I miss the SKY MALL. This used to be in airline magazines. Products they couldn't sell on SHARK TANK at goofy prices. At one time I compiled some of my favorite SKY MALL items. Don't you wish you could still buy these items from the '00's?
Vuzix iWear – Glasses that are supposed to simulate the big screen experience. $249. More if you want the iMax experience.
Gravity Defyer Shoes. Somewhat self-explanatory. $200. Or, for $4 you could tape Slinkys to your current footwear.
HairMax LaserComb – it’s a
comb, it’s a laser. It’s the miracle answer to hair loss. Only
$449! Perfect for that cue ball who spends thousands on a toupee that
looks like a toilet seat.
X5 Hair Laser – See LaserComb but substitute metal ice pack. $299.
A Portable Alarm Clock for your iPhone. Uh, doesn’t the iPhone already have an alarm clock? $99.95.
Computer Speakers for your iPhone. Not to be confused with any speakers that are the same size and use the same plugs. $149.99.
Retractable Banner Pens – Okay, this you could really need. A thousand for only $950.
Hand Therapy Bars -- $59.
Water trappers -- $169. And they’re fade resistant!
Exclusive Microfibres Trellis Mat to protect high-traffic areas. Here’s the good news: it’s low profile so it will never obstruct your door. $149.
Ingeniously engineered EZ Bed
that features an extra-plush mattress, a highly supportive frame, and
new dual comfort zones. $299. Who buys a bed from a catalog? "I dunno, it sure seemed firmer in the picture."
Wolfgang Puck-designed toaster – otherwise known as a “toaster”. $99.50.
Cinema style Popcorn Maker – Who doesn’t crave seven tubs of popcorn while watching the National Geographic Channel? $199.
Electric Vortex Solo Heater – Nothing heats a room better than Vortex power. $169.
All-in-one Recycling System – patent pending. Perfect for the person who has compacted and non-compacted items. The ideal Christmas gift! $299.
Personal Breathalyzer -- $199. Because expensive gadgets know when to say when.
Feature-laden solar emergency radio – Ideal for those sunny day emergencies. $80.
A Bill Sorter – for only 199 of them.
The Custom Keeper -- 25 cubic feet of storage -- A far better name than laundry hamper. $199. Pretty much everything is $199.
The world’s largest write-on map mural – Only $149. The house with cathedral ceilings at $2,000,000 is not included. But what a mural!
Voice activated R2-D2 – “makes any home feel like it has been transported to a galaxy far far away”. The ad goes on to say it features “distinctive happy and sad sounds faithfully mimicking the real thing… right down to his occasional bad mood." If you buy this (at only $169.95) you are too nerdy to live.
The Electric Tint Changing Ski Goggles – No changing goggles while hurtling down the diamond course. $249.95.
The Upside-Down Tomato Garden – $79.95.
The Hand Crank Two Way Radio – Think of all the money you’ll save on two dollar batteries! Only $99.95.
The only Digital Camera Swim Mask – And it’s waterproof! $99.95.
The Sleep Regulating Sun Lamp – It produces no harmful UV radiation so that’s a plus. $249.95
Adjustable Sheepskin Slippers –
You wake up in the morning, it’s 20 degrees in the house, you want
your feet to be comfy as you putter around the kitchen. $49.95.
The Motion Sickness Relief Wrist Band – It keeps time and reduces nausea! $139.95.
The Finger Drum Mousepad -- $39.95.
The Mind Spa – This comes with a
Catwoman type mask and a control unit that combines soothing sounds
and calming lights. $349. From SuckerBornEveryMinute Industries.
The Carbon Fiber Heated Vest --$149.95
The Continuously Freshening Feline Drinking Fountain
– What cat would be caught dead drinking out of a bowl these days?
$69.95. For an extra ten dollars they should throw in a cat.
The Million Germ Eliminating Travel Toothbrush Sanitizer – It uses “proven germicidal UV technology ". And it sanitizes a toothbrush in only seven minutes! $29.95.
The Foldaway Lateral Stepper – $99.95. Or you could just step from side to side yourself for free.
And finally…
The Children’s ATM Bank – No more breaking into piggy banks, kids! Get a debit card and go to town! $39.95.
Saturday, May 29, 2021
Weekend Post
Friday, May 28, 2021
Friday Questions
Matt gets us started.
How long do you think the networks will continue to air award shows in their current state? Could you see them moving it to on-line productions or simply slimmed-down, 1 hour quick recaps of all the awards? Or do you think it will always be this big production, regardless of how few people are actually watching?
The big problem is that the Academies are caught between a rock and a hard place. Networks are paying big bucks for these shows and would like them slimmed down and jazzed up. But the unions, rightfully so, won’t allow clips or participation if their members do not receive their awards and are allowed to speak on the actual ceremony.
As more people are moving to streaming, I think networks will pay much less for the rights to air these ceremonies, and may not air them over all of their platforms.
Like everything else, if a show doesn’t bring in a big audience, networks aren’t going to pay big money for it. The NFL delivers. Award shows no longer do.
From Stan Garelik:
Thanks to your podcast I have been binging on Wings (so underrated) and loving it. My question is about the addition of Tony Shalhoub. He and his character Antonio gave the show a major shot in the arm How did it come about to add him?
The producers had seen him as a waiter on an episode of CHEERS where he just killed. What often happens is you’ll bring on a character for an episode or two and it’s clear they really click and offer the series a shot of adrenaline. They then evolve into series regulars.
Other examples I can think of are Bebe Neuwirth on CHEERS, Jamie Farr on MASH, and Christopher Lloyd on TAXI.
In the case of Tony Shalhoub, he’s great in everything he’s in no matter what character he plays.
Another Matt, Matt in Westwood, CA asks:
I believe you’ve mentioned having attended RHODA on more than one occasion. Can you share some details on that experience as well and perhaps how it compared to attending MARY TYLER MOORE?
They were both very similar, but with different warm up guys. David Lloyd did the warm-up on THE MARY TYLER MOORE SHOW and was very high-energy. Lorenzo Music, who played Carlton the Doorman, did the warm-up on RHODA and had a very gentle style. Both men were extremely funny and quick-witted. Each show also had a band to play during those ten minute stretches where the cast would change wardrobe.
In both shows, the actors were well rehearsed and there were very few flubs. If the filming began at 7:00, the audience was out before 9:00. They were well-oiled machines.
The thing I remember the most about RHODA was that Vivian Vance guested in one of the episodes. I was in awe getting to watch Vivian Vance perform. And of course she hit every line right out of the park.
