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Sitcoms Part II · Stuff You Should Know

• 0:01
  Speaker 1: Welcome to stuff you should know a production of I
• 0:04
  Speaker 1: heart radio. Stuff you should know is recorded in front
• 0:13
  Speaker 1: of a live studio audience. Hey, and welcome to the PODCAST.
• 0:22
  Speaker 1: I'm Josh and there's Chuck and this is part two
• 0:25
  Speaker 1: of our very special two part episode on Sitcoms. SITCOMS, everybody.
• 0:31
  Speaker 1: That's right, and we'RE gonna shoot for thirty minutes here.
• 0:35
  Speaker 1: If you remember an episode one, we explained all about
• 0:37
  Speaker 1: how sitcoms are made, in the history of Sitcoms, and
• 0:40
  Speaker 1: today we begin with part two of whether or not
• 0:43
  Speaker 1: these things were successful. And boy were they. Yeah, Um, apparently,
• 0:48
  Speaker 1: between nineteen fifty and two thousand nineteen, the top rated
• 0:51
  Speaker 1: show for the entire year in America at least, was
• 0:55
  Speaker 1: a Sitcom for twenty six different seasons. So that's a
• 0:58
  Speaker 1: pretty significant number, considering there's all sorts of different kinds
• 1:01
  Speaker 1: of shows. Sitcoms are not the only kind of show
• 1:04
  Speaker 1: out there. Yeah, that's Um, I guarantee you that between
• 1:08
  Speaker 1: nineteen fifty and two thousand that number is more like eighty,
• 1:13
  Speaker 1: I would yeah, I would also say, especially if you
• 1:15
  Speaker 1: were going from nineteen seventy to two thousand, it's probably
• 1:21
  Speaker 1: you're probably right, a hundred and four percent as a
• 1:24
  Speaker 1: nomage to our menstruation episode, which we I bift pretty bad. UH, well,
• 1:29
  Speaker 1: we both bift that. Um. Here's a remarkable statistic, though,
• 1:33
  Speaker 1: if you refer back to our Nielsen Ratings episode. Uh,
• 1:37
  Speaker 1: I love Lucy, in nineteen fifty three had a sixty
• 1:42
  Speaker 1: seven point three Nielsen Rating, which meant that close to
• 1:46
  Speaker 1: seventy of every household in the United States was watching
• 1:51
  Speaker 1: that TV show. Okay, and that's crazy and it's the
• 1:55
  Speaker 1: highest season rating for any TV show ever. But Chuck
• 1:59
  Speaker 1: Um and ED uses. For comparison, the highest rated show
• 2:03
  Speaker 1: in two thousand one was friends, and they had a fifteen.
• 2:06
  Speaker 1: Lucy had a seventy, right, and friends huge. Friends was huge.
• 2:10
  Speaker 1: Consider this, though, Lucy had it way easier. There were
• 2:13
  Speaker 1: fewer TVs and fewer shows to choose from. Friends came around. Yeah, because,
• 2:20
  Speaker 1: let's say ten people had a TV, Lucy had seven
• 2:22
  Speaker 1: of them watching friends. But you know five, five million
• 2:27
  Speaker 1: TVs were out there and of them were tuned to it.
• 2:30
  Speaker 1: So if you really think about it, friends was more
• 2:33
  Speaker 1: dominant than Lucy. Yeah, we should call this section in
• 2:35
  Speaker 1: defensive friends or why I learned to hate I love Lucy.
• 2:40
  Speaker 1: I it's not that, and I'm also not defending friends,
• 2:43
  Speaker 1: believe me. So these shows back then were shot on, uh, film,
• 2:48
  Speaker 1: Thirty five millimeter film, but it's still different. These cameras
• 2:51
  Speaker 1: weren't like movie cameras at the same time either. Um, but,
• 2:56
  Speaker 1: and that's a bunch of technical stuff we won't get into,
• 2:58
  Speaker 1: but starting in nine teen, I guess, Seventy one, when
• 3:03
  Speaker 1: all in the family debuted, we started shooting things on
• 3:07
  Speaker 1: videotape and if you've ever seen those sitcoms of the
• 3:10
  Speaker 1: seventies in front of a studio audience, they had a
• 3:13
  Speaker 1: very specific video tape look. Um, it was kind of
• 3:17
  Speaker 1: great a lot instalgia for people in our our demographic
• 3:21
  Speaker 1: for Gen x and, I guess, some younger boomers. But uh,
• 3:25
  Speaker 1: this to us was sort of the heyday and I
• 3:27
  Speaker 1: think generally the heyday of of sitcoms. Yeah, because in
• 3:31
  Speaker 1: the fifties there were still tons of variety shows and
• 3:33
  Speaker 1: quiz shows that kind of edge sitcoms out. The sixties
• 3:37
  Speaker 1: there were like lots of Westerns, but part of the
• 3:39
  Speaker 1: problem with it too is sitcoms were corny and phony
• 3:42
  Speaker 1: and didn't really speak to anybody's actual life. They were
• 3:45
  Speaker 1: escapist right. And in the seventies, the very early seventies,
• 3:49
  Speaker 1: starting with all in the family, uh, sitcoms started to
• 3:52
  Speaker 1: take on actual issues like out there in the real world,
• 3:55
  Speaker 1: but they were doing it in a funny way, so
• 3:57
  Speaker 1: it was more digestible and easy to kind of think
• 3:59
  Speaker 1: about and talk about with your friends then it would otherwise,
• 4:02
  Speaker 1: if you know, sixty minutes was just shoving it down
• 4:04
  Speaker 1: your throat. Yeah, and you know, in a funny way,
• 4:08
  Speaker 1: in that episodes still had to have some laughs. But
• 4:12
  Speaker 1: there were some episodes of some very famous sitcoms that
• 4:15
  Speaker 1: went very serious and dark on what was later to
• 4:19
  Speaker 1: be called like a special episode. Um, there are a
• 4:23
  Speaker 1: few real notable ones. One was all and I remember
• 4:26
  Speaker 1: seeing this episode as a kid and I was like
• 4:29
  Speaker 1: shaken because I didn't I didn't know any of this stuff.
• 4:31
  Speaker 1: I think it's where I learned about that sexual assault
• 4:34
  Speaker 1: was a thing, and it was when edith bunker was
• 4:37
  Speaker 1: was almost or attempted, uh, sexual, sexually assaulted on the show.
