1
00:00:05,000 --> 00:00:07,379
TONIGHT TELEVISION
TAKES A LOOK AT ITSELF.

2
00:00:07,482 --> 00:00:09,275
WHAT'S
ON THE IDIOT BOX?

3
00:00:09,379 --> 00:00:12,275
IT'S ONLY AN IDIOT BOX
IF AN IDIOT IS WATCHING IT.

4
00:00:12,379 --> 00:00:14,137
Asner: I'LL TELL YOU ABOUT
THE GOLDEN AGE OF TELEVISION.

5
00:00:14,241 --> 00:00:15,172
THIS PERIOD IN TIME

6
00:00:15,275 --> 00:00:17,310
WILL BE LOOKED UPON
AS THE PLATINUM AGE.

7
00:00:17,413 --> 00:00:19,103
Lear:
OUR OBLIGATION IS TO ENTERTAIN,

8
00:00:19,206 --> 00:00:21,655
AND IF WE'VE LEFT SOMETHING TO
THINK ABOUT, SO MUCH THE BETTER.

9
00:00:21,758 --> 00:00:24,000
KUNTA. KUNTA KINTE.

10
00:00:24,103 --> 00:00:26,241
TELEVISION SHOULD NOT BE
JUST ENTERTAINMENT.

11
00:00:26,344 --> 00:00:29,103
CHARGES WERE LEVELED AT THE
COMMERCIAL TELEVISION NETWORK.

12
00:00:29,206 --> 00:00:32,206
CONGRESS HAS NO RIGHT INTERFERE
WITH THE MEDIA.

13
00:00:32,310 --> 00:00:33,896
WELL, EXCUSE ME!

14
00:00:34,000 --> 00:00:36,517
WE HAVE A RESPONSIBILITY
TO GIVE THE AUDIENCE

15
00:00:36,620 --> 00:00:38,551
WHAT IT TUNED IN TO SEE.

16
00:01:32,517 --> 00:01:35,172
THE YEARS OF THE '60s,
WHICH END IN A FEW HOURS,

17
00:01:35,275 --> 00:01:38,413
HAVE A BAD REPUTATION
THAT IS NOT ENTIRELY JUSTIFIED.

18
00:01:38,517 --> 00:01:40,482
SOME THINGS GOT WORSE, OBVIOUSLY,

19
00:01:40,586 --> 00:01:43,586
BUT TV AND OTHER NEWS COVERAGE
IS BETTER, NOT WORSE.

20
00:01:43,689 --> 00:01:47,206
WE SIMPLY DEVELOPED
MORE DEMANDING STANDARDS.

21
00:01:48,068 --> 00:01:50,793
WHEN I THINK OF TV,
I THINK OF THE '70s.

22
00:01:50,896 --> 00:01:53,000
WHAT IS THIS WORLD
COMING TO?

23
00:01:53,103 --> 00:01:55,931
THE AMERICAN PUBLIC
WAS HUNGRY FOR MORE.

24
00:01:58,137 --> 00:02:00,586
WHAT WAS ALLOWED
THAT HADN'T BEEN BEFORE?

25
00:02:00,689 --> 00:02:04,310
IT WAS THE LAST DECADE WHERE
IT WAS A CAMPFIRE TELEVISION,

26
00:02:04,413 --> 00:02:07,068
WHERE THERE WAS ONE
IN THE LIVING ROOM.

27
00:02:07,172 --> 00:02:09,034
I WANT TO WATCH AN ALL-BLACK
SHOW FOR A CHANGE.

28
00:02:09,137 --> 00:02:11,068
WHERE YOU GONNA FIND ONE?HERE'S ONE--

29
00:02:11,172 --> 00:02:15,896
THE LOS ANGELES LAKERS
AGAINST THE MILWAUKEE BULLS.

30
00:02:16,000 --> 00:02:19,655
Bianculli: YOUNG PEOPLE WERE
INTERESTED IN RELEVANT THINGS,

31
00:02:19,758 --> 00:02:21,965
AND SO TELEVISION
BEGAN TO REFLECT THAT.

32
00:02:22,068 --> 00:02:23,827
Man: THIS IS CBS.

33
00:02:23,931 --> 00:02:26,551
REALLY IT WAS VERY SIMPLE--
YOU HAD THREE CHANNELS,

34
00:02:26,655 --> 00:02:28,206
AND PLUS PBS.

35
00:02:28,310 --> 00:02:32,310
Ken: WHEN THE DECADE
TURNED OVER INTO THE '70s,

36
00:02:32,413 --> 00:02:34,517
TELEVISION WAS VERY RURAL.

37
00:02:38,103 --> 00:02:42,241
CBS HAD "BEVERLY HILLBILLIES,"
"GREEN ACRES."

38
00:02:42,344 --> 00:02:44,896
"PETTICOAT JUNCTION" AND THESE
KIND OF RURAL FANTASIES

39
00:02:45,000 --> 00:02:47,620
OF MAYBERRY AS A--

40
00:02:47,724 --> 00:02:50,413
THE HILLBILLY SHOWS
WERE EVERYWHERE,
AND THEN THEY WEREN'T.

41
00:02:50,517 --> 00:02:53,551
Elana: FRED SILVERMAN, WHO WAS
RUNNING PROGRAMMING AT CBS,

42
00:02:53,655 --> 00:02:55,724
SAID WE'RE GONNA GET RID
OF THE SHOWS

43
00:02:55,827 --> 00:02:57,206
THAT ARE THE MOST HIGHLY RATED,

44
00:02:57,310 --> 00:02:59,689
AND REPLACE THEM WITH SHOWS
THAT THEY THOUGHT

45
00:02:59,793 --> 00:03:02,275
WOULD BE MORE APPEALING
TO THAT YOUNGER AUDIENCE.

46
00:03:02,379 --> 00:03:04,793
THEY CHANGED
THE FACE OF TELEVISION.

47
00:03:04,896 --> 00:03:06,724
MY NAME IS NORMAN LEAR.

48
00:03:06,827 --> 00:03:09,413
UNTIL 1971,
HE WAS A VERY SUCCESSFUL,

49
00:03:09,517 --> 00:03:12,482
IF LARGELY UNHERALDED
PRODUCER/WRITER IN HOLLYWOOD.

50
00:03:12,586 --> 00:03:14,862
BUT THEN HE BURST UPON
THE PUBLIC CONSCIOUSNESS

51
00:03:14,965 --> 00:03:17,275
WHEN HE TOOK ON BIGOTRY
WITH HIS "ALL IN THE FAMILY."

52
00:03:17,379 --> 00:03:19,793
Gilligan:
NORMAN LEAR AND BUD YORKIN

53
00:03:19,896 --> 00:03:21,793
CREATED ABSOLUTELY ICONIC SHOWS.

54
00:03:21,896 --> 00:03:24,551
Shales: THEY REVOLUTIONIZED
NOT ONLY CBS,

55
00:03:24,655 --> 00:03:25,931
BUT ALL OF AMERICAN TELEVISION.

56
00:03:26,034 --> 00:03:29,482
OUR WORLD IS COMING
CRUMBLING DOWN.

57
00:03:29,586 --> 00:03:31,517
THE COONS ARE COMING.

58
00:03:31,620 --> 00:03:35,482
TO USE LANGUAGE LIKE THAT ON TV
WAS JUST UNHEARD OF,

59
00:03:35,586 --> 00:03:38,482
BUT IT REALLY CAPTURED
A CERTAIN MOMENT.

60
00:03:38,586 --> 00:03:40,482
ARCHIE, 12%
OF THE POPULATION IS BLACK.

61
00:03:40,586 --> 00:03:43,310
THERE SHOULD BE A LOT OF BLACK
FAMILIES LIVING OUT HERE.

62
00:03:43,413 --> 00:03:44,931
YEAH, THIS IS
ONLY A BEGINNING,

63
00:03:45,034 --> 00:03:45,931
BUT I THINK IT'S
WONDERFUL.

64
00:03:46,034 --> 00:03:48,068
WELL, LET'S SEE
HOW WONDERFUL IT IS

65
00:03:48,172 --> 00:03:50,689
WHEN THE WATERMELON RINDS
COME FLYING OUT THE WINDOW.

66
00:03:50,793 --> 00:03:53,103
IT SCARED ME
WHEN I FIRST SAW "ALL IN
THE FAMILY" A LITTLE BIT.

67
00:03:53,206 --> 00:03:54,689
I THOUGHT,
"THEY BETTER BE CAREFUL."

68
00:03:54,793 --> 00:03:56,379
Lear:
THERE WAS NO DOUBT IN MY MIND

69
00:03:56,482 --> 00:03:58,931
THE AMERICAN PEOPLE
WERE GONNA ACCEPT IT.

70
00:03:59,034 --> 00:04:01,379
DO YOU HAVE A QUICK ANSWER
FOR THE PEOPLE WHO SAY

71
00:04:01,482 --> 00:04:04,206
THE SHOW REINFORCES BIGOTRY,
AND YOU KNOW THAT CHARGE STARTED

72
00:04:04,310 --> 00:04:06,793
FROM THE VERY BEGINNING?YES, MY QUICK ANSWER
IS NO.

73
00:04:06,896 --> 00:04:08,689
EVERYBODY WAS GONNA SEE SOMETHING

74
00:04:08,793 --> 00:04:10,620
THEY KNEW DAMN WELL
WAS GOING ON,

75
00:04:10,724 --> 00:04:12,344
AND I THINK THAT'S SURPRISING.

76
00:04:12,448 --> 00:04:15,034
Archie: EDITH,
WE'RE OUT OF TOILET PAPER.

77
00:04:15,137 --> 00:04:18,000
NO WE'RE NOT.
I BOUGHT SOME YESTERDAY.

78
00:04:18,103 --> 00:04:20,103
IT'S IN THE CLOSET
IN THE KITCHEN.

79
00:04:20,206 --> 00:04:21,862
I AIN'T
IN THE KITCHEN.

80
00:04:21,965 --> 00:04:23,689
OH!

81
00:04:23,793 --> 00:04:26,689
HEARING A TOILET FLUSH FOR
THE FIRST TIME WAS A BIG DEAL

82
00:04:26,793 --> 00:04:27,931
AND MADE HEADLINES.

83
00:04:28,034 --> 00:04:29,448
[ TOILET FLUSHES ]

84
00:04:29,551 --> 00:04:31,655
Archie: WHAT'S THIS COUNTRY
COMING TO, ANYHOW?

85
00:04:31,758 --> 00:04:33,965
WHAT IS IT, ARCHIE?
BAD NEWS?
WHAT ELSE?

86
00:04:34,068 --> 00:04:36,206
WE GET OUT OF VIETNAM
OR SOMETHING?

87
00:04:36,310 --> 00:04:39,034
DON'T BE
A WISE GUY, HUH?

88
00:04:39,137 --> 00:04:41,724
I WASN'T GONNA PLAY AROUND
WITH "MOM DENTED THE CAR,

89
00:04:41,827 --> 00:04:44,793
NOW HOW ARE WE GONNA KEEP DAD
FROM FINDING OUT ABOUT IT?"

90
00:04:44,896 --> 00:04:47,034
NOT WHEN I SEE EVERYTHING

91
00:04:47,137 --> 00:04:48,448
THAT'S GOING AROUND
IN OUR COUNTRY.

92
00:04:48,551 --> 00:04:50,551
JUST BECAUSE
A GUY IS SENSITIVE,

93
00:04:50,655 --> 00:04:52,793
A-AND HE'S AN INTELLECTUAL
AND HE WEARS GLASSES,

94
00:04:52,896 --> 00:04:54,241
YOU MAKE HIM OUT A QUEER.

95
00:04:54,344 --> 00:04:56,793
I NEVER SAID A GUY
WHO WEARS GLASSES IS A QUEER.

96
00:04:56,896 --> 00:05:00,000
A GUY WHO WEARS GLASSES
IS A FOUR-EYES.

97
00:05:00,103 --> 00:05:02,379
A GUY WHO'S A FAG
IS A QUEER.

98
00:05:02,482 --> 00:05:03,827
Elana:
"ALL IN THE FAMILY"

99
00:05:03,931 --> 00:05:05,689
DID SOMETHING REALLY NEW
FOR TELEVISION.

100
00:05:05,793 --> 00:05:08,034
IT PUT BEFORE
THE AMERICAN PUBLIC

101
00:05:08,137 --> 00:05:10,068
ARCHIE'S FRIEND,
WHO WAS VERY MASCULINE,

102
00:05:10,172 --> 00:05:12,413
AND WHO HAPPENED TO BE GAY.

103
00:05:12,517 --> 00:05:14,517
HOW LONG YOU KNOWN ME?
10, 12 YEARS?

104
00:05:14,620 --> 00:05:15,620
YEAH.

105
00:05:15,724 --> 00:05:18,758
IN ALL THAT TIME,
DID I EVER MENTION A WOMAN?

106
00:05:18,862 --> 00:05:21,310
OH, COME ON, STEVE.

107
00:05:32,896 --> 00:05:36,413
NIXON OBJECTING TO THE SHOW--
THAT WAS A BADGE OF HONOR.

108
00:05:36,517 --> 00:05:40,103
AND IT WAS REALLY CULTURALLY
ON POINT EVERY TIME.

109
00:05:40,206 --> 00:05:42,310
FOR A SITCOM--
THAT WAS UNHEARD OF.

110
00:05:42,413 --> 00:05:43,827
1, 2, 3.

111
00:05:43,931 --> 00:05:45,275
[ CAMERA SHUTTER CLICKS ]

112
00:05:45,379 --> 00:05:47,827
Lear:
I WANTED TO DO AN EPISODE

113
00:05:47,931 --> 00:05:51,275
WHERE SOMEBODY COULD GIVE ARCHIE
WHAT HE EARNED.

114
00:05:51,379 --> 00:05:53,758
SHUT UP, ALL OF YOU!
SHH.

115
00:05:53,862 --> 00:05:55,551
Archie:
WE CREATED A CHARACTER

116
00:05:55,655 --> 00:05:57,310
THAT COULD REALLY
LET HIM HAVE IT.

117
00:05:58,724 --> 00:05:59,655
MAUDE!

118
00:06:01,000 --> 00:06:02,896
I'M ONLY HERE
BECAUSE OF EDITH.

119
00:06:03,000 --> 00:06:05,482
THE FACT THAT YOU HAPPEN TO BE
HERE WITH HER

120
00:06:05,586 --> 00:06:06,724
IS BEYOND MY CONTROL...

121
00:06:06,827 --> 00:06:09,310
LIKE ANY OTHER
FREAK OF NATURE.

122
00:06:09,413 --> 00:06:11,758
Lear: BEFORE THAT SHOW
WAS OFF THE AIR,

123
00:06:11,862 --> 00:06:14,517
FRED SILVERMAN WAS
ON THE TELEPHONE WITH ME

124
00:06:14,620 --> 00:06:17,000
SAYING, "THERE'S A SHOW
IN THAT WOMAN."

125
00:06:17,103 --> 00:06:18,310
[ TELEPHONE RINGS ]

126
00:06:18,413 --> 00:06:21,172
HELLO?
NO, THIS IS NOT MR. FINDLAY.

127
00:06:21,275 --> 00:06:22,310
IT'S MRS. FINDLAY.

128
00:06:22,413 --> 00:06:25,793
YEAH, MR. FINDLAY
HAS A MUCH HIGHER VOICE.

129
00:06:25,896 --> 00:06:27,413
NOW, GET YOUR COAT
AND COME ON.

130
00:06:27,517 --> 00:06:28,517
WHAT MAKES YOU THINK

131
00:06:28,620 --> 00:06:30,931
YOU CAN ORDER ME AROUND
LIKE THAT, HENRY?

132
00:06:31,034 --> 00:06:32,724
YOU'RE MY WIFE.
THAT GIVES ME THE RIGHT.

133
00:06:32,827 --> 00:06:35,655
WHEN HE SAYS "WIFE,"
HE MEANS POSSESSION.

134
00:06:35,758 --> 00:06:38,137
SO WHAT, MAUDE?
YOU'VE TOLD ME A HUNDRED TIMES

135
00:06:38,241 --> 00:06:39,931
YOU WANT
TO FEEL POSSESSED.

136
00:06:40,034 --> 00:06:42,137
WALTER FINDLAY, I NEVER
SAID THAT STANDING UP,

137
00:06:42,241 --> 00:06:43,517
AND YOU KNOW IT.

138
00:06:43,620 --> 00:06:45,586
Gilligan:
NORMAN LEAR AND BUD YORKIN

139
00:06:45,689 --> 00:06:48,827
REALLY TURNED THE SPIN-OFF
SERIES INTO AN ART FORM.

140
00:06:48,931 --> 00:06:51,724
Man: NORMAN LEAR HATES TO HEAR
IT CALLED "THE LEAR FACTORY."

141
00:06:51,827 --> 00:06:53,758
ALL HIS SERIES COME OUT
OF THIS BUILDING,

142
00:06:53,862 --> 00:06:57,517
ALLOWING LEAR TO MOVE FROM
SHOW TO SHOW LIKE A DERVISH.

143
00:06:57,620 --> 00:07:00,000
"GOOD TIMES" WAS LIKE,
"HOLY SMOKES,

144
00:07:00,103 --> 00:07:02,137
THERE'S BLACK PEOPLE ON TV."

145
00:07:02,241 --> 00:07:04,448
THERE HAD NEVER BEEN
A COMPLETE BLACK FAMILY

146
00:07:04,551 --> 00:07:07,241
ON TV BEFORE WITH THE FATHER.

147
00:07:07,344 --> 00:07:09,344
Hanks: WHAT MADE IT
SO UNIQUE AND UNIVERSAL

148
00:07:09,448 --> 00:07:11,551
WAS THAT WE HAVE THE SAME
PROBLEMS IN OUR HOUSEHOLD,

149
00:07:11,655 --> 00:07:13,689
AND WE DO NOT LIVE
IN THE PROJECTS IN CHICAGO.

150
00:07:13,793 --> 00:07:15,103
DY-NO-MITE!

151
00:07:15,206 --> 00:07:18,275
YOU WANT TO WORRY YOUR HEAD
ABOUT NOTHING, GO ON AND DO IT.

152
00:07:18,379 --> 00:07:19,931
BUT WE GOT $32
IN THE SHOEBOX,

153
00:07:20,034 --> 00:07:22,344
AND I GOT ANOTHER $6
RIGHT HERE IN MY POCKET.

154
00:07:22,448 --> 00:07:25,586
YOU WORKED ALL NIGHT,
AND ALL THEY PAID YOU WAS $6?

155
00:07:25,689 --> 00:07:28,206
THERE WERE A LOT OF FOLKS WHO
WERE NOT HAPPY WITH THE SHOW.

156
00:07:28,310 --> 00:07:31,448
THE BLACK PANTHERS
WERE VERY UPSET.

157
00:07:31,551 --> 00:07:33,620
Lear:
WHEN HUEY NEWTON CAME TO SEE ME,

158
00:07:33,724 --> 00:07:36,758
THE BIG COMPLAINT WAS,
"WHY CAN'T WE SEE A BLACK MAN

159
00:07:36,862 --> 00:07:38,551
THAT'S DOING BETTER THAN THAT?"

160
00:07:40,206 --> 00:07:43,034
"THE JEFFERSONS" STARTED
AS NEIGHBORS OF ARCHIE BUNKER.

161
00:07:43,137 --> 00:07:46,448
DON'T CALL ME HONKY!

162
00:07:46,551 --> 00:07:49,551
OH! WHY YOU SO SENSITIVE
ALL OF A SUDDEN?

163
00:07:49,655 --> 00:07:51,068
HOW WOULD YOU LIKE IT
IF I CALLED YOU "NIGGER"?

164
00:07:51,172 --> 00:07:53,103
[ GASPS ]

165
00:07:54,379 --> 00:07:56,275
HE CALLED ME "NIGGER."

166
00:07:56,379 --> 00:07:58,275
THAT'S NO WORSE
THAN "HONKY."

167
00:07:58,379 --> 00:07:59,517
YOU'RE RIGHT.

168
00:07:59,620 --> 00:08:02,275
NOTHING'S WORSE THAN HONKY
EXCEPT BEING MARRIED TO ONE.

169
00:08:02,379 --> 00:08:05,620
NORMAN LEAR SET THE STAGE
FOR OTHER SHOWS IN THE '70s

170
00:08:05,724 --> 00:08:08,275
THAT JUST BROUGHT GRAVITAS
TO TELEVISION.

171
00:08:08,379 --> 00:08:09,931
WHAT ARE
YOU STARING AT?

172
00:08:10,034 --> 00:08:11,344
I WAS JUST THINKING,

173
00:08:11,448 --> 00:08:13,724
I'D BRING MY NEIGHBOR'S KIDS
OVER HERE.

174
00:08:15,758 --> 00:08:17,896
THIS PLACE IS BETTER
THAN THE ZOO.

175
00:08:32,379 --> 00:08:34,310
Ken: ON SATURDAY NIGHTS,

176
00:08:34,413 --> 00:08:38,689
THE CBS LINEUP IN THE EARLY '70s
WAS AMAZING.

177
00:08:39,586 --> 00:08:40,896
Connelly:
8:00-- "ALL IN THE FAMILY,"

178
00:08:41,000 --> 00:08:42,724
8:30-- "M-A-S-H,"

179
00:08:42,827 --> 00:08:46,068
9:00--
"THE MARY TYLER MOORE SHOW."

180
00:08:46,172 --> 00:08:47,620
YOU HAD
THE "THE BOB NEWHART SHOW."

181
00:08:47,724 --> 00:08:50,724
AND IT ENDED WITH
"THE CAROL BURNETT VARIETY SHOW"

182
00:08:50,827 --> 00:08:52,034
AT 10:00.

183
00:08:52,137 --> 00:08:54,275
THEY USED TO CALL IT
MURDERERS' ROW.

184
00:08:54,379 --> 00:08:57,275
Ken: PEOPLE HAD NO DVRs,
THEY HAD NO VHS,

185
00:08:57,379 --> 00:08:58,793
THEY HAD NOTHING WITH INITIALS,

186
00:08:58,896 --> 00:09:02,172
SO PEOPLE WOULD STAY HOME
ON SATURDAY NIGHTS.

187
00:09:02,275 --> 00:09:03,620
THEY WOULDN'T GO TO THE MOVIES.

188
00:09:03,724 --> 00:09:05,310
THEY WOULDN'T GO TO RESTAURANTS.

189
00:09:05,413 --> 00:09:07,758
THAT MAY BE THE BEST NIGHT
OF TELEVISION

190
00:09:07,862 --> 00:09:09,448
IN ALL OF TELEVISION HISTORY.

191
00:09:09,551 --> 00:09:12,034
Connelly: MARY TYLER MOORE
WAS A SINGLE WOMAN

192
00:09:12,137 --> 00:09:15,689
WORKING AS AN ASSOCIATE PRODUCER
ON A NIGHTLY TV SHOW.

193
00:09:15,793 --> 00:09:17,965
YOU KNOW WHAT?
YOU GOT SPUNK.

194
00:09:18,068 --> 00:09:20,413
I HATE SPUNK!WELL, YES.

195
00:09:20,517 --> 00:09:24,068
THERE WERE A LOT OF YOUNG WOMEN
ENTERING THE WORKPLACE THEN,

196
00:09:24,172 --> 00:09:25,517
AND FOR SOME OF THEM,

197
00:09:25,620 --> 00:09:27,655
MARY TYLER MOORE
WAS LIKE A PORT OF ENTRY.

198
00:09:27,758 --> 00:09:29,551
I'M DOING AS GOOD A JOB
AS HE DID.

199
00:09:29,655 --> 00:09:30,551
BETTER.

200
00:09:30,655 --> 00:09:31,931
BETTER.

201
00:09:33,241 --> 00:09:35,379
AND I'M BEING PAID LESS
THAN HE WAS BECAUSE...

202
00:09:35,482 --> 00:09:36,448
YOU'RE A WOMAN.

203
00:09:36,551 --> 00:09:39,517
THE TELEVISION FEMALE
COULD BE A HERO.

204
00:09:39,620 --> 00:09:41,758
SHE COULD BE THE MAIN EVENT.

205
00:09:44,068 --> 00:09:46,620
READ IT?

206
00:09:46,724 --> 00:09:48,068
ALL RIGHT.

207
00:09:49,275 --> 00:09:51,068
OUT LOUD!

208
00:09:51,172 --> 00:09:54,862
Asner: THE FIRST SCRIPT WRITTEN
ALLAN BURNS AND JIM BROOKS

209
00:09:54,965 --> 00:09:57,620
HAD MARY COMING
TO MINNEAPOLIS DIVORCED,

210
00:09:57,724 --> 00:10:02,758
AND, OH, VERY QUICKLY CBS SAYS,
"NO, NO, NO, NO."

211
00:10:02,862 --> 00:10:04,448
Elana:
AT THE BEGINNING OF THE DECADE,

212
00:10:04,551 --> 00:10:06,655
DIVORCE WAS CONSIDERED
SOMEWHAT SCANDALOUS.

213
00:10:06,758 --> 00:10:09,551
Connelly: SHE WENT ON DATES
WITH A LOT OF GUYS,

214
00:10:09,655 --> 00:10:11,206
BUT THE GUYS
WEREN'T REALLY IMPORTANT.

215
00:10:11,310 --> 00:10:13,551
WE SEEMED TO BE HITTING IT OFF,
AND I JUST THOUGHT--

216
00:10:13,655 --> 00:10:15,896
YOU JUST THOUGHT.

217
00:10:16,000 --> 00:10:18,965
SHE'S NOT OBSESSED
WITH FINDING A HUSBAND.

218
00:10:19,068 --> 00:10:20,517
DON'T FORGET
TO TAKE YOUR PILL.

219
00:10:20,620 --> 00:10:21,931
I WON'T.I WON.

220
00:10:22,034 --> 00:10:24,965
Harper: THIS WAS ABOUT PEOPLE
COPING WITH ONE ANOTHER,

221
00:10:25,068 --> 00:10:27,482
AND THE WORKPLACE
WAS LIKE A FAMILY.

222
00:10:27,586 --> 00:10:31,172
I TOLD TED TO CLOSE
WITH THE COPY FOR SUE ANN.

223
00:10:31,275 --> 00:10:34,344
OH, MY GOD.

224
00:10:34,448 --> 00:10:35,689
WHAT'S WRONG?

225
00:10:35,793 --> 00:10:38,517
I TOLD THE PROJECTIONIST
IT WAS THE OTHER WAY AROUND.

226
00:10:38,620 --> 00:10:41,931
OH, MY GOD.

227
00:10:42,034 --> 00:10:45,448
LOCAL PIG FARMERS SERVED NOTICE
TODAY THAT RISING CORN PRICES

228
00:10:45,551 --> 00:10:48,758
ARE FORCING THEM TO FIND OTHER
MEANS TO FEED THEIR STOCK.

229
00:10:48,862 --> 00:10:51,827
HERE'S ONE PIG
THAT DOESN'T SEEM TO NOTICE.

230
00:10:51,931 --> 00:10:53,931
JUST LOOK AT HER GOBBLE UP
THAT SLOP.

231
00:10:54,034 --> 00:10:57,137
STARTING TOMORROW, WE'LL BE
PRESENTING A NEW FEATURE ON WJM,

232
00:10:57,241 --> 00:10:59,310
"DINING OUT
WITH SUE ANN NIVENS."

233
00:11:00,793 --> 00:11:02,310
Harper:
ONCE JIM BROOKS SAID TO ME,

234
00:11:02,413 --> 00:11:06,482
"I KNOW THERE'S A WORLD
OF COMEDY IN MY WIFE'S PURSE.

235
00:11:06,586 --> 00:11:08,000
I JUST CAN'T ACCESS IT."

236
00:11:08,103 --> 00:11:10,758
WE'VE GOT TO FIND SOME FEMALE
WRITERS FOR THIS SHOW.

237
00:11:10,862 --> 00:11:12,344
DID YOU CRASH
THE MEN'S ROOM?

238
00:11:12,448 --> 00:11:16,241
OF COURSE NOT.
I WENT AS SOMEBODY'S GUEST.

239
00:11:17,482 --> 00:11:19,310
Man: WHY DO YOU THINK
IT'S SUCH A WINNER?

240
00:11:19,413 --> 00:11:21,413
I THINK BECAUSE
OF THE CASTING,

241
00:11:21,517 --> 00:11:23,827
AND I THINK BECAUSE
OF THE WRITING.

242
00:11:23,931 --> 00:11:26,206
THEY DON'T SACRIFICE
THE CHARACTER

243
00:11:26,310 --> 00:11:28,137
FOR THE SAKE
OF A GOOD JOKE.

244
00:11:28,241 --> 00:11:30,724
THAT EFFORT TO KEEP
THE FEMALE SENSIBILITY

245
00:11:30,827 --> 00:11:32,965
IS WHAT MADE IT
AUTHENTIC AND GOOD.

246
00:11:33,068 --> 00:11:36,068
PEOPLE WOULD SAY, "YOU'RE JUST
LIKE ME AND MY GIRLFRIENDS."

247
00:11:36,172 --> 00:11:39,206
HOW CAN YOU GORGE YOURSELF
LIKE THAT AND STAY SO SKINNY?

248
00:11:39,310 --> 00:11:40,655
I'M GOING CRAZY
WITH HUNGER.

249
00:11:40,758 --> 00:11:41,793
WELL, EAT SOMETHING.

250
00:11:41,896 --> 00:11:45,137
I CAN'T. I GOTTA LOSE
10 POUNDS BY 8:30.

251
00:11:45,241 --> 00:11:48,310
FREDDIE SILVERMAN,
HEAD OF THE NETWORK AT THE TIME,

252
00:11:48,413 --> 00:11:51,137
SAID, "VALERIE, LISTEN,
I'M GOING TO SPIN YOU OFF,

253
00:11:51,241 --> 00:11:53,103
AND I THOUGHT,
"OH, MY GOD, I'M FIRED,"

254
00:11:53,206 --> 00:11:57,620
BECAUSE SPIN-OFF IS A TERM
THAT WAS ORIGINATED IN THE '70s.

255
00:11:57,724 --> 00:11:59,344
IF WE'RE GONNA START
LIVING TOGETHER,

256
00:11:59,448 --> 00:12:01,241
WE GOTTA TELL
EACH OTHER EVERYTHING.

257
00:12:01,344 --> 00:12:03,862
OKAY, JOE,
I WANT TO BE MARRIED.

258
00:12:05,896 --> 00:12:11,448
RHODA AND JOE'S WEDDING
BECAME A HUGE NATIONAL EVENT.

259
00:12:11,551 --> 00:12:14,862
52 MILLION PEOPLE
TUNED IN TO SEE THAT.

260
00:12:14,965 --> 00:12:16,689
SUDDENLY RHODA'S
IN A HAPPY RELATIONSHIP,

261
00:12:16,793 --> 00:12:18,620
AND THEY DIDN'T KNOW
WHAT TO DO WITH THAT.

262
00:12:18,724 --> 00:12:20,482
THEN THEY HAD TO HAVE HER
GET DIVORCED

263
00:12:20,586 --> 00:12:21,965
TO TRY TO REBOOT THE SHOW.

264
00:12:22,068 --> 00:12:23,586
WHY DID YOU MARRY ME?
JUST ANSWER ME THAT.

265
00:12:23,689 --> 00:12:25,241
WHY DID YOU MARRY ME?YOU MADE ME MARRY YOU.

266
00:12:25,344 --> 00:12:26,724
I FEEL SO FUNNY.

267
00:12:26,827 --> 00:12:28,758
JUST A MATTER OF TRUST.

268
00:12:28,862 --> 00:12:30,310
[ GIGGLES ]

269
00:12:30,413 --> 00:12:32,068
OH, SHE'S NOT
GONNA DO IT.

270
00:12:32,172 --> 00:12:33,827
Rhoda: BUT, DOC,
WHERE DOES THAT LEAVE US,

271
00:12:33,931 --> 00:12:35,379
AND WHERE DO WE GO
FROM HERE?

272
00:12:35,482 --> 00:12:38,827
THAT, WE'LL HAVE TO DISCUSS
IN FUTURE SESSIONS.

273
00:12:38,931 --> 00:12:41,896
THE '70s ALSO HAD THIS
THERAPEUTIC OVERLAY.

274
00:12:42,000 --> 00:12:43,103
HI, BOB!

275
00:12:43,206 --> 00:12:43,724
OH, HI, BOB.

276
00:12:43,827 --> 00:12:44,379
HI, BOB!

277
00:12:44,482 --> 00:12:45,413
HELLO?

278
00:12:46,620 --> 00:12:48,793
WE DECIDED TO MAKE HIM
A PSYCHOLOGIST.

279
00:12:48,896 --> 00:12:51,655
YOU SEEMED TO HAVE RUN OUT
OF THINGS TO SAY.

280
00:12:51,758 --> 00:12:53,275
WHY DON'T WE PRAY?

281
00:12:53,379 --> 00:12:55,413
YEAH, LET'S PRAY
FOR THE END OF THIS SESSION.

282
00:12:55,517 --> 00:12:58,034
I DIDN'T KNOW ANYTHING
ABOUT THERAPY PRIOR TO THAT.

283
00:12:58,137 --> 00:13:00,758
I'M FROM
THE PLANET BLOTHAR.

284
00:13:02,793 --> 00:13:05,379
IT'S IN THE GALDOU GALAXY.

285
00:13:07,344 --> 00:13:10,862
HOW-- HOW LONG ARE YOU
GOING TO BE IN TOWN?

286
00:13:10,965 --> 00:13:13,551
I DIDN'T WANT TO DO A SHOW
WHERE WE HAD CHILDREN.

287
00:13:13,655 --> 00:13:15,379
I DIDN'T WANT TO BE
THE DUMB DAD.

288
00:13:15,482 --> 00:13:17,379
SIT, WHITEY.

289
00:13:20,862 --> 00:13:22,724
HOWARD, I DON'T CARE
WHERE WE EAT.

290
00:13:22,827 --> 00:13:24,931
I JUST DON'T WANT TO
MAKE ANY MORE DECISIONS.

291
00:13:27,620 --> 00:13:30,620
PEOPLE WILL SAY, "GEE, MY DAD
AND I USED TO WATCH THIS SHOW,

292
00:13:30,724 --> 00:13:31,931
AND IT WAS GREAT."

293
00:13:32,034 --> 00:13:35,000
AND THEN YOU REALIZE
YOU'RE PART OF PEOPLE'S LIVES.

294
00:13:35,103 --> 00:13:36,517
[ "SUICIDE IS PAINLESS" PLAYS ]

295
00:13:36,620 --> 00:13:39,862
THE '70s WAS THE ERA WHERE
A CERTAIN ARTISTRY DEVELOPED.

296
00:13:39,965 --> 00:13:42,000
Gilligan:
"M-A-S-H" REALLY CHANGED

297
00:13:42,103 --> 00:13:45,172
MANY PEOPLE'S PERCEPTION
OF WHAT A SITCOM <i>CAN</i> BE.

298
00:13:45,275 --> 00:13:47,103
A SITCOM COULD BE CINEMATIC.

299
00:13:48,000 --> 00:13:50,517
Ken:
"M-A-S-H" WAS SHOT LIKE A MOVIE,

300
00:13:50,620 --> 00:13:52,655
AND "M-A-S-H" WAS MAYBE

301
00:13:52,758 --> 00:13:56,793
THE SINGLE MOST UNIQUE
SITUATION COMEDY EVER.

302
00:13:56,896 --> 00:14:00,413
I HAVE A HEADACHE,
A TREMENDOUS HEADACHE.

303
00:14:00,517 --> 00:14:03,344
IT GOES ALL THE WAY DOWN
TO MY WAIST.

304
00:14:03,448 --> 00:14:06,000
Gilligan:
THE TELEVISION SERIES "M-A-S-H"
HAD ONE THING THE MOVIE,

305
00:14:06,103 --> 00:14:07,896
IN MY ESTIMATION, DID NOT,
WHICH WAS HEART.

306
00:14:08,000 --> 00:14:10,689
THERE ARE CERTAIN RULES
ABOUT A WAR,

307
00:14:10,793 --> 00:14:13,103
AND RULE NUMBER ONE
IS YOUNG MEN DIE.

308
00:14:13,206 --> 00:14:16,827
RULE NUMBER TWO IS DOCTORS
CAN'T CHANGE RULE NUMBER ONE.

309
00:14:16,931 --> 00:14:18,931
Farrell: IT WAS ABOUT KOREA,
BUT WE WERE TALKING ABOUT

310
00:14:19,034 --> 00:14:20,413
AND DOING THINGS
THAT HAD TO DO WITH VIETNAM,

311
00:14:20,517 --> 00:14:21,241
AND EVERYBODY KNEW IT.

312
00:14:21,344 --> 00:14:23,034
Man: ROLLING. ACTION.

313
00:14:23,137 --> 00:14:24,620
Hawkeye: WAR ISN'T HELL.

314
00:14:24,724 --> 00:14:25,931
WAR IS WAR, AND HELL IS HELL,

315
00:14:26,034 --> 00:14:28,034
AND OF THE TWO,
WAR IS A LOT WORSE.

316
00:14:28,137 --> 00:14:31,931
WE HAD 30 MILLION PEOPLE A WEEK
WATCHING "M-A-S-H."

317
00:14:32,034 --> 00:14:34,103
HAVE YOU EVER REALLY
CONSIDERED THE FOOT?

318
00:14:34,206 --> 00:14:35,896
YEAH, BUT I PREFER GIRLS.

319
00:14:36,000 --> 00:14:38,310
BETTER NOT BUMP INTO HENRY
AND THAT GENERAL.

320
00:14:38,413 --> 00:14:41,000
I INTEND ONLY TO
BUMP INTO NURSE BAKER,

321
00:14:41,103 --> 00:14:42,655
REPEATEDLY IF POSSIBLE.

322
00:14:42,758 --> 00:14:44,586
PROGRAM AND PRACTICES--
THESE WERE PEOPLE

323
00:14:44,689 --> 00:14:46,793
WHO WOULD GO THROUGH THE SCRIPTS
AND SAY,

324
00:14:46,896 --> 00:14:48,068
"YOU CAN'T USE THIS WORD."

325
00:14:48,172 --> 00:14:51,172
WE FELT LIKE WE WERE
IN THE MIDST OF A BATTLE.

326
00:14:51,275 --> 00:14:53,517
THIS IS FREEDOM OF SPEECH.

327
00:14:53,620 --> 00:14:56,206
AT THE SENATE HEARINGS
ON TELEVISION VIOLENCE TODAY,

328
00:14:56,310 --> 00:14:57,586
STRONG CHARGES WERE LEVELED

329
00:14:57,689 --> 00:14:59,551
AT THE COMMERCIAL
TELEVISION NETWORKS.

330
00:14:59,655 --> 00:15:02,655
THE BROADCASTING INDUSTRY
NOW STANDS CHARGED

331
00:15:02,758 --> 00:15:05,827
WITH HAVING MOLESTED THE MINDS
OF OUR NATION'S CHILDREN

332
00:15:05,931 --> 00:15:07,965
TO SERVE THE CAUSE
OF CORPORATE PROFIT.

333
00:15:08,068 --> 00:15:10,793
THE FAMILY HOUR WAS ESTABLISHED
BY THE THREE NETWORKS

334
00:15:10,896 --> 00:15:13,137
AND THE FEDERAL COMMUNICATIONS COMMISSION

335
00:15:13,241 --> 00:15:16,275
IN RESPONSE TO COMPLAINTS
OF TOO MUCH SEX AND VIOLENCE

336
00:15:16,379 --> 00:15:17,517
ON EARLY-EVENING TELEVISION.

337
00:15:17,620 --> 00:15:18,896
Wallace: THE FAMILY HOUR,

338
00:15:19,000 --> 00:15:20,758
THE TWO HOURS
FROM 7:00 TO 9:00 P.M.,

339
00:15:20,862 --> 00:15:22,793
DURING WHICH PARENTS
AND CHILDREN

340
00:15:22,896 --> 00:15:24,862
ARE SUPPOSED TO BE ABLE
TO WATCH TELEVISION

341
00:15:24,965 --> 00:15:27,275
WITHOUT BEING MADE TO FEEL UNCOMFORTABLE.

342
00:15:28,931 --> 00:15:31,310
SO IT JUST SEEMED
ALTOGETHER UNFAIR,

343
00:15:31,413 --> 00:15:33,137
AND WE SUED.

344
00:15:33,241 --> 00:15:36,379
FAMILY HOUR IS UNDER ATTACK
FROM SOME PRODUCERS, UNIONS,

345
00:15:36,482 --> 00:15:38,655
AND OTHERS
IN THE TELEVISION INDUSTRY.

346
00:15:38,758 --> 00:15:40,965
THEY HAVE FILED A LAWSUIT
TO HAVE IT ABOLISHED.

347
00:15:41,068 --> 00:15:43,517
Brown: AS THOSE SCHEDULED
TO TESTIFY ARRIVE,

348
00:15:43,620 --> 00:15:45,344
LIKE GRANT TINKER
AND ALLAN BURNS

349
00:15:45,448 --> 00:15:47,068
OF MARY TYLER MOORE ENTERPRISES,

350
00:15:47,172 --> 00:15:49,793
THEY PASS THROUGH A PICKET LINE
PROTESTING THE HEARING.

351
00:15:49,896 --> 00:15:52,689
CONGRESS HAS NO RIGHT WHATSOEVER

352
00:15:52,793 --> 00:15:55,275
TO INTERFERE IN THE CONTENT
OF THE MEDIA.

353
00:15:55,379 --> 00:15:57,034
Alda:
IF YOU CAN CENSOR A JOKE TODAY,

354
00:15:57,137 --> 00:16:00,482
THEN TOMORROW YOU CAN CENSOR
THE EXPRESSION OF ANY THOUGHT

355
00:16:00,586 --> 00:16:02,517
IF YOU CAN CENSOR A JOKE.

356
00:16:02,620 --> 00:16:04,517
IT JUST BECOMES EASIER
THE NEXT DAY.

357
00:16:04,620 --> 00:16:06,517
Brinkley:
A FEDERAL JUDGE IN LOS ANGELES

358
00:16:06,620 --> 00:16:08,344
RULED THE SO-CALLED
"FAMILY HOUR"

359
00:16:08,448 --> 00:16:10,448
ON TELEVISION
FROM 7:00 TO 9:00 P.M.

360
00:16:10,551 --> 00:16:12,068
WAS UNCONSTITUTIONAL,

361
00:16:12,172 --> 00:16:14,379
A VIOLATION
OF THE FIRST AMENDMENT GUARANTEE

362
00:16:14,482 --> 00:16:16,137
OF FREE SPEECH.

363
00:16:16,241 --> 00:16:19,862
THE FIRST AMENDMENT WAS UPHELD
IN A MOST IMPORTANT DECISION,

364
00:16:19,965 --> 00:16:23,103
AND IT'S REALLY, TRULY A VICTORY
FOR EVERYBODY.

365
00:16:33,344 --> 00:16:35,482
<i>"THE ROOKIES"
WILL NOT BE SEEN TONIGHT</i>

366
00:16:35,586 --> 00:16:38,620
<i>SO THAT WE MAY BRING YOU
THE FOLLOWING SPECIAL PROGRAM.</i>

367
00:16:38,724 --> 00:16:41,206
Grimsby: TONIGHT TELEVISION
TAKES A LOOK AT ITSELF.

368
00:16:41,310 --> 00:16:43,896
WE ARE LOOKING AT WHAT YOU WATCH
MOST OF THE TIME,

369
00:16:44,000 --> 00:16:46,517
ENTERTAINMENT PROGRAMMING ON
THE THREE COMMERCIAL NETWORKS.

370
00:16:46,620 --> 00:16:48,827
WHAT ARE YOU LOOKING AT,
AND IS IT GOOD FOR YOU?

371
00:16:48,931 --> 00:16:51,586
SOMEWHERE AROUND
THE MIDDLE OR LATE '70s,

372
00:16:51,689 --> 00:16:53,862
IT'S LIKE PEOPLE GOT TIRED
OF TALKING ABOUT REAL STUFF.

373
00:16:53,965 --> 00:16:55,517
WELL, IF THE GOOD LORD
PROVIDED US WITH BERRIES,

374
00:16:55,620 --> 00:16:56,724
I THINK
WE OUGHT TO EAT THEM.

375
00:16:56,827 --> 00:16:59,068
Connelly: THERE WAS
A LONGING FOR A SIMPLER TIME

376
00:16:59,172 --> 00:17:01,448
WHEN IT DIDN'T SEEM LIKE
THERE WAS SO MUCH ANGER

377
00:17:01,551 --> 00:17:02,551
AND CONTENTIOUSNESS,

378
00:17:02,655 --> 00:17:04,517
WHEN PEOPLE WEREN'T SO MAD
AT EACH OTHER.

379
00:17:04,620 --> 00:17:06,275
Grimsby: DURