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Speaker 1: Welcome to stuff you should know a production of I

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Speaker 1: heart radio. Stuff you should know is recorded in front

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Speaker 1: of a live studio audience. Hey, and welcome to the PODCAST.

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Speaker 1: I'm Josh and there's Chuck and this is part two

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Speaker 1: of our very special two part episode on Sitcoms. SITCOMS, everybody.

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Speaker 1: That's right, and we'RE gonna shoot for thirty minutes here.

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Speaker 1: If you remember an episode one, we explained all about

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Speaker 1: how sitcoms are made, in the history of Sitcoms, and

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Speaker 1: today we begin with part two of whether or not

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Speaker 1: these things were successful. And boy were they. Yeah, Um, apparently,

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Speaker 1: between nineteen fifty and two thousand nineteen, the top rated

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Speaker 1: show for the entire year in America at least, was

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Speaker 1: a Sitcom for twenty six different seasons. So that's a

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Speaker 1: pretty significant number, considering there's all sorts of different kinds

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Speaker 1: of shows. Sitcoms are not the only kind of show

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Speaker 1: out there. Yeah, that's Um, I guarantee you that between

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Speaker 1: nineteen fifty and two thousand that number is more like eighty,

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Speaker 1: I would yeah, I would also say, especially if you

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Speaker 1: were going from nineteen seventy to two thousand, it's probably

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Speaker 1: you're probably right, a hundred and four percent as a

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Speaker 1: nomage to our menstruation episode, which we I bift pretty bad. UH, well,

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Speaker 1: we both bift that. Um. Here's a remarkable statistic, though,

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Speaker 1: if you refer back to our Nielsen Ratings episode. Uh,

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Speaker 1: I love Lucy, in nineteen fifty three had a sixty

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Speaker 1: seven point three Nielsen Rating, which meant that close to

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Speaker 1: seventy of every household in the United States was watching

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Speaker 1: that TV show. Okay, and that's crazy and it's the

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Speaker 1: highest season rating for any TV show ever. But Chuck

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Speaker 1: Um and ED uses. For comparison, the highest rated show

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Speaker 1: in two thousand one was friends, and they had a fifteen.

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Speaker 1: Lucy had a seventy, right, and friends huge. Friends was huge.

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Speaker 1: Consider this, though, Lucy had it way easier. There were

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Speaker 1: fewer TVs and fewer shows to choose from. Friends came around. Yeah, because,

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Speaker 1: let's say ten people had a TV, Lucy had seven

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Speaker 1: of them watching friends. But you know five, five million

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Speaker 1: TVs were out there and of them were tuned to it.

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Speaker 1: So if you really think about it, friends was more

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Speaker 1: dominant than Lucy. Yeah, we should call this section in

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Speaker 1: defensive friends or why I learned to hate I love Lucy.

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Speaker 1: I it's not that, and I'm also not defending friends,

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Speaker 1: believe me. So these shows back then were shot on, uh, film,

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Speaker 1: Thirty five millimeter film, but it's still different. These cameras

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Speaker 1: weren't like movie cameras at the same time either. Um, but,

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Speaker 1: and that's a bunch of technical stuff we won't get into,

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Speaker 1: but starting in nine teen, I guess, Seventy one, when

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Speaker 1: all in the family debuted, we started shooting things on

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Speaker 1: videotape and if you've ever seen those sitcoms of the

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Speaker 1: seventies in front of a studio audience, they had a

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Speaker 1: very specific video tape look. Um, it was kind of

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Speaker 1: great a lot instalgia for people in our our demographic

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Speaker 1: for Gen x and, I guess, some younger boomers. But uh,

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Speaker 1: this to us was sort of the heyday and I

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Speaker 1: think generally the heyday of of sitcoms. Yeah, because in

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Speaker 1: the fifties there were still tons of variety shows and

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Speaker 1: quiz shows that kind of edge sitcoms out. The sixties

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Speaker 1: there were like lots of Westerns, but part of the

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Speaker 1: problem with it too is sitcoms were corny and phony

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Speaker 1: and didn't really speak to anybody's actual life. They were

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Speaker 1: escapist right. And in the seventies, the very early seventies,

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Speaker 1: starting with all in the family, uh, sitcoms started to

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Speaker 1: take on actual issues like out there in the real world,

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Speaker 1: but they were doing it in a funny way, so

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Speaker 1: it was more digestible and easy to kind of think

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Speaker 1: about and talk about with your friends then it would otherwise,

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Speaker 1: if you know, sixty minutes was just shoving it down

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Speaker 1: your throat. Yeah, and you know, in a funny way,

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Speaker 1: in that episodes still had to have some laughs. But

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Speaker 1: there were some episodes of some very famous sitcoms that

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Speaker 1: went very serious and dark on what was later to

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Speaker 1: be called like a special episode. Um, there are a

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Speaker 1: few real notable ones. One was all and I remember

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Speaker 1: seeing this episode as a kid and I was like

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Speaker 1: shaken because I didn't I didn't know any of this stuff.

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Speaker 1: I think it's where I learned about that sexual assault

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Speaker 1: was a thing, and it was when edith bunker was

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Speaker 1: was almost or attempted, uh, sexual, sexually assaulted on the show.

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Speaker 1: And that episode was uh, very, very, very serious and

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Speaker 1: in a marked departure from what sitcoms we're all about. Yeah,

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Speaker 1: Um Maw. It is also Um, frequently pointed to as

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Speaker 1: having like an early effect on tackling like hard stuff

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Speaker 1: when the the main character maud in a two part

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Speaker 1: very special episode, chooses to get an abortion, um, to

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Speaker 1: terminate her pregnancy when she gets pregnant at age forty seven.

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Speaker 1: And that was like, I mean if you did that

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Speaker 1: today it would be controversial. And this is like the

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Speaker 1: early mid seventies that they did that. So people are like,

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Speaker 1: like TV show producers are starting to like really take

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Speaker 1: on more and more stuff Um, and that very special

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Speaker 1: episode did become a thing beyond the seventies. Like another

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Speaker 1: really good example is Um different strokes, very special two

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Speaker 1: part episode about child exploitation with Um. Uh, Mr What

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Speaker 1: was the guy's name from W K RP, the station owner? Oh,

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Speaker 1: Mr Carlson, he was the guy. Yes, and you don't.