• 4:43
  Speaker 1: And that episode was uh, very, very, very serious and
• 4:48
  Speaker 1: in a marked departure from what sitcoms we're all about. Yeah,
• 4:52
  Speaker 1: Um Maw. It is also Um, frequently pointed to as
• 4:55
  Speaker 1: having like an early effect on tackling like hard stuff
• 4:59
  Speaker 1: when the the main character maud in a two part
• 5:02
  Speaker 1: very special episode, chooses to get an abortion, um, to
• 5:06
  Speaker 1: terminate her pregnancy when she gets pregnant at age forty seven.
• 5:10
  Speaker 1: And that was like, I mean if you did that
• 5:11
  Speaker 1: today it would be controversial. And this is like the
• 5:15
  Speaker 1: early mid seventies that they did that. So people are like,
• 5:19
  Speaker 1: like TV show producers are starting to like really take
• 5:21
  Speaker 1: on more and more stuff Um, and that very special
• 5:24
  Speaker 1: episode did become a thing beyond the seventies. Like another
• 5:27
  Speaker 1: really good example is Um different strokes, very special two
• 5:31
  Speaker 1: part episode about child exploitation with Um. Uh, Mr What
• 5:38
  Speaker 1: was the guy's name from W K RP, the station owner? Oh,
• 5:42
  Speaker 1: Mr Carlson, he was the guy. Yes, and you don't.
• 5:46
  Speaker 1: If you've not seen it, then good don't, because you'll
• 5:48
  Speaker 1: never look at Mr Carlson the same way again, because
• 5:50
  Speaker 1: he played this creepy child molester like perfectly. He owned
• 5:55
  Speaker 1: a bicycle shop. He lured Arnold and Dudley over there,
• 5:58
  Speaker 1: took pictures of them in their underwear. Remember. It was
• 6:02
  Speaker 1: like really jarring episode and one of the hallmarks which
• 6:04
  Speaker 1: I know we've made fun of before in previous episodes
• 6:07
  Speaker 1: of a very special episode is the audience doesn't clap
• 6:10
  Speaker 1: at the end and it makes it even more weird
• 6:13
  Speaker 1: and jarring and creepy to end an episode like that.
• 6:16
  Speaker 1: But that's definitely a hallmark of it. Yeah, and Um
• 6:19
  Speaker 1: also that you mentioned that was a two part or
• 6:21
  Speaker 1: the all in the family episode with Edith was, I believe,
• 6:25
  Speaker 1: just a one hour. I don't even think they aired
• 6:28
  Speaker 1: it in two parts. I think they just broke format
• 6:30
  Speaker 1: entirely and it really shows that. I mean the MoD
• 6:35
  Speaker 1: when MoD got an abortion. That was pre Roe v
• 6:37
  Speaker 1: Wade even. It really shows that. The despite it being
• 6:41
  Speaker 1: kind of a Corny, silly format generally, these writers and
• 6:46
  Speaker 1: producers like I think they knew they had an audience
• 6:50
  Speaker 1: to to really sort of get a message across at times,
• 6:53
  Speaker 1: as long as they didn't like hammer it too hard.
• 6:56
  Speaker 1: I think shows like mash dabbled much more in that
• 6:58
  Speaker 1: realm than other ones. Yeah, for sure, but as far
• 7:00
  Speaker 1: as doing this kind of stuff on all in the
• 7:02
  Speaker 1: family in different strokes, it was. It was groundbreaking stuff,
• 7:05
  Speaker 1: it was, but it got picked up by just about everybody.
• 7:08
  Speaker 1: Remember our I think our last Christmas episode, we talked
• 7:10
  Speaker 1: about that Alf Christmas special with the dying girl. Oh
• 7:14
  Speaker 1: my God, everybody did that. I think everybody, with the
• 7:18
  Speaker 1: one exception of small wonder, did a very special episode. Say,
• 7:21
  Speaker 1: by the bell did that episode where Jesse was addicted
• 7:24
  Speaker 1: to speed. Remember, I didn't really watch that show. Okay, well,
• 7:28
  Speaker 1: that's that one alone is worth watching, at least for
• 7:31
  Speaker 1: the Jesse. Which one was at? Uh, the Jesse Spano?
• 7:35
  Speaker 1: She was slater's girlfriend. Suld Um, oh, she'd be so
• 7:38
  Speaker 1: mad that I just referred to his slater's girlfriend. Um,
• 7:41
  Speaker 1: slater was her boyfriend. was that tippany and Ber season? No, no, Um,
• 7:48
  Speaker 1: I don't remember her name. She went on to starring
• 7:50
  Speaker 1: show girls. Oh, Elizabeth Berkeley. Yes, I forgot. I was
• 7:55
  Speaker 1: started on. So she was Um really trying to prepare
• 7:59
  Speaker 1: for studying finals and then like there was this show
• 8:02
  Speaker 1: um coming up where she was going to sing the
• 8:04
  Speaker 1: pointer sisters. I'm so excited, and so she was taking
• 8:08
  Speaker 1: all the speed and Zach found out about it and
• 8:11
  Speaker 1: it was like, you know, throwing the speed out the
• 8:13
  Speaker 1: window and Jesse was like, I'm so excited, I'm so excited.
• 8:18
  Speaker 1: Really funny. It's really worth watching, man, and watch the
• 8:21
  Speaker 1: whole episode because it's a masterpiece of like unintentional hilarity
• 8:26
  Speaker 1: from start to finish. Uh. Yeah, I guess I think
• 8:28
  Speaker 1: I was a little too old for that show when
• 8:30
  Speaker 1: it hit its prime, but I definitely taught it here
• 8:33
  Speaker 1: and there because I know all those characters. Basically, it's
• 8:36
  Speaker 1: still on Sunday mornings on metvs. Really. UH, Sitcom's obviously
• 8:42
  Speaker 1: hit their sort of zenith in the seventies and eighties, uh,
• 8:46
  Speaker 1: into the nineties even, of course, with shows like uh,
• 8:49
  Speaker 1: Seinfeld and friends were huge, but in the two thousands
• 8:52
  Speaker 1: is when they really kind of started to dip. Of
• 8:55
  Speaker 1: course thanks to not thanks too but unfortunately because of
• 8:59
  Speaker 1: things like reality TV. Um, the gold standard, like we
• 9:03
  Speaker 1: talked about, was hitting syndication, and that's you know, that's
• 9:07
  Speaker 1: the reason Larry David and Jerry Seinfeld and every member
• 9:10
  Speaker 1: of friends, I mean they all went on generally went
• 9:12
  Speaker 1: on to do other stuff, but you know, it's why
• 9:15
  Speaker 1: if Matthew Perry never worked another day in his life,
• 9:18
  Speaker 1: he doesn't have to, because they are still all making
• 9:22
  Speaker 1: money hand over fist, because these shows will live forever.
