Going Places - A show about TV writers starring Alan Ruck and Heather Locklear

[00:00:00] On this episode of That Was A Show, going places was a show.

[00:00:06] In fact, it was part of ABC's famous TGIF lineup during the 1990-1991 season and lasted

[00:00:15] just 19 episodes.

[00:00:17] It was about two brothers from Chicago who moved to LA to take jobs as TV comedy writers

[00:00:23] and move into a house owned by the show's producer.

[00:00:27] Also living with them are two women who also write for the show.

[00:00:30] High Jinks in Sue, going places stood out as a workplace comedy for adults as compared

[00:00:37] to the more typically family-oriented shows in the Friday night block like Full House

[00:00:42] and Family Matters, the mainstays of TGIF.

[00:00:46] Brynn, Aaron and Barry get in an old convertible, drive down to LA and run out onto

[00:00:52] the beach at sunset, which will make sense once you listen to the episode.

[00:00:58] We grew up during peak sitcom, sign-felt, friends, the fresh prince, but those shows were

[00:01:04] diamonds in the rough.

[00:01:05] This podcast is not about those diamonds.

[00:01:08] It's about the rough.

[00:01:10] Some sitcoms were briefly popular in their time, some were canceled almost immediately.

[00:01:15] You probably won't recognize most of these and you'll ask that was a show?

[00:01:26] The podcast about failed or forgotten sitcoms from the 80s and 90s starring Brynn

[00:01:35] Bernie.

[00:01:36] Aaron Yager and Andrew Helmer as Barry.

[00:01:42] A radio kiss-mill production.

[00:01:53] Hello everyone.

[00:01:54] Hey, what's going on?

[00:01:56] Hey, Aaron.

[00:01:57] Hey, I'm...

[00:01:59] I'll be able to talk more in this episode than the last one.

[00:02:02] My voice is still rough and not fully recovered, but I think I should be okay to officially

[00:02:08] host an episode.

[00:02:10] Sounds a lot better.

[00:02:12] Don't do anything strenuous.

[00:02:15] Don't get too worked up.

[00:02:16] Yeah.

[00:02:17] Well, luckily this is a very low-stakes show that we're reviewing this episode.

[00:02:24] Yeah, it's hard to imagine anybody getting overly excited talking about this show.

[00:02:29] Yeah.

[00:02:30] It's...

[00:02:34] Sure, yeah.

[00:02:35] Get into it.

[00:02:36] Yeah.

[00:02:37] It's an Aaron pick.

[00:02:38] I'll get into it.

[00:02:39] Five-one in.

[00:02:40] And a little sip of water first.

[00:02:42] It is an Aaron pick.

[00:02:44] That was.

[00:02:45] We are reviewing the show going places.

[00:02:48] So here goes.

[00:02:50] In the 1990 to 1991 television season, Miller Boyet Productions ruled ABC's flagship Friday

[00:02:58] night lineup that are known as TGIF.

[00:03:02] Show they were producing held all four prime time slots at the same time.

[00:03:07] Show is you've all heard of including perfect strangers, full house, family matters, and

[00:03:13] oh yes, one more show that you may not have heard of going places.

[00:03:18] With an all-star cast including Alan, Connor Roy slash Cameron Fry, Ruck, Heather Locklear,

[00:03:25] Jerry Levine, Hallie Todd and Holland Taylor.

[00:03:29] Going places is about four TV writers in LA.

[00:03:33] Ruck and Levine are two brothers who move out to California together to take an opportunity

[00:03:38] writing for some sort of hidden camera prank show called Here's Looking at You.

[00:03:44] All in Taylor is the producer of the show and puts them up in a house with two other

[00:03:49] writers on the show played by Locklear and Todd.

[00:03:52] There isn't much more to say about the plot of the pilot.

[00:03:56] Other than Alan Ruck's character Charlie being surprised to find out that their contract

[00:04:00] on the show is a four-week trial run.

[00:04:04] He left a job in advertising in Chicago to take the gig, and is upset that his brother

[00:04:09] Jack kept that information from him.

[00:04:12] So there's a lot of bickering and brotherly fighting between them throughout the episode,

[00:04:16] wrestling around on the floor like kids in what not.

[00:04:19] Meanwhile, Heather Locklear's Alex is positioned as the sexy co-writer slash housemate

[00:04:25] and Hallie Todd's Kate as the standoffish and difficult housemate.

[00:04:30] So there's that.

[00:04:31] All four of them struggled to come up with a concept for the next prank episode,

[00:04:36] and end up pulling an all-nighter during which there are many moments of interpersonal

[00:04:40] conflict and eventually they land on an idea.

[00:04:44] The idea is that a woman is in line at a movie theater, another woman cuts in line in front

[00:04:48] of her and wins a huge cash prize for being like the millionth customer of the theater

[00:04:54] or something like that.

[00:04:55] So the woman they're pranking is pissed because she feels that she should have been

[00:04:59] the winner, and then they point to the hidden camera and she has a good laugh.

[00:05:03] So they're all happy they pulled off a successful show idea, and now they're all stoked

[00:05:07] to be living together and run out onto the beach at sunset.

[00:05:11] So that is the plot of the show, end of the pilot.

[00:05:18] And yeah, I believe it lasted 19 episodes.

[00:05:23] There was a major retooling after 12.

[00:05:27] So we watched the pilot as well as episode 13, which is the first post retooling episode.

[00:05:34] We'll get to that later.

[00:05:36] But that's never a good sign.

[00:05:38] And yeah, I've got some thoughts.

[00:05:44] Okay, well, yeah.

[00:05:45] Yeah, a lot of problems with you people.

[00:05:47] Yeah, you're going to hear about exactly.

[00:05:49] I mean, if anyone out there doesn't know like Miller Boyet, like Erin listed some of

[00:05:55] their more famous and successful shows, but they were like the kings of the sitcom in

[00:06:05] that era.

[00:06:06] Like they had like a whole dynasty, and like you know it's a Miller Boyet joint when there's

[00:06:13] like the like the Jesse Frederick score with the sassy saxophone that we kind of talked

[00:06:22] a little bit about way back when we had Jonathan Wolfon.

[00:06:25] It's like kind of just one of the tropes of that era for sitcom scoring.

[00:06:33] And also the one thing I noticed was like the font in the credits is like the same

[00:06:39] and all these Miller Boyet.

[00:06:41] It is.

[00:06:42] It's like it's like going back to like, it's like a real like Wes Anderson only using

[00:06:47] future for the first little while and it's good.

[00:06:50] Yeah, yeah.

[00:06:51] Yeah, they're so funny.

[00:06:52] They definitely have a style.

[00:06:55] The opening titles in general.

[00:06:58] You could cut them all.

[00:07:00] You could cut all of those opening titles of all those shows together and you could just

[00:07:04] peek, peek shots from each one of them.

[00:07:07] And you wouldn't lose a step.

[00:07:08] Yeah.

[00:07:09] These were the most archetypal cliché late 80s, early 90s sitcom titles ever.

[00:07:14] It's basically like watching the basis for every parody joke about sitcoms of that era.

[00:07:20] Same with like the visuals of the theme.

[00:07:24] It's like it's all the characters turning to the camera and waving to someone off camera.

[00:07:30] Yeah, and it's like off.

[00:07:31] It's like off putting to see Alan Ruck do it for some reason.

[00:07:35] Yeah, he like he looks terrifying in the opening credits where he like turns around

[00:07:41] he's like, oh, yeah, you are.

[00:07:42] And you're just like, you'd be so easy.

[00:07:44] He also has an early 90s mallet which is very off putting.

[00:07:48] Yeah.

[00:07:49] So it's like funny, but it almost crossed over into not even being funny anymore.

[00:07:54] It was so, so of that style.

[00:07:57] Yeah, there's a weird, there's something I couldn't quite put my finger on about

[00:08:02] the credits that like just sort of weirded me out.

[00:08:05] Yeah, and it was just like, I don't know, like the looks on their faces because they're

[00:08:11] none of them, like there's, you know, it's Miller Royette also had like, you know, an

[00:08:16] air of sincerity to their shows.

[00:08:18] Yeah, but like in the opening credits, like they all look way too happy and you're

[00:08:24] just like this isn't really the tone of that them in the show.

[00:08:29] Yeah.

[00:08:30] Like, you know, they're all sort of like, you know, panicky and like, you know, full

[00:08:34] of anxiety all the time.

[00:08:36] And then you get to these credits and it's just like, well, that's one of the reasons

[00:08:39] it's an outlier because when you think of all of the other Miller Boyette shows,

[00:08:43] at least the successful ones, they generally skew what we would call family shows.

[00:08:50] And yeah, and family is in not just like g rated, but like literally where it's about

[00:08:55] a family or the intention is that the whole family can sit around and watch it together.

[00:09:00] And this show in the like age of the characters and the style of humor and the subject

[00:09:06] matter feels more like it's the kind of show that you would have expected from NBC

[00:09:12] at the time, like more like, but it has no edge whatsoever.

[00:09:16] No edge, you know, no edge because it feels like what if you had a show like, you know,

[00:09:20] like obviously the the archetype would be cheers and there's been a thousand pitches of

[00:09:25] like cheers in or whatever.

[00:09:26] So it's kind of like instead of a bar, it's like a group of people who hang out wherever.

[00:09:30] So it's kind of like what if it was, you know, cheers in a sitcom writer's room.

[00:09:35] So the situation, you can imagine.

[00:09:38] So right off the bat, this show feels like it sticks out like a sore thumb from the

[00:09:43] other shows in their lineup.

[00:09:44] And even the fact that it was like a TGIF show, I'm like, what did I read that right?

[00:09:49] Yeah.

[00:09:49] That doesn't sort of make sense in that maybe they're wondering if there's a demographic

[00:09:57] they're missing and they're like, we're killing this night, maybe we can kill it a little

[00:10:02] bit more.

[00:10:03] Right.

[00:10:04] I noticed that this is the night, this was the 931 right.