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Speaker 1: If you've not seen it, then good don't, because you'll

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Speaker 1: never look at Mr Carlson the same way again, because

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Speaker 1: he played this creepy child molester like perfectly. He owned

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Speaker 1: a bicycle shop. He lured Arnold and Dudley over there,

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Speaker 1: took pictures of them in their underwear. Remember. It was

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Speaker 1: like really jarring episode and one of the hallmarks which

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Speaker 1: I know we've made fun of before in previous episodes

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Speaker 1: of a very special episode is the audience doesn't clap

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Speaker 1: at the end and it makes it even more weird

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Speaker 1: and jarring and creepy to end an episode like that.

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Speaker 1: But that's definitely a hallmark of it. Yeah, and Um

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Speaker 1: also that you mentioned that was a two part or

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Speaker 1: the all in the family episode with Edith was, I believe,

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Speaker 1: just a one hour. I don't even think they aired

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Speaker 1: it in two parts. I think they just broke format

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Speaker 1: entirely and it really shows that. I mean the MoD

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Speaker 1: when MoD got an abortion. That was pre Roe v

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Speaker 1: Wade even. It really shows that. The despite it being

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Speaker 1: kind of a Corny, silly format generally, these writers and

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Speaker 1: producers like I think they knew they had an audience

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Speaker 1: to to really sort of get a message across at times,

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Speaker 1: as long as they didn't like hammer it too hard.

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Speaker 1: I think shows like mash dabbled much more in that

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Speaker 1: realm than other ones. Yeah, for sure, but as far

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Speaker 1: as doing this kind of stuff on all in the

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Speaker 1: family in different strokes, it was. It was groundbreaking stuff,

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Speaker 1: it was, but it got picked up by just about everybody.

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Speaker 1: Remember our I think our last Christmas episode, we talked

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Speaker 1: about that Alf Christmas special with the dying girl. Oh

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Speaker 1: my God, everybody did that. I think everybody, with the

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Speaker 1: one exception of small wonder, did a very special episode. Say,

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Speaker 1: by the bell did that episode where Jesse was addicted

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Speaker 1: to speed. Remember, I didn't really watch that show. Okay, well,

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Speaker 1: that's that one alone is worth watching, at least for

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Speaker 1: the Jesse. Which one was at? Uh, the Jesse Spano?

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Speaker 1: She was slater's girlfriend. Suld Um, oh, she'd be so

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Speaker 1: mad that I just referred to his slater's girlfriend. Um,

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Speaker 1: slater was her boyfriend. was that tippany and Ber season? No, no, Um,

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Speaker 1: I don't remember her name. She went on to starring

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Speaker 1: show girls. Oh, Elizabeth Berkeley. Yes, I forgot. I was

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Speaker 1: started on. So she was Um really trying to prepare

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Speaker 1: for studying finals and then like there was this show

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Speaker 1: um coming up where she was going to sing the

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Speaker 1: pointer sisters. I'm so excited, and so she was taking

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Speaker 1: all the speed and Zach found out about it and

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Speaker 1: it was like, you know, throwing the speed out the

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Speaker 1: window and Jesse was like, I'm so excited, I'm so excited.

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Speaker 1: Really funny. It's really worth watching, man, and watch the

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Speaker 1: whole episode because it's a masterpiece of like unintentional hilarity

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Speaker 1: from start to finish. Uh. Yeah, I guess I think

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Speaker 1: I was a little too old for that show when

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Speaker 1: it hit its prime, but I definitely taught it here

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Speaker 1: and there because I know all those characters. Basically, it's

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Speaker 1: still on Sunday mornings on metvs. Really. UH, Sitcom's obviously

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Speaker 1: hit their sort of zenith in the seventies and eighties, uh,

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Speaker 1: into the nineties even, of course, with shows like uh,

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Speaker 1: Seinfeld and friends were huge, but in the two thousands

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Speaker 1: is when they really kind of started to dip. Of

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Speaker 1: course thanks to not thanks too but unfortunately because of

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Speaker 1: things like reality TV. Um, the gold standard, like we

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Speaker 1: talked about, was hitting syndication, and that's you know, that's

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Speaker 1: the reason Larry David and Jerry Seinfeld and every member

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Speaker 1: of friends, I mean they all went on generally went

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Speaker 1: on to do other stuff, but you know, it's why

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Speaker 1: if Matthew Perry never worked another day in his life,

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Speaker 1: he doesn't have to, because they are still all making

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Speaker 1: money hand over fist, because these shows will live forever.

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Speaker 1: They'll be showing Seinfeld in a hundred years probably. Yeah,

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Speaker 1: because you make a show and it's a hit show

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Speaker 1: and you can take those episodes and sell them to

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Speaker 1: one person, sell them to another person and sell them

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Speaker 1: again and again and again. So this one body of

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Speaker 1: work just turns into a cash register. I saw that

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Speaker 1: for Seinfeld and Larry David or the show in general,

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Speaker 1: since I entered syndication has generated three billion dollars in

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Speaker 1: Syndication Chie. That's amazing and Ed points out, you know,

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Speaker 1: very aptly, one of the reasons, and there are many

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Speaker 1: fact there's why those kind of sitcoms aren't around as much.

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Speaker 1: I'm certainly prestige TV and sort of that's the thing now,

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Speaker 1: but when you watch a show like that these days

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Speaker 1: you're competing not just against what's on right then, but

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Speaker 1: you're still competing against Seinfeld in the office and friends

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Speaker 1: in Fraser like people still watch this comfort food time

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Speaker 1: and time again. I do it, we all do it. Yeah,

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Speaker 1: and I mean it was, you know, popular enough in syndication,

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Speaker 1: but now it's on streaming. You can watch every episode

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Speaker 1: back to back if you've got a long weekend, you know,

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Speaker 1: or ten years. One of the two. All Right, uh,

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Speaker 1: let's take our first commercial break, because the fine folks

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Speaker 1: have been gay have been waiting. I want to learn

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Speaker 1: about a terrosortic college act, how to take a perfect movement,

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Speaker 1: all about fractals, kiscon's hunt, the lizzie border murders. That

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Speaker 1: a kind of all runs on the plane. Everything we

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Speaker 1: should know. Word up, Jerry Geh. I hope Ben Gay

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Speaker 1: is actually going to give us some money for this.

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Speaker 1: We should maybe alert AD sales. They'd be like who,

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Speaker 1: they're making fun of us, so chuck. Like we said,

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Speaker 1: twenty six out of you know about of seasons from

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Speaker 1: ninety to two thousand were sitcoms, the highest highest rated show.

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Speaker 1: The reason there's a right, there's a reason that they're

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Speaker 1: so popular. One they're like really easy to digest. They're funny.

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Speaker 1: That's the point of them. But there's another thing too,

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Speaker 1: that when you zoom in on a set of like

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Speaker 1: four or six characters and you spend, you know, half

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Speaker 1: hour nuggets in their lives, in just very small worlds

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Speaker 1: of their sets Um paying attention to their foibles and

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Speaker 1: their weirdness and who they are and, like what they

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Speaker 1: believe in, the audience really gets to know those people

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Speaker 1: and you can really play with that as a writer

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Speaker 1: and actor and a producer and it's some really great,

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Speaker 1: like all time great characters have kind of come out

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Speaker 1: of that and one of the cool things you can

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Speaker 1: do is make a character one way and then all

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Speaker 1: of a sudden, out of left field, you can have

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Speaker 1: them do something else and it suddenly makes them, you know, human,

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Speaker 1: whereas they used to be like a one dimensional, hilarious person. Yeah,

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Speaker 1: but that can really shake up an audience who was

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Speaker 1: invested in a character, because I think there's so many

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Speaker 1: shows where, uh, friends is an obvious example, or sex

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Speaker 1: in the city, where most women, I think who watched

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Speaker 1: sex in the city, and I watched it too, but

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Speaker 1: I think it was largely like a show that appealed

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Speaker 1: to women. I would all say like just a shock,

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Speaker 1: you know, I'm a Samantha or or I'm you know,

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Speaker 1: or I'm a joey or I'm a Ross. Like. I

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Speaker 1: think people kind of looked for themselves in these characters

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Speaker 1: and everyone had their favorites. People would watch these shows

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Speaker 1: and maybe hate one of the characters out of the

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Speaker 1: six every time they came on the screen, but still

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Speaker 1: get into it. Uh, it's pretty interesting. They're super voyeuristic. Um,

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Speaker 1: they hold a prism up about sort of our society

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Speaker 1: and you know, they're aimed at the largest demographics. So

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Speaker 1: a lot of these shows would be about like working

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Speaker 1: class families who struggle to pay their mortgage or who

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Speaker 1: get into the sort of Um sort of site. You know,

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Speaker 1: there was any situations, but a lot of times they

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Speaker 1: were situations based in reality such that people could really identify.

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Speaker 1: Like I've been in that same situation with my boss before. Yeah,

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Speaker 1: like Al Bundy has to like, you know, sell a

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Speaker 1: bunch of blood to like get his car fixed or

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Speaker 1: something like that. Like that's a great situation for an

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Speaker 1: episode that you can resolve in a half hour. That yeah,

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Speaker 1: maybe the viewer hasn't ever sold blood to get his

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Speaker 1: car fixed, but it's maybe been in that position where

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Speaker 1: they had to consider doing that. You know, yeah, absolutely. Uh.

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Speaker 1: They also, Um, I think, to their credit, have been

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Speaker 1: able to hold up Um, not a mirror. What's it

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Speaker 1: called when you're looking at someone else? I guess a

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Speaker 1: lens on people that aren't like you. UH, yeah, telescope

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Speaker 1: for people who you don't identify with and you can

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Speaker 1: learn something about uh. There was a period in the

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Speaker 1: seventies where you had these three great shows, uh, the

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Speaker 1: Jefferson's good times in Sanford and son at a time

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Speaker 1: where it gave White America a real view into three

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Speaker 1: very sort of UH set demographics of black America. Um,

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Speaker 1: and we'll talk about spinoffs, but the Jefferson's was a

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Speaker 1: spin off. There originally the bunker's neighbors and UH, George

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Speaker 1: Jefferson opened up a dry cleaner that hit it big,

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Speaker 1: so they got to move it on up to the

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Speaker 1: deluxe apartment in the sky. Uh. You had good times

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Speaker 1: to sort of that middle ground family that kind of

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Speaker 1: struggled a bit, and then you had Sanford and son

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Speaker 1: as the Junkyard Uh guys. And you know, it gives

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Speaker 1: and and with other ethnic ethnicities as well. It really gave,

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Speaker 1: I think, largely wide America chance to sort of even

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Speaker 1: though it may not be the most realistic, sort of

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Speaker 1: take a peek at what other how other people lived. Yeah, Um, yeah,

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Speaker 1: which is Great. I mean that's a great part of sitcoms.

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Speaker 1: Like it can make you identify with people you might

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Speaker 1: not interact with normally. Right, absolutely, Um, and it can

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Speaker 1: go the other way to like it can make us

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Speaker 1: very sympathetic to the rich, like, you know, people like

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Speaker 1: watching effluent families as well, Um as, just as much

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Speaker 1: as they like watching families that are struggling financially too.

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Speaker 1: Oh yeah, I mean fresh prince, the cosby show. He

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Speaker 1: was a doctor again, the Jefferson. So it's interesting how

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Speaker 1: sometimes people love watching the sort of working class families,

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Speaker 1: sometimes they like the escapist of watching the rich families.

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Speaker 1: There's something for everyone, yea, and sometimes it's not even

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Speaker 1: a thing. Like in cheers there was not really a

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Speaker 1: lot of class stuff. It was basically everything but that

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Speaker 1: like no one seemed to have any real money trouble,

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Speaker 1: but also nobody was particularly rich. It was just not

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Speaker 1: a thing. So it can also just be totally absent.

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Speaker 1: I've got a little tidbet for you want to throw in?

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Speaker 1: Let's hear it. I read that George Jefferson was mentioned

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Speaker 1: on all in the family three years before he physically

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Speaker 1: appeared on it. Really because, yeah, because Norman Lear knew

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Speaker 1: exactly who he wanted for George Jefferson, Sherman Helmsley, but

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Speaker 1: Helmsley was involved in like a really lengthy Broadway contract

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Speaker 1: that he couldn't get out of. So Norman Lear just

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Speaker 1: set it up and waited for him to come and

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Speaker 1: he finally arrived and made TV history. That's pretty cool

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Speaker 1: to like hold out that long for an actor that

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Speaker 1: you fall in love with. Yeah, it was a good

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Speaker 1: move too. I mean norman lear was a genius. Oh yeah,

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Speaker 1: I mean, yeah, sure, we can't talk about sitcoms without

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Speaker 1: bowing at the feet of Norman Lear, and now we've

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Speaker 1: done that, so the box is checked. So, Chuck, one

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Speaker 1: of the best things you could possibly do is sit

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Speaker 1: around and talk about great moments in Sitcom History, and

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Speaker 1: I propose we do just that right now. I'm sure

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Speaker 1: they're entire podcasts that do this, and we should also

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Speaker 1: start each one with remember the time. Uh Well, we

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Speaker 1: went over some of the more serious ones, but I

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Speaker 1: think we should stick to sort of the more fun

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Speaker 1: ones now. Obviously just sort of tops of the list

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Speaker 1: if we're going historically. where, chronologically, is the UH well,

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Speaker 1: there's a couple. The grape stomping and I love lucy,

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Speaker 1: but especially the conveyor belt episode from September two, with

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Speaker 1: Lucy and Ethel working in in the factory with a

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Speaker 1: conveyor belt. I think it was chocolates. Yeah, it was chocolates,

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Speaker 1: and the conveyor belt speeds up and like Lucy and

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Speaker 1: ethel are just doing this physical comedy that like it's astounding,

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Speaker 1: especially when you stop and realize like this was live

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Speaker 1: to tape, basically. You know. Yeah, there was another thing

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Speaker 1: that Lucy really broke ground on Um with the birth

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Speaker 1: of little ricky. Um. The film or the show was

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Speaker 1: either aired or shot about twelve hours after her her

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Speaker 1: real life. So yeah, then they they aired the birth

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Speaker 1: of little ricky, which is huge. But Mary Kaye and

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Speaker 1: Johnny did it first. You're in love with that show.

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Speaker 1: I just I think they're an unsung show. They're another

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Speaker 1: one that was not preserved in any way. It was

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Speaker 1: filmed the kinescope, but the Dumont Network, which was really cheap,

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Speaker 1: um threw all of their reels into the East River, apparently.

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Speaker 1: And there's one episode left of Um Mary Kaye and

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Speaker 1: Johnny and it's at like a like a media Um

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Speaker 1: Museum in Los Angeles. You know now that you mentioned

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Speaker 1: that our colleague Alex's show ephemeral Um, he has an

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Speaker 1: episode about the kinescope. Okay, like an entire episode. I

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Speaker 1: remember now. I think that was in season one. Yeah, great,

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Speaker 1: great show. Uh. So maybe we should talk about the

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Speaker 1: Mary Tyler Moore Show, one of the great shows. Yeah,

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Speaker 1: I mean like if you gotta, if you bow at

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Speaker 1: Norman Lear's feet, you have to bow at Mary Tyler

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Speaker 1: Moore's feet too. Yeah, there was an episode in nine

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Speaker 1: called chuckles bites the dust, historic TV episode where a

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Speaker 1: clown is killed in a parade accident and, uh, it

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Speaker 1: tackles death in a really funny way. Like they definitely

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Speaker 1: sort of talk about mortality and stuff like that, but

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Speaker 1: the whole time they're laughing and they can't contain their

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Speaker 1: laughter about this clown and how the clown died, and

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Speaker 1: it's a very funny episode. It is because poor Mary

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Speaker 1: Tyler Moore has to play it straight for everybody else

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Speaker 1: and like is scolding them for laughing and she they're

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Speaker 1: all trying not to laugh and she's having to keep

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Speaker 1: it really serious. And then, in addition to that, Um,

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Speaker 1: there were some really great jokes in there, like one

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Speaker 1: offs where Um Ted baxters asked if Mary can have

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Speaker 1: a ride to the funeral with him and he goes sure,

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Speaker 1: the more the merrier. The Great Ted Knight. Yeah, it

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Speaker 1: was Ted Baxter, right, I think that was a character's name. Right, okay, yeah,

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Speaker 1: and the actor was Ted Knight. Yeah, yeah, from caddyshack

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Speaker 1: and from too close for comfort. Yep, another Sitcom. I

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Speaker 1: actually quite enjoyed that show because it was I thought,

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Speaker 1: who was the guy? Jim J bullock, was very funny.

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Speaker 1: I thought Ted night was hysterical and, of course, as

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Speaker 1: like a young boy, I just thought that the beautiful

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Speaker 1: blonde and Brunette daughters. I was like, give me that

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Speaker 1: show all day long. Right. I think that is how they,

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Speaker 1: a lot of Um shows, got Um popular. Like Three's company.

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Speaker 1: It's just DREC man like. The writing is terrible, like

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Speaker 1: the plots are terrible. The physical comedy is good, like

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Speaker 1: is great. But if you think about it, he's really

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Speaker 1: the only good actor character, at least in the whole show,

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Speaker 1: because he was the only one that had good stuff

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Speaker 1: written for him. But you had like Chrissie and Janet

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Speaker 1: and Cindy, I think, came after Chrissie. I'm sure they

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Speaker 1: definitely contributed to it. Come on, Mr Roper. Okay, Mr

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Speaker 1: Roper is pretty, pretty funny. We talked about that in

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Speaker 1: the UH, the fern bar episode of our bars podcast.

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Speaker 1: Happy days. Of course we have to mention Fonzi jumps.

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Speaker 1: The Shark, which was and of course that became in

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Speaker 1: the episode Fonzi literally Um Water Skis and jumps the

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Speaker 1: ring of sharks. I think it was sharks, maybe just

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Speaker 1: one shark, because jumps, jumps the sharks the same, same

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Speaker 1: ring to it. I can't remember how many sharks it was,

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Speaker 1: but that became it sort of looked back as the

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Speaker 1: moment where happy days went bad and now is used

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Speaker 1: as an expression of when any show goes bad. But

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Speaker 1: Ed points out like there were some a lot of

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Speaker 1: good happy days, episodes and seasons that happened after that, true,

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Speaker 1: but that season, season five, they also had mork from

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Speaker 1: ORC arrived at Arnold's drive in class and it's yeah,

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Speaker 1: it is classic and it turned out for the best,

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Speaker 1: but the point is it was like a huge departure from,

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Speaker 1: you know, the norm that that show had set up

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Speaker 1: for itself in the previous five seasons. So I think

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Speaker 1: it's not even necessarily just a show turns horrible, it's

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Speaker 1: just it takes like, Um, much more bizarre turns, you know,

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Speaker 1: to maybe boost ratings. I think that's really what jumping

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Speaker 1: the shark is for me. Yeah, I think you're right.

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Speaker 1: The other thing that stuck out to me too, is

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Speaker 1: apparently that that phrase is from. It's that old. Oh Really? Yeah,

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Speaker 1: there was some particular dude who came up with it

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Speaker 1: and wrote a book about it and started a website

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Speaker 1: later on, and it was really like a single person,

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Speaker 1: or maybe two people, introduced that slag into the Zeitgeist.

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Speaker 1: That person right now, if they're listening, he says some

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Speaker 1: particular dude thank you right, thanks a lot, other dude.

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Speaker 1: Thanks a lot, master researcher. Alright, fine, I take that challenge.

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Speaker 1: I can talk before we break about a couple of

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Speaker 1: more landmark events in TV Sitcom history. One, of course,

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Speaker 1: it's the final episode of Mash Uh. Notable because, a,

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Speaker 1: it was one of the biggest shows ever and it

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Speaker 1: be because it was one of the biggest final finales,

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Speaker 1: final finales of all time and all the way up

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Speaker 1: and this was and it was the number one audience,

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Speaker 1: top audience, of any broadcast in TV history until the

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Speaker 1: super bowl in that was what a run like one

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Speaker 1: of the best like television episodes of all time, like

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Speaker 1: it just got in the bread basket. Over and over

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Speaker 1: agames called goodbye, farewell and Amen. Ellen coming out was

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Speaker 1: a big deal. There was a gay character in Billy

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Speaker 1: Crystal on the Sitcom Soap Um. But Ellen actually coming

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Speaker 1: out on the show after she came out in real

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Speaker 1: life was a very big deal and conservatives hated it.

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Speaker 1: You get this Jerry folwell called her ellen degenerate for

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Speaker 1: coming out of gay. He called her a degenerate for

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Speaker 1: for saying, guess I'm actually gay, rather than staying in

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Speaker 1: the closet, and that disgusting. What a good dude. And

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Speaker 1: that episode they code named it the puppy so no

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Speaker 1: one would have any idea what was coming. It's pretty funny.

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Speaker 1: Uh A, right, should take our final break. Yeah, let's,

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Speaker 1: and then we'll come back and talk about more Sitcom stuff.

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Speaker 1: I want to learn about a terrosortic college act, how

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Speaker 1: to take a perfect but with all about fractal Kiscun.

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Speaker 1: That's another hunt. The lizzie border murders that they kind

423
00:24:12,359 --> 00:24:16,040
Speaker 1: of all runs on the plane everything this time we

424
00:24:16,080 --> 00:24:33,440
Speaker 1: should know. Word up, Jerry George. All right, we're gonna

425
00:24:33,440 --> 00:24:36,080
Speaker 1: finish up with what Ed calls odds and ends, which

426
00:24:36,119 --> 00:24:39,480
Speaker 1: I think is perfect, because some of these are significant moments,

427
00:24:39,480 --> 00:24:43,440
Speaker 1: some of these are just little other random BITs, um tropes,

428
00:24:44,640 --> 00:24:48,280
Speaker 1: what have you. One is a trope for sure, which

429
00:24:48,320 --> 00:24:50,920
Speaker 1: is the couch in the center of the room. Uh,

430
00:24:50,920 --> 00:24:53,159
Speaker 1: it's obviously done this way because it just makes a

431
00:24:53,160 --> 00:24:57,000
Speaker 1: lot of sense to have sort of the central action

432
00:24:57,080 --> 00:25:00,159
Speaker 1: being framed around the center part of a living room.

433
00:25:00,160 --> 00:25:02,240
Speaker 1: But it's funny if you go back and look at

434
00:25:03,000 --> 00:25:06,720
Speaker 1: all in the family, the cosby show and at least

435
00:25:06,720 --> 00:25:10,479
Speaker 1: married with children, those three sets are almost identical and

436
00:25:10,520 --> 00:25:12,560
Speaker 1: that you have your entry door on the right, the

437
00:25:12,600 --> 00:25:16,800
Speaker 1: couch in the middle and a set of stairs behind you. Uh.

438
00:25:16,840 --> 00:25:19,560
Speaker 1: And then of course shows like friends in Seinfeld and

439
00:25:19,640 --> 00:25:21,800
Speaker 1: it's it's not like landmark to say, Hey, let's center

440
00:25:21,840 --> 00:25:23,879
Speaker 1: the action on the center of the room. But the

441
00:25:23,880 --> 00:25:26,520
Speaker 1: couch in the center of the room definitely became a trope. Yeah,

442
00:25:26,520 --> 00:25:30,480
Speaker 1: it allows it allows actors to interact with the person

443
00:25:30,560 --> 00:25:33,080
Speaker 1: on the couch without standing in between them and the

444
00:25:33,119 --> 00:25:36,119
Speaker 1: camera to stand behind them. Right. So it makes total

445
00:25:36,240 --> 00:25:38,399
Speaker 1: sense in Sitcom world, but it is bizarre if you

446
00:25:38,440 --> 00:25:41,280
Speaker 1: step back and think about it. That actually ties in

447
00:25:41,400 --> 00:25:45,160
Speaker 1: chuck with another little tidbit about sitcoms called the fourth wall.

448
00:25:45,480 --> 00:25:47,919
Speaker 1: And it's not just sitcoms but any TV show, but

449
00:25:48,400 --> 00:25:52,680
Speaker 1: for sure, but it particularly applies the sitcoms because if

450
00:25:52,720 --> 00:25:55,040
Speaker 1: you look at a Sitcom set, there's usually three walls.

451
00:25:55,080 --> 00:25:57,520
Speaker 1: There's the back wall and two side walls, but the

452
00:25:57,560 --> 00:26:00,320
Speaker 1: front wall is imaginary and it allows you, the viewer,

453
00:26:00,359 --> 00:26:02,919
Speaker 1: to look in on the action. But the people in

454
00:26:03,040 --> 00:26:06,960
Speaker 1: the action, the actual characters, don't recognize that you're looking

455
00:26:07,000 --> 00:26:09,919
Speaker 1: back at them, or they're not supposed to. But you

456
00:26:09,960 --> 00:26:12,040
Speaker 1: can really toy with this whole thing because every once

457
00:26:12,040 --> 00:26:15,240
Speaker 1: in a a while the character can turn and address the you,

458
00:26:15,400 --> 00:26:18,280
Speaker 1: the viewer, and that's called breaking the fourth wall. Yeah,

459
00:26:18,280 --> 00:26:21,800
Speaker 1: which can be fun. It can be funny if, if

460
00:26:21,800 --> 00:26:24,880
Speaker 1: Burt Reynolds does it, it gives this little signature laugh

461
00:26:24,880 --> 00:26:27,320
Speaker 1: in a movie, that's funny. If Ferris Bueller does it,

462
00:26:27,320 --> 00:26:29,880
Speaker 1: it's funny. It can be a little weird and disconcerting.

463
00:26:29,920 --> 00:26:33,160
Speaker 1: So breaking the fourth wall is something that, whenever it's

464
00:26:33,240 --> 00:26:36,560
Speaker 1: entertained by a director or production or writer or whatever,

465
00:26:37,040 --> 00:26:39,520
Speaker 1: it's always very much like, let's put a lot of

466
00:26:39,520 --> 00:26:43,640
Speaker 1: thought into this, because it can really go bad. That's right, right. Yeah, yeah,

467
00:26:43,680 --> 00:26:45,679
Speaker 1: you don't wanna, you don't want to do it wrong,

468
00:26:45,720 --> 00:26:47,880
Speaker 1: because I would guess you could sink like a whole

469
00:26:47,880 --> 00:26:50,400
Speaker 1: show doing it wrong. Yeah, it's not a willing anything

470
00:26:50,800 --> 00:26:54,920
Speaker 1: how about spinoffs? I love spinoffs. There's been a lot

471
00:26:54,920 --> 00:26:58,040
Speaker 1: of very bad ones, but in some cases spinoffs have

472
00:26:58,119 --> 00:27:02,760
Speaker 1: been at least as popular as the original show. Um,

473
00:27:02,880 --> 00:27:05,480
Speaker 1: you have great shows like Mash which had trapper John

474
00:27:05,560 --> 00:27:08,680
Speaker 1: M D, which was pretty popular, and then the very

475
00:27:08,720 --> 00:27:14,360
Speaker 1: not great aftermash. Yeah, that was weird, terrible title. And then, Um,

476
00:27:14,400 --> 00:27:17,520
Speaker 1: that's pretty good too. Two is not bad. Um. What

477
00:27:17,600 --> 00:27:21,280
Speaker 1: about happy days, though? Happy days had Morkan Mindy, of course,

478
00:27:21,400 --> 00:27:27,800
Speaker 1: very popular show. UH, joanie loves CHOCY, not so great lavernon.

479
00:27:27,880 --> 00:27:31,320
Speaker 1: Surely that was from happy to right, a great, great show.

480
00:27:31,359 --> 00:27:33,200
Speaker 1: And then there were two more which I didn't even

481
00:27:33,480 --> 00:27:36,560
Speaker 1: know about. One called BLANKSI's beauties, the one called out

482
00:27:36,560 --> 00:27:38,680
Speaker 1: of the blue, and the reason you don't know about

483
00:27:38,800 --> 00:27:41,640
Speaker 1: was because they were terrible shows. But also, like they

484
00:27:41,680 --> 00:27:45,800
Speaker 1: introduced Morkin season five and gave him a spinoff. These

485
00:27:45,800 --> 00:27:49,000
Speaker 1: guys were introduced. They would introduce the character out of

486
00:27:49,000 --> 00:27:51,280
Speaker 1: the blue for the first time and then the next

487
00:27:51,400 --> 00:27:54,800
Speaker 1: night they would premier their spinoff show and it just

488
00:27:54,920 --> 00:27:57,080
Speaker 1: was a format they were trying and it just quite

489
00:27:57,119 --> 00:28:00,119
Speaker 1: worked out. Yeah, it didn't work very well. Uh, the

490
00:28:00,200 --> 00:28:03,760
Speaker 1: Jeffersons I mentioned spun from all in the family. Um,

491
00:28:03,800 --> 00:28:06,280
Speaker 1: another really popular show was a different world that spun

492
00:28:06,280 --> 00:28:13,200
Speaker 1: out from the Cosby show. Benson was a spinoff from what. Okay,

493
00:28:13,640 --> 00:28:16,440
Speaker 1: and I love Benson as a kid. I love that show. Uh,

494
00:28:16,560 --> 00:28:18,879
Speaker 1: facts of life was a great spinoff from different strokes.

495
00:28:18,920 --> 00:28:23,640
Speaker 1: Of course, Frasier, one of the all time great shows. UH,

496
00:28:23,680 --> 00:28:26,240
Speaker 1: spun off from one of the all time great shows. Yeah,

497
00:28:26,240 --> 00:28:29,119
Speaker 1: from cheers. You remember. Frasier was, I think he dated

498
00:28:29,160 --> 00:28:31,479
Speaker 1: Diane for a little while, didn't he? He that? He

499
00:28:31,520 --> 00:28:35,000
Speaker 1: was introduced dating Diane and then later dated that Lilith,

500
00:28:35,080 --> 00:28:37,399
Speaker 1: of course, one of the great characters, right. Yeah, and

501
00:28:37,480 --> 00:28:40,880
Speaker 1: she actually made it over to the spinoff two. Yeah, yeah,

502
00:28:40,920 --> 00:28:43,320
Speaker 1: she appeared on Frasier for sure. So all in the

503
00:28:43,400 --> 00:28:47,560
Speaker 1: family is apparently the the all time spinoff champ with

504
00:28:47,640 --> 00:28:51,080
Speaker 1: seven shows that it produced. The reason it was able

505
00:28:51,080 --> 00:28:52,960
Speaker 1: to do this is because it was so popular. Some

506
00:28:53,120 --> 00:28:57,520
Speaker 1: of its spinoffs had spinoffs, like, I think Rhoda was

507
00:28:57,560 --> 00:28:59,280
Speaker 1: a spinoff from all in the family and it ended

508
00:28:59,320 --> 00:29:03,600
Speaker 1: up spinning off Gloria, I think, or something. Yeah. So,

509
00:29:03,840 --> 00:29:06,160
Speaker 1: all told, all in the family generated eight hundred and

510
00:29:06,240 --> 00:29:11,160
Speaker 1: sixty episodes of television. Wow, yeah, that's it's almost like

511
00:29:11,200 --> 00:29:18,800
Speaker 1: the the Tommy, what's his name, verse from Tommy Westfall Universe. Yeah,

512
00:29:18,800 --> 00:29:20,600
Speaker 1: it is very much like that. I was trying to

513
00:29:20,640 --> 00:29:22,480
Speaker 1: explain that to emily and some people the other day

514
00:29:22,480 --> 00:29:26,560
Speaker 1: and just totally botched it. I need to retake that

515
00:29:26,600 --> 00:29:28,560
Speaker 1: one too. Just get me on the phone, put me

516
00:29:28,600 --> 00:29:31,240
Speaker 1: on speaker phone. Uh, and then when you know, recently

517
00:29:31,280 --> 00:29:33,400
Speaker 1: we could. We don't get a lot of spinoffs anymore,

518
00:29:33,440 --> 00:29:37,320
Speaker 1: but we should definitely shout out grownish, which is a

519
00:29:37,320 --> 00:29:42,160
Speaker 1: newer spinoff of blackish. Right, so it still happens. Another

520
00:29:42,200 --> 00:29:44,200
Speaker 1: thing that happened that was kind of like a landmark

521
00:29:44,760 --> 00:29:47,800
Speaker 1: bomb in the Sitcom world, and not bomb in the

522
00:29:47,800 --> 00:29:51,320
Speaker 1: bad way, but like meaning it was consequential. The flintstones

523
00:29:51,360 --> 00:29:54,840
Speaker 1: came out in and not. To that point no one

524
00:29:54,880 --> 00:29:58,600
Speaker 1: had even conceived of an animated Sitcom, but that's absolutely

525
00:29:58,600 --> 00:30:01,080
Speaker 1: what it was, so much so it was essentially an

526
00:30:01,120 --> 00:30:05,840
Speaker 1: animated rip off of the Honeymooners, based in prehistoric times. Yeah,

527
00:30:06,160 --> 00:30:09,800
Speaker 1: and uh, animated sitcoms became a staple of TV at

528
00:30:09,800 --> 00:30:14,160
Speaker 1: primetime television, with the jetsons, of course, Our Beloved Simpsons

529
00:30:14,280 --> 00:30:16,760
Speaker 1: and Future Rama, and now Bob's Burger's is one of

530
00:30:16,760 --> 00:30:19,200
Speaker 1: the family guy of course, and then Bob's Burgers, one

531
00:30:19,240 --> 00:30:23,760
Speaker 1: of the longest running current sitcoms. Animated Sitcoms? Yeah, there's

532
00:30:23,760 --> 00:30:26,720
Speaker 1: also rick and Morty, South Park. There's tons of animated

533
00:30:26,720 --> 00:30:29,320
Speaker 1: sitcoms and they can all thank the flint stones for

534
00:30:29,360 --> 00:30:31,760
Speaker 1: that and and, to a lesser extent, the JETSON's. It's

535
00:30:31,760 --> 00:30:34,280
Speaker 1: funny to think of South Park it's a Sitcom, but

536
00:30:34,320 --> 00:30:37,680
Speaker 1: I guess it is totally. It's just so offbeat it

537
00:30:37,760 --> 00:30:40,280
Speaker 1: doesn't seem to, you know, fit that mold, but it

538
00:30:40,480 --> 00:30:44,080
Speaker 1: is Sitcom Um. And then chuck. There's one other like

539
00:30:44,200 --> 00:30:46,840
Speaker 1: a significant moment in TV I want to like definitely

540
00:30:46,840 --> 00:30:49,280
Speaker 1: shout out. Was the last episode of New Heart that

541
00:30:49,320 --> 00:30:52,560
Speaker 1: aired in did you see it? I did. I was

542
00:30:52,600 --> 00:30:55,160
Speaker 1: a big fan of both the original Bob Newhart show

543
00:30:55,760 --> 00:30:59,360
Speaker 1: and reruns and then loved, loved the new heart show

544
00:30:59,360 --> 00:31:01,400
Speaker 1: where he was the in the first one he was

545
00:31:01,440 --> 00:31:05,520
Speaker 1: a psychologist married to Susanne Plashette, and in the second

546
00:31:05,560 --> 00:31:09,080
Speaker 1: new heart he was a B and b operator in Vermont,

547
00:31:09,200 --> 00:31:13,120
Speaker 1: right yeah, named Dick Loudon. And the second show new heart,

548
00:31:13,200 --> 00:31:16,000
Speaker 1: was much more weird and wacky and just kind of

549
00:31:16,000 --> 00:31:18,560
Speaker 1: went out there, whereas the BOB new heart show from

550
00:31:18,600 --> 00:31:21,360
Speaker 1: the seventies was a little more like down to Earth and,

551
00:31:21,560 --> 00:31:24,960
Speaker 1: you know, stayed uh, it had like new heart stead Pan,

552
00:31:25,160 --> 00:31:29,960
Speaker 1: you know, humor. I just accidentally did a new heart period. Um.

553
00:31:30,040 --> 00:31:33,040
Speaker 1: And so in the last episode of New Heart, Um,

554
00:31:33,120 --> 00:31:36,600
Speaker 1: the second show, uh, it starts at the last couple

555
00:31:36,600 --> 00:31:38,719
Speaker 1: of minutes. Started out in a darkened room and all

556
00:31:38,720 --> 00:31:41,280
Speaker 1: of a sudden Bob Wakes up, or Dick loud and

557
00:31:41,280 --> 00:31:44,520
Speaker 1: wakes up, you think. And it turns out he wakes

558
00:31:44,560 --> 00:31:47,240
Speaker 1: up his wife next to him and it's Susanne Plashette,

559
00:31:47,320 --> 00:31:49,720
Speaker 1: his wife from the BOB new heart show from the seventies.

560
00:31:50,000 --> 00:31:53,240
Speaker 1: And it turns out the entirety of new heart took

561
00:31:53,240 --> 00:31:56,760
Speaker 1: place in a dream of Bob Hartley's in the show,

562
00:31:56,960 --> 00:31:59,320
Speaker 1: the BOB new heart show. It's one of the greatest

563
00:32:00,000 --> 00:32:03,560
Speaker 1: aries finales of all time of any show, not just sitcoms.

564
00:32:03,600 --> 00:32:07,200
Speaker 1: Absolutely uh, it's. It's, for my money, maybe the only

565
00:32:07,240 --> 00:32:11,360
Speaker 1: time the it was all a dream thing worked to perfection,

566
00:32:11,920 --> 00:32:14,720
Speaker 1: because it's kind of become a trope, like a bad trope,

567
00:32:15,040 --> 00:32:17,520
Speaker 1: where it just is a sort of a lazy way

568
00:32:17,520 --> 00:32:21,040
Speaker 1: to do something. The reset button. Yeah, but boy, it

569
00:32:21,200 --> 00:32:24,400
Speaker 1: just they pulled their card at the right time. The

570
00:32:24,400 --> 00:32:26,520
Speaker 1: original new heart show was so beloved, I think in

571
00:32:26,600 --> 00:32:31,400
Speaker 1: Susan Plachette, so recognizable and beloved. Uh, it was just perfection.

572
00:32:31,480 --> 00:32:34,520
Speaker 1: It worked great, totally. Something that didn't work great and

573
00:32:34,520 --> 00:32:36,200
Speaker 1: I say this is the thing we go out on.

