possible confusion to just use the barfly actors’ real names. As along as their names weren’t Sam, Norm, Cliff, Frasier, Woody, and Coach.

What’s your question? Please leave it in the comments section. Thanks!

First new sitcom to get blown out this year is...

ANIMAL PRACTICE.  Who had ANIMAL PRACTICE in the pool?  It apparently received a whopping 1.0 share among viewers under 50 last night and that's low even for NBC.  In mid-November it will be replaced by that juggernaut WHITNEY.  

I imagine the monkey has a production company and will now have more time to develop and oversee projects. 

My review of ARGO

Boy, Persians really took it in the shorts this weekend in the US boxoffice. The top two films were TAKEN 2 and ARGO – the adversaries in both coming from the good ol’ Middle East. TAKEN 2 is your basic cry vengeance movie, an updated version of the old Charles Bronson DEATH WISH flicks with better stunts and more exotic locales. Who knew that America’s next action hero would be 60 year-old Liam Neeson?

I haven’t seen TAKEN 2 but I admit I want to. For all the right and wrong reasons I enjoyed TAKEN. Knowing Hollywood, there will be a TAKEN 6 where his pool boy is kidnapped.

The other boxoffice behemoth was ARGO, the new movie directed by Ben Affleck and written by Chris Terrio from an article by Joshuah Bearman. (I thought I would be novel in my review and actually mention the writers.) That movie I did go to see.

And I loved it.

It’s easy sport to make fun of Ben Affleck. When you’ve done PEARL HARBOR, GIGLI, and JERSEY GIRL you’re certainly leading with your chin. But he also did CHASING AMY and lately has proven himself to be quite an accomplished director. (Is the saying “Those that can’t act, direct” or “Those that can’t act, act in Michael Bay films”?) In any event, the saying doesn’t apply to Ben for CHASING AMY alone. And in this film he turns in a nice performance. What I like is that he underplays here. It would have been very easy to chew up the scenery, but Affleck opted for restraint. Good call, Mr. Director.

ARGO somehow manages to be both a taut political thriller and a satire of Hollywood. And if you think blending those two tones was hard, Affleck also had to contend with the idiotic clothes we all wore back in the ‘70s. Those fashions could spoil any reality. If you’ve seen BOOGIE NIGHTS then you know – people in the porn industry and American hostages in Iran all dressed alike.

There may even be Oscar talk for this film, although the fact that it’s entertaining, doesn’t play exclusively in art houses, and doesn’t star Kate Winslet might work against it.

And for all its suspense, there are more genuine laughs in ARGO than the last four Adam Sandler comedies combined – maybe the last six. Alan Arkin and John Goodman pretty much steal the movie. Again, kudos to the director for allowing them that spotlight.

You probably know the story. (Don’t worry – no SPOILER ALERT necessary). Based on a true event, in order to get six American hostages out of volatile Iran in 1979 the CIA concocted a phony movie with the plan to smuggle them out as crew members. To accomplish this harebrain scheme, an actual Hollywood producer was enlisted, there were ads and articles in Variety (the trade paper of choice among terrorists), storyboards were drawn, offices set up, casting sessions, the whole works. This was the kind of project my agent always tried to get me hooked up with.

Some critics have taken issue with the creative license Affleck took in the third act. He apparently fabricated some hurdles and tension. But so what? The last act was gripping. To use the old movie tagline: “You’ll pay for the whole seat but only use the edge.”


For a good yarn, go see ARGO. And judging by the first weekend’s receipts, in a couple of years go see ARGO 2 where Ben rounds up the film company gang again to get Liam Neeson’s niece out of Turkey.

Being hit on by a swinger couple

Got your attention, didn't I?   That title will make sense.  Keep reading.

I don’t go to comedy clubs anymore. I’ve had my fill of bad stand-ups doing their tired scatter shot routines. “Hey, don’t you just hate having to use condoms?” “What the fuck is up with CUP CAKE WARS this year?” “Ever try to get a taxicab in LA?” Ugh! Ten minutes of forced jokes and then when they run out of material, “You guys have been great. Thanks. Goodnight!” No payoff, no showmanship, nothing.

Yes, there are some good ones, but I’ll just wait until they become Louis C.K. or Patton Oswalt and watch ‘em on HBO.

A far better alternative is going to an intimate club to watch storytelling.

Last Saturday night I was a guest judge at a storytelling competition. TOP TALES. It’s held once a month in the show business capital of the world – Culver City, next door to an empanada place.

Six talented young people competed for a grand prize of… nothing. So you can understand why they trusted me with the awesome responsibility of passing judgment.

I guess storytelling has been a trend for a few years now. I’m a little behind the curve. My Saturday nights have been consumed with baseball and watching all that great primetime television the networks now offer.

Photos by Andy Goldberg

But I was very impressed. Not just with the performances (and all were terrific) but with the form. As opposed to a barrage of jokes, it was a pleasure to follow a story – in most cases true stories – that actually built to something. And they were very funny, but in a relaxed natural way. Laughs don’t always have to be “gags.” These came from keen observations, relatable behavior, wry asides, and all were organic to the stories. Stand up comics should take note.

Yes, I know – today’s style is snark, one-liners, ironies on top of ironies. TMZ with punch lines. But you’re putting a lot of unnecessary pressure on yourself when your act is only as good as your last joke.

Telling stories can benefit you in so many ways. Let’s face it, from the time Man first crawled out of the primordial ooze he liked hearing stories. “Let Sid tell you himself, but he lost his wallet in the ooze and had to go back in after it.” I think it’s implanted in our DNA. So you serve yourself and the audience well if you construct your act around narratives. And you get this bonus: you don’t need a joke every second if the audience is interested in your tale.

Like I said, most of the stories Saturday night were true. Two young women told losing their virginity stories but both were very different and their attitudes and deliveries were also different. One spent time with a swinger married couple who were both hitting on her (hence the title of this post.  I know you're disappointed that it wasn't about me, but how do you think I feel?). Comedy is in the specifics and the details of their stories (along with their reactions) made for two hilarious monologues.

Another advantage of storytelling – the audience gets to know you. Good comics will tell you you need a persona. Louis Black, Chris Rock, Sarah Silverman, Steve Martin, Woody Allen, Bill Cosby, George Carlin, Richard Pryor (to name just a few) – they each have very identifiable comic personas. So how do you create that? And how do you convey that? A great way is through telling a story. Especially if the story is true (or true enough with some embellishments). I felt I got to know all six of these storytellers. In just five minutes.

Comics will also say it takes five to ten years to perfect your delivery. Storytelling can shortcut that process. Why? Because you’re not vomiting back jokes, you’re communicating. You’re talking to people and being (a version of) yourself. Maybe you’ve only done stand-up for eighteen months but you’ve been telling stories all your life. Tap into that. I’ve just saved you two years of open mic nights.

Anyway, you get the idea.  Storytelling can be wonderful tool.  I rely on it when doing play-by-play.  I don't discuss how I lost my virginity but stories about the players help make them seem more human and not just life-sized bobbleheads. 

I thought I’d end this with a pithy quote about storytelling but none of the ones I found online seemed to apply. So I figured, what the hell? Make up my own. I can be deep and philosophical like Socrates, Hemingway, Fitzgerald, and the like. So I leave you with this:

Story is the mom who gives comedy a ride because he can’t drive.

Thank you.  If that doesn't make my point I don't know what will. 

How to win tonight's presidential debate

CNN’s live coverage of the last presidential debate featured a graph at the bottom of the screen showing the continuous reaction of focus group respondents. The candidates would speak and two lines (one for men and the other women) would inch up or down depending on whether these dial twirling lab rats liked or didn’t like what was being said (assuming they understood what was being said, not an automatic assumption).

Obama and Romney were being subjected to the same scrutiny given to the pilot of THE NEIGHBORS.

As the creator and producer of a number of TV pilots I am all-too familiar with this highly accurate method of determining something’s worth. I have been on the other side of the one-way glass while forty nimrods who looked like the cast of THE WALKING DEAD twisted their little spinners while judging my creative baby. On the monitor above my head was the show with the running graphs. That joke suffered a 3% dip and women appreciated that line 7.3% more than men. Art reduced to a spreadsheet.

Producers learn to manipulate the system of course and construct their pilots specifically to win focus groups’ favor. Writing a sharper joke is not nearly as important as getting that waitress to wear a Wonder Bra.

So for tonight's debate I offer the candidates a couple of suggestions for improving your test scores.  Our Commander-in-Chief, in particular, would do well to pay attention.

Cartwheels are huge. Focus groups love ‘em! You could be proposing a 50% tax hike and if it’s in the midst of a nifty acrobatic move your graph will shoot through the roof.

Crossing your eyes is a sure-fire crowd pleaser. Saying the word “hooters” will elevate any statement on Iran’s disturbing threat to world peace.

Take a moment in laying out your solution to the unemployment crisis to introduce the audience to your new puppy.

Get choked up. Doesn’t matter of over what. But personal triumph over adversity tends to score higher than Urkel not being honored by the Kennedy Center. And if you don’t have a personal triumph just lift something from PROFILES IN COURAGE. It’s been fifty years. No one remembers that book. Look for at least one “Awwwwwwwww” moment.

Shoes matter. The road to the White House goes through Leffot in Manhattan.

Try singing one of your answers. Bad news always goes down easier when delivered by a karaoke Sinatra.

Your opponent says something you take great issue with? Just do a spit-take. You think anyone is going to listen to a “rebuttal”?

Finally and most important, in your closing remarks, make sure you say that this great nation was built by good strong Americans like you; concerned hard-working people who love this country and rate things.

Thank me at the Inaugural.

Another rant on the current state of TV

One of the most memorable characters from CHEERS was Al Rosen, or – as he was referred to on the cast list – “the man who said Sinatra.”   Here's why:

One word. That’s it. It got a big laugh and he was used again. Al was just one of the extras. He had a funny rumpled look, he had a funny air horn type voice so Glen & Les Charles chose him to deliver the line.

Here’s why network television isn’t as good today (well… one of the reasons).

Same situation. Same script. Same line. But today, the CHEERS producers would have to put Al Rosen on tape and four other actors on tape, send the tape to the network, and the network would decide who got the part. Some junior executive in the NBC casting or current department – probably someone a year removed from Cal State Northdridge – would make that decision over the Charles Brothers and James Burrows. Glen & Les and Jimmy have a roomful of Emmys, are proven writers, director, and showrunners, CHEERS is their singular vision, and yet, if they were making the show today they would have no say on which guest actors were on their show… even actors with one line.

This is outrageous. This is unconscionable. And today, this is the norm. It’s not one network; it’s ALL of them.

For years now networks have dictated who you can hire for your series regulars. And as the showrunner you often find yourself stuck with someone who can’t deliver and you have to spend your time and effort writing around them. I don’t know any of the particulars, know no one involved in the production, but I’m guessing that’s the story with Jamie-Lynn Sigler on GUYS WITH KIDS. Everyone else is so good and it’s like she’s in a different show. But I can just imagine the network casting session. “She’s very pretty, people know her from THE SOPRANOS, the other girl you brought us is funnier but she’s kind of mousey, and what was she on – some CW show or some ABC Family thing? Let’s go with Jamie. No, her audition wasn’t great. But you can work with her. She can grow into the part. We approve Jamie.”

And now that extends to guest star roles and even one-line parts.

That’s the kind of absurd micromanaging that goes into today’s primetime productions. And shows are getting a 2 share.

We did a pilot for Fox a few years ago and the network had to approve everyone’s wardrobe and even the set dressing. Despite all my years in the business I couldn’t be trusted to select the candlesticks on the dining room table.

So here’s a radical plan. Radical?  Hell, it's INSANE!!  What if one network decided to TRUST the creative people they commission to produce shows? What if the showrunners were allowed to hire who they want to play waiters? What if showrunners were able to hire the writers and directors they thought were the best – not who the studio had under contract or who satisfied whatever agenda the network had that season? What if it was agreed working writers knew how to break stories better than recent graduates of the University of Rochester screenwriting program? Or that Emmy winning creators were qualified to select lamps?

What’s the worst that could happen? The show might plummet to a 1.6? (I love the positive spin networks give shows now. UP ALL NIGHT went up 28% last night. That’s a .3. Back in the day a .3 was so insignificant it was considered “margin for error.” Today decisions are based on it.

But the upside. You might get better shows. Shows with a stronger, clearer voice – y’know, like they have on CABLE – that parallel universe with series that people talk about and love and win awards?

You might also get better writers coming to you first with better ideas.

Again, you’re getting 2 shares! 3 shares! Test patterns get a 1 share. What do you have to lose? Other than control – control that you’re really not entitled to anyway.

So if CHEERS was being done today, what do you think the chances are Al Rosen would have been selected to be the man who said Sinatra? “Too old. Too ugly. Talks funny. Let’s go with this kid who looks kinda like Aaron Paul.”

You KNOW that’s what would happen.

And that's one of the reasons shows used to get 30 shares and are now getting 3's.  

The REAL Tom Tuttle from Tacoma

I received an email from Tom Tuttle from Tacoma. Fans of VOLUNTTERS recognize that as the name of the character John Candy played in the movie. My partner David Isaacs and I wrote the screenplay and are responsible for the name. Who knew there would be a real person, or that anyone would remember VOLUNTEERS? I feel like the father in the Johnny Cash song, “A Boy Named Sue”.

So if you ever wondered how we came up with the name or what life has been like for someone saddled with the name, here is my correspondence with Tom (which he graciously allowed me to share).

As the real Tom Tuttle from Tacoma, WA….I have been asked all my life (well since 8th grade or 84’ish) why the name Tom Tuttle for the movie Volunteers? Was I consulted? Did I get royalties? To this day, 24 years later, people still laugh when I introduce myself …Tom Tuttle. They say, from Tacoma, WA? Yes. I was born and raised in Tacoma and still reside here. My question for you is…..how did you come up with Tom Tuttle from Tacoma, WA ?

Tom Tuttle (from Tacoma)

Tom,

Great to hear from you.

Believe it or not, my partner David and I wrote the very first draft of VOLUNTEERS in 1980. It took five years to get made and released. We honestly pulled the name out of the air. We wanted the character to be real gung ho and for contrast, hail from as far away from the east coast as possible. First we came up with WSU as the college. We wanted the school to be well known (they're in the Pac 10) but still a little offbeat. We checked out a few fight songs, liked WSU's the best and settled on that. Then we figured the character should hail from the state of Washington. Tacoma was sort of a funny sounding name and again, a city that was recognizable. We always pictured that the character was a little wired and whenever he introduced himself would say his name and where he's from. So alliteration was employed to help the name roll off his tongue. Somehow we came up with Tom Tuttle from Tacoma. We just liked the rhythm of it. If we had gone with Spokane it might have been Stan Stodell from Spokane.

So have people been recognizing your name your whole life? I hope ultimately it's been a positive thing.

Again, thanks for writing. Say hi to Lawrence Bourne and Beth for me.

Cheers,

Ken Levine

Ken,

First of all, I just want to thank you for taking the time out to write back; very interesting. Never imagined that I would get the real story from the writer himself. In fact, I (well my mother…because in 8th grade I wanted nothing to do with the attention) mailed off a letter to Hollywood. My Mother has been sticking up for me all along. Shortly after the movie came out, Tom Tuttle (from Sumner) wrote to the Tacoma News Tribune stating that he was the real Tom Tuttle from Tacoma. Well, my Mother would have none of that. So, she wrote back and the next week it was published….that I was the real Tom Tuttle from Tacoma. I will be sure to share this with her! She will get a kick out of it.

Anyway, after college (not WSU….though I visited…my father is an alumnus) I student taught in Puyallup. The day I arrived, I met Tom Tuttle (from Sumner). He was a Math teacher at the school. What are the odds. We had t-shirts made up….”Will the real Tom Tuttle please stand up”. After that, I was a teacher in the Tacoma School District for 10 years and now sell real estate with my brothers. You know, name recognition is everything in this business. I’ve been trying to find a way to use it to my advantage…I might as well. People still recognize the name. In fact, so many movies have character names, but few have had the impact that Tom Tuttle has had. Any ideas?

Thank you,
Tom Tuttle (from Tacoma)

I think we should start at Tom Tuttle from Tacoma International Fan Club. Interested in joining?

Also, while we're on the subject of Washington state (and State), one of my best friends, Howard Hoffman (a.k.a. GREAT BIG RADIO) and his wife Bonnie are moving up to Walla Walla this week.  This is very bittersweet for me.  On the one hand I'll miss them both terribly, and on the other -- I'm excited for their new adventure and Howard gave me his Dodger bobblehead collection.   Best of luck and sign up for internet up there. 

What to see and do in LA

It’s a slow day in LA.  Lindsay Lohan had a screaming fit with her mother in a limo and was yelling that Mom was on cocaine.  Ho hum. I know this is the time of the year when people start planning their holiday vacations and if Los Angeles is among your destinations, here are a few things to see and do.

Walk along Sunset Blvd at night close to the curb. You never know which star is going to hit you with their car. You might get Halle Berry’s autograph and insurance information.  Same with January Jones... assuming she doesn't hit you and flee.

If you want to see celebrities go to Vicente market in Brentwood. Okay, it may be fired local news anchor Paul Moyer but it’s a name.

Go to Phillippe’s French Dip sandwich place downtown. Great atmosphere. You might be standing in line with the mayor, a homeless guy, and a rock star. Not sure if they do it anymore but Phillippe’s used to be the weekly hangout for former circus clowns. The Nate N’ Al’s for bozos.

Have an Umami Burger. It’s all the rage. I have no idea why. You’d think there was cocaine in it.  Lindsay Lohan's mom swears by them. 

Visit the Grove. This is Disneyland without rides. An outdoor shopping mall that looks like Main Street USA. LA’s version of an urban neighborhood – Cute by half facades and an Apple Store.   Also, plan your trip around my book signing at the Barnes & Noble at the Grove on October 29 from 7-9 pm. 

Bobs Big Boy in Toluca Lake takes you back to the fabulous 50’s, when there was car service, double-deck hamburgers, thick milk shakes in silver goblets, and the greasers from high school who stuffed you in a toilet are there to terrorize you again.

See a Laker game at the Staples Center.  Oh wait. You'll never get tickets.  Go to a Clippers game.  They're more fun anyway.  

Ride the Metro. LA has a great subway system. But don’t ask an Angelino for directions to a station. No resident of the city has ever heard of the Metro.

For you culture vultures, there’s the Getty Museum and the Fredericks of Hollywood Museum of Bras.

Go to Mann’s Chinese Theater and see if your feet fit into the footprints of big stars like Marilyn Monroe or Trigger.

While in Hollywood, fall by Amoeba records. It’s the largest, greatest, most comprehensive record store you’ll ever see. And the staff of scary, tattooed, pierced, spiked hair freaks with chains dangling from every orifice are all courteous and knowledgeable.

And then there’s Chinatown, Jake. Of course there’s a Chinatown in every town.

For souvenirs and gifts for those folks back home, swing by Melrose Ave. and check out the fine selection at Condom-nation.

Sight-seers, there’s always the La Brea Tar Pits. Big black pools surrounded by chain linked fences. It’s amazing to think that way back millions of years in prehistoric days dinosaurs fell into those pits and constructed those fences.

Get a Map of the Stars Homes. Who knows? You might get lucky and see Ronald Coleman coming out to get the paper, or Lucille Ball throwing out Desi.

Unfortunately, LA’s top tourist attraction, the Lever Brothers Soap Factory has closed. The tour of the lye vats was not to be missed.

Don’t forget the Griffith Park Observatory where they filmed classic scenes from REBEL WITHOUT A CAUSE. True story: the observatory was named for wealthy tycoon Colonel Griffith J. Griffith, who donated the land. In perfect Hollywood Babylon fashion, he once served jail time for getting drunk one night and shooting his wife, convinced she was conspiring with the pope to murder him.

Which reminds me, see Phil Spector’s house too.

What show to spec?

Time for Friday Questions. Will try to add an extra day or two of these in the next few weeks to get caught up a little. But please, continue to submit yours in the comments section.

John asks:

How much longer can I keep using my 30 Rock spec?

Three more hours.

You’d be smart to write a spec for a more up-and-coming show. My guess is MODERN FAMILY and BIG BANG THEORY are the two most popular specs these days. But write the show you feel will showcase your strengths the best… whether it’s THE NEW GIRL or GIRLS.

However, a word of caution – I would advise against writing an episode of LOUIE. It’s a trap. That show is so specific to the rhythms and vision of Louis C.K. that you can only come up short. I bet if you read the actual LOUIE scripts you wouldn’t know it’s a comedy. The execution has to be so precise – which it is – that only Louis C.K. can see it realized.

I might also abandoned any spec ALMOST PERFECTS that you have.

Here’s a question from another John -- John Leader Alfenito:

Sometimes, especially on procedural, the casting tips the plot for me. A familiar character actor, introduced early along with some other cast members, invariably turns out to be the bad guy. And, if you've seen the actor before in other things, you know immediately - he's the villain. Got to be. He's too "experienced" not to be.

I'm not trying to hurt the chances of these fine second-tier actors getting future gigs, but, short of casting complete newcomers in every antagonist role, how can you get around this?

I think you're right, John. Whenever you recognize a name in the guest cast of a procedural you can almost bet he's the killer. These former stars of their own series are not going to want to do THE MENTALIST just to be a red herring. You see Sharon Lawrence, bet the farm there’s blood on her hands.

The way around this is to have several actors of equal value and give them all good parts to play. MURDER, SHE WROTE was good at doing that.

The other option, as you mentioned, is to not use name actors, but good luck getting that one by the network.

I guess if you’re an actor you know you’ve made it if the NCIS team hauls you off at the end.

Steve Murray wonders:

When in a writing partnership, how did you deal with telling your partner that their idea was the worst thing you had heard? I'm dealing with this right now!

I’m trying to think of what David used to say to me.