[00:10:07] Right.

[00:10:08] So this is the one.

[00:10:09] The whole world.

[00:10:10] Right.

[00:10:11] But they still don't know that TGIF was for kids and families like, I'm sure they do.

[00:10:17] But I'm sure they did, but they probably maybe they noticed a drop off because kids are

[00:10:21] going to bed and stuff.

[00:10:22] So like we want to win this half hour.

[00:10:25] Right.

[00:10:26] So like maybe we, you know, the kids are in beds and the parents come back and they watch

[00:10:30] their, they watch their go and play.

[00:10:32] Yes.

[00:10:33] And then the parents come back and they watch a few minutes of it and they're like, you

[00:10:36] know what?

[00:10:37] Nah.

[00:10:38] Nah.

[00:10:39] Nah.

[00:10:40] And then they, you know, and then they leave the TV on until 2020 comes on.

[00:10:44] And then there you go.

[00:10:45] Yeah.

[00:10:46] You still.

[00:10:47] Yeah.

[00:10:48] I mean, but we have to get into some of these weird themes because yeah, we'll look

[00:10:52] at into the actual, you know, so the show opens with the two brothers driving to LA.

[00:11:00] And they get.

[00:11:01] It looked pretty expensive.

[00:11:03] That was the one thing that struck me is like the driving scenes and then there's

[00:11:07] that one big exterior scene right when they get there, that seemed very expensive.

[00:11:11] Oh, this show has a multiple helicopter shot.

[00:11:13] But then they never, they never went outside ever again.

[00:11:18] Yeah.

[00:11:19] I guess after that.

[00:11:20] That's, that's all.

[00:11:21] I'm sure you've noticed by now in pilot.

[00:11:23] It's often common to spend a little bit of cash on some exterior shooting in your

[00:11:29] pilot.

[00:11:30] Right.

[00:11:31] I like to point out that people.

[00:11:33] I, uh, I was actually pulled over by the LA PD for any legal left turn where

[00:11:38] I didn't notice the sign until it was too late.

[00:11:41] So that, that actually did happen to you.

[00:11:42] And happens to, that's like a trope for people who aren't from LA that show up in

[00:11:47] LA and try to drive.

[00:11:48] Yeah, because it's, yeah, I guess so because I experienced it.

[00:11:52] So obviously, I believe that it's common enough.

[00:11:55] Yeah.

[00:11:56] It could have happened to them.

[00:11:57] It's great because they're driving like a classic convertible to.

[00:12:00] And you're just like, because everybody, like it stuck out to me in that, like,

[00:12:05] it was a really cool car and like, I don't know.

[00:12:07] Fuck all about cars.

[00:12:08] But I was like, it's a gorgeous car.

[00:12:10] But automatically, unlike why do these characters have this car?

[00:12:14] Yeah.

[00:12:15] Because they're supposed to be, like, yeah, the supposed to not have had a big break

[00:12:19] yet and they're coming from Chicago.

[00:12:22] And, you know, there's a crack about how Charlie had this, like, promising career

[00:12:27] and advertising, but he really just like worked in the mail room for an advertising

[00:12:32] firm.

[00:12:33] So it's not like they're like rich or successful.

[00:12:35] Like this is like their first and how do they get like a gig like that immediately?

[00:12:41] Oh, it's great because it's like the, it's the 90s TV in LA and you get the 90s TV

[00:12:49] America where you can't walk down the street without getting offered a job.

[00:12:53] Yeah.

[00:12:54] Yeah.

[00:12:55] I found that weird and just like the whole, okay.

[00:12:58] Yeah, like we have to talk about the whole specifics of it all.

[00:13:01] So basically they get offered this job and not only do they get offered this job, they

[00:13:05] get a house to live in.

[00:13:08] It feels like maybe like, they have like, yeah, they have like eight pilot scripts

[00:13:16] and they like just sort of mashed all the premises together.

[00:13:19] Yeah.

[00:13:20] So basically they find out that they have this housing and it's like this gorgeous,

[00:13:25] like huge house.

[00:13:26] They get to live in its own by dawn, the boss.

[00:13:31] And this is an executive producer.

[00:13:33] And this is an important point about this because all the aka Holland talent.

[00:13:36] All together, because we call that this trope of multiple times before.

[00:13:40] So she's the like woman in charge of the show.

[00:13:44] She also owns two houses including her house and then the one that she's putting up the

[00:13:49] writers in and she got these predictably.

[00:13:52] She got these houses, two giant houses as part of a divorce settlement, which is such

[00:13:58] a predictable trope in these shows where when there is like a woman who's like in charge

[00:14:05] of the business or like the producer of the show or whatever that she got her wealth or power,

[00:14:11] somehow as a result of a divorce from some asshole guy that you never meant.

[00:14:15] Yeah, could just be that she's a successful producer.

[00:14:19] And to be that she earned it in his city.

[00:14:21] One, two houses.

[00:14:23] And you're like, well, I wasn't questioning that until you question exactly.

[00:14:27] I would have completely believed that she's a successful producer.

[00:14:30] She bought two houses.

[00:14:31] But no, we have to establish that she, she locked out on getting them in some sort of divorce

[00:14:37] or something.

[00:14:38] Like it's weird though that she would hire these people and allow them to live in like

[00:14:44] on a temporary contract on a four week.

[00:14:47] So like, yes, the whole thing is like, okay, I guess it makes sense if it's temporary at

[00:14:53] first because then that way they're not finding a place to rent if the job doesn't work

[00:14:59] out or whatever.

[00:15:01] It's shaking.

[00:15:01] But it's just like way more.

[00:15:03] She is way more like she cares way more about the people than most of these people

[00:15:09] in these positions.

[00:15:10] What?

[00:15:11] Yes.

[00:15:12] Exactly.

[00:15:13] What them to be out?

[00:15:14] I don't want them to be out of a home.

[00:15:16] Yeah, it's very contrived.

[00:15:18] The whole thing is very, very contrived and like, of course it has to be a situation where

[00:15:23] the two guys are shocked up with these two women that they're meeting for the first time

[00:15:29] and they're all around the same age.

[00:15:31] So there's the potential for, you know, romantic tension and like it's just the whole thing

[00:15:37] is, how about the shop where they introduce Heather Lockeleus character.

[00:15:41] Oh yeah, they're like, Alex.

[00:15:43] Like a ghost shop.

[00:15:44] Yeah, exactly.

[00:15:45] Like.

[00:15:46] Oh, and that was like a very six year old man with.

[00:15:51] I'm sure that's how Mr. Producer brought that.

[00:15:59] I'm sure that's how Mr. Producer brought that.

[00:16:01] I'm very intentially used that word because I assumed that whatever producer or writer

[00:16:09] pitched that for the episode that happened.

[00:16:11] We're going to show her honey.

[00:16:13] I assume that's how it was figured out in there right now.

[00:16:17] I think they're lock-lears.

[00:16:18] She's better than that.

[00:16:19] But it's, you know, yeah.

[00:16:22] So the whole thing is like, oh, like the whole joke is like, oh, it's some guy named Alex

[00:16:27] are going to have to work with and it's like, no, it's a hot blonde named Alex.

[00:16:32] And even if you hadn't already watched the opening credits, you were like, okay, we get

[00:16:37] it.

[00:16:38] Yeah.

[00:16:39] Okay, to the other writer is like positioned as kind of a battle axe and a difficult

[00:16:45] personality who doesn't get along with other writers and other writers got kicked off

[00:16:50] the show because they couldn't work with her.

[00:16:52] And I'm like, I don't really see that.

[00:16:54] She doesn't even do that.

[00:16:55] Yeah.

[00:16:56] Difficult.

[00:16:57] I know she does.

[00:16:58] I saw that because there's a moment right after they meet her where like there's

[00:17:02] kind of like, ooh, I can't wait.

[00:17:04] I can't believe we got to work with her.

[00:17:06] And I remember being like, what is, I was like, what is she doing?

[00:17:09] She came in and made a joke.

[00:17:11] She got her writing him.

[00:17:12] You're writing a comedy show.

[00:17:14] So I'll, I know about her is that she knows how to tell jokes already.

[00:17:18] So seems okay.

[00:17:19] So I'd like to introduce a new type of very broad wide reaching trope.

[00:17:24] Okay.

[00:17:25] I think it comes of that era.

[00:17:26] I've never brought this one up before, but we've always caught hints of various

[00:17:29] versions of this and what it is goes kind of like this.

[00:17:33] You have some aspect of a character that really there isn't enough evidence to support

[00:17:39] but what they do is they just build it into the way other people react to that

[00:17:44] character or they build it into the dialogue and expect the audience just buy

[00:17:48] into it.

[00:17:48] Yeah.

[00:17:49] And I'm going to call this the leading the witness trope where they're just telling us

[00:17:54] verbally, they're not expecting us to like figure this out, but they're just

[00:17:57] essentially explaining to us, this is how you're supposed to see this person.

[00:18:02] She's this one's difficult.

[00:18:04] Yeah.

[00:18:04] This one's hot.

[00:18:05] This one's this, this one's and so I was going to say there's another example

[00:18:09] of this trope.

[00:18:10] So in addition to saying this woman is difficult or standoffish and there's nothing

[00:18:15] in her behavior whatsoever to serve point, but they just tell us that.

[00:18:20] So we're supposed to just absorb that that's what she is.

[00:18:23] There's another example later where there's Heather Lockler's character makes

[00:18:28] a reference relating to her being thin and I can't remember.

[00:18:34] Really?

[00:18:35] I can't remember the other characters name Kate Nalex.

[00:18:39] Kate Nalex.

[00:18:39] So Alex makes some reference about being thin and Kate responds with some sort of

[00:18:44] line of dialogue that suggests that she has been like putting on weight from

[00:18:49] eating too much ice cream or something.

[00:18:50] I forget the exact.

[00:18:52] So one of the subplots is Kate is quitting smoking and a references.

[00:18:58] That she's eating a lot of ice cream to get her.

[00:19:00] Yeah.

[00:19:01] And then Alex mentions that she herself quit smoking and she ballooned up to 109 pounds

[00:19:09] or something like that.

[00:19:10] It was 103.

[00:19:12] But anyway, in that you're not a joke, you could do Nalex.

[00:19:15] I also like it's danger.

[00:19:17] Danger writing.

[00:19:18] Don't put a number on don't send everybody.

[00:19:23] Yeah.

[00:19:24] Even like as recent as 10 years ago, you'll watch old sitcoms in the book.

[00:19:30] Oh, I don't weigh that much and it'll be such a low number.

[00:19:33] Exactly.

[00:19:34] And it's actually looking at that actor.

[00:19:36] They probably weigh more than that.

[00:19:38] Fuck right off.

[00:19:39] I don't know why but it was always something that stood out for me.

[00:19:42] The original Batman back in 89.

[00:19:45] There's a line about working in basing your says she's 108 pounds and then Michael

[00:19:50] Keaton's Batman is like, you weigh a little more than 108 I think.

[00:19:55] And you're just like Jesus Christ guys.

[00:19:57] Yeah, like don't.

[00:19:58] Anyway, they love to put numbers on the numbers.

[00:20:01] They're like very ridiculous numbers.

[00:20:03] That don't make any sense.

[00:20:05] No.

[00:20:06] But in addition to how offensive that joke is around Heather Lockler and the implication

[00:20:11] that 103 pounds is big for her or something.

[00:20:14] Like in addition to that, it's the fact that Holly Todd, right?

[00:20:19] That's.

[00:20:20] Yeah.

[00:20:21] So, Holly Todd's character has a response that suggests that she is, you know,

[00:20:28] has gained all this weight from ice cream or whatever I forget the wording of the joke.

[00:20:32] But I'm like, you're also, see if the theory's been his, yeah, the tiny people like that.

[00:20:38] So, I mean, this could be a whole other podcast.

[00:20:42] Yeah, this could be a whole other podcast.

[00:20:43] I mean, unhealthy body.

[00:20:44] But I guess the point of making things that are brought in me to come even now.

[00:20:49] But the point of trying to make is, and we saw it in friends, we saw it in

[00:20:52] Seinfeld.

[00:20:53] We saw it in every sitcom of the time.

[00:20:54] So, it's not just this show.

[00:20:56] But the idea that we are too, but we are made to believe that the Kate character

[00:21:03] is somehow overweight when she's rail thin.

[00:21:07] And the reason we are to believe that is not based on anything we can see obviously.

[00:21:13] Yeah.

[00:21:14] But it's based on this joke, this line of dialogue.

[00:21:16] So in addition, so now we're being told that she's not as thin or as attractive as the

[00:21:22] other character there.

[00:21:24] And we are being told that she's difficult.

[00:21:26] Yeah, it's literally the only difference between them is that Kate is burnett.

[00:21:31] Yeah, yeah, it's so weird because the show so codes Alex says, and don't give me a rug.

[00:21:37] It's Heather Lockleer.

[00:21:38] So the audience knows it's Heather Lockleer.

[00:21:40] Yeah, she's already, she's already famously an attractive lady.

[00:21:44] Yeah, she's already, you know, she's come off five years of TJ Hooker already at this

[00:21:48] point.

[00:21:49] Like, America knows who Heather Lockleer is.

[00:21:52] Yeah.

[00:21:53] We know she's attractive.

[00:21:54] But everybody on screen is attractive.

[00:21:56] Yeah.

[00:21:57] So it's like, don't.

[00:21:58] Yeah, there's no reason to not assume that the other character is attractive too.

[00:22:02] Other than they're telling us the audience by the way, you're not supposed to think

[00:22:06] that this woman's attractive.

[00:22:08] And I'm looking at this and like, like, what are you coming from this stuff?

[00:22:13] Yes.

[00:22:14] Interesting aspect to Lockleer's performance that I maybe was reading anywhere picked

[00:22:20] up.

[00:22:21] But there's so much of this shit in the script about her being the Hawker or people

[00:22:24] not really taking, like, not really knowing, you know, just basically that's her thing.

[00:22:29] And there's a whole lot of her not rising to it.

[00:22:33] Like there's a lot of her, like, just sort of like hearing somebody say something and then

[00:22:37] just immediately moving past it with a joke or like, they, they, they, they, they, they,

[00:22:43] the first idea they want to do is to get her in lingerie.

[00:22:48] And like she's immediately like, fuck off.

[00:22:51] Like, yeah.

[00:22:52] Who's like, and like, I noticed that a few times where like, she's just, I don't know if

[00:22:58] it's like obviously it's in the writing but there's a lot in her performance that is

[00:23:01] sort of like, I'm over this.

[00:23:04] Yeah.

[00:23:05] Like, I'm a writer on this show.

[00:23:06] I'm here to, you know?

[00:23:08] Yeah.

[00:23:09] You know, you know, we've talked about how successful hangout shows are successful in

[00:23:14] part because it feels like everyone there is friends and they like hanging out with each

[00:23:19] other and we like hanging out with them because they like hanging out with each other.

[00:23:23] And this show, I mean, obviously they're starting off with the premise that these people are

[00:23:28] all just meeting each other, but that the two others are meeting these two women for

[00:23:31] the first time.

[00:23:32] So they don't know each other yet.

[00:23:35] It feels, there's a feeling of discomfort in that house that doesn't seem like it's

[00:23:43] necessarily intentional.

[00:23:44] You're being forced to be with your co-workers 24, seven.

[00:23:50] Yeah.

[00:23:51] Like, that's a very toxic situation.

[00:23:53] That's taking that whole over a family workplace thing to the extreme degree.

[00:24:00] Like, it's a very, very toxic situation.

[00:24:03] Yeah, it doesn't feel comfortable.

[00:24:04] It's like one of those like Gen Z content houses that exist where they make them all

[00:24:09] live together and make TikTok videos.

[00:24:11] Gross.

[00:24:12] Oh, no, that's a thing.

[00:24:13] That's a thing.

[00:24:14] No.

[00:24:15] It's like, yeah.

[00:24:16] Even when you were saying it, I haven't heard that.

[00:24:20] But as you were saying it, I was like, that makes sense.

[00:24:22] Yeah, so these mentions in LA, like where, like, a group of like 20, and

[00:24:30] little like digital creators under the age of 25 live together.

[00:24:37] And they're all in each other's videos and stuff.

[00:24:40] And like, so they're like, g-rated cam girl has this basically exactly exactly.

[00:24:45] Wow.

[00:24:46] It's wild.

[00:24:47] It's a weird.

[00:24:48] But yeah, like, I just, just the, the whole, the facts that number one they got

[00:24:53] housing with weird and number two that the whole thing is like, we're just going to work

[00:24:57] you 24, seven.

[00:24:59] And like, it's, so basically what they're creating for this sitcom is a workplace

[00:25:03] sitcom as well as a hangout show as well as like, it's like all these like different things

[00:25:08] together.

[00:25:09] And family shows.

[00:25:10] And they tried to have a touching moment with the brother.

[00:25:14] Oh, that was brutal.

[00:25:15] I was so weird because yeah.

[00:25:17] So the whole, the first episode kind of ends with like, you know, the whole thing,

[00:25:21] like Charlie Allen Ruck is threatening to leave.

[00:25:25] But he can't leave until Thursday.

[00:25:26] So he agrees to work until then.

[00:25:29] And then, you know, they pull off their, well, some could say they pull it off.

[00:25:34] I, I would have gone back to the drawing board on that idea.

[00:25:39] They pull off the show and then like Charlie and Jack.

[00:25:43] Yeah.

[00:25:44] Jack.

[00:25:44] Let's be Jack.

[00:25:45] Jack comes in and Charlie is packing and like he's like, you're just going to leave.

[00:25:50] And he gives like this really touching speech except it's not.

[00:25:55] Yeah.

[00:25:55] But the, the music music music music.

[00:25:58] Yeah.

[00:25:58] The music goes.

[00:25:59] We are.

[00:26:00] Yeah.

[00:26:01] Yeah.

[00:26:02] It's a touching.

[00:26:03] It's the kind of touching.

[00:26:04] It's a mental brother moment.

[00:26:05] Yeah.

[00:26:05] The touching music cue that you expect from the third act of full house.

[00:26:09] Yeah.

[00:26:10] Yes.

[00:26:11] Yes.

[00:26:12] But meanwhile, you're like, I don't care about these people.

[00:26:14] This plot is preposterous and I'm not, I'm not sentiment.

[00:26:17] Yeah.

[00:26:18] I'm not feeling it.

[00:26:19] Can we talk about the fact that okay.

[00:26:21] So they finally came up with their great idea.

[00:26:25] But like, how did they not come up with something sooner for that type of show?

[00:26:29] Like you would think that between the four of them, they could come.

[00:26:33] Like this is not a scripted show.

[00:26:35] Like this is not like, well, like it is a scripted technically.

[00:26:38] But it's like I could see how it would be a struggle if it were like a sitcom or something.

[00:26:44] But like all you had to do is come up with one segment for a dumb prank show.

[00:26:49] And it took you literally all night and that's what you came up with.

[00:26:53] It's great.

[00:26:54] You know, people came up with this before.

[00:26:56] I've talked about this before.

[00:26:58] It's like, you know, it's the, it's the studio 60 thing where like,

[00:27:02] you're, you're watching people put together a TV show and you're told that these people are like,

[00:27:09] great at what they do.

[00:27:10] And then you see who what they do.

[00:27:11] And you're like, this is terrible.

[00:27:13] Yeah.

[00:27:13] And you're like, maybe just don't show me next time.

[00:27:15] Yeah.

[00:27:15] Exactly.

[00:27:16] Yeah.

[00:27:17] It's not showing the end of the hall.

[00:27:18] Or 30 rocket and make it comically terrible.

[00:27:22] Yeah.

[00:27:22] You know, yeah, yeah, yeah.

[00:27:24] You're right.

[00:27:24] The third 30 rock is the version of this show that works.

[00:27:28] Yeah.

[00:27:29] Oh, 100%.

[00:27:30] This is it's we get this a lot.

[00:27:32] And it's like, we've, we've done a few of these Hollywood behind the scenes Hollywood shows at the.

[00:27:39] And this has got to be the one that was like the least on the pulse of what the jobs are.

[00:27:46] Like, and he always wonder like how do people in Hollywood make a show that has no idea what

[00:27:52] it's like to make a show in Hollywood.

[00:27:54] Yeah.

[00:27:55] That part is weird.

[00:27:56] Like, one of my notes was like early on.

[00:27:59] I just wrote like, are these jokes because it is so unfunny.

[00:28:03] But then I'm like, a lot of pressure when the show is about comedy writers.

[00:28:07] So you tell me the show is about four comedy writers.

[00:28:10] If you're not making me laugh within the first minute,

[00:28:14] you've got yourself a problem.

[00:28:15] Oh, so I was kind of, I was kind of surprised that none of the characters were like stand up

[00:28:21] comedians.

[00:28:22] Yeah.

[00:28:22] Because that's often the trajectory even in those like reality shows.

[00:28:27] There's a lot of like actual comedians or influencers that do that work.

[00:28:32] Yeah.

[00:28:32] So many people.

[00:28:33] So many people.

[00:28:34] Yeah.

[00:28:35] I was very surprised.

[00:28:36] They all just were really different.

[00:28:37] Like they're working advertising.

[00:28:38] You've got to ask me something.

[00:28:39] That makes sense.

[00:28:40] There has to be some cut lines.

[00:28:42] Mm-hmm.

[00:28:43] About because you get the like for A for A or for one, whatever.

[00:28:49] Uh, you get like a brother of two brother package.

[00:28:52] Why are they a package?

[00:28:54] Like they're writers partners.

[00:28:56] But if they're not writers, how do we know why are they writing partners?

[00:29:00] Yeah.

[00:29:01] So clearly they have done work together.

[00:29:03] Yeah.

[00:29:04] Clearly that you know, maybe and all it is is like just toss off me like, you know,

[00:29:11] oh, I saw your guys play back in, you know, 95.

[00:29:14] It is.

[00:29:15] And that's it.

[00:29:16] They did a play that went nowhere.

[00:29:18] There was Chicago famously the home of like the original seconds.

[00:29:22] Yeah.

[00:29:23] They were in ground.

[00:29:24] Those are something like a.

[00:29:25] Yeah.

[00:29:26] Give us something.

[00:29:27] Yeah.

[00:29:28] The whole thing was so weird and like not only were they writing for it.

[00:29:34] They were also in the segments themselves and how that work for prank show.

[00:29:40] Like because the people would stop being pranked after a while because it recognized them.

[00:29:46] You know, my brother did the same kind of thing in like punk door.

[00:29:50] Those shows from the early odds, but they would always be in elaborate disguises or they had

[00:29:56] other people that were like without you much.

[00:30:00] Actually, yeah.

[00:30:02] I don't want to beat.

[00:30:04] I don't want to be here.

[00:30:06] Yeah.

[00:30:06] I'm literally sorry, we're all laughing at the same moment because we literally started

[00:30:11] thinking about the same.

[00:30:13] I think you should leave sketch that this like reminded us of.

[00:30:16] That's the caliber of prank show that they're doing here.

[00:30:19] Well, and that's like when Alan Ruck starts pitching his idea and he uses like an old

[00:30:24] in voice.

[00:30:25] Yeah.

[00:30:26] I was thinking about what was this.

[00:30:27] I was like, oh, then anyone out there who's not familiar.

[00:30:32] It's like from season with the third season of, I think.

[00:30:35] Second season of I think you should leave like it's Carl Sav at Carl Havick.

[00:30:41] Yeah, that's the character.

[00:30:43] Carl Havick sketch.

[00:30:46] sketch.

[00:30:47] We're basically it's like a fake prank show like just like this one that we're describing

[00:30:53] now and they decide to like put all these prosthetics on Tim Robinson to like make him look

[00:31:00] like this like annoying old man and it he ends up being a total like looks like a complete

[00:31:06] monster.

[00:31:07] And like it's like the worst prosthetic draw I've ever seen the worst the sky you've

[00:31:12] never seen.

[00:31:13] So basically uncomfortable in the prosthetics that he has a panic attack.

[00:31:18] It's just like, that's like the sketch that I laughed like I've had one of the biggest

[00:31:27] last I've had in a long time when I saw that reveal of the that you said you thought

[00:31:33] it was funny.

[00:31:34] I said I thought it was interesting.

[00:31:35] Yeah, Aaron and I say that all the time now.

[00:31:39] That's now like a catchphrase.

[00:31:41] No man anyway.

[00:31:43] So yeah, I immediately thought of that when I thought of that when they finally revealed

[00:31:47] their big idea.

[00:31:48] Same.

[00:31:49] Same.

[00:31:50] Same.

[00:31:51] But it's like it's so it's it's the whole thing is like preposterous.

[00:31:55] So we're supposed to believe that going forward they're going to be writing and performing

[00:32:00] in these.

[00:32:01] And if they're performing, okay fine, that's another reason to be like, oh, they're all sketch

[00:32:07] comedians.

[00:32:08] They're all former sketch comedians or they're all stand up comedians.

[00:32:11] Like they have some reason that they would be asked to also perform it.

[00:32:15] There is no evidence in this show that any of these four people are comedians.

[00:32:20] Yeah.

[00:32:21] No.

[00:32:22] You get it's very bizarre.

[00:32:24] In Alan Rock's performance, you get he does voices.

[00:32:29] So maybe there's something there or if it's just out because sometimes it's just

[00:32:33] down, rock delivering a line in a funny voice because he's down, rock, right?

[00:32:38] I don't know why the characters do that.

[00:32:40] Yeah, exactly.

[00:32:42] And my favorite note though that I wrote for this was like, it's like watching an SNL

[00:32:48] sketch making fun of an old sitcom, crossed with a VHS tape of a workplace sexual

[00:32:55] harassment PSA.

[00:32:56] Yeah, yeah, yeah, just about as funny too.

[00:33:00] Yeah, pretty much.

[00:33:01] Okay.

[00:33:02] And then we also have to like talk about how Stacy Keenan was wedged into the whole thing.

[00:33:07] So yeah, like the break of teenage neighbor.

[00:33:10] Miller boy, it was just looking for a place for I guess because after this was step

[00:33:16] by step, right like the next season.

[00:33:20] So yeah, so they have to have a teenage neighbor because like, oh, precious teenagers,

[00:33:26] like you got to have them.

[00:33:28] Yeah, this show.

[00:33:29] And again, just like no, this character has no place in the script because she's the next

[00:33:36] or neighbor.

[00:33:37] I thought at first it was going to be the daughter of exactly because she's the next

[00:33:42] door neighbor.

[00:33:43] And she's the next door neighbor and I get that, you know, you can have two neighbors.

[00:33:47] But it just seems like weird to not be her daughter because that would have made for

[00:33:52] all kinds of fun dynamics, right?

[00:33:54] You know, yeah, like she maybe she's like annoyed with her mom because her mom's always

[00:33:59] working and having these random like people come live there and like, you know, and

[00:34:04] like it's just I don't know.

[00:34:06] They also Miller boy, I didn't know that you didn't need a next door neighbor character.

[00:34:10] Like I think it is.

[00:34:11] Oh, no, you know, it's almost like they have this bingo card that have to like

[00:34:15] fill like yeah, they just have to have certain tropes.

[00:34:19] They get to a requirement for the app for show.

[00:34:21] No, but you told them.

[00:34:23] Now I'm told them like wait a second.

[00:34:25] Who's the EURCOLER?

[00:34:26] Who's the Kimmy Gibbler or who's that famous one?

[00:34:28] But she's not an alien.

[00:34:29] She's just a normal one class.

[00:34:31] That one class where it was like on the chalkboard where it was like not just a neighbor.

[00:34:36] Yeah, not necessarily.

[00:34:37] They didn't go to that one.

[00:34:40] Yeah, by the time they get to that scene with the two brothers fighting and playing

[00:34:46] basketball and the two women eating chocolate, I wrote down I'm so bored.

[00:34:54] When they had when they had them splitting off into those separate parallel, it's

[00:34:58] it's interesting if anybody's ever like worked with in on a creative, in a creative way,

[00:35:09] with a pair of siblings who are like a packaged deal, that's you see some of that.

[00:35:17] That's you know, their dynamic is pretty realistic in that and clearly this is based

[00:35:23] off of somebody has worked with a writing partnership that our brothers, right?

[00:35:28] Yeah.

[00:35:29] I obviously have and I saw some of that but it was just like it was like, it was like

[00:35:37] you're talking about.

[00:35:38] Yeah, exactly.

[00:35:39] They're a packaged deal.

[00:35:40] You got to, and sometimes you step away when they're having their own little fights

[00:35:46] and go over there.

[00:35:47] You just let them fight it out.

[00:35:50] Yeah.

[00:35:51] So by the time I mean, I don't know if we're ready to move past the pilot.

[00:35:58] I think we are.

[00:35:59] Let's leave it on.

[00:36:00] I guess we are.

[00:36:02] We're just checking if I have any pilot leftovers that are critical.

[00:36:06] Um, not really.

[00:36:07] And then what happens?

[00:36:09] No, yeah, not that much happens.

[00:36:10] I mean, you already mentioned this but like how the emotions they lay on really thick at

[00:36:15] the end, trying to get it to be this sentimental thing and just this not work in and then

[00:36:20] is terrifying.

[00:36:21] Is terrifying.

[00:36:22] Yeah.

[00:36:23] It's odd.

[00:36:25] Yeah, do you want to go into?

[00:36:27] Yeah.

[00:36:29] So as far as a retool goes, it's very organic and it works.