I only attended one MARY TYLER MOORE SHOW filming. As luck would have it,, it was the “Chuckles Bites the Dust” episode. So if you can only go to one…
And finally, from James:
As a showrunner, how did you determine which episodes of your show (say Almost Perfect) would be submitted for Emmy awards in each category? Is there a limit? Did you have to try and include multiple directors' and writers' episodes so that more people got a shot at a nomination and a win?
I don’t know how many they’re allowed to submit now, but we were allowed to submit one for “best show.” Quite simply, we put up what we thought was our best, funniest show.
Writers, directors, and actors choose their own submissions. I believe actors can let the show submit for them, but that’s a bad idea. There have been cases where a show forgot to submit or submitted the wrong episode.
Now that shows are more serialized I wonder if the submission policy for “best show” has changed. The thing is, it’s one thing to ask a judge to sit through nominated five half hours; it’s another to ask them to sit through fifty half-hours.
Wednesday, May 26, 2021
EP226: Meet Comedy Writer Mike Reiss
Mike Reiss has written for THE SIMPSONS for 30 years. Also numerous other shows including THE TONIGHT SHOW and THE GARRY SHANDLING SHOW. What was Garry like? What was Johnny like? These stories and more including Mike discovering Conan O’Brien. Part one of two.
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Getting to write for Johnny Carson
When Hope and Crosby filmed the Road Pictures, they supposedly had their radio writers beef up the script to the point where Hope said to the writer "If you come across a line that you wrote, shout 'Bingo!'".
Could this have happened in modern TV with modern protection for writers? For instance, Johnny Carson guest starred on Cheers. If he didn't think the script was funny enough and gave it to his people to completely re-write, would the show runner have to accept it?
Okay, I can easily answer this one because along with David Isaacs, I wrote the episode of CHEERS where Johnny Carson appeared.
First off, we made it clear going in that no TONIGHT SHOW writers would be involved. In actuality, it worked the other way. In our episode, Johnny had to deliver a monologue, and David and I wrote that, not the TONIGHT SHOW writers.
And as for his part...
The day we shot the episode I arrived early and knocked on Johnny's dressing room door. (David wasn't there that day). I introduced myself and said I was happy to rewrite any of his lines and tailor it to his satisfaction. Shockingly, he said it was great, and he was happy to do it just as written.
And sure enough, he did stick to the script word for word.
Happy to say that our monologue got laughs, although I wonder what the actual TONIGHT SHOW writers thought.
Tuesday, May 25, 2021
Crossover shows
Here’s a Friday Question that became an entire post. Actually, this is part one, because another FQ touched on a similar area and I will address that tomorrow.
It's from Kyle Burress.
When actors or actresses guest star on a show and portray the same character they appear as on another show are there any hoops they have to go through or need permission from the network or show runners? A couple instances I'm thinking of are when Frasier showed up on Wings and when Carla, Norm and Cliff appeared on St. Elsewhere.
Well, first off, networks encourage crossover episodes. They’re usually a ratings boost. And fans love 'em.
Obviously, the actors have to agree to it and their compensation. Often it is the network that will shell out the extra money for the crossover actors. Again, it’s the network that stands the most to gain.
So let’s assume the actors are in. Yes, the show runners have to agree, but in most cases it’s to their benefit.
If the crossover shows are from the same studio or are similar in style and tone it makes things much easier. You mentioned Frasier on WINGS. The producers of WINGS had produced CHEERS and the writers of the episode were me and David Isaacs, and we had written for both shows. So that was an easy transition. Same for when Sam Malone visited FRASIER. We wrote that episode.
There have been a number of shows in the Greg Berlanti superhero universe that have crossed over. THE FLASH and SUPERGIRL spring to mind.
What becomes weird is when shows cross genres. The strangest example is the one you pointed out — ST. ELSEWHERE characters coming into Cheers. The ST. ELSEWHERE writers tried to write in the CHEERS style and it was cringeworthy. Not that I could write a ST. ELSEWHERE scene that wouldn’t totally suck.
Usually, whatever show hosts the crossover handles the writing. Although sometimes both shows participate. I wish that had been the case on ST. ELSEWHERE.
But on ALMOST PERFECT, CBS wanted a crossover scene between our show and CYBILL. It was to be shown on CYBILL and shot on their set. Their show runner, Howard Gould and I kept rewriting the scene back and forth. I actually very much enjoyed that. Howard is a terrific writer and it was fun to collaborate with him for a scene.
Crossover shows are fun. Wouldn’t you like to see a crossover show of THE CONNERS and GAME OF THRONES?
Monday, May 24, 2021
State of the Blog
For several years now I’ve moderated the comments… for the obvious reasons. Those that get through I mostly love. You guys often make more insightful observations than I do. I also value that this is a little community. I bring up topics and enjoy the different perspectives you all bring to them. They’re thoughtful, funny, and a joy to read. I never want to discontinue the comments feature.
But I would like to institute a new policy. For years and years I’ve asked readers not to post anonymously, and still some of do. Lately its increased. I think the least a person can do when making a public comment is to own it — attach a name. So from here on I will no longer publish anonymous moments. Won’t even read ‘em. So don’t post as anonymous but leave your name at the end of your comment. I’ll never see it. If you’re uncomfortable not being anonymous I respect that. Then my comment section is just not for you.
Also, it goes without saying, any pro-Trump, Big Lie, MAGA, Tucker Carlson/Sean Hannity/other Fox News idiots comments will be instantly deleted. Save yourself the time. It takes you several minutes to compose and submit your misinformation and it takes me literally one second to delete it. Now you may say I’m being intolerant, and I should air all points-of-view. No. Sorry. It’s not a matter of opinion. It’s that this blog respects the laws of nature, science, and the real world.
A further reminder, no attacking each other. This should be a fun sharing of ideas. Play nice, kids.
And finally, I wrote this because I found this great photo of Natalie Wood.
Thank you for your patronage, understanding, and most of all -- comments.
- Management (me)
Saturday, May 22, 2021
Weekend Post
Today it’s very common, and like I said well known. But how many people know who Tommy John is? My guess is most think he’s the surgeon who invented the procedure. Wrong. He was a major league pitcher who was the very first to undergo this operation. At the time, it was very experimental and risky. It’s not something you can try first with hamsters. And even if you could, how would you even know if the surgery was a success since hamsters can’t grip a baseball? The real inventor of the surgery was Dr. Frank Jobe in 1974.
Still, Tommy John will forever be linked to the surgery, long after his playing career is forgotten (which, to many is already).
But it brings to mind the question (at least to me) of how many other public figures will be remembered for something other than what they did to originally achieve notoriety?
Quick aside: When Arnold Palmer ordered one of those drinks did he say, "I'll have a me?"
Shirley Temple was a major Hollywood child star in the ‘30s. She even won a little Oscar. But most folks only the know the name because of the Shirley Temple cocktail – a non-alcoholic drink of ginger ale and a little grenadine.
A variation is a Roy Rogers cocktail. It’s made with cola and grenadine. Roy Rogers was a cowboy movie and TV star. You didn't mess with Roy. How scared would horse thieves and bank robbers be if Roy sidled up the bar and ordered cola and grenadine? "And don't forget that maraschino cherry, podner."
George Foreman was a heavyweight boxing champ. You might only know him as the grill you bought off the TV.
Mae West was a bawdy movie actress in the ‘20s-‘40s (a Tallulah Morehead wannabe). Now her legacy is a personal flotation device. Sidenote: My favorite Mae West quote -- I'm the lady who works at Paramount all day... and Fox all night.
John Hancock was a great American patriot and statesman. But to most he owns an insurance company. And for that matter, Abe Lincoln is remembered as a U.S. President not a vampire killer.
I’m sure there are others. Can you think of them?
Friday, May 21, 2021
Friday Questions
Xmastime goes first.
Ken are you a big fan of Neil Simon? When I was a kid I practically memorized "The Star-Spangled Girl; 30 years later when I finally watched the film it was quite a disappointment. Have you had an experience where on paper your script was cracking, but somehow didn't really work onscreen after it was filmed?
In fairness to Neil Simon, the movie was completely rewritten. Very little of Simon’s play is in the movie, which yes, is terrible. Plus, if I'm not mistaken, wasn't it a TV movie? So the production values are cheesy too.
As for me, yes, there have been times I’ve seen shows I’ve written fall flat due to lousy directing and acting. Or, maybe the script just wasn’t that crackling to begin with. Nah, it was the director.
From Gladys Peters:
How come network TV dramas always get at least a one-hour time slot instead of 30 minutes?
Gladys, this was not always the case. In the ‘50s and ‘60s there were a number of half-hour dramas. Usually police shows. PETER GUNN was a personal favorite. I believe the original DRAGNET was a half-hour as well.
There were also a lot of half-hour westerns. GUNSMOKE started out as a half-hour. My favorite western, BAT MASTERSON was only thirty minutes.
I'm sure you guys can come up with other examples.
Eventually it just evolved that dramas were an hour and sitcoms were a half-hour. Personally, I don't think you need an hour to tell a lot of these dramatic stories. There's a lot of padding.
UPDATED not to include WB shows that I thought were half-hours but several readers kindly reminded me they weren't. Hey, I was 2 when I was watching them. :)
DougG. wonders:
When you and David (Isaacs) wrote the "Adventures in Paradise" episode of FRASIER, was it always planned to be two episodes or did that just happen as part of the writing process?
More often than not, two-parters start out as one-parters with just too much story. But in the case of “Adventures in Paradise” we knew when originally plotting it that it was going to be a two-parter.
We had such a great cliff-hanger -- when Frasier steps out onto the balcony of this very remote resort only to find Lilith on the next balcony. You don’t get much better than that.
Then we constructed the two parts to fit that. Part one was the courtship with Jobeth Williams and part two the aftermath of Lilith and the news that she was remarrying. Each was a pretty full story.
David and I have done a number of two-parters from various shows. I think “Adventures in Paradise” is my favorite — especially part two.
And finally, from Bob Paris:
Ken: Imagine that you are a rookie on the Dodgers ten years ago. You get your first major league hit and for a souvenir you can have only one of these two options: 1) the game ball, or 2) a copy of the broadcast where Vin Scully calls your at-bat. Which would you choose?
That’s an easy one. The Vin Scully call. Anyone can get their first game ball, but having Vin Scully call it — that’s special. It’s like having a Hirschfeld caricature of yourself.
I hope you’re vaxed by now. And if not, what the hell are you waiting for? It’s either freedom or Darwinism. Choose freedom. What’s your Friday Question?
Wednesday, May 19, 2021
EP225: The process of writing
Every writer has a different process. Ken discusses his and many others. How fast to write, when to write, partnership etiquette, how to solve script problems — it’s all here and more. Even if you’re not a writer and have no desire to be one, you will enjoy this study of the creative process.
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Marvelous Marv Albert
For those unfamiliar, Marv has been the voice of the New York Knicks, New York Rangers, Monday Night Football on the radio, local TV sports in New York, and national NBA play-by-play guy for any network that broadcast the NBA. He has announced countless NBA Finals.
How good is Marv? If there’s a Mt. Rushmore of sportscasters, he’s on it.
I know I’ll get no argument from New York sports fans. His calls on the radio have thrilled Gotham listeners for decades. But I’m a huge fan, and I grew up in Los Angeles. You don’t have to be from Vienna to appreciate Mozart.
Marv has (and I love being able to still refer to the present tense) a tremendous presence on the air. He commands your attention. Blessed with the perfect voice for play-by-play, he rises to dramatic moments, has a keen knowledge of any sport he calls, is immaculately prepared, and (my favorite part) has a sense of humor. He works well with partners, and has a style all his own (now much copied).
As a young man, when I would visit New York, I so looked forward to being able to hear Marv Albert on the radio. I don’t know how he coordinated both the Rangers and Knicks, but he was always on with one game or another. I wasn’t well versed on the players (especially the Rangers — I know shit about hockey), yet his pulsating narrative always enthralled me. I was thrilled when he became recognized nationally. I was able to hear him wherever I was.
I wish him well in retirement and thank him for providing me such pleasure my entire life. Is Marv Albert one of the greatest sportscasters ever?
YES!!!
Tuesday, May 18, 2021
Intermissions or no intermissions? (the debate of our time)
He addresses the issue of bladders. Lots of people would rather not sit for two hours without going to the bathroom (especially since theatergoers tend to be on the AARP side). Yes, people could leave their seats in the middle, but he acknowledged that theatres (especially Broadway theatres) tend to be packed. Movie theatres offer more room. Legit theatres aren’t going to reconfigure or take out seats so that’s a continuing problem. Many of them are the size of shoe boxes anyway.
I personally don’t understand why theatres don’t welcome intermissions. They make more money. Concessions and T-Shirt sales would suffer without that mid-play break. You gotta move that merchandise. There's nothing sadder than a show closing with 7,000 unsold hoodies. I’ve had plays with no intermissions and several theatres have asked me if they could insert one.
There’s the other psychological issue that tickets tend to be expensive (especially on Broadway). I’ve gone to plays that lasted 75 minutes and I’m out of the theatre by 9:00. That’s not a whole evening’s entertainment. That’s a quick meal at the sushi bar.
I have plays that have intermissions; I have plays that don’t. One of my plays, which you can watch here, with Joely Fisher & Tim Daly, takes place in real time. So there can’t be an intermission.
But given my druthers, I prefer an intermission, and here’s why:
I write comedies.
Comedies play better with an intermission. Audiences get tired and laughs start to die that otherwise wouldn’t if the audience has a break.
With some dramas it’s the opposite. They don’t want the audience to have a reprieve. To fully get the experience they’re establishing they want the audience immersed until the end. And I get that too.
But for comedies, give me an intermission. And it doesn’t hurt that wine is served during the break. And I get a percentage of the hoodie sales.
Monday, May 17, 2021
The Upshaws
THE UPSHAWS is a funny show. And full disclosure: I say that not just because my daughter and her husband are writers on the show. It premiered last week on Netflix and is already their number one show (so maybe I’m not alone). The New York Times and Entertainment Weekly loved it. And the Wall Street Journal hated it. So that’s three solid endorsements.
These days, if you’re going to show a diverse ethnic group, the safe way to go is to make everyone likable and noble. And that’s great except it’s death for comedy. THE UPSHAWS is not afraid to present characters with flaws. And it’s not afraid to have to have characters clash. This isn’t the COSBY SHOW.
Although THE UPSHAWS is mounted like a retro multi-cam, it somehow seems fresh. The blended family situation is messy, and I think that’s one of its strengths. This isn’t GOOD TIMES. (Full disclosure number two: I never liked GOOD TIMES. It was preachy, characters spouting statistics, and Jimmie Walker’s catch phrases turned the series into a cartoon.)
Another big plus is THE UPSHAWS cast funny people. This is the key to all sitcoms. Hire funny people. Wanda Sykes kills it. Mike Epps is very funny (and kudos for allowing his character to be funny at the expense of being “nice.”). Kim Fields, as always, gets every laugh you give her, and the side characters click too.
The show is loaded with jokes (Imagine! A comedy that wants you to laugh.) and having been in the audience for one of the episodes, I can tell you the laughs are real. There are some very sharp lines.
At the same time, it deals with weighty issues as the series unfolds and contains dramatic moments that are earned.
It’s not groundbreaking, but I found it funny with heart. And okay, yes, the ones written by Annie Levine & Jonathan Emerson were my favorites.
Saturday, May 15, 2021
Weekend Post
I've talked about how Larry Gelbart was the Mozart of comedy writers. Remember in AMADEUS that Mozart used to write his music with no corrections or cross-outs? Larry used to write MASH scripts in longhand on legal pads. I once mentioned that I loved a particular episode he wrote called "The More I See You" and the next day he gave me a Xerox copy of his first draft. I noticed that there were hardly any changes. I said, "Wait. So you do your first draft longhand, then do a second longhand to clean it up?" He said, "No, just one draft."
When I write in longhand I have 24 hours to get it typed up. Between all the cross-outs, lines in the margin, arrows, and sloppy penmanship, after 24 hours Navajo Code Readers couldn't decipher my scripts.
But check out an example of Larry's first draft of "The More I See You." He was remarkable in so many ways.
Friday, May 14, 2021
Friday Questions
Dave is up first.
I've been watching a lot of Becker recently. So funny, superb writing and I like all the characters.
Last night, I saw the episode in which Kelsey Grammer guest-starred ('Because I Have Friends I Haven't Used Yet'), which aired just two days before a Frasier episode ('Daphne Does Dinner'). How could Grammer do both in the same week?
I'm guessing he maybe had to miss the read-throughs and rehearsals for Becker or they had to tape it on a different night. Or maybe his packed schedule explains why he was limited somewhat to three scenes.
Each of those shows worked on the following schedule: Three weeks on then one week off. And each show had a different schedule. Kelsey guested on BECKER during a week’s hiatus from FRASIER.
Once episodes are completed the network is able to shuffle the deck — move one episode up a week, move one back, etc. So it’s not unusual that both episodes featuring Kelsey were shown a couple of days apart.
From Glenn:
Ken, have you ever had an actor forced on you who turned out to be great?
No. Never.
However, we had one actor forced upon us that was so terrible we quit the show once the pilot was filmed. The show didn’t get picked up, nor should it have been. And we didn't care. We were never going to walk onto a sound stage with that guy again.
Chris Thomson wonders:
At what point, and what are the signs/vibes that you realize a show is basically needing to finish?
A number of signs.
You ran out of stories three years ago but kept going anyway.
Ratings are falling.
The star is tired of doing the show and his contract is up.
With rising costs for the actors, and above-the-line people, the show is getting too expensive to produce. Especially if you already have enough episodes for a large payday in syndication or streaming, why bother making more when it’s costing you more?
And finally, from Poochie:
So I've been watching a series of Youtube vids where a real lawyer breaks down courts scenes on TV. As you can imagine the majority of these shows and movies get it wrong. Just totally and not remotely how it operates in the real world wrong.
My question is could these productions staff lawyers for the pure purpose of writing/dialoguing ONLY the court scenes? Is that allowed by the WGA? Would the lawyer/writers need to be credited? Residuals? Is this something remotely possible? How would it work? And why don't more productions at least try to get this remotely accurate?
Shows are allowed to hire “technical consultants.” They’re allowed to tweak dialogue. On MASH we had Dr. Walt Dishell. We would write operating scenes and say things like “Nurse, hand me that frabbazabber!” And Dr. Dishell would put in the correct term (although I think frabbazabber is the correct term).
Technical consultants do receive a credit.
We had a medical consultant, a military consultant, and a nurse on the set to make sure everything looked right.
Other shows have lawyers and law enforcement consultants.
The gray issue comes when the producers want to do something that is a little iffy. There’s creative license, but just how far do you bend? That’s a case by case judgement call.
As for Dr. Dishell, there was one episode of MASH (“Life Time”) where he was so involved in the writing that he was awarded shared writing credit with Alan Alda.
What’s your Friday Question?
Wednesday, May 12, 2021
EP224: Meet Singer Extraordinaire Linda Eder
“Star Search” winner/Broadway star/recording artist/Carnegie Hall concert singer, Linda Eder has an amazing voice and career. She’s also a very fun guest.