Seriously, you just have to be honest. It helps if you have reasons for why you think the idea sucks so bad, or you have an alternative. But in our partnership it’s always understood that if one partner isn’t on board and can’t be quickly turned, we throw out the idea or joke or whatever it is and come up with something else. It’s easier to dream up something new then have one partner unhappy and resentful after a long argument. Those build up to where there’s a fistfight over a scripts for THE NEW MOUSEKETEERS (yes, that actually happened).

And finally, a Friday Question about Friday shows from Mr. Ace:

What is your opinion on the old TGIF sitcoms?

My kids liked them, especially BOY MEETS WORLD. I directed a few episodes of one – BROTHER’S KEEPER (pictured: right) that I actually thought was one of the better sitcoms on the air at the time – TGIF or otherwise.

But I remember one network note session after a runthrough. They had a million tiny concerns and this resulted in an endless discussion. As the director I didn’t have to personally address these notes. I just sat on the sidelines and observed. But I thought to myself, “Wow. Here are all these highly educated people – degrees from Stanford and Ivy League schools – arguing over whether the little boy should drink his milk before he leaves for school. This is a TGIF show. The audience is eleven year olds. Who gives a fuck whether the kid finishes his milk? We didn’t discuss the Sam & Diane relationship this much on CHEERS.”

But there’s certainly a place for this type of programming to “tweens.” Back then it was TGIF. Now there are entire channels devoted to it. And by the way, there are some good jokes along the way on a few of those DISNEY CHANNEL sitcoms.

Looper vs. the Jetsons

I saw LOOPER recently (rollicking good fun until you go home and realize none of it makes sense… but Bruce Willis is great, Joseph Gordon-Levitt is solid once you get past his goofy make-up, Emily Blunt gamely tries to do a down-home accent, Piper Perabo is topless, and Jeff Daniels steals the movie) and a thought occurred to me.

Now first of all, I’m not a Sci-Fi fanboy. I like Sci-Fi (one of my all-time favorite books is SIRENS OF THE TITANS by Kurt Vonnegut Jr.) but I’m not geeked up on the genre. Still, give me a good Sci-Fi movie (THE TERMINATOR 1 & 2, ROAD WARRIOR, BLADE RUNNER, THE MATRIX, DUCK DODGERS IN THE 24 1/2 CENTURY) and I’m there.

But here’s the thing: When I was a kid growing up, my idea of the future was THE JETSONS. That’s what I projected. Everything would be ultra-modern. Homes looked like those glass and dome JFK terminals from the ‘60s, our transportation would be a cross between a whirlybird and a Toyota Camry. Velour jumpsuits would be the rage. I LOVE LUCY would still be playing of course, but on Channel 2357. Still, you get the idea – the world as if Hanna-Barbera or Steve Jobs designed it.

However, that’s not how most Sci-Fi filmmakers seem to picture the future. To them, here’s what the world will be like:

Burned out Detroit with everyone driving rusted out 1976 Chevys that haven’t been washed since 2037. The population is jammed into urban ghettos and no one has showered since FRIENDS went off the air. Add a CGI space cruiser flying through, a hologram billboard and you’ve got the world of tomorrow.

Everyone imagines an apocalyptic existence even if there’s been no nuclear war. I know Democrats envision this is what will happen if Romney is elected, but why do most Sci-Fi writers predict such a bleak view? Why will everyone dress like Steven Tyler? Will anyone in the future wear shorts? Once Bill Cosby dies will that be the last time any human being ever wears a sweater? How come food and shelter will be at such a premium but heavy dark eyeliner is so readily available that every future girl looks like a raccoon?

Will there be no more suburbs?   Has even San Diego gone bad?

Also, these post-apocalyptic landscapes are all controlled by evil mobsters, robots, the Government, computers and are all a metaphor for Nazi Germany.  We get it already.  Streets are patrolled by vicious goons always in black with howitzers or ray guns and sporting Robocop helmets. In some cases the hapless citizens try to rise up against them, but their tattered rags and battered 1965 hubcaps are no match against rocket launchers and vapor gamma rays.

There are always high concept conceits – time travel, time as currency, robot masters angry because WD-40 is running low – and that’s great. That’s what Sci-Fi is all about. I’m fine as long as they set up very clear rules and live by them, whatever they are. But what if – just once, just as a wacky experiment – our green efforts have helped reduce global warming, there’s still trash pick-up, and okay, maybe JETSONS fantasies die hard, but we drive/fly cars that fold up into briefcases?

I am sure this is the blog post that will get me banned from Comic-Con.

I am having a book signing in LA

It's also an excuse for that long overdue meet-and-greet with LA fans of the blog, but I will be having a book signing at the Barnes & Noble in the Grove in West Los Angeles on Monday night, October 29 from 7-9 PM.  I'll probably read a passage, answer questions, and do whatever authors do at these things.  I dunno... look "tweedy." 

This is for my book, THE ME GENERATION... BY ME (GROWING UP IN THE '60S). 

So please swing by.  Just to refresh your memory:  a bookstore is a place that has books on the shelves and you can buy them right there.  You don't have to order.  I know.  It's a hard concept to wrap your mind around.  Okay...imagine a BevMo that stocks literature instead of gin.  Believe it or not, bookstores used to exist everywhere.   And now... there's the B&N at the Grove and I think an independent in Ojai.

So it's a big deal that I get to do this.   So who's coming?  Hopefully YOU.

What's the book about?  Again, here's the trailer:

Is it worth doing a weekly sitcom live?

The writing team of Josh Goldsmith & Cathy Yuspa (two talented and lovely people) just sold a pilot to Fox that would be a domestic comedy shot live every week. Coincidentally, I just received the following Friday Question from DyHrdMET (I assume this is a Mets fan and if so, my condolences):

What are your thoughts on doing a sitcom on live television (even a single episode)? I remember a TV show Roc about 20 years ago that did live episodes on Sunday nights on FOX. Have you ever been involved in that? Would you want to be? 

There have been several recent live episodes of sitcoms done as a rating stunt.  30 ROCK did a fantastic episode.  I seem to recall WILL & GRACE doing one as well.

There are pluses and minuses. The first plus for Cathy & Josh is that this hook helped sell their pilot. If you don't sell it first, nothing else matters.

The other big advantage – from a producer standpoint – is that you have absolutely no post production. You save hours and hours of editing, color-balancing, sound correcting, etc.  Not to mention no pick-ups.   No 2:00 AM wraps. 

Another advantage goes away quickly – the novelty aspect of the stunt. At first it’s very exciting as a viewer – you know you’re watching something live. But after awhile, you forget and the show just has to live or die on its content. Do you pay any real attention to the fact that SNL is L?

And now the downsides. You have waaaaay less control over the quality.

You’re putting an enormous amount of pressure on the actors week after week. Josh & Cathy mentioned they want cast members with improv backgrounds, which is very wise, because they’re going to go up on lines. It’s inevitable.  Wait'll two big jokes a week get trampled. In addition to everything else, they’ll be expected to cover and still steer the show back to the script. Some can do this. But very few. Lots of really good actors who would be perfect for your show might avoid it because they’re worried about this aspect. So suddenly your pool of candidates shrinks considerably. It’s hard enough to cast when everyone in the world is available to you.

And then there’s the guest cast. Your principals might get somewhat used to the format, but actors just coming in for the week would not. One of them could kill an episode if they fuck up badly.

All the imperfections will be exposed. Sound problems (the audience didn’t hear a line because the boom operator missed a cue), bad camera shots because someone is not right on their mark, a light blows out on the set, a prop malfunctions, a wall falls down, etc. You’re stuck with it.

Writing-wise, you back yourself into a corner. There will be weeks the script doesn’t work and you need to do a lot of rewriting. There’s no wiggle room for pushing the filming back a day or two. Plus, you make it that much harder on the cast when you give them whole new 40 page scripts to memorize with only a day or so before they have to perform it in front of millions of people. That’s not fair to them.

On the other hand, to not change things because you’re putting too much pressure on the actors means you often have to live with lines or scenes you know are not as good as they could be. I had that with the musical I co-wrote. During production we were so strangled by Equity restrictions that we had no time to fix lines and moments and night after night I would watch stuff that needed help but couldn’t address it. It drove me out of my mind. In television I’m used to just going out on the floor and changing something. No can do in live TV. Or summer stock in Connecticut.

The storytelling itself will be dictated by the restrictions imposed by the form. Just like with a play, costume changes have to be covered and getting actors from set to set can be a challenge. And unlike a play, you don’t have the suspension of belief you do in the theater. Sets can’t just fly in. Lights on and off can’t determine different locales. These obstacles are not at all insurmountable but they must be factored in. Here again, Cathy & Josh are smart to make it a domestic comedy. Entire shows can take place in the house. Imagine doing SEINFELD live with its forty or fifty one-page scenes. Yikes! Or FRIENDS where the costume changes for the actresses alone took hours.  A typical FRIENDS filming took from 5:00 PM to 2:00 AM.   They even had two audiences because the first one would be exhausted after five hours.  That ain't gonna fly in live TV. 

Assuming they’ll perform the show twice each week (once for the east coast and again for the west), the west coast shows will probably be way better because the writers will be able to change a few jokes that bombed, and the actors will have had essentially one more runthrough before their west coast performance. That’s great for us out west, but the majority of the American audience will then see the inferior version.

By eliminating the editing process you also eliminate a major step in improving a show. I can’t tell you how many episodes I’ve worked on that came way up in quality or were literally saved by editing. Besides hiding a plethora of blemishes, you can greatly improve the pace. And pace in comedy is key.

Personally, I wouldn’t want to produce a live weekly sitcom.  Too many things I couldn't control.  But that’s me. Cathy & Josh are terrific and I’m sure will do a great job.

Of course, the ultimate irony is that with DVR’s, even though the show will be live, most people will still see it on tape.

My version of SUPERBOY

Here’s another chapter in my saga of the Superman legend if a Jewish couple had found him in the cornfield. The first part is here. A breakdown of how I wrote it is here. Now we jump forward to when the young lad is a teenager. I won’t be breaking down this scene, but based on the other, hopefully you can glean a little of the thinking that went into constructing this scene.

INT. SUGARMAN KITCHEN – NIGHT (2005)

15-year old, Zvee Sugarman enters with something on his mind. His parents are there – Morris and Yetta.

ZVEE: Mom? Dad? Can we talk?

YETTA: Of course, son.

MORRIS: Did you get that Lane girl in trouble?

ZVEE: What? No! We’re just friends.

MORRIS: I don’t like her. Who names their kid Lois? So you were saying, Zvee?

Zvee joins them at the table.

ZVEE: I don’t know how to say this, but… I think I’m different from the other kids.

Morris and Yetta share a knowing look, then:

YETTA: (gently) You are, son. We didn’t want to say anything, but you are.

MORRIS: You’re Jewish.

ZVEE: Huh? No. It’s not that.

MORRIS: Of course it’s that. We’re Jews in Kansas. Come Christmas time we’re the only family in the whole goddamn state that doesn’t get a tree.

ZVEE: But it’s more than that. I seem to have this unbelievable strength. The other day Lois was spying on some teachers for a story she’s writing for the school paper and she got trapped under a car. I was able to lift an entire SUV with one hand so she could get out.

YETTA: Oh dear!

MORRIS: Jesus!

ZVEE: I know!

MORRIS: Where were you when we needed to move the piano? I had to call those two yokels. Must’ve cost me two-fifty.

YETTA: (to Zvee) It could have just been adrenaline, sweetheart.

ZVEE: No. There’s more. Lois climbed a big tree so she could train a telescope on a local judge she was spying on for a story and she slipped and fell. I was at the other end of the park but I heard her and in one leap I was there to catch her.

YETTA: Really? You leaped like one mile in a single bound?

MORRIS: I’m telling you, stay away from that girl. She’s poison!

ZVEE: It’s bizarre. Once everyone left I tried to leap again – just to see how far I could go. And you’re not going to believe this but… I can fly. I can actually fly.

YETTA: Oh my God!

MORRIS: You can fly?

ZVEE: What does this mean?

MORRIS: Well, for us – we don’t have to buy you a car.

At the time of the crash they never entertained this option but now…

YETTA: Morris, I’m starting to think –

MORRIS: What? That that rocket actually came from outer space? That’s cuckoo talk!

ZVEE: Huh? What?

It’s truth time. Yetta takes a deep breath, then:

YETTA: Zvee, son. You know of course that you were adopted.

ZVEE: Yeah. From a couple in Israel that gave me up because they were both Nobel Prize winning scientists who needed to continue their vital research in helping Jerry’s kids.

YETTA: Yes, well… we might’ve embellished the story just a wee bit.

ZVEE: So what’s the real story?

YETTA: You were born on another planet and sent to earth in a spaceship.

ZVEE: Oh, come on!

YETTA: No. It’s true. I myself didn’t realize it until now, but these powers you have – you’re obviously special. I know every Jewish mother says that but none of their children can fly.

ZVEE: Wow. This is a lot to process.

YETTA: Puberty is a confusing time.

MORRIS: But still, the thing that really separates you is that you’re Jewish.

YETTA: Oh Morris!

MORRIS: Hey, for all we know half the country are aliens.

YETTA: That’s ridiculous!

MORRIS: Oh really? Explain Bush getting re-elected!

She waves him off then turns to Zvee.

YETTA: What other powers do you have, son?

ZVEE: Well, bullets bounce off of me.

MORRIS: Someone shot at you?

YETTA: Oh Lord!

ZVEE: Lois wass doing this article on gang violence at the Dairy Queen and said the wrong thing. Fortunately, I was only ten miles away and heard her so I was able to fly over there and get in front before the bullets drilled her.

YETTA: So you can also hear things from long distances?

ZVEE: And see things. The next day when the gang kidnapped her I was able to see through walls and find her location. Oh, and I can blow out fire. Lois fell asleep last week with a cigarette.

MORRIS: Sounds like you and that Lane gal are getting pretty intimate.

ZVEE: Well, I want to be. But she says I still have to earn it.

MORRIS: What? Son, a heads-up. Tomorrow night when she yells “help” ignore it because I will be the one shooting her.

YETTA: The only explanation is that you come from another planet where they have these extraordinary powers. Why they sent you away I do not know. Maybe to protect you.

MORRIS: Maybe Bush attacked them too.

ZVEE: So you’re saying I’m really from another planet?

MORRIS: Everyone has baggage, boy.

YETTA: Zvee, it just occurred to me. You can use these powers for good. To help others, to save lives, stop wars.

ZVEE: I don’t know if I’ll have time. Lois gets into a lot of jams.

MORRIS: Y’know what? The aliens can have you back because you’re an idiot!

YETTA: Morris!

MORRIS: After all he’s done? You’ll pardon my French but she should be going down on him six times a day until the 2012 Olympics!

YETTA:  That’s terrible!

MORRIS: What does it say about this world when a Gentile who plays high school football gets laid but the Jew who can fly and juggle Buicks gets a hardy handshake?

YETTA: Zvee, don’t listen to your father. You go off. You save the world. You become the greatest most respected man on this Earth.

ZVEE: Okay, Mom.

YETTA: But first, get your degree. Always have something to fall back on.

More photos from the CHEERS reunion party

Most of these are compliments of AP.  Warning:  many of these photos are of writers.  Names you've seen on the screen for years.  But maybe now for the first time you'll be able to put the face with the name.

If you haven't read my re-cap of the night, you can find it here.

The Bouchon Bistro -- ET won't show you this.

Jimmy Burrows and one of his many proteges.

Director Andy Ackerman, Glen Charles, and Sam Simon

Either Glen Charles is dying his hair or that's me with his brother Les.

Peter Casey and Tim "Mad Dog" Berry

Writer Ken Estin and his lovely daughter

Okay, so it wasn't just writers at the party.

Many Perlmans with Jim Burrows.  Rhea on one side and on the other -- writer Heide with her daughter Ruby.

Ted, Shelley, and Nancy O'Dell from ET

The reason there is a CHEERS -- Glen Charles, Jimmy Burrow, and Les Charles.

Writers Dan Staley and Cheri Steinkellner

For those who wondered what "Phoef" looked like -- Phoef Sutton and one of the actors.

Right out of Broadway Danny Rose -- writers Mert Rich, David Isaacs, Brian Pollack, and me.

The CHEERS 30th Reunion Party

You know it’s a great party when it lasts for six hours. The CHEERS 30th reunion bash Saturday night in Beverly Hills was the perfect blend of laughter, tears, memories, and alcohol. If ever they gave an Emmy for “Best Show Party” (and they really should – it makes as much sense as Best Reality Show Host) Jimmy Burrows and Glen & Les Charles would win that too. It was like my 30th high school reunion except I couldn’t impress anybody that I worked on CHEERS because everybody there worked on CHEERS. We all looked pretty good for thirty years – even the writers.

Me, Glen Charles, David Isaacs

I wore the CHEERS tie I had gotten somewhere. Not many places I can wear that. CHEERS reunions and maybe Comic-Con.

The soiree was held at the Bouchon Bistro so you know the food was going to be better than the Rosendorf wedding at Leonard’s of Great Neck. And it was. No wonder everyone including the busboys have their own shows on the Food Network.

ET was there, so you know it had to be important. For some odd reason they only wanted to shoot footage of the actors. But just knowing I was at an event covered by ENTERTAINMENT TONIGHT gave me the warm delusion of still being in the business. I imagine the segment will air tonight following the story on whatever singer Chris Brown beat up over the weekend.

I said to Ted Danson when I greeted him: “Hey, there’s a dead body in the stairwell I think you should look at.” And Ted replied: “I already counted the maggots.” Ted is in his second year starring on CSI.

Spent some time talking to the very busy Shelley Long. She did five movies this year. I haven’t seen five movies this year. When she and Ted chatted it’s like they weren’t Ted Danson and Shelley Long. They were Sam & Diane. And they always will be.

Kirstie looks spectacular. She’s dancing ten hours a day rehearsing for DANCING WITH THE STARS. Former DWTS contestant John Ratzenberger agreed it was grueling. (Oh, the fun we could have had with Cliff the dancing mailman.) Ironically, Bebe Neuwirth, who is a dancer and could win that competition with both legs in a cast hasn’t entered. Forget the babes on REVENGE and SCANDAL. Lilith is still hot, boys!

George Wendt was happy because Notre Dame beat the shit out of the University of Miami. My writing partner, David, was less ecstatic. Rhea was there with her sister, fellow writer Heide Perlman. And you know how on Saturday I talked about their dad being an extra on the show? Happy to report he’s 93 and still going strong. Living off the residuals I’m sure.

Only main cast members missing were Kelsey Grammer (who is out of the country) and Woody Harrelson (I don't know where Woody was, but I'm not sure he knew either).  However, they both sent lovely videos.

Friend of the blog, Jackie Swanson was there. She says a month doesn’t go by when somebody doesn’t sing “Kelly, Kelly, Kelly, Kelly” to her.  I'd be slugging people by now but she doesn't mind. Jean Kasem (Loretta) and Paul Willson (Paul) also attended. CHEERS had some pretty great semi-regulars, didn’t they? I didn’t see Fred Dryer (sportscaster Dave), but I see him all the time at the gym so I didn’t feel cheated.

Judy Hart Angelo, who penned the lyrics to the theme song was there.  Who could have possibly predicted thirty years ago that when she wrote "Where everybody knows your name"that she'd be helping to sell State Farm Insurance?

Now that we have iPhones, everyone was taking pictures all night of everyone else. There were a couple of professional photographers hovering. I bet they have sixteen shots of Bebe and Rhea taking photos of other people.

Was seated at a table with enormously talented CHEERS writers – a few of them (Dan O’Shannon, Dan Staley, and Phoef Sutton) are still employed if you can believe it. Lots of laughs and begging the working writers for jobs.

The highlight of the evening came after dinner. Our gracious hosts put together an amazing 38-minute compilation video of the “Best of CHEERS.” It seemed like ten minutes. I can’t begin to express how proud I am to be a part of such an extraordinary body of work. And then how nice to be able to personally thank those responsible.

The video ended with all of our credits, the number of Emmys the show won (28), the number of children born during its eleven-year run (37 – my son Matt was the first. Happy 30th birthday in three weeks, Matt), and a list of those we lost. They deserve recognition in this piece as well. Nicolas Colosanto, David & Lynn Angell, David Lloyd, Jerry Belson, Brandon Tartikoff, Steven Kolzak, Gary Nardino, Linda Burrows, and Maryann Charles.

I should have known better but didn’t. I thought, “Nah, they’re not going to do it.” Sure enough, Jimmy got up and began passing the microphone around for toasts. They were funny, lovely, touching, and very spontaneous because like me, no one thought they’d do this again. Fortunately, these people have all had ample practice in award acceptance speeches. Les Charles said, “Even if CHEERS had only lasted one year it would have been the greatest experience of my life. Of course I’d now be valet parking.” And Jimmy reminded us of the late great Jerry Belson’s toast on the night CHEERS first premiered. Jerry stood up and said, “Y’know, I’ve been on a lot of shows…” and then he sat back down.

Mary Steenburgen & Ted

The toasts finally ended after four strangers spoke.  More circulating and reminiscing until about 1:00 in the morning. You know how people say, “we should get together” but never do? I made a vow to follow up with everyone I said that to. Now let's see if they take my calls.

As I watched the highlights video – filled with pride and counting the number of our episodes they included – I thought, what a tremendous gift. Not only did we all do work we’re extremely proud of, but that work is still being seen and enjoyed today. CHEERS remains on the air in syndication as well as on a few cable networks. DVD’s are available, and now you can watch the entire eleven seasons on Netflix. I invite fans of the show to revisit it, and I especially invite young people who haven’t seen CHEERS to check it out. By the second time you hear the words, “magnificent pagan beast” you’ll be hooked, I promise.

Again, my thanks to Jim Burrows and Glen & Les Charles for a magic night, a career, and those marshmallow party favors. Those were great! See you at THE TORTELLIS reunion.