574
00:32:36,240 --> 00:32:39,440
Speaker 1: How about that? All right, it's called the Darren switch

575
00:32:39,720 --> 00:32:42,480
Speaker 1: or the other Darren, and it happened on the more

576
00:32:43,000 --> 00:32:46,720
Speaker 1: the two dicks, right, that's true. Um, it happened on

577
00:32:46,760 --> 00:32:51,280
Speaker 1: the sixth season of bewitched, right, and this was uh,

578
00:32:51,480 --> 00:32:54,680
Speaker 1: Darren was the husband, Samantha's husband. I'm bewitched, a great,

579
00:32:54,720 --> 00:32:58,720
Speaker 1: great show, originally played by Dick Yorke, and then another

580
00:32:58,800 --> 00:33:02,920
Speaker 1: Dick came in, Dick Sargent came in, and they just

581
00:33:03,160 --> 00:33:06,400
Speaker 1: swapped it out. They never explained it. Uh. This has

582
00:33:06,440 --> 00:33:09,600
Speaker 1: happened quite a few other times in TV history too,

583
00:33:10,080 --> 00:33:11,720
Speaker 1: write so much so that, like I said, it's a

584
00:33:11,760 --> 00:33:14,280
Speaker 1: trope called the other Darren, where they just bring in

585
00:33:14,320 --> 00:33:17,880
Speaker 1: a new actor without any explanation whatsoever, to start playing

586
00:33:18,280 --> 00:33:21,920
Speaker 1: an established role. Happens most often on soap operas, I've heard,

587
00:33:22,320 --> 00:33:25,760
Speaker 1: for sure, some of the other notable sitcoms, though. The

588
00:33:25,800 --> 00:33:30,120
Speaker 1: MOM on the fresh prince was swapped out Oh yeah,

589
00:33:30,120 --> 00:33:32,600
Speaker 1: on that seventies show. This one is very sad. Eric's

590
00:33:32,600 --> 00:33:36,000
Speaker 1: older sister was played by Lisa Robin Kelly at first

591
00:33:36,840 --> 00:33:39,920
Speaker 1: and she had drug and alcohol problems and she was

592
00:33:40,080 --> 00:33:43,240
Speaker 1: booted from the show and replaced and ended up dying

593
00:33:43,240 --> 00:33:48,960
Speaker 1: of a drug overdose. MORTY Seinfeld was different in one episode,

594
00:33:50,600 --> 00:33:53,000
Speaker 1: like in the middle of the run. Well, it was

595
00:33:53,160 --> 00:33:55,120
Speaker 1: the first time he was ever in an episode. It

596
00:33:55,160 --> 00:33:57,920
Speaker 1: was played by a different actor just for the one

597
00:33:57,920 --> 00:34:01,240
Speaker 1: episode and then we got uh, the Great Barney Martin

598
00:34:02,280 --> 00:34:04,480
Speaker 1: just owned you know. He played Lizam Nelly's Dad and

599
00:34:04,560 --> 00:34:07,160
Speaker 1: Arthur two, one of my favorite comedies. But if you

600
00:34:07,160 --> 00:34:10,520
Speaker 1: look back to that first Morty, uh Larry David didn't

601
00:34:10,520 --> 00:34:12,279
Speaker 1: like it and he's like he's too soft and he

602
00:34:12,360 --> 00:34:15,680
Speaker 1: swapped him after Barney Martin. That's awesome. Sometimes your father

603
00:34:15,760 --> 00:34:20,760
Speaker 1: forgets and I have to steal uh Ross's ex wife

604
00:34:20,800 --> 00:34:24,880
Speaker 1: Carol changed. Oh yeah, that's right. Okay, I knew that. UH, Angie,

605
00:34:24,880 --> 00:34:28,000
Speaker 1: I'm thirty rock, was another one episode run before they

606
00:34:28,000 --> 00:34:32,120
Speaker 1: switched to a different actor. Which one was Angie? Angie was?

607
00:34:33,520 --> 00:34:36,000
Speaker 1: Who Was Angie? I haven't seen thirty rock in so long.

608
00:34:36,920 --> 00:34:39,520
Speaker 1: I think she was just on the crew. Maybe I

609
00:34:39,520 --> 00:34:45,440
Speaker 1: can't remember that exactly. Um, or was she? I can't remember. Bewitched.

610
00:34:46,120 --> 00:34:49,920
Speaker 1: Um also had a switch, and that the gladys, the

611
00:34:49,960 --> 00:34:52,880
Speaker 1: nosy neighbor. Uh. The actor who played her died of

612
00:34:52,880 --> 00:34:57,040
Speaker 1: ovarian cancer and so they did a double switch twice.

613
00:34:57,640 --> 00:35:01,600
Speaker 1: And then finally, in True Mitch Her which Uh Fashion,

614
00:35:02,440 --> 00:35:05,239
Speaker 1: Mitch Hurwitz. He was the show runner for the rest

615
00:35:05,239 --> 00:35:09,600
Speaker 1: of development. And you remember and the boyfriend, I'm sorry,

616
00:35:09,600 --> 00:35:14,040
Speaker 1: the girlfriend of of what's his face? Michael Sarah was

617
00:35:14,080 --> 00:35:16,560
Speaker 1: like completely forgettable and the dad never no one ever

618
00:35:16,560 --> 00:35:19,239
Speaker 1: remembered who she was. So his idea was to have

619
00:35:19,280 --> 00:35:24,359
Speaker 1: a different actor play and in every episode, is that right? Yeah,

620
00:35:24,480 --> 00:35:26,080
Speaker 1: to kind of, you know, just make fun of the

621
00:35:26,080 --> 00:35:29,279
Speaker 1: trope a little bit. And he did that twice and

622
00:35:29,320 --> 00:35:31,560
Speaker 1: he ended up really, really liking the second actor so

623
00:35:31,640 --> 00:35:34,600
Speaker 1: much I think he was like, I can't like fire you.

624
00:35:34,960 --> 00:35:36,920
Speaker 1: So he did it once and then I had the

625
00:35:36,960 --> 00:35:41,880
Speaker 1: same actor player, which is pretty funny. That guy is brilliant. Um.

626
00:35:42,719 --> 00:35:44,759
Speaker 1: So I guess that's it for sitcoms. Huh. Like we

627
00:35:44,800 --> 00:35:47,640
Speaker 1: could just keep talking about significant Sitcom moments all day,

628
00:35:47,680 --> 00:35:50,120
Speaker 1: but I think we should probably stop. I think so

629
00:35:50,200 --> 00:35:52,279
Speaker 1: we ran a couple of minutes long, but, uh, do

630
00:35:52,280 --> 00:35:54,640
Speaker 1: you have anything you want to retake this week? No,

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Speaker 1: it's all good this time. All right, great. Well, thanks

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