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Setting the record straight
Okay, so let me set the record straight.
NONE of the bad/diva behavior Cooper described in the book was ever evident in all the time I was on MASH. The writers who followed me will say the same thing.
The TV comedy writers’ grapevine is extensive and comprehensive. Believe me, when an actor has a meltdown on just about any set, word gets around. Quickly.
Nowhere besides Cooper’s book did those rumors surface. What I was told, during my tenure at MASH, was that Cooper did not get along with the cast. Jackie Cooper and MASH showrunner Gene Reynolds were longtime friends (they were both child actors together at MGM along with Judy Garland and Mickey Rooney). And after those first few episodes, he was never asked back.
What’s more telling than Cooper’s account was this: Gene Reynolds and Larry Gelbart had nothing but effusive praise for Alan and the cast.
And that was my experience as well. As I’ve mentioned, Alan was always respectful, and on those occasions when he came up to the room to help us rewrite, he never lorded over us. He was the quintessential team player.
Finally, I say don’t just take my word for it. If you ask any of the writers or actors or directors or crew, they’ll tell you the same thing. Most people on the crew were there for the run of the series. Believe me, if the star or cast was a nightmare they’d be looking to go somewhere else.
Jackie Cooper was a bitter guy. If there were clashes with Alan, who’s to say it wasn’t Cooper who was the instigator? Same with Linville. I personally found Larry utterly professional and fun to deal with.
And that’s the God honest truth.
Tuesday, May 11, 2021
"You're not good enough for us. But give us money."
I understand the need to request donations. And we’re all hurting due to the pandemic. (Or future legal fees and foreclosures — treason and swindling is costly.) But how and when you ask for money is a delicate dance.
Here’s what NOT to do.
I enter plays in festivals and competitions all over the world. I’ve enjoyed a lot of success but have also received my share of rejections. When 400 people apply for 5 spots, if you don’t expect rejection you’re crazy.
But occasionally I’ll get a standard rejection email that also asks me to donate to that theatre. Now why ON EARTH would I donate to that theatre in that situation? I at least can take comfort that their same great judgement to ask for money when shunning me probably went into evaluating scripts.
I often do donate to theatres that select my plays. Put me on that mailing list.
Monday, May 10, 2021
Top 100 Sitcoms of All-Time -- Really???
What they didn’t seem to take into account was the impact certain shows had. Beyond the writing and acting — some shows made a big imprint in popular culture while others were popular at the time but quickly disappeared. Since we’re talking about 70+ years of shows, it seems you’d need someone in their 80’s who really had an overview select the list. On the other hand, someone in their 80’s would have no appreciation for more recent shows.
And what is considered a “sitcom?” ROLLING STONE lists THE SIMPSONS as the number one sitcom of all-time? THE SIMPSONS is one of the greatest television shows in the history of the medium, but do animated shows qualify as sitcoms? Some could argue yes; others could argue no. The fact that there’s an argument at all seems to suggest it’s not.
With all that in mind, let me comment on the Top 10. Throughout the 100 there are some rankings that are so absurd they’re not even worth discussing. But let’s center on the Top 10. Setting aside taste, or bias, or anything else — the number one sitcom of all-time has to be I LOVE LUCY. It’s not even close. It was groundbreaking, created an art form, and has continued to run and get amazing ratings for close to 70 years. Six generations from around the world adore that show. And six more generations will discover and love it. I say that and two of the shows above it (CHEERS and THE SIMPSONS) are shows I wrote. They’re not Lucy.
You can’t have an all-time Top 10 without including FRIENDS. You just can’t. That show is so globally beloved it belongs in the Top 3.
THE DICK VAN DYKE SHOW also needs to be in the Top 10. That show changed the direction of situation comedies, won a boatload of Emmys, and still is being seen and admired today. The Golden Age of smart multi-camera comedy that sprung up in the 70’s and 80’s was because of THE DICK VAN DYKE SHOW.
I love both PARKS & REC and LARRY SANDERS but both are niche shows. LARRY SANDERS is a favorite of a smart media-savvy portion of the audience, but in the grand scheme of TV it didn’t move any Seismic Meters. It was for “those in the know.” PARKS & REC never got much attention, was not a ratings juggernaut, got very little Emmy love — it was a terrific well-crafted sitcom, but not worthy of the all-time Top 10.
And as much I love CHEERS, THE MARY TYLER MOORE SHOW needs to rank above it. MARY is where it all started. From MARY came TAXI came CHEERS came FRASIER. Alan Burns & Jim Brooks set a tone and created a style of excellence that led to those other wonderful series. So points for being the first.
MASH belongs in the Top 10. Like LUCY and FRIENDS, it continues to do extraordinarily well in syndication and streaming. ALL IN THE FAMILY turned this country on its ear. SEINFELD was a sensation and inspired comedy — I don’t know how well it’s aging. My sense is it’s fraying. THE HONEYMOONERS is my personal all-time favorite, but would I put it in an overall Top 10? I’m not sure.
So those are my thoughts. Would love to hear yours?
Saturday, May 08, 2021
Weekend Post
Hey there Lucy Lovers,
I discovered this cool film on YouTube. It's a behind-the-scenes look at a filming of I LOVE LUCY. It's a little staged, but you get to see things you never do. And Desi Arnaz comes out and does the warm-up and introductions himself. I hope those filmings were quick because seeing their bleachers for the first time, there are no chair backs. That's got to be pretty uncomfortable after a few hours.
But wait! There's more.
I posted this once before. Someone in the audience (I'm sure illegally) took color home movies of the filming of an episode of I LOVE LUCY. Ever wonder what the apartment set looked like in color? Check this out. You'll see that Lucy really was a redhead.
More on I LOVE LUCY on Monday when I discuss ROLLING STONE'S list of the Top 100 Sitcoms of All-time.Friday, May 07, 2021
Friday Questions
Pat Weldon wonders:
You've talked about sitcom writer's rooms many times. Do procedurals have writer's rooms also? What kind of atmosphere are they? I can't imagine them being as much fun as a sitcom room. Or maybe just a different kind of fun?
Hard to say since I’ve never been on staff of a procedural, but from I understand the room gets together to plot the season and break stories. Not sure how many laughs there are on LAW & ORDER SVU, but you never know. Scripts are assigned to individual writers who then go off and complete drafts.
I think the rewriting process depends on the show. Sometimes the staff rewrites, other times the show runner rewrites.
Or I’m totally wrong.
cd1515 asks:
Friday question: loved the podcast about bad reviews, interesting how everyone’s first reaction to a bad review is to say is bullshit but of course if it’s a good review they believe it 100%.
Have you seen or heard of anyone getting a great review and saying “Gee that’s a little overboard, it wasn’t THAT good”?
We’ve had a couple overly effusive reviews like that, and although it’s lovely and fun to send to relatives, we know better than to think we’re comic geniuses. There are one or two times we fell short.
From Michael:
How much control do networks have over plot lines once a show has been renewed for a new season? For example, if showrunner decides wants to do long arc where married couple gets separated, can the network stop him/her, short of cancelling the show?
It all depends on the clout of the showrunner. Unless you’re Chuck Lorre/Shonda Rhimes/Dick Wolf the network is going to have final say on stories and arcs. Even successful shows like HOW I MET YOUR MOTHER, well into their run had to submit outlines to CBS.
Whether streaming services are more lenient, that I don’t know.
But networks these days generally own the studios as well, so they have all the leverage. And use it.
And finally, from Jahn Ghalt:
A Friday Question of speculative interest:
In "The Comedy Litmus Test" (10FEB) you wrote:
Recently, I’ve been asked to assess short plays for several theatre festivals.
Do you ever read something that strikes you as potentially brilliant - but "needs work"?
And if so, would this ever inspire you to collaborate with the writer?
No. I might contact the writer and offer suggestions if they’re open to them, but I’m not looking for partners.
When David Isaacs and I had a production company at Paramount there were a couple of times when we mentored young writers through pilots under our banner. But not for any theatre projects.
What’s your Friday Question? Have you gotten vaccinated yet? Get that second shot.
Wednesday, May 05, 2021
EP223: Things that YOU hate that others love
After Ken’s list of things he hates that others love, listeners weighed in with their selections. Audience participation podcasting!
How to make an "Art" film
Cranky middle aged protagonist.
Someone usually looks after him – wife, daughter, young neighbor.
Befriends a young person.
Lives in bleak surroundings.
Begrudgingly takes in a pet.
Is tortured by the past.
Fights with authority figures who want to take his house, tear down his art, fire him, commit him, take away his driver’s license.
Never any food in his kitchen.
There’s always a fire.
Flashbacks to horrific events. Usually a child dies. Usually he feels it’s his fault.
Has some skill with his hands. Can build houses or do sculptures.
Has health problem, usually bad heart.
Is in the hospital ¾’s of the way through the movie. Recovers but reoccurrence kills him at the end, one minute after he finally finds peace.
Anytime anything good happens to him there is a tragedy one minute later.
We watch him do boring mundane shit for half the movie.
He has comic quirks.
At least three scenes at a cemetery.
Tuesday, May 04, 2021
Misc. Takes
And now for some random thoughts:
I’m starting with a Natalie Wood photo since I haven’t posted one in a long time, and I particularly like this one.
Way more people watched the NFL Draft than the Oscars. What does that tell ya?
Bill Gates' wife filed for divorce. I wonder if she had a chip implanted in his head and found out something.
There’s a great article in THE NEW YORKER magazine profiling SIMPSONS’ writer, John Swartzwelder. He rarely gives interviews so this is a treat. I don’t know him that well, met him a few times when David Isaacs and I were writing for THE SIMPSONS, but he’s a good guy and one of the funniest people you’ll ever meet. Check out the article.
Now that baseball stadiums can only be 20% filled, I hear it’s a GREAT time to go to a ballgame. No crowds, easy in and out parking, no long lines at the concession stands. Swear at a player and he might actually hear you.
If only the games themselves were better. Again this year a ridiculous amount of strike outs and home runs.
When ESPN does a stat cast game, tune in. Jason Benetti (the next Vin Scully) calls a great game. And you’re not bludgeoned with stats. Just enough to enhance the game. From time to time they slip in a stat cast game on ESPN2 when ESPN has the regular Sunday Night Baseball Game. Watch the stat cast version. Oh, and it means no A-Rod.
Netflix recommendation: BORGEN. A political show out of Denmark that is wonderful.
Goofy recommendation: (I believe it’s on the YouTube Channel) THE TASKMASTER. It’s a combination reality competition/comedy show out of the UK. And it’s so refreshing to hear biting, funny, sarcastic lines without regard to being PC.
Get both shots. NOW.
New York Governor, Andrew Cuomo (he is still governor, right?) said Broadway could reopen May 19th, although it’s more likely they’ll reopen in September. However, Nevada brothels are reopening now.
And while you’re waiting, two of my Zoom play readings are still available. I’m very proud of both of them.
AMERICA’S SEXIEST COUPLE —a romantic comedy starring Joely Fisher & Tim Daly. Here’s where you can watch it.
And OUR TIME about four young people trying to break into comedy in LA in 1975 starring Eddie Kaye Thomas, Jonah Platt, Laura Schein, and Noah Weisberg. You can find it here.
Is Liz Cheney the only Republican who hasn’t lost their mind?
Thanks to all my podcast listeners! I love you guys! My episode this week centers on things I hate that the rest of the world loves, and I asked if you had any? I received enough responses that my next episode is your responses. It’s nice to know there are people out there.
There will be another LAW & ORDER spin-off. Between L&O, NCIS, and Chicago-whatever, they must account for 70% of primetime network programming. Oh, and a CSI sequel is also on tap. HBO should do that. SOPRANOS: KANSAS.
Monday, May 03, 2021
Pilot season craziness
Unless…
The show was miscast. Often that means being forced to take an actor the network or studio wanted but you didn’t.
The premise and/or writing was bad and never should have been picked up in the first place.
The pilot notes sucked the life out of it.
But otherwise, consider these factors:
You’ve had months to write this episode, not just a few days.
You’ve had weeks and sometimes months to find the people who have demonstrated they’ve made THIS material work better than any other actor. Normally you tailor the material to the actor. In a pilot’s case, it’s the opposite. You find actors who can maximize the script. You'll never hear an actor say, "My character wouldn't say this" when auditioning. He'll bend himself into a pretzel to make work what's on the page.
There are always changes during the week of production. When things get on their feet they sometimes don’t work or need to be adjusted. Once you have solid actors in place you can start to write more to their voice and behavior. Frequently, first production drafts are too long and overwritten and you see what needs to be pruned.
But the basic script and structure should work.
The production process always begins with a table-read. The cast reads the script aloud, and it’s your first real indication of what you’ve got. Those used to be intimate affairs done in a conference room around a big table. Maybe twenty people besides the actors were in attendance — staff and a network and studio rep.
Today, as many as 150 attend these things. Every executive west of La Brea. And they’re now held in huge halls with the actors sitting on a dais instead of around a table relating to each other. It’s utterly insane.
And since the TV industry operates out of fear, to hedge their bets that the table reading will go relatively well, most studios insist on a pre-table read with only a slightly smaller number of attendees.
I never feared table readings. I never feared moments that didn’t work in table reading. So what? We’d fix them. But our table readings always went well. We stacked the deck with the best possible cast. We knew what we had going in.
We did do one trick that helped, however. Actors have to be approved by the studio and network. So depending, these execs can hear the same scene six or eight times. By the time they get to the table reading it’s no longer funny to them. So we always wrote separate audition scenes that highlighted the strengths of the actors. That way, the network was hearing the pilot for the first time at the table reading and all the jokes were fresh.
Good luck to everyone making a pilot. Some will come out great. Hopefully yours.
Saturday, May 01, 2021
Weekend Post
It's May Day (Weekend). And what better way to celebrate than with John Coulton's delightful song, "First of May." (Note: not for the Disney Channel) Enjoy!
Friday, April 30, 2021
Friday Questions
Closing out April with Friday Questions. What’s yours?
Alan Gollom leads off.
It seems to me that generally comedic actors adapt to drama better than dramatic actors adapt to comedy? What is your opinion?
I think good comedic actors tend to transition to drama easier because underneath the comedy they’re playing real people with real dramatic problems.
You need a certain ear to play comedy. You have to feel the rhythms and timing. And I don’t believe that can be taught. Some dramatic actors have it; others don’t.
Ed Asner played heavies his entire career until landing THE MARY TYLER MOORE SHOW. Leslie Nielsen, Alec Baldwin, Gene Hackman, Brad Pitt, Nick Colasanto, Robert Duvall, Kurtwood Smith, George Clooney, Judi Dench, Maggie Smith, Hugh Laurie, Cate Blanchett, Diane Keaton, Bryan Cranston, Meryl Streep, William H. Macy, Allison Janney, Candice Bergen — are just some of the actors who adapted well to comedy. And there are many others.
From Liggie:
Question for an entertainment industry veteran. Of all the movies about Hollywood ("The Player", "Day for Night", "Singin' in the Rain", etc.), which is the most accurate at depicting the day-to-day moviemaking business? Also, which of those do you enjoy watching the most?
None of the above. My favorite Hollywood movie is THE BIG PICTURE from 1989. It’s a small movie that came and went starring Kevin Bacon, Martin Short, Michael McKean, Jennifer Jason-Leigh, Teri Hatcher, and more. Biting satire that’s both hilarious and somewhat chilling.
James asks:
Was it a conscious decision never to mention Sam's ex-wife on Cheers? She's mentioned (and fleetingly seen) in the pilot but never afterward. It seems like an ex-wife could have made for some interesting complications in Sam's life, especially in later episodes when the writers are struggling for ideas.
His ex-wife is mentioned in only the second episode of the series and basically as a punchline. We got Donna McKechnie to play her.
As the year unfolded the general consensus was an ex-wife only got in the way so it was swept under the rug. I’m not sure she was ever mentioned again.
In other words, if we had it to do over again Sam would be a lifelong bachelor.
Remember, Sam almost remarried in an episode of FRASIER that David and I wrote. He was engaged to Tea Leoni.
And finally, from Saul:
Do you think it’s fair to say that audiences are becoming harder to please? Negative reviews from critics and viewers are becoming less objective and more vitriolic, and everything out there seems to generate some sort of controversy. Perhaps one could view this as tastes becoming more discerning, but shows or films people previously simply wouldn’t like are now generating outright hatred and anger towards the creators. What is your take on this?
We do live in angry times. And that spills over into reviews. Not to mention the hate trolls (who would call Mother Teresa a whore).
But I think the problem is the audience has gotten jaded. Very little seems fresh to them. Viewers are way more savvy now in how the sausage is made.
So it takes more to surprise and delight them. They can spot certain jokes coming a mile away.
That’s not to say you can’t thrill and delight them; it’s just harder to do.
Wednesday, April 28, 2021
EP222: Things I hate that you might love
There are things universally loved in popular culture that Ken just doesn’t get. Everybody has their own list. Ken shares his.
Anderson Cooper on JEOPARDY
That’s how I feel about Anderson Cooper hosting JEOPARDY. From the minute he stepped out onto the stage his very first night it was so clear he is “the guy.” Totally relaxed, in charge, set a good pace, read the questions well, has a very pleasant voice, bantered well with the contestants, had empathy for them, has a good sense of humor, and clearly put the game above himself. Like Alex, he has a low-key tone. And gravitas.
There's no substitute for talent and experience. How many hours a week is Anderson Cooper live on television? It makes a very noticeable difference.
Now I don’t personally know Anderson Cooper. Never met him. Liked him on CNN and 60 MINUTES but never a huge fan. I like Jake Tapper more. I always feel Anderson does himself and reputation a disservice by co-hosting that stupid New Years Eve show. But hosting JEOPARDY is the role he was meant to play.
I’ve been in many many casting sessions. You see people who hit all the boxes but you say, “we still haven’t found him.” It's frustrating as hell, believe me. Then someone comes in the room who IS the character and you instantly know it. And you're glad you held out. That’s Anderson Cooper. I would tell Savannah Guthrie, Dr. Gupta, and the others "thank you and go home. "
The Rangers were right about Jon. I’m right about this one.
Tuesday, April 27, 2021
Why no one gives a shit about the Oscars
One of the reasons that the Academy Awards are such an afterthought is that movies play a much smaller role in our lives.
In movies’ heyday, which I believe lasted until the mid ‘70s when cable was introduced and first run movies could finally be seen in their entirety — uncut and uncensored — on television, movies were a major form of entertainment.
Going to a theatre was exciting. Movies were meant to be seen on giant screens in glorious technicolor (especially when TV was still just black-and-white). The studios provided a variety of styles and genres. Action, comedy, romantic comedy, horror, adaptations of novels and plays, political thrillers, drama, period pieces, sweeping scope, intimate stories, war films, fantasy, fairy tales, musicals — major studios produced them all. Many featured big stars you could only see in the movies.
Movies would have an impact. They reflected society and changed society. But in an entertaining way. Films like THE GRADUATE spoke to an entire generation.
Today studios only make comic book blockbusters or sequels trying to squeeze every dollar out of the only theatre-going customers they still have — young males. Remember “date movies?” Romantic comedies that were tolerable for both sexes on a weekend date? Now a studio comedy is a raunchfest aimed at — you guessed it — young males.
So the Oscars used to celebrate excellent but popular movies. And everyone had a rooting interest. We saw all the Best Picture nominees. We debated them at the water cooler. What are our choices now? NOMADLAND and eight equally dreary depressing “art” films or box-office champ, KING KONG VS. GODZILLA?
Yes, the pandemic has thrown a monkey wrench into going to your local cineplex. But with higher prices, commercials, vending machines instead of concession stands, and people texting — the exodus from movie palaces was well underway prior to COVID.
Will they come back? Yes, once or twice for the novelty of it. But then they’ll return home, watch movies on their big screen where the monthly subscription to Netflix is less than the cost of one ticket at an AMC. Or they’ll watch on their phone. We’ve gone from the big screen to five inches.
So when no one cares who the Oscar nominees are, when movies are not an important part of our lives, who gives a shit if some actor you've never heard of (and will disappear in two years) in some movie you’ll never see and never want to see wins? They might as well televise the Fred Sands salesmen of the year awards. At least they have a raffle and you could win a dinner at Benihana's.
UPDATE: Let me respond to several readers who considered this just an old guy rant ("things were better in my day," etc.) It's not about whether the movies were better, it's that Oscar ratings were HUGE, and now they're dismal. My post was looking for a possible explanation. Rating WERE better. Interest in the Oscars WAS higher. That's a fact, not an opinion. If I were 25 I'd write the same post.
Monday, April 26, 2021
And the worst Oscarcast goes to... 2021
Expect the ratings to absolutely crater. And if you breakdown hour by hour. I bet the numbers nosedived after the first hour.
They were held in a train station. Next year, if there is one, I suggest a bus station.
Meanwhile, the Dodgers-Padres game on ESPN was great!
Saturday, April 24, 2021
Weekend Post
I had another Zoom reading of one of my plays as a benefit for the Actors Fund. This is OUR TIME, and it's loosely autobiographical. For many reasons it's one of my favorite plays and I'm thrilled to be able to share it with you.
1975 was an amazing year for comedy. It was a golden age of sitcoms (MARY TYLER MOORE SHOW, ALL IN THE FAMILY, MASH), the Comedy Store was flourishing and comics like Letterman and Leno were getting on THE TONIGHT SHOW, and personality radio was still very much in vogue. For a kid wanting to break into comedy in Los Angeles, LA was a magic place.
This is the story of four young Boomers coming of age and trying to find their place in this inspiring new world. I'm blessed with an amazing cast. Eddie Kay Thomas, Jonah Platt, Noah Weisberg, and Laura Schein, with additional voices by Kevin Pollack, Madeline Franklin, and me. With cool graphics by Howard Hoffman. Thanks to New Works Theatre for hosting it. The Actors Fund does great work and I invite you all to support them.
Okay, So now for a limited time, enjoy my comedy about comedy, OUR TIME.
Friday, April 23, 2021
Friday Questions
Dave starts us off.
I've been enjoying Jenna Elfman's performance in Fear the Walking Dead and everyone loved Bryan Cranston's role in Breaking Bad. As you've worked with a lot of actors in sitcom's have you ever been surprised by an actor performing a dramatic role very well after working with them or seeing them in a sitcom/comedic role?
Oh, this is an easy one. Margo Martindale playing a villain on JUSTIFIED, season two. Find whoever streams it and treat yourself. She normally plays these sweet dowdy characters. Not here. And she’s riveting. Watch out if she offers you a glass of "Mama's Apple Pie."
Ere I Saw Elba asks:
Do you think that there are shows that have good characters, actors, and directors, but just have an overall shitty premise? That is, you want to write for them but it's just impossible to advance any kind of story?
I would say AfterMASH.
From Brian Phillips:
Musicians have favorite studios, do you have a fondness for a particular sound stage or studio when you direct?
I know it’s sentimental, but I’d have to say Paramount. I’ve directed a lot of great shows there and have had wonderful experiences. And for those who are scoring: Stage 25, Stage 19, Stage 32, and Stage 31.
From Neil Weinstein:
As a lifelong Mariners fan, I always think of you fondly this time of year, especially the year you were trying to explain Passover food to Dave Niehause on the air during a spring training game back in the early 90s.
I've become hooked on The Bob Newhart Show. Now that you have taught me to pay attention to the credits, I noticed a stable of writers in the early years that I didn't recognize, except for Jay Tarses. In the later years (I'm on season 5), I've noticed some more familiar names like David Lloyd and James Burrows pop up into the credits.
Since this was an MTM show, was there a go-to group of MTM writers that then expanded? What did it take to break into this club, like David Lloyd did? Did you and David Isaacs ever write specs for Bob Newhart?
I loved Dave Niehaus and miss him every day. Mariner baseball is not the same without him. Now to your question.
MTM in those days was like Camelot for writers. It started with THE MARY TYLER MOORE SHOW then THE BOB NEWHART SHOW and from there grew into a powerhouse, adding RHODA, PHYLLIS, THE TONY RANDALL SHOW, THE BETTY WHITE SHOW, LOU GRANT, ST. ELSEWHERE, THE WHITE SHADOW, PAUL SANDS FRIENDS AND LOVERS, THE TEXAS WHEELERS, REMINGTON STEELE, DOC, HILL STREET BLUES, NEWHART, MARY, and I’m sure I’m forgetting six others.
But in those early and mid-70’s days, as the shows were expanding, they were grooming writers to fill out the expanded number of script assignments on their various shows.
Among those writers: Earl Pomerantz, Charlotte Brown, Pat Nardo & Gloria Banta, Michael Leeson, Glen & Les Charles, Gary David Goldberg, Hugh Wilson, Lloyd Garver, Sy Rosen, and of course, David Lloyd.
David Isaacs and I joined THE TONY RANDALL SHOW and would have gotten into that mix except we left after the season to go on staff of MASH.
We never wrote a spec BOB NEWHART SHOW. But we did write a spec MARY TYLER MOORE SHOW and spec RHODA. Both were rejected.
The show runner of RHODA is now my neighbor and we’re good friends. As a running joke I’ll say to her, “Read it again. Just once. I think you’ll find there was stuff you missed.”
What’s your Friday Question?
Wednesday, April 21, 2021
EP221: Part Two with actor/Broadway star, Chip Zien
Chip Zien has been in 13 Broadway shows, has over 65 TV and movie credits, and was the voice of Howard the Duck. This week he talks about being HOWARD THE DUCK, acting in LES MISERABLES, UNITED 93, working with Mike Nichols, and much more.