[00:36:34] And I was like, if this show wasn't working, they could have done this a couple more

[00:36:38] times until they found something, right?

[00:36:41] Like because your core thing is just these four writers living here.

[00:36:45] I mean, right there that's a better show where you have four writers living together,

[00:36:49] trying to make it.

[00:36:51] And they just keep getting put on different shows and getting fired or the shows get canceled.

[00:36:55] Yeah.

[00:36:56] Like Murphy Brown's secretary, where they're just getting bounced around every few episodes

[00:37:01] doing the thing.

[00:37:02] Why would the four of them then become a package?

[00:37:05] Yeah, why anything though.

[00:37:06] Why?

[00:37:07] Why?

[00:37:08] I mean, obviously stupid.

[00:37:09] Why?

[00:37:10] Why anything?

[00:37:11] Sorry.

[00:37:12] I got to turn a light on.

[00:37:13] It's become really dark in.

[00:37:15] So, well, sure it's 430.

[00:37:19] So episode 13.

[00:37:20] Yeah.

[00:37:21] In what amounts to a pretty significant retooling of the show midway through the first

[00:37:26] season, the network within the show cancels here's looking at you.

[00:37:31] The four roommates immediately land on their feet, getting offered a new job collectively

[00:37:37] as a group, as writers of a daytime talk show with an arrogant pain in the ass host,

[00:37:44] Dick Roberts, played by Steve Vinovich.

[00:37:47] Philip Charles McKenzie plays the show's nervous, pepto-bismal chugging producer Arney

[00:37:53] Ross.

[00:37:54] The first episode, they land an interview with a controversial, reclusive author named

[00:37:59] Jerry Slotter, placed by Dave Grove.

[00:38:02] Apparently there are people out to kill this guy, but we don't know anything about what

[00:38:07] he writes or why or why they're out to kill him.

[00:38:10] So again, just telegrafing that to us and leading the witness.

[00:38:15] I mean, I think he's, I think he's just a very clear, somn and rush-deed standin.

[00:38:20] I mean, that's where my mind went to, but I just feel they could have taken that set

[00:38:26] up a little bit further.

[00:38:27] Anyway, he arrives at the studio and then disappears shortly before he's supposed to go

[00:38:34] on the air.

[00:38:36] Nobody knows what he looks like, so Alan Rucks character Charlie goes on the show posing

[00:38:42] as him.

[00:38:43] But then during the live show, the real Jerry Slotter comes into the studio and right

[00:38:48] out on stage.

[00:38:49] I guess he left to get a sandwich or something.

[00:38:52] So the studio audience finds this all quite amusing and in this regard, I think we

[00:38:57] the real life audience differ greatly.

[00:39:00] So Dick Roberts is happy and they all keep their jobs.

[00:39:03] They all run out onto the beach at sunset roll credits.

[00:39:06] Yeah.

[00:39:07] Did you forget a pretty substantial part of that?

[00:39:12] No, no, no.

[00:39:13] I remember the very substantial part of it.

[00:39:15] I just feel like it's best addressed by the three of us discussing it.

[00:39:20] Okay, so yeah, so this song, Salman Rushdie or Jerry Slotter if he liked to call in

[00:39:27] that.

[00:39:28] The controversial author.

[00:39:30] Yeah.

[00:39:31] So yeah, I don't know how to put this delicately, but the whole thing is that he, his disguise

[00:39:39] is hiding.

[00:39:40] He's in hiding.

[00:39:41] Yeah.

[00:39:42] So when he appears in public, again, no one knows what he looks like.

[00:39:48] And he keeps it that way by wearing a very specific disguise, which for some reason is him

[00:39:55] in drag.

[00:39:56] And now this is like by all accounts, a sister, man, and he is just in drag.

[00:40:04] Because that is his, well, it was 1991.

[00:40:08] So hilarious.

[00:40:10] But the, it's just a man then so jacks character or Jack when he goes on to pose

[00:40:18] his him is also in drag.

[00:40:20] They make that very specific decision to put him and drink as well, even though no one

[00:40:25] knows that aspect of him.

[00:40:27] Exactly.

[00:40:28] So the note that I put when I was watching it was, so this is some sort of Mrs. Doubtfire

[00:40:34] type of thing.

[00:40:35] Yeah.

[00:40:36] If they're doing here.

[00:40:37] Yes, it's for a prototype.

[00:40:38] We're proto Doubtfire.

[00:40:39] Yeah.

[00:40:40] But the thing is for Doubtfire, he was posing as that woman.

[00:40:44] I know.

[00:40:45] That just choosing a disguise that happens to be women's clothes.

[00:40:49] Yeah, yeah.

[00:40:50] It's a ridiculous.

[00:40:51] It's very, very ridiculous and nonsense and wouldn't be done today for a number

[00:40:57] of reasons for the risk of offending anyone in the risk of like, you know, playing

[00:41:03] into bad, you know.

[00:41:06] Oh, just, it's all say it's interesting in that despite the the problematic nature of

[00:41:13] the concept didn't really make any any remarks about it that I was, it's true.

[00:41:18] It's true.

[00:41:19] It's really weird.

[00:41:20] Somehow I was like on edge the whole time.

[00:41:23] Yeah.

[00:41:24] Yeah, yeah.

[00:41:25] This was like a real like all air and you didn't, you didn't go, no, you didn't go deep

[00:41:31] into the deep enough into this clip.

[00:41:33] No, I didn't see that coming.

[00:41:37] But luckily it wasn't anything.

[00:41:40] Yeah, it's, it's conceptually offensive.

[00:41:43] Luckily there wasn't sort of dialogue or jokes that kind of went to fuck up.

[00:41:49] It got the rails but thank God it was a Miller boy at production and everything was kept

[00:41:53] very family family and nobody.

[00:41:55] No one is getting too edgy.

[00:41:57] Yeah, exactly.

[00:41:58] Yeah.

[00:41:59] But to think that I found really like obviously that was like a weird choice and a stupid

[00:42:05] choice but it's also doesn't make sense for the era because in that era they would

[00:42:11] do like those interviews with people who are on the lamb or on the run or in hiding.

[00:42:18] They would just blur them out.

[00:42:20] They would just like do them film them in so well.

[00:42:23] In a dark room, sure.

[00:42:24] Yeah.

[00:42:25] And they would like, they would disguise their voice.

[00:42:28] They had ways of doing that back then.

[00:42:30] I don't know why it.

[00:42:31] But this is the premier show.

[00:42:32] So they want their get their first guests to be out there with it.

[00:42:36] They all these ideas feel like they were written by the actual characters on the show.

[00:42:42] Yeah.

[00:42:43] Like all of these were written at 3 a.m because they had to get a, they had to do a

[00:42:46] ritual script by the next day.

[00:42:48] There's another really big structural flaw in the concept of that joke and I don't know

[00:42:54] exactly how to explain this other than like the talk show host that we are introduced

[00:42:58] to.

[00:42:59] And the kind of stick that he does in front of his audience and the way the audience is always

[00:43:04] poised to laugh and smile and act silly and the way that he feels like he's more of a

[00:43:10] comedic talk show host, right?

[00:43:13] Like the the talk show.

[00:43:15] I don't think you said daytime.

[00:43:16] I think he's a, I think it's supposed to be a late night TV show.

[00:43:19] The, the well, the official sort of description of what he is online that I read describes

[00:43:26] as a daytime.

[00:43:27] I remember them saying a daytime.

[00:43:28] But live somehow, but that doesn't make any sense.

[00:43:31] But anyway, it's this type of guest.

[00:43:35] Let's say it is some sort of Salmon Rushdie type of author.

[00:43:40] You coming out of hiding as a recluse for the first time in five years living in some

[00:43:46] cabin in the woods, no one knows what they look like half the world is out to kill them.

[00:43:50] They wouldn't make their first big, like this was supposed to be a huge get for them.

[00:43:54] Like this is his first big public appearance speaking about his work and stuff like that.

[00:43:59] It wouldn't be on Leno.

[00:44:02] It wouldn't be on a funny fun whatever laughing jokes, monologue, audiences laughing sort

[00:44:08] of show.

[00:44:09] It would be on like fucking barber waltors or something.

[00:44:12] Yeah, and it would be a very controlled situation where there's not a live audience.

[00:44:16] In 1991.

[00:44:17] Yes, I feel like now now they go online.

[00:44:21] Well, maybe now who knows.

[00:44:22] Like in 1991, it would have been a very, yes, no live audience very controlled.

[00:44:30] The host is a serious journalist.

[00:44:32] Not some silly guy doing stick and dancing around the idea that this isn't appropriate

[00:44:38] guest for this show makes absolutely zero sense.

[00:44:42] So then what really does when you later on top of that, the drag and the jokes around

[00:44:49] that and everything.

[00:44:51] It's just I want to pull my hair out where I'm like, how this is this was a bad idea

[00:44:56] that you picked throw this away and come up with something better.

[00:44:59] This makes any sense.

[00:45:01] Yeah, yeah.

[00:45:04] The retooled idea of them working on the show is a fine idea.

[00:45:10] It's the subject of the show that they're doing, that you're just like you need another

[00:45:14] idea.

[00:45:15] You needed something else.

[00:45:16] Not first episode, they have Dawn back and basically she hooks them up with the job

[00:45:22] because the show, like the here's looking at you got canceled.

[00:45:27] And she makes reference to the fact that she's still going to be their land lady.

[00:45:31] So is she still on the show or not?

[00:45:34] I read that she wasn't done the show after this.

[00:45:36] But why would they have her on for one more episode that's so weird?

[00:45:40] I don't know.

[00:45:41] Contract contract.

[00:45:42] Contract.

[00:45:43] But like is that that scene for her?

[00:45:46] I'm sure she was given the choice.

[00:45:48] Whether she wanted a hang around or not.

[00:45:49] She's all in Taylor at that.

[00:45:51] Yeah.

[00:45:52] Yeah.

[00:45:53] The thing that main problem I have with the new concept is because you got, you know,

[00:45:58] you get their new boss was pretty funny.

[00:46:00] He works.

[00:46:01] But then you got this talk show host and you're constantly told, oh, he's so difficult.

[00:46:06] He's so difficult.

[00:46:08] He's not funny and he's not like, he doesn't.

[00:46:11] He's so like family friendly, difficult.

[00:46:14] Yeah.

[00:46:15] Like this isn't a fun character.

[00:46:17] Like it comes out and like he's like, I want your lunch.

[00:46:21] And you're like, that's not funny.

[00:46:22] Like, you know, this is, I know what this character is supposed to be.

[00:46:27] Yeah.

[00:46:28] It's not this.

[00:46:29] So he's not good.

[00:46:30] You're right.

[00:46:31] That's yet another example of leading the witness of us and told this guy who you're

[00:46:36] about to meet because we meet the show runner producer whatever first.

[00:46:41] We're digging Pepto Bismal and stressed out of his mind and it's coming out that

[00:46:47] this guy, the host of the show is difficult.

[00:46:49] And then they don't, they don't pay that off.

[00:46:52] Like give me your lunch.

[00:46:54] What a lazy gag.

[00:46:56] Like what is happening here?

[00:46:58] Yeah.

[00:46:59] And we're being told that like the reason this is supposed to be a funny situation.

[00:47:03] The four of them managed to land this new gig writing for this show, the tension is supposed

[00:47:09] to be around the host and whether he's like difficult to work with.

[00:47:15] But in this first episode, let's call this pilot 2.0 because this is the first episode

[00:47:21] after the retooling.

[00:47:22] The tension is around losing the guest has nothing to do with the host.

[00:47:27] And then the host is super chill about all of their fuckups.

[00:47:31] Yeah.

[00:47:32] I, you know, like, this character needs more.

[00:47:37] Like I want him to, you know, to go with the era.

[00:47:41] Like this character needs to be Alex Rocco.

[00:47:43] Right?

[00:47:44] Like it needs to be like a big performer who steals every scene he's in.

[00:47:51] Yeah.

[00:47:52] You know, they needed to bring in a ringer for this character.

[00:47:56] If a cult would have been if they busted their asses to write and prepare a really

[00:48:01] excellent episode of a show with multiple guests and a monologue and everything like

[00:48:08] really, like, you know, four people working two days straight really put together something

[00:48:13] great lineup a great guest.

[00:48:15] And then the host just starts free wheeling and like skips one of the guests and doesn't

[00:48:20] bring them out and runs too long in the monologue and gets rid of half the jokes and

[00:48:24] does his own thing and throws away the cue cards and yeah, like a really big personality

[00:48:30] host who just kind of shits on all of the hard work they put in and does his own thing

[00:48:35] or something like that.

[00:48:37] That's where the tension needed to be.

[00:48:39] Yeah.

[00:48:40] And we need to be able to believe that these four people deserve this job.

[00:48:44] So they have to be at least somewhat decent at this job.

[00:48:48] And we have to believe that this host is difficult to work with and they give us none

[00:48:53] of that.

[00:48:54] It's so weird because it's just like, and then like they're in this off it.

[00:48:59] They have this brand new office set where we're clearly going to be hanging out a lot of

[00:49:02] the time.

[00:49:03] These four writers and we've seen this in both these episodes, they're just like slops.

[00:49:09] Like them working involves them throwing every piece of paper on the ground to show

[00:49:13] a hard-thaping working.

[00:49:15] Yeah.

[00:49:16] And they do it in both episodes.

[00:49:17] Like it cuts too later on.

[00:49:19] It's just like there's all these just paper everywhere because they've been working so hard.

[00:49:23] But like nobody else works on the show.

[00:49:27] The show only employs four for writer producers.

[00:49:31] And that's the whole show.

[00:49:32] And then they go out and there's like a crew and shit and you're like,

[00:49:34] where are they all day?

[00:49:36] Like we're all these people.

[00:49:38] Yeah.

[00:49:39] Who is involved in the production of this show that they're allowed to free wheel it as much

[00:49:44] as they are.

[00:49:45] It doesn't make a like a sense.

[00:49:47] No.

[00:49:49] Everything feels like a stretch in this show.

[00:49:52] Everything feels like an idea written on the back of a napkin and then not paid off.

[00:49:57] I don't know.

[00:49:58] And then everything has to be so zany.

[00:50:00] Everything has to be so silly and zany and they try to bring so much physical comedy into it.

[00:50:04] Yeah.

[00:50:05] With the like, but in that guy who keeps tripping and falling into things.

[00:50:08] Who was that guy?

[00:50:09] He literally familiar.

[00:50:11] He got a he got an and in the end credits.

[00:50:14] So I felt like he was way, I don't know.

[00:50:17] I don't know.

[00:50:18] I did not even remember the characters name.

[00:50:22] I don't even think I included him or already in the spin-off later.

[00:50:26] Because he was just bored.

[00:50:28] That's fine.

[00:50:29] He was already was at least a main character.

[00:50:31] This guy wasn't even make the opening titles.

[00:50:34] So what?

[00:50:35] I don't know.

[00:50:36] Let's look at this up.

[00:50:37] I'll, I'll, talk amongst yourselves amongst myself.

[00:50:41] I was actually kind of excited to review this show because I thought it's going to be

[00:50:45] a meta show about TV writers.

[00:50:48] There's very little of that in this show.

[00:50:50] You get very little of any of the experience of being a TV writer.

[00:50:54] It's also like weird that they chose that those kinds of television shows.

[00:51:00] Maybe it was because they didn't want to give too much inside baseball on sitcom writing.

[00:51:06] So they went with a different type of TV show or something.

[00:51:10] I don't know.

[00:51:11] I mean, first, you're right.

[00:51:12] I went into this thinking I was going to see sitcom writing.

[00:51:15] So that was all ready at this appointment.

[00:51:17] Is the character named Nick more, oh, more to yeah, you're right.

[00:51:21] No, I mean, I don't know.

[00:51:23] It was interesting to cover just because like you threw this at me and you know,

[00:51:27] you've got it's got Alan Ruck.

[00:51:29] It's got Heather Lockleer.

[00:51:31] It's got Holland Taylor.

[00:51:33] And I've never heard of it.

[00:51:34] Yeah.

[00:51:35] Yeah.

[00:51:35] That's why I picked it.

[00:51:36] I looked at the test.

[00:51:37] I looked at the test.

[00:51:38] I've heard of the show, but I didn't have any reference for what it was when, when Aaron,

[00:51:44] when you brought it up to me, I thought it was a different show.

[00:51:47] All together.

[00:51:48] Is it the one with this theme song and he's like, no, I didn't look too deeply into

[00:51:53] it before I chose it, but I was just like, look at this cast.

[00:51:56] It's a TGIF show.

[00:51:57] Look at the year it was on.

[00:51:59] It's about TV writers.

[00:52:01] I was like, I bet he got the theme stuck in their head.

[00:52:03] Going to playing play.

[00:52:04] It's bad.

[00:52:05] Yeah.

[00:52:06] With such a sassy saxophone.

[00:52:09] Yeah.

[00:52:10] I'm so happy.

[00:52:19] At the end of the episode 13, there was another one of those sentimental endings.

[00:52:24] I forget how this one played out, but my note was like, don't do that.

[00:52:28] Don't try to wrap this up with this.

[00:52:30] That's something that's something that's something that's something that's something that

[00:52:31] doesn't do that.

[00:52:32] That one hit me a little easier.

[00:52:35] That one is just them saying, like, you know, like, I can't believe we pulled this off

[00:52:39] above a block.

[00:52:41] Yeah.

[00:52:42] You know, but think of we landed on our feet and like one of the characters being like,

[00:52:45] yeah, it's really great.

[00:52:47] They were all still together.

[00:52:49] And I just like, I do like them as a unit.

[00:52:54] I do like that they have, you know, all the awkwardness of them in that first episode

[00:52:59] is gone by this episode.

[00:53:01] And they are just like, this is what they want to do.

[00:53:03] They want to work with their three friends and they want to do it together.

[00:53:08] Like them being successful involves all of them being successful together.

[00:53:13] I like that.

[00:53:14] That's fine.

[00:53:15] Didn't play nearly as false and like Jerry Levine pretending to love his brother.

[00:53:20] Yeah.

[00:53:21] Well, yeah.

[00:53:23] I guess that's true.

[00:53:26] Oh, there was something I was going to say, oh, yeah.

[00:53:30] This goes back to the pile of, but that thing where the two brothers had that weird

[00:53:34] little song that they would do.

[00:53:36] Oh, yeah.

[00:53:37] When they were like, you're gonna come up with ideas for show?

[00:53:39] What is it?

[00:53:40] We got to start working or I hated that.

[00:53:42] I get to work.

[00:53:43] I hated that so much.

[00:53:44] Yeah, I get it.

[00:53:45] That's worked.

[00:53:46] Do you got that?

[00:53:47] I don't know.

[00:53:48] It was like a very perfect strangers type of thing.

[00:53:51] They had this weird little brotherly inside jokes song that they would do and it was

[00:53:55] so annoying.

[00:53:56] I couldn't wait.

[00:53:57] No.

[00:53:58] Terrible.

[00:53:59] That's what it's like working with siblings though.

[00:54:04] Oh.

[00:54:06] Going places, going places.

[00:54:10] Going places.

[00:54:11] So here's the place we're going to go.

[00:54:14] We're going to go to this show, connects with friends.

[00:54:17] Okay.

[00:54:18] All right.

[00:54:19] I mean, there's a lot of connections.

[00:54:22] It was actually kind of like overwhelming because there's all these connections within

[00:54:28] connections.

[00:54:30] So it was very hard for me to focus and it might be fun for anyone out here who listens

[00:54:36] to this to kind of like do their own branching off connections from the ones that I call

[00:54:43] out.

[00:54:44] But I guess we'll start with, okay.

[00:54:47] So Holland Taylor, so Holland Taylor who played Super Producer Dawn.

[00:54:55] So she was in the movie, legally blonde with Reese Witherspoon who guests start on friends.

[00:55:03] So Holland Taylor is also on the morning show with not only Reese Witherspoon, but also

[00:55:10] Jennifer Aniston.

[00:55:11] And Jennifer Aniston of course is Rachel Green on friends.

[00:55:16] What else?

[00:55:17] Stacey Keenan was on my two dads as everyone will remember, co-starring Giovanni Rebusy.

[00:55:26] Giovanni Rebusy had a recurring role on friends as Phoebe Buffet's younger brother.

[00:55:33] So also in my two dads with Stacey Keenan was of course Paul Reiser.

[00:55:38] Paul Reiser, okay, we'll start with this one connection.

[00:55:42] There's the bigger mat about you connection, but we'll start with his friend.

[00:55:47] You know, on friends as Jamie Buckman is mat about you character.

[00:55:52] So that's like a two degree connection via Paul Reiser.

[00:55:55] But then there's also the bigger mat about you.

[00:55:58] You don't do it.

[00:55:59] Don't do it.

[00:56:00] So she, you know, Stacey Keenan co-start with Paul Reiser on mat on my two dads.

[00:56:07] Paul Reiser co-created, starred, produced, mat about you, which had Lisa Cudro in a recurring

[00:56:17] role as none other than Ursula Buffet who is the twin sister of her same character and friends

[00:56:24] Ursula Buffet are Phoebe Buffet.

[00:56:27] So you don't say.

[00:56:29] So there's a lot of like these wild mat about you connections because Alan Rucket actually

[00:56:38] guest starred on mat about you as well and like a lot of people were on mat about you.

[00:56:44] So yeah, so there's tons of connections within connections within connections on this particular

[00:56:49] show.

[00:56:50] There's other Alan Ruck connections as well.

[00:56:54] So he guest starred on Cougar Town, which starred Courtney Cox in Courtney Cox as you

[00:56:59] all know it was Monica and friends.

[00:57:02] Alan Ruck also guest starred on another two shows of the famous Teddy Z, which co-star

[00:57:09] to Jane Sybit and Jane Sybit had a guest or sorry, had a recurring role as Carol and

[00:57:15] friends.

[00:57:17] Okay, Alan Ruck was also in the movie Twister with Helen Hunt.

[00:57:23] Helen Hunt starred in not only starred in Mat about you alongside Lisa Cudro but she also

[00:57:34] played her mat about you character on friends.

[00:57:37] So there's all these crazy connections and then a lot of these actors in going places

[00:57:44] reunited and co-starred in other sitcoms, which we'll get into in this spinoff.

[00:57:50] Okay, there's all kinds of like interesting fun little trivia.

[00:57:54] It's a big big run of connections.

[00:57:57] So people could really go down a rabbit hole on IMDB with this one and check out all the

[00:58:03] like like there's like probably like a very dramatic web of connections to friends

[00:58:09] and some other iconic sitcoms of the time.

[00:58:13] Even though going places was sort of like a mysterious entity to us that we didn't

[00:58:19] really know much about it literally touched so many other psychotic iconic iconic sitcoms

[00:58:29] and iconic like actors.

[00:58:32] So it's interesting.

[00:58:33] I'll just throw this in there now because mine as well.

[00:58:37] As we often have a segment about friends, it's probably a good point to bring up now

[00:58:43] that it just within the last week or two recording this.

[00:58:48] We've lost Matthew Perry.

[00:58:49] Yeah, we're already very young.

[00:58:50] Yeah, we're already very young.

[00:58:51] Yeah, yeah.

[00:58:52] And you know, it's that's a real loss to the sitcom world for sure.

[00:59:00] So yeah, we can't let Perry.

[00:59:02] It's you know, it's it's kind of jarring that like one of those actors who we always

[00:59:07] think of as this like young like.

[00:59:12] Charisma person because they're sort of frozen in time as Chandler Bing, you know,

[00:59:18] and you sort of think even though we were all aware of the sort of struggles he's had

[00:59:23] often on over the years.

[00:59:25] You know, you just you don't think that it's going to, you just think he's going to

[00:59:30] be around for ever.

[00:59:31] It's a very sad.

[00:59:33] I was sure that there was nothing in the world that could stop the dump trucks of

[00:59:39] money from from doing some form of friends reboot.

[00:59:43] Yeah.

[00:59:43] And I would say that this is the one thing that will stop those drum don't drink some

[00:59:50] money.

[00:59:50] Yeah, I don't think they'll phrase your it and do it with I don't can't.

[00:59:53] So be this.

[00:59:55] Yeah.

[00:59:55] Yeah.

[00:59:55] Yeah.

[00:59:56] It's worth.

[00:59:56] Because you kind of need all of them.

[00:59:58] It's worth reflecting on yeah, his his amazing contribution to comedy.

[01:00:03] I mean, you know, as obviously all of the characters on that show were, you know,

[01:00:09] wonderful funny people and all those actors.

[01:00:12] But, you know, there was something about Matthew Perry and the Chandler character that

[01:00:17] was very much like he was a comedic anchor.

[01:00:19] A comedic anchor.

[01:00:20] Yeah.

[01:00:21] He was sort of like his whole like way of his like way of deletting.

[01:00:28] Delivering lines.

[01:00:30] It influenced everyone else, I think.

[01:00:32] Yeah.

[01:00:33] Like his time specific timing his, you know, I do think it did have an influence on the

[01:00:40] other characters.

[01:00:42] And I think of all of those characters.

[01:00:44] His was the first to really have a very specific, um, yes.

[01:00:50] I like this.

[01:00:51] Yeah.

[01:00:52] persona and then they all kind of developed their own personas as well.

[01:00:57] But I think his was the first standout performance on us.

[01:01:00] He's really, yeah, he's really firing out of the gate on this one.

[01:01:03] Yeah.

[01:01:04] And it's, you know, oftentimes what we're doing these shows, we run across these actors and

[01:01:09] other things in Matthew Perry was somebody who kind of came into friends.

[01:01:13] And, you know, so we don't have a lot of other opportunity after friends.

[01:01:18] He had other other shows and, you know, dear friends.

[01:01:21] He did a couple of movies.

[01:01:22] But it is very unlikely we're going to run across Matthew Perry in any of our, uh, that

[01:01:29] was a show.

[01:01:30] Yeah.

[01:01:31] So yeah, he's very, very definitively known for that show and for that character.

[01:01:36] And it is such a larger than life character and the performance.

[01:01:41] Yeah.

[01:01:42] Yeah.

[01:01:43] Yeah.

[01:01:44] Absolutely.

[01:01:45] I right be.

[01:01:46] And, you know, if anybody's out there looking to watch something, I'll

[01:01:47] throw out Studio 60 because he's a very, very good on studio 60.

[01:01:52] I mean that show has a stellar cast on top of him.

[01:01:56] It's incredible.

[01:01:57] You know, it's only 22 episodes.

[01:01:59] So it's not enough to get sick of, uh,

[01:02:02] training somewhere specific.

[01:02:04] It is absolutely not.

[01:02:06] It is buried.

[01:02:07] It is one of those loss.

[01:02:09] It is one of those completely lost shows.

[01:02:11] Uh, yeah.

[01:02:12] So yeah.

[01:02:14] All right.

[01:02:16] Let's do the spin off.

[01:02:17] Right.

[01:02:18] So yeah, there's lots of like fun sort of connections, um, over the years, like one

[01:02:25] little bit of trivia, both Halley Todd and Heather Lockeley are played, um, a

[01:02:31] character that was the mother of a Hillary Duff character.

[01:02:36] So that's funny.

[01:02:38] And then a lot of them, I feel like there were like a lot of these actors showed up

[01:02:42] in either a Lizzie McGuire show or movie or Hannah Montana.

[01:02:50] So they, they were like all popping into these like tweens shows often on over the

[01:02:56] years.

[01:02:57] Um, so in terms of going through each kind of, uh, performer, well, I guess we'll start with

[01:03:03] Jerry Levine.

[01:03:04] So, um, soon after his time on going places, he was in the ensemble of another short

[01:03:11] lived sitcom called Muscle, which I think we should really cover at some point, which

[01:03:17] also co-starred Alan Ruck.

[01:03:20] So wow.

[01:03:21] Okay.

[01:03:22] Yeah.

[01:03:23] So these people couldn't get away from each other.

[01:03:24] They all were in a bunch of stuff together.

[01:03:26] Yeah.

[01:03:27] They didn't realize how many things Alan Ruck did.

[01:03:29] I know he's like, he's been around.

[01:03:31] He's been like doing his rounds for years and years.

[01:03:35] So Jerry Levine also guest starred on sign filled.

[01:03:39] Uh, boy meets world, Providence, Will and Grace.

[01:03:42] He's now mainly a TV director.

[01:03:44] So he's directed a lot of, uh, like his two major sort of shows that he's done a lot

[01:03:50] of directing for our Hawaii 50 and, uh, elementary and air and you'll find this entertaining.

[01:03:58] He also was like the main director of that short lived Jason Alexander show hit the road.

[01:04:05] No, I haven't had him.

[01:04:07] I've never seen an episode of that show.

[01:04:09] I've never tried to watch it.

[01:04:10] I didn't even try to do that.

[01:04:11] I didn't even watch it.

[01:04:12] And I was like, this is not good.

[01:04:13] It's like the one with the hit the road.

[01:04:16] It's the one where he's like the dad of a partridge family style.

[01:04:20] Oh, that recent show.

[01:04:21] It's a recent show.

[01:04:22] Right.

[01:04:23] Yeah.

[01:04:24] Right.

[01:04:25] So it's a recent show, um, where he's basically the Patriarch of a family that is like a 20 first

[01:04:33] century, partridge family, like a traveling.

[01:04:36] They have like a traveling family band and it's like a dark comedy.

[01:04:41] Uh, so but I've never really watched it.

[01:04:45] It didn't last very long.

[01:04:46] Yeah.

[01:04:47] I don't think anybody did.

[01:04:48] Yeah.

[01:04:49] And then so next we'll go with a Stacy Keenan, you know, we've talked about her quite a bit,

[01:04:54] like in some of our other episodes, especially the Mai two dads.

[01:04:58] Um, episode she was basically like a darling of the Miller boy at World.

[01:05:02] Like they plotted her into this show following her time on my two dads.

[01:05:07] And then when this show didn't work out, uh, she, they just put her right in as a Dana Burger.

[01:05:14] Uh, on a step by step and she had a really like long and successful run on step by step.

[01:05:21] Um, hit, hally Todd, um, co-starred in, um, like a lot of different kind of short-lived TV series.

[01:05:31] Um, this one, I also think we should cover it's called life with Roger.

[01:05:36] Uh, it also seems like a fun kind of like short-lived romp.

[01:05:42] Uh, as like, uh, I alluded to earlier she played, um, Lizzie McGuire's mom on both the series and the movie, Joe McGuire.

[01:05:53] And according to her website, CNN named this character one of the top 10 best TV moms of all time.

[01:06:01] So that was a pretty impactful, like sitcom mom apparently, but I've never seen an episode of Lizzie McGuire.

[01:06:08] So I wouldn't know.

[01:06:09] I think that's a little, you know, past our time, like maybe some of our younger millennial listeners would know that show, uh, a little more.

[01:06:19] So she has also not acted a ton in recent years, but she formed a production company with her, um, husband and daughter called inhouse media film partners, uh, which seems to focus on Christian content.

[01:06:33] So kind of a different world, so all together.

[01:06:36] Um, Holland Taylor already an icon.

[01:06:39] We, you know where you love her. We've talked about her many times.

[01:06:43] Um, soon after her time on going places, she hopped onto the cast of the naked truth kind of a similar character.

[01:06:52] Yeah.

[01:06:53] Well, obviously this version, this dawn is like the g-rated version of her, the naked truth character, um, like kind of a very successful ruthless media, uh, boss.

[01:07:08] But in this show, she's way more way less deranged and way less jaded. Um, she also had a long running, um, stint on the practice to in a half men and, um, what else?

[01:07:27] I mean, the show Mr. Mercedes.

[01:07:29] It was like a Stephen King series.

[01:07:32] I think it's still going. I don't, I can't. I don't quite know.

[01:07:35] I don't want the Brendan Brendan glis. Yes.

[01:07:37] Not only so, I think it's the countless other films and TV shows as I mentioned. She's currently on the morning show.

[01:07:46] Her character had a kind of fun arc this past season for anyone who's watched it.

[01:07:52] You'll know what I'm talking about. She heard character basically gets kind of canceled in a dramatic way.

[01:08:00] And then Heather Lockleer, of course, as we've already discussed, she was a huge household name. She had been on TV for years. She was sort of like very much in everyone's living rooms for decades at this point.

[01:08:15] Soon after this, she played herself a couple of times in movies and one fun cameo is in Wayne's World 2 where she played herself.

[01:08:27] In a few years later, she took her iconic role of Amanda Woodward on Melrose Place, which was like a long running successful prime time soap.

[01:08:39] And then she also joined the cast of Spin City where she reunited with Alan Rock as well.

[01:08:45] So after Spin City, she record on a few other series.

[01:08:50] One called LAX, which I assume is a procedural about LAX airport. I have no idea. She was also in the series Franklin and Bash and close to home. Alan Rock, who we also kind of ran to and rave about like

[01:09:06] Are you con heads out there?

[01:09:08] He was also, as I mentioned in the show, muscle, which I think we should cover.

[01:09:13] Matt about you in a lot of films as well, including Twister.

[01:09:19] He was in Spin City. He was in Cougar Town, persons unknown, the exorcist and of course he had the iconic role of Connor Roy on succession.

[01:09:31] I think probably my favorite sibling in the Roy family.

[01:09:36] I think that Connor Roy, it was a real like Alan Rock is just this immensely talented performer that pretty much everybody knows it but he never really gets his due.

[01:09:53] I'm Connor Roy. I think is that thing that pretty much everybody had the same reaction, which is like finally.

[01:10:00] Yeah, yeah, yeah, yeah.

[01:10:01] Finally this is something.

[01:10:03] Yeah, yeah, yeah, yeah, yeah.

[01:10:04] Yeah, yeah, yeah, yeah.

[01:10:05] Yeah, yeah, yeah, yeah, yeah.

[01:10:06] He was also really good in the dropout.

[01:10:09] Like he did a couple episodes of the dropout, including one of the most humorous episodes,

[01:10:15] which when I'm talking about Aaron with like several like just a parade of like very funny actors playing really dumb white men that get outsmarted by, you know, the Amanda seafood version of Elizabeth Holmes.

[01:10:38] So yeah, yeah, totally that role in succession was it felt like pop culture was having a moment where Alan Rock was finally getting recognized for the like real versatility of his performing skills finally.

[01:10:55] Where there's a character you're like, okay, we're finally getting to see the way that he commands a room and because it's like it's a character that's like comic relief but it's also a serious character.

[01:11:05] It layers at the same time. So yeah, going places as a perfect example for like, you know, we've been talking about this show for over an hour now and you know, we've mentioned Alan Rock is in it.

[01:11:22] We've talked to you said a few confedmentary things but this is like really just a show that is not, you know, there's a reason we haven't talked too much about him in this because it's this is not the one.

[01:11:34] This is not, yeah, this is not the, you know, like your happys there he's the show is better for him being there. But like it, this is not the show for him. Yeah, it's he's there. He says the lines.

[01:11:48] It does the thing he does the things that he was hired to do. But for what?

[01:11:56] So I mean we've kind of remarked on how this feels like the kind of show that perhaps Mr. producer would have pitched back in the day.

[01:12:06] You know, so I think it might be a good good idea to check in with him in case he has some insights on this one.

[01:12:13] Also he's so worried about you last episode. So you gotta be able to he's got to hear your voice.

[01:12:18] Yeah, yeah, okay. So let's give him a call.

[01:12:27] Hello. Hey, Mr. P.

[01:12:29] Aaron, my boy. Oh, it's so good to hear your voice. How are you feeling?

[01:12:34] Oh, you know, on the mend. Hey, thanks for those peppers by the way.

[01:12:38] Oh, you got them! I sure did. So this week we were going to talk about the 90s sitcom going places.

[01:12:45] You know, Alan Ruck has their lock layer.

[01:12:47] Ah, and the incomparable Jerry Levine.

[01:12:50] Oh, yeah, I guess he's not comparable.

[01:12:53] I remember that one very well. It was a nice little slice of the daily grind of Hollywood in those days.

[01:12:59] I guess you see back then it was just very common to just put your whole writing staff in one big sitcom family house.

[01:13:08] It was. Oh, sure. How they stuck me, Matt Bob and David Arcton steers at a suburban ranch style.

[01:13:14] The whole back half of 92. 93.

[01:13:17] Really? What were you working on?

[01:13:19] Ah, nothing. They just had a stick somewhere. But that is where I came up with the idea for three's company.

[01:13:26] Three's company that show that came out in the late 70s?

[01:13:31] Yes, well, I was informed of that later, but it was still a hell of an idea.

[01:13:36] Okay. Can you see any reason why going places didn't go places? Ah, that's cute.

[01:13:44] You know, it's just one of those things. They tried a light-retool didn't quite take.

[01:13:49] I think I would have gone with something a little bit more dramatic, you know?

[01:13:53] I don't know off the top of my head like an animatronic camel.

[01:13:57] You know, you move it into the house, give it some funny hat.

[01:14:00] Maybe it romance is Alan Ruck. You know, it's got the big cartoon, the eyelashes fluttering.

[01:14:05] Maybe Jerry Levine's character's done too happy about said pop-up human relations and they didn't really go for that.

[01:14:12] You actually pitched that to them? Yeah. Well, yeah, Matt Bob invested in a company that produced animatronic desert dwelling animals back in the late 80s.

[01:14:21] So I was always trying to find a place for them.

[01:14:24] You know, pretty much all the TGIFs, step by step and a camel family matters.

[01:14:30] It also has a camel full house made full of by presence of camel. Boy meets camel? That one almost went somewhere.

[01:14:38] Interesting times.

[01:14:40] That they were a kid. Well, I'm glad you're on the mend. I guess until next time.

[01:14:47] Thanks, bye, Mr. P.

[01:14:51] You're there that was it would have been great to be a fly on the wall in that house.

[01:14:57] I hope we one day get to actually meet Mr. Mr. Bob.

[01:15:04] I'm sure he's wondering why he hasn't met you.

[01:15:08] Okay, that was a show.

[01:15:12] That was a show going places.

[01:15:15] Going places, going places.

[01:15:20] I wouldn't mind running out onto a beach at sunset right now.

[01:15:24] Yeah, yeah, it's pretty cold in dark.

[01:15:27] Yeah, I like to, we'll call it a leftover.

[01:15:32] But yeah, the end of the pilot is very literally Heather Lockler's character,

[01:15:36] running in saying, you guys, stop whatever the hell you're doing.

[01:15:40] There's a beautiful sunset outside and they all run out on the beach.

[01:15:44] A big, beautiful helicopter shot.

[01:15:47] And then that's just the end credits every single episode.

[01:15:51] Yeah, so as adversity does not touch these characters like that nothing ever goes wrong for them.

[01:15:58] It's pretty low stakes.

[01:16:00] They fall ass backwards into new jobs and homes like that.

[01:16:05] Yeah, well on that note, I guess a cue the sunset and cut to credits.

[01:16:13] That was a show is created and hosted by Bryn Bernie Andrew Barry Helmer and myself, Aaron Yager.

[01:16:28] It's a production of radio gizmo in Toronto, Canada.

[01:16:31] Subscribe, rate, review and share.

[01:16:34] Follow us on Instagram and tell your friends about it.

[01:16:37] That was a show.