• 9:26
  Speaker 1: They'll be showing Seinfeld in a hundred years probably. Yeah,
• 9:31
  Speaker 1: because you make a show and it's a hit show
• 9:33
  Speaker 1: and you can take those episodes and sell them to
• 9:36
  Speaker 1: one person, sell them to another person and sell them
• 9:38
  Speaker 1: again and again and again. So this one body of
• 9:41
  Speaker 1: work just turns into a cash register. I saw that
• 9:45
  Speaker 1: for Seinfeld and Larry David or the show in general,
• 9:48
  Speaker 1: since I entered syndication has generated three billion dollars in
• 9:52
  Speaker 1: Syndication Chie. That's amazing and Ed points out, you know,
• 9:57
  Speaker 1: very aptly, one of the reasons, and there are many
• 9:59
  Speaker 1: fact there's why those kind of sitcoms aren't around as much.
• 10:02
  Speaker 1: I'm certainly prestige TV and sort of that's the thing now,
• 10:06
  Speaker 1: but when you watch a show like that these days
• 10:09
  Speaker 1: you're competing not just against what's on right then, but
• 10:13
  Speaker 1: you're still competing against Seinfeld in the office and friends
• 10:17
  Speaker 1: in Fraser like people still watch this comfort food time
• 10:20
  Speaker 1: and time again. I do it, we all do it. Yeah,
• 10:23
  Speaker 1: and I mean it was, you know, popular enough in syndication,
• 10:26
  Speaker 1: but now it's on streaming. You can watch every episode
• 10:28
  Speaker 1: back to back if you've got a long weekend, you know,
• 10:31
  Speaker 1: or ten years. One of the two. All Right, uh,
• 10:34
  Speaker 1: let's take our first commercial break, because the fine folks
• 10:37
  Speaker 1: have been gay have been waiting. I want to learn
• 10:39
  Speaker 1: about a terrosortic college act, how to take a perfect movement,
• 10:42
  Speaker 1: all about fractals, kiscon's hunt, the lizzie border murders. That
• 10:45
  Speaker 1: a kind of all runs on the plane. Everything we
• 10:49
  Speaker 1: should know. Word up, Jerry Geh. I hope Ben Gay
• 11:07
  Speaker 1: is actually going to give us some money for this.
• 11:09
  Speaker 1: We should maybe alert AD sales. They'd be like who,
• 11:12
  Speaker 1: they're making fun of us, so chuck. Like we said,
• 11:16
  Speaker 1: twenty six out of you know about of seasons from
• 11:20
  Speaker 1: ninety to two thousand were sitcoms, the highest highest rated show.
• 11:24
  Speaker 1: The reason there's a right, there's a reason that they're
• 11:27
  Speaker 1: so popular. One they're like really easy to digest. They're funny.
• 11:31
  Speaker 1: That's the point of them. But there's another thing too,
• 11:34
  Speaker 1: that when you zoom in on a set of like
• 11:36
  Speaker 1: four or six characters and you spend, you know, half
• 11:40
  Speaker 1: hour nuggets in their lives, in just very small worlds
• 11:44
  Speaker 1: of their sets Um paying attention to their foibles and
• 11:48
  Speaker 1: their weirdness and who they are and, like what they
• 11:50
  Speaker 1: believe in, the audience really gets to know those people
• 11:54
  Speaker 1: and you can really play with that as a writer
• 11:57
  Speaker 1: and actor and a producer and it's some really great,
• 12:01
  Speaker 1: like all time great characters have kind of come out
• 12:05
  Speaker 1: of that and one of the cool things you can
• 12:06
  Speaker 1: do is make a character one way and then all
• 12:10
  Speaker 1: of a sudden, out of left field, you can have
• 12:11
  Speaker 1: them do something else and it suddenly makes them, you know, human,
• 12:14
  Speaker 1: whereas they used to be like a one dimensional, hilarious person. Yeah,
• 12:19
  Speaker 1: but that can really shake up an audience who was
• 12:21
  Speaker 1: invested in a character, because I think there's so many
• 12:24
  Speaker 1: shows where, uh, friends is an obvious example, or sex
• 12:28
  Speaker 1: in the city, where most women, I think who watched
• 12:33
  Speaker 1: sex in the city, and I watched it too, but
• 12:36
  Speaker 1: I think it was largely like a show that appealed
• 12:38
  Speaker 1: to women. I would all say like just a shock,
• 12:41
  Speaker 1: you know, I'm a Samantha or or I'm you know,
• 12:45
  Speaker 1: or I'm a joey or I'm a Ross. Like. I
• 12:47
  Speaker 1: think people kind of looked for themselves in these characters
• 12:51
  Speaker 1: and everyone had their favorites. People would watch these shows
• 12:54
  Speaker 1: and maybe hate one of the characters out of the
• 12:57
  Speaker 1: six every time they came on the screen, but still
• 13:00
  Speaker 1: get into it. Uh, it's pretty interesting. They're super voyeuristic. Um,
• 13:05
  Speaker 1: they hold a prism up about sort of our society
• 13:09
  Speaker 1: and you know, they're aimed at the largest demographics. So
• 13:12
  Speaker 1: a lot of these shows would be about like working
• 13:15
  Speaker 1: class families who struggle to pay their mortgage or who
• 13:19
  Speaker 1: get into the sort of Um sort of site. You know,
• 13:22
  Speaker 1: there was any situations, but a lot of times they
• 13:24
  Speaker 1: were situations based in reality such that people could really identify.
• 13:30
  Speaker 1: Like I've been in that same situation with my boss before. Yeah,
• 13:33
  Speaker 1: like Al Bundy has to like, you know, sell a
• 13:37
  Speaker 1: bunch of blood to like get his car fixed or
• 13:39
  Speaker 1: something like that. Like that's a great situation for an
• 13:42
  Speaker 1: episode that you can resolve in a half hour. That yeah,
• 13:44
  Speaker 1: maybe the viewer hasn't ever sold blood to get his
• 13:47
  Speaker 1: car fixed, but it's maybe been in that position where
• 13:49
  Speaker 1: they had to consider doing that. You know, yeah, absolutely. Uh.
• 13:54
  Speaker 1: They also, Um, I think, to their credit, have been
• 13:56
  Speaker 1: able to hold up Um, not a mirror. What's it
• 14:01
  Speaker 1: called when you're looking at someone else? I guess a
• 14:02
  Speaker 1: lens on people that aren't like you. UH, yeah, telescope
• 14:07
  Speaker 1: for people who you don't identify with and you can
• 14:10
  Speaker 1: learn something about uh. There was a period in the
• 14:13
  Speaker 1: seventies where you had these three great shows, uh, the
• 14:17
  Speaker 1: Jefferson's good times in Sanford and son at a time
• 14:22
  Speaker 1: where it gave White America a real view into three
• 14:25
  Speaker 1: very sort of UH set demographics of black America. Um,
• 14:31
  Speaker 1: and we'll talk about spinoffs, but the Jefferson's was a
• 14:33
  Speaker 1: spin off. There originally the bunker's neighbors and UH, George
• 14:38
  Speaker 1: Jefferson opened up a dry cleaner that hit it big,
• 14:40
  Speaker 1: so they got to move it on up to the
• 14:42
  Speaker 1: deluxe apartment in the sky. Uh. You had good times
• 14:45
  Speaker 1: to sort of that middle ground family that kind of
• 14:48
  Speaker 1: struggled a bit, and then you had Sanford and son
• 14:51
  Speaker 1: as the Junkyard Uh guys. And you know, it gives
• 14:56
  Speaker 1: and and with other ethnic ethnicities as well. It really gave,
• 15:00
  Speaker 1: I think, largely wide America chance to sort of even
• 15:03
  Speaker 1: though it may not be the most realistic, sort of
• 15:05
  Speaker 1: take a peek at what other how other people lived. Yeah, Um, yeah,
• 15:09
  Speaker 1: which is Great. I mean that's a great part of sitcoms.
• 15:12
  Speaker 1: Like it can make you identify with people you might
• 15:14
  Speaker 1: not interact with normally. Right, absolutely, Um, and it can
• 15:18
  Speaker 1: go the other way to like it can make us
• 15:19
  Speaker 1: very sympathetic to the rich, like, you know, people like
• 15:23
  Speaker 1: watching effluent families as well, Um as, just as much
• 15:28
  Speaker 1: as they like watching families that are struggling financially too.
• 15:31
  Speaker 1: Oh yeah, I mean fresh prince, the cosby show. He
• 15:34
  Speaker 1: was a doctor again, the Jefferson. So it's interesting how
• 15:39
  Speaker 1: sometimes people love watching the sort of working class families,
• 15:43
  Speaker 1: sometimes they like the escapist of watching the rich families.
• 15:47
  Speaker 1: There's something for everyone, yea, and sometimes it's not even
• 15:50
  Speaker 1: a thing. Like in cheers there was not really a
• 15:52
  Speaker 1: lot of class stuff. It was basically everything but that
• 15:57
  Speaker 1: like no one seemed to have any real money trouble,
• 16:00
  Speaker 1: but also nobody was particularly rich. It was just not
• 16:03
  Speaker 1: a thing. So it can also just be totally absent.
• 16:06
  Speaker 1: I've got a little tidbet for you want to throw in?
• 16:08
  Speaker 1: Let's hear it. I read that George Jefferson was mentioned
• 16:12
  Speaker 1: on all in the family three years before he physically
• 16:15
  Speaker 1: appeared on it. Really because, yeah, because Norman Lear knew
• 16:18
  Speaker 1: exactly who he wanted for George Jefferson, Sherman Helmsley, but
• 16:22
  Speaker 1: Helmsley was involved in like a really lengthy Broadway contract
• 16:26
  Speaker 1: that he couldn't get out of. So Norman Lear just
• 16:29
  Speaker 1: set it up and waited for him to come and
• 16:31
  Speaker 1: he finally arrived and made TV history. That's pretty cool
• 16:34
  Speaker 1: to like hold out that long for an actor that
• 16:37
  Speaker 1: you fall in love with. Yeah, it was a good
• 16:39
  Speaker 1: move too. I mean norman lear was a genius. Oh yeah,
• 16:42
  Speaker 1: I mean, yeah, sure, we can't talk about sitcoms without
• 16:45
  Speaker 1: bowing at the feet of Norman Lear, and now we've
• 16:48
  Speaker 1: done that, so the box is checked. So, Chuck, one
• 16:51
  Speaker 1: of the best things you could possibly do is sit
• 16:53
  Speaker 1: around and talk about great moments in Sitcom History, and
• 16:57
  Speaker 1: I propose we do just that right now. I'm sure
• 16:59
  Speaker 1: they're entire podcasts that do this, and we should also
• 17:02
  Speaker 1: start each one with remember the time. Uh Well, we
• 17:06
  Speaker 1: went over some of the more serious ones, but I
• 17:08
  Speaker 1: think we should stick to sort of the more fun
• 17:10
  Speaker 1: ones now. Obviously just sort of tops of the list
• 17:13
  Speaker 1: if we're going historically. where, chronologically, is the UH well,
• 17:18
  Speaker 1: there's a couple. The grape stomping and I love lucy,
• 17:21
  Speaker 1: but especially the conveyor belt episode from September two, with
• 17:27
  Speaker 1: Lucy and Ethel working in in the factory with a
• 17:30
  Speaker 1: conveyor belt. I think it was chocolates. Yeah, it was chocolates,
• 17:33
  Speaker 1: and the conveyor belt speeds up and like Lucy and
• 17:36
  Speaker 1: ethel are just doing this physical comedy that like it's astounding,
• 17:40
  Speaker 1: especially when you stop and realize like this was live
• 17:42
  Speaker 1: to tape, basically. You know. Yeah, there was another thing
• 17:46
  Speaker 1: that Lucy really broke ground on Um with the birth
• 17:48
  Speaker 1: of little ricky. Um. The film or the show was
• 17:53
  Speaker 1: either aired or shot about twelve hours after her her
• 17:57
  Speaker 1: real life. So yeah, then they they aired the birth
• 18:01
  Speaker 1: of little ricky, which is huge. But Mary Kaye and
• 18:04
  Speaker 1: Johnny did it first. You're in love with that show.
• 18:08
  Speaker 1: I just I think they're an unsung show. They're another
• 18:11
  Speaker 1: one that was not preserved in any way. It was
• 18:14
  Speaker 1: filmed the kinescope, but the Dumont Network, which was really cheap,
• 18:18
  Speaker 1: um threw all of their reels into the East River, apparently.
• 18:22
  Speaker 1: And there's one episode left of Um Mary Kaye and
• 18:26
  Speaker 1: Johnny and it's at like a like a media Um
• 18:29
  Speaker 1: Museum in Los Angeles. You know now that you mentioned
• 18:33
  Speaker 1: that our colleague Alex's show ephemeral Um, he has an
• 18:38
  Speaker 1: episode about the kinescope. Okay, like an entire episode. I
• 18:41
  Speaker 1: remember now. I think that was in season one. Yeah, great,
• 18:44
  Speaker 1: great show. Uh. So maybe we should talk about the
• 18:47
  Speaker 1: Mary Tyler Moore Show, one of the great shows. Yeah,
• 18:50
  Speaker 1: I mean like if you gotta, if you bow at
• 18:52
  Speaker 1: Norman Lear's feet, you have to bow at Mary Tyler
• 18:54
  Speaker 1: Moore's feet too. Yeah, there was an episode in nine
• 18:57
  Speaker 1: called chuckles bites the dust, historic TV episode where a
• 19:02
  Speaker 1: clown is killed in a parade accident and, uh, it
• 19:07
  Speaker 1: tackles death in a really funny way. Like they definitely
• 19:11
  Speaker 1: sort of talk about mortality and stuff like that, but
• 19:14
  Speaker 1: the whole time they're laughing and they can't contain their
• 19:17
  Speaker 1: laughter about this clown and how the clown died, and
• 19:20
  Speaker 1: it's a very funny episode. It is because poor Mary
• 19:22
  Speaker 1: Tyler Moore has to play it straight for everybody else
• 19:25
  Speaker 1: and like is scolding them for laughing and she they're
• 19:28
  Speaker 1: all trying not to laugh and she's having to keep
• 19:30
  Speaker 1: it really serious. And then, in addition to that, Um,
• 19:34
  Speaker 1: there were some really great jokes in there, like one
• 19:36
  Speaker 1: offs where Um Ted baxters asked if Mary can have
• 19:41
  Speaker 1: a ride to the funeral with him and he goes sure,
• 19:44
  Speaker 1: the more the merrier. The Great Ted Knight. Yeah, it
• 19:49
  Speaker 1: was Ted Baxter, right, I think that was a character's name. Right, okay, yeah,
• 19:53
  Speaker 1: and the actor was Ted Knight. Yeah, yeah, from caddyshack
• 19:56
  Speaker 1: and from too close for comfort. Yep, another Sitcom. I
• 20:01
  Speaker 1: actually quite enjoyed that show because it was I thought,
• 20:06
  Speaker 1: who was the guy? Jim J bullock, was very funny.
• 20:08
  Speaker 1: I thought Ted night was hysterical and, of course, as
• 20:11
  Speaker 1: like a young boy, I just thought that the beautiful
• 20:14
  Speaker 1: blonde and Brunette daughters. I was like, give me that
• 20:16
  Speaker 1: show all day long. Right. I think that is how they,
• 20:20
  Speaker 1: a lot of Um shows, got Um popular. Like Three's company.
• 20:24
  Speaker 1: It's just DREC man like. The writing is terrible, like
• 20:29
  Speaker 1: the plots are terrible. The physical comedy is good, like
• 20:34
  Speaker 1: is great. But if you think about it, he's really
• 20:36
  Speaker 1: the only good actor character, at least in the whole show,
• 20:40
  Speaker 1: because he was the only one that had good stuff
• 20:42
  Speaker 1: written for him. But you had like Chrissie and Janet
• 20:45
  Speaker 1: and Cindy, I think, came after Chrissie. I'm sure they
• 20:50
  Speaker 1: definitely contributed to it. Come on, Mr Roper. Okay, Mr
• 20:54
  Speaker 1: Roper is pretty, pretty funny. We talked about that in
• 20:57
  Speaker 1: the UH, the fern bar episode of our bars podcast.
• 21:02
  Speaker 1: Happy days. Of course we have to mention Fonzi jumps.
• 21:04
  Speaker 1: The Shark, which was and of course that became in
• 21:09
  Speaker 1: the episode Fonzi literally Um Water Skis and jumps the
• 21:14
  Speaker 1: ring of sharks. I think it was sharks, maybe just
• 21:17
  Speaker 1: one shark, because jumps, jumps the sharks the same, same
• 21:23
  Speaker 1: ring to it. I can't remember how many sharks it was,
• 21:25
  Speaker 1: but that became it sort of looked back as the
• 21:27
  Speaker 1: moment where happy days went bad and now is used
• 21:30
  Speaker 1: as an expression of when any show goes bad. But
• 21:33
  Speaker 1: Ed points out like there were some a lot of
• 21:35
  Speaker 1: good happy days, episodes and seasons that happened after that, true,
• 21:40
  Speaker 1: but that season, season five, they also had mork from
• 21:44
  Speaker 1: ORC arrived at Arnold's drive in class and it's yeah,
• 21:48
  Speaker 1: it is classic and it turned out for the best,
• 21:50
  Speaker 1: but the point is it was like a huge departure from,
• 21:54
  Speaker 1: you know, the norm that that show had set up
• 21:56
  Speaker 1: for itself in the previous five seasons. So I think
• 21:58
  Speaker 1: it's not even necessarily just a show turns horrible, it's
• 22:02
  Speaker 1: just it takes like, Um, much more bizarre turns, you know,
• 22:07
  Speaker 1: to maybe boost ratings. I think that's really what jumping
• 22:10
  Speaker 1: the shark is for me. Yeah, I think you're right.
• 22:12
  Speaker 1: The other thing that stuck out to me too, is
• 22:14
  Speaker 1: apparently that that phrase is from. It's that old. Oh Really? Yeah,
• 22:19
  Speaker 1: there was some particular dude who came up with it
• 22:21
  Speaker 1: and wrote a book about it and started a website
• 22:23
  Speaker 1: later on, and it was really like a single person,
• 22:26
  Speaker 1: or maybe two people, introduced that slag into the Zeitgeist.
• 22:30
  Speaker 1: That person right now, if they're listening, he says some
• 22:33
  Speaker 1: particular dude thank you right, thanks a lot, other dude.
• 22:37
  Speaker 1: Thanks a lot, master researcher. Alright, fine, I take that challenge.
• 22:43
  Speaker 1: I can talk before we break about a couple of
• 22:44
  Speaker 1: more landmark events in TV Sitcom history. One, of course,
• 22:48
  Speaker 1: it's the final episode of Mash Uh. Notable because, a,
• 22:51
  Speaker 1: it was one of the biggest shows ever and it
• 22:55
  Speaker 1: be because it was one of the biggest final finales,
• 22:58
  Speaker 1: final finales of all time and all the way up
• 23:02
  Speaker 1: and this was and it was the number one audience,
• 23:07
  Speaker 1: top audience, of any broadcast in TV history until the
• 23:11
  Speaker 1: super bowl in that was what a run like one
• 23:15
  Speaker 1: of the best like television episodes of all time, like
• 23:18
  Speaker 1: it just got in the bread basket. Over and over
• 23:20
  Speaker 1: agames called goodbye, farewell and Amen. Ellen coming out was
• 23:24
  Speaker 1: a big deal. There was a gay character in Billy
• 23:27
  Speaker 1: Crystal on the Sitcom Soap Um. But Ellen actually coming
• 23:31
  Speaker 1: out on the show after she came out in real
• 23:34
  Speaker 1: life was a very big deal and conservatives hated it.
• 23:39
  Speaker 1: You get this Jerry folwell called her ellen degenerate for
• 23:43
  Speaker 1: coming out of gay. He called her a degenerate for
• 23:46
  Speaker 1: for saying, guess I'm actually gay, rather than staying in
• 23:49
  Speaker 1: the closet, and that disgusting. What a good dude. And
• 23:52
  Speaker 1: that episode they code named it the puppy so no
• 23:55
  Speaker 1: one would have any idea what was coming. It's pretty funny.
• 23:59
  Speaker 1: Uh A, right, should take our final break. Yeah, let's,
• 24:02
  Speaker 1: and then we'll come back and talk about more Sitcom stuff.
• 24:05
  Speaker 1: I want to learn about a terrosortic college act, how
• 24:07
  Speaker 1: to take a perfect but with all about fractal Kiscun.
• 24:10
  Speaker 1: That's another hunt. The lizzie border murders that they kind
• 24:12
  Speaker 1: of all runs on the plane everything this time we
• 24:16
  Speaker 1: should know. Word up, Jerry George. All right, we're gonna
• 24:33
  Speaker 1: finish up with what Ed calls odds and ends, which
• 24:36
  Speaker 1: I think is perfect, because some of these are significant moments,
• 24:39
  Speaker 1: some of these are just little other random BITs, um tropes,
• 24:44
  Speaker 1: what have you. One is a trope for sure, which
• 24:48
  Speaker 1: is the couch in the center of the room. Uh,
• 24:50
  Speaker 1: it's obviously done this way because it just makes a
• 24:53
  Speaker 1: lot of sense to have sort of the central action
• 24:57
  Speaker 1: being framed around the center part of a living room.
• 25:00
  Speaker 1: But it's funny if you go back and look at
• 25:03
  Speaker 1: all in the family, the cosby show and at least
• 25:06
  Speaker 1: married with children, those three sets are almost identical and
• 25:10
  Speaker 1: that you have your entry door on the right, the
• 25:12
  Speaker 1: couch in the middle and a set of stairs behind you. Uh.
• 25:16
  Speaker 1: And then of course shows like friends in Seinfeld and
• 25:19
  Speaker 1: it's it's not like landmark to say, Hey, let's center
• 25:21
  Speaker 1: the action on the center of the room. But the
• 25:23
  Speaker 1: couch in the center of the room definitely became a trope. Yeah,
• 25:26
  Speaker 1: it allows it allows actors to interact with the person
• 25:30
  Speaker 1: on the couch without standing in between them and the
• 25:33
  Speaker 1: camera to stand behind them. Right. So it makes total
• 25:36
  Speaker 1: sense in Sitcom world, but it is bizarre if you
• 25:38
  Speaker 1: step back and think about it. That actually ties in
• 25:41
  Speaker 1: chuck with another little tidbit about sitcoms called the fourth wall.
• 25:45
  Speaker 1: And it's not just sitcoms but any TV show, but
• 25:48
  Speaker 1: for sure, but it particularly applies the sitcoms because if
• 25:52
  Speaker 1: you look at a Sitcom set, there's usually three walls.
• 25:55
  Speaker 1: There's the back wall and two side walls, but the
• 25:57
  Speaker 1: front wall is imaginary and it allows you, the viewer,
• 26:00
  Speaker 1: to look in on the action. But the people in
• 26:03
  Speaker 1: the action, the actual characters, don't recognize that you're looking
• 26:07
  Speaker 1: back at them, or they're not supposed to. But you
• 26:09
  Speaker 1: can really toy with this whole thing because every once
• 26:12
  Speaker 1: in a a while the character can turn and address the you,
• 26:15
  Speaker 1: the viewer, and that's called breaking the fourth wall. Yeah,
• 26:18
  Speaker 1: which can be fun. It can be funny if, if
• 26:21
  Speaker 1: Burt Reynolds does it, it gives this little signature laugh
• 26:24
  Speaker 1: in a movie, that's funny. If Ferris Bueller does it,
• 26:27
  Speaker 1: it's funny. It can be a little weird and disconcerting.
• 26:29
  Speaker 1: So breaking the fourth wall is something that, whenever it's
• 26:33
  Speaker 1: entertained by a director or production or writer or whatever,
• 26:37
  Speaker 1: it's always very much like, let's put a lot of
• 26:39
  Speaker 1: thought into this, because it can really go bad. That's right, right. Yeah, yeah,
• 26:43
  Speaker 1: you don't wanna, you don't want to do it wrong,
• 26:45
  Speaker 1: because I would guess you could sink like a whole
• 26:47
  Speaker 1: show doing it wrong. Yeah, it's not a willing anything
• 26:50
  Speaker 1: how about spinoffs? I love spinoffs. There's been a lot
• 26:54
  Speaker 1: of very bad ones, but in some cases spinoffs have
• 26:58
  Speaker 1: been at least as popular as the original show. Um,
• 27:02
  Speaker 1: you have great shows like Mash which had trapper John
• 27:05
  Speaker 1: M D, which was pretty popular, and then the very
• 27:08
  Speaker 1: not great aftermash. Yeah, that was weird, terrible title. And then, Um,
• 27:14
  Speaker 1: that's pretty good too. Two is not bad. Um. What
• 27:17
  Speaker 1: about happy days, though? Happy days had Morkan Mindy, of course,
• 27:21
  Speaker 1: very popular show. UH, joanie loves CHOCY, not so great lavernon.
• 27:27
  Speaker 1: Surely that was from happy to right, a great, great show.
• 27:31
  Speaker 1: And then there were two more which I didn't even
• 27:33
  Speaker 1: know about. One called BLANKSI's beauties, the one called out
• 27:36
  Speaker 1: of the blue, and the reason you don't know about
• 27:38
  Speaker 1: was because they were terrible shows. But also, like they
• 27:41
  Speaker 1: introduced Morkin season five and gave him a spinoff. These
• 27:45
  Speaker 1: guys were introduced. They would introduce the character out of
• 27:49
  Speaker 1: the blue for the first time and then the next
• 27:51
  Speaker 1: night they would premier their spinoff show and it just
• 27:54
  Speaker 1: was a format they were trying and it just quite
• 27:57
  Speaker 1: worked out. Yeah, it didn't work very well. Uh, the
• 28:00
  Speaker 1: Jeffersons I mentioned spun from all in the family. Um,
• 28:03
  Speaker 1: another really popular show was a different world that spun
• 28:06
  Speaker 1: out from the Cosby show. Benson was a spinoff from what. Okay,
• 28:13
  Speaker 1: and I love Benson as a kid. I love that show. Uh,
• 28:16
  Speaker 1: facts of life was a great spinoff from different strokes.
• 28:18
  Speaker 1: Of course, Frasier, one of the all time great shows. UH,
• 28:23
  Speaker 1: spun off from one of the all time great shows. Yeah,
• 28:26
  Speaker 1: from cheers. You remember. Frasier was, I think he dated
• 28:29
  Speaker 1: Diane for a little while, didn't he? He that? He
• 28:31
  Speaker 1: was introduced dating Diane and then later dated that Lilith,
• 28:35
  Speaker 1: of course, one of the great characters, right. Yeah, and
• 28:37
  Speaker 1: she actually made it over to the spinoff two. Yeah, yeah,
• 28:40
  Speaker 1: she appeared on Frasier for sure. So all in the
• 28:43
  Speaker 1: family is apparently the the all time spinoff champ with
• 28:47
  Speaker 1: seven shows that it produced. The reason it was able
• 28:51
  Speaker 1: to do this is because it was so popular. Some
• 28:53
  Speaker 1: of its spinoffs had spinoffs, like, I think Rhoda was
• 28:57
  Speaker 1: a spinoff from all in the family and it ended
• 28:59
  Speaker 1: up spinning off Gloria, I think, or something. Yeah. So,
• 29:03
  Speaker 1: all told, all in the family generated eight hundred and
• 29:06
  Speaker 1: sixty episodes of television. Wow, yeah, that's it's almost like
• 29:11
  Speaker 1: the the Tommy, what's his name, verse from Tommy Westfall Universe. Yeah,
• 29:18
  Speaker 1: it is very much like that. I was trying to
• 29:20
  Speaker 1: explain that to emily and some people the other day
• 29:22
  Speaker 1: and just totally botched it. I need to retake that
• 29:26
  Speaker 1: one too. Just get me on the phone, put me
• 29:28
  Speaker 1: on speaker phone. Uh, and then when you know, recently
• 29:31
  Speaker 1: we could. We don't get a lot of spinoffs anymore,
• 29:33
  Speaker 1: but we should definitely shout out grownish, which is a
• 29:37
  Speaker 1: newer spinoff of blackish. Right, so it still happens. Another
• 29:42
  Speaker 1: thing that happened that was kind of like a landmark
• 29:44
  Speaker 1: bomb in the Sitcom world, and not bomb in the
• 29:47
  Speaker 1: bad way, but like meaning it was consequential. The flintstones
• 29:51
  Speaker 1: came out in and not. To that point no one
• 29:54
  Speaker 1: had even conceived of an animated Sitcom, but that's absolutely
• 29:58
  Speaker 1: what it was, so much so it was essentially an
• 30:01
  Speaker 1: animated rip off of the Honeymooners, based in prehistoric times. Yeah,
• 30:06
  Speaker 1: and uh, animated sitcoms became a staple of TV at
• 30:09
  Speaker 1: primetime television, with the jetsons, of course, Our Beloved Simpsons
• 30:14
  Speaker 1: and Future Rama, and now Bob's Burger's is one of
• 30:16
  Speaker 1: the family guy of course, and then Bob's Burgers, one
• 30:19
  Speaker 1: of the longest running current sitcoms. Animated Sitcoms? Yeah, there's
• 30:23
  Speaker 1: also rick and Morty, South Park. There's tons of animated
• 30:26
  Speaker 1: sitcoms and they can all thank the flint stones for
• 30:29
  Speaker 1: that and and, to a lesser extent, the JETSON's. It's
• 30:31
  Speaker 1: funny to think of South Park it's a Sitcom, but
• 30:34
  Speaker 1: I guess it is totally. It's just so offbeat it
• 30:37
  Speaker 1: doesn't seem to, you know, fit that mold, but it
• 30:40
  Speaker 1: is Sitcom Um. And then chuck. There's one other like
• 30:44
  Speaker 1: a significant moment in TV I want to like definitely
• 30:46
  Speaker 1: shout out. Was the last episode of New Heart that
• 30:49
  Speaker 1: aired in did you see it? I did. I was
• 30:52
  Speaker 1: a big fan of both the original Bob Newhart show
• 30:55
  Speaker 1: and reruns and then loved, loved the new heart show
• 30:59
  Speaker 1: where he was the in the first one he was
• 31:01
  Speaker 1: a psychologist married to Susanne Plashette, and in the second
• 31:05
  Speaker 1: new heart he was a B and b operator in Vermont,
• 31:09
  Speaker 1: right yeah, named Dick Loudon. And the second show new heart,
• 31:13
  Speaker 1: was much more weird and wacky and just kind of
• 31:16
  Speaker 1: went out there, whereas the BOB new heart show from
• 31:18
  Speaker 1: the seventies was a little more like down to Earth and,
• 31:21
  Speaker 1: you know, stayed uh, it had like new heart stead Pan,
• 31:25
  Speaker 1: you know, humor. I just accidentally did a new heart period. Um.
• 31:30
  Speaker 1: And so in the last episode of New Heart, Um,
• 31:33
  Speaker 1: the second show, uh, it starts at the last couple
• 31:36
  Speaker 1: of minutes. Started out in a darkened room and all
• 31:38
  Speaker 1: of a sudden Bob Wakes up, or Dick loud and
• 31:41
  Speaker 1: wakes up, you think. And it turns out he wakes
• 31:44
  Speaker 1: up his wife next to him and it's Susanne Plashette,
• 31:47
  Speaker 1: his wife from the BOB new heart show from the seventies.
• 31:50
  Speaker 1: And it turns out the entirety of new heart took
• 31:53
  Speaker 1: place in a dream of Bob Hartley's in the show,
• 31:56
  Speaker 1: the BOB new heart show. It's one of the greatest
• 32:00
  Speaker 1: aries finales of all time of any show, not just sitcoms.
• 32:03
  Speaker 1: Absolutely uh, it's. It's, for my money, maybe the only
• 32:07
  Speaker 1: time the it was all a dream thing worked to perfection,
• 32:11
  Speaker 1: because it's kind of become a trope, like a bad trope,
• 32:15
  Speaker 1: where it just is a sort of a lazy way
• 32:17
  Speaker 1: to do something. The reset button. Yeah, but boy, it
• 32:21
  Speaker 1: just they pulled their card at the right time. The
• 32:24
  Speaker 1: original new heart show was so beloved, I think in
• 32:26
  Speaker 1: Susan Plachette, so recognizable and beloved. Uh, it was just perfection.
• 32:31
  Speaker 1: It worked great, totally. Something that didn't work great and
• 32:34
  Speaker 1: I say this is the thing we go out on.
• 32:36
  Speaker 1: How about that? All right, it's called the Darren switch
• 32:39
  Speaker 1: or the other Darren, and it happened on the more
• 32:43
  Speaker 1: the two dicks, right, that's true. Um, it happened on
• 32:46
  Speaker 1: the sixth season of bewitched, right, and this was uh,
• 32:51
  Speaker 1: Darren was the husband, Samantha's husband. I'm bewitched, a great,
• 32:54
  Speaker 1: great show, originally played by Dick Yorke, and then another
• 32:58
  Speaker 1: Dick came in, Dick Sargent came in, and they just
• 33:03
  Speaker 1: swapped it out. They never explained it. Uh. This has
• 33:06
  Speaker 1: happened quite a few other times in TV history too,
• 33:10
  Speaker 1: write so much so that, like I said, it's a
• 33:11
  Speaker 1: trope called the other Darren, where they just bring in
• 33:14
  Speaker 1: a new actor without any explanation whatsoever, to start playing
• 33:18
  Speaker 1: an established role. Happens most often on soap operas, I've heard,
• 33:22
  Speaker 1: for sure, some of the other notable sitcoms, though. The
• 33:25
  Speaker 1: MOM on the fresh prince was swapped out Oh yeah,
• 33:30
  Speaker 1: on that seventies show. This one is very sad. Eric's
• 33:32
  Speaker 1: older sister was played by Lisa Robin Kelly at first
• 33:36
  Speaker 1: and she had drug and alcohol problems and she was
• 33:40
  Speaker 1: booted from the show and replaced and ended up dying
• 33:43
  Speaker 1: of a drug overdose. MORTY Seinfeld was different in one episode,
• 33:50
  Speaker 1: like in the middle of the run. Well, it was
• 33:53
  Speaker 1: the first time he was ever in an episode. It
• 33:55
  Speaker 1: was played by a different actor just for the one
• 33:57
  Speaker 1: episode and then we got uh, the Great Barney Martin
• 34:02
  Speaker 1: just owned you know. He played Lizam Nelly's Dad and
• 34:04
  Speaker 1: Arthur two, one of my favorite comedies. But if you
• 34:07
  Speaker 1: look back to that first Morty, uh Larry David didn't
• 34:10
  Speaker 1: like it and he's like he's too soft and he
• 34:12
  Speaker 1: swapped him after Barney Martin. That's awesome. Sometimes your father
• 34:15
  Speaker 1: forgets and I have to steal uh Ross's ex wife
• 34:20
  Speaker 1: Carol changed. Oh yeah, that's right. Okay, I knew that. UH, Angie,
• 34:24
  Speaker 1: I'm thirty rock, was another one episode run before they
• 34:28
  Speaker 1: switched to a different actor. Which one was Angie? Angie was?
• 34:33
  Speaker 1: Who Was Angie? I haven't seen thirty rock in so long.
• 34:36
  Speaker 1: I think she was just on the crew. Maybe I
• 34:39
  Speaker 1: can't remember that exactly. Um, or was she? I can't remember. Bewitched.
• 34:46
  Speaker 1: Um also had a switch, and that the gladys, the
• 34:49
  Speaker 1: nosy neighbor. Uh. The actor who played her died of
• 34:52
  Speaker 1: ovarian cancer and so they did a double switch twice.
• 34:57
  Speaker 1: And then finally, in True Mitch Her which Uh Fashion,
• 35:02
  Speaker 1: Mitch Hurwitz. He was the show runner for the rest
• 35:05
  Speaker 1: of development. And you remember and the boyfriend, I'm sorry,
• 35:09
  Speaker 1: the girlfriend of of what's his face? Michael Sarah was
• 35:14
  Speaker 1: like completely forgettable and the dad never no one ever
• 35:16
  Speaker 1: remembered who she was. So his idea was to have
• 35:19
  Speaker 1: a different actor play and in every episode, is that right? Yeah,
• 35:24
  Speaker 1: to kind of, you know, just make fun of the
• 35:26
  Speaker 1: trope a little bit. And he did that twice and
• 35:29
  Speaker 1: he ended up really, really liking the second actor so
• 35:31
  Speaker 1: much I think he was like, I can't like fire you.
• 35:34
  Speaker 1: So he did it once and then I had the
• 35:36
  Speaker 1: same actor player, which is pretty funny. That guy is brilliant. Um.
• 35:42
  Speaker 1: So I guess that's it for sitcoms. Huh. Like we
• 35:44
  Speaker 1: could just keep talking about significant Sitcom moments all day,
• 35:47
  Speaker 1: but I think we should probably stop. I think so
• 35:50
  Speaker 1: we ran a couple of minutes long, but, uh, do
• 35:52
  Speaker 1: you have anything you want to retake this week? No,
• 35:54
  Speaker 1: it's all good this time. All right, great. Well, thanks
• 35:58
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• 36:00
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• 36:02
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• 36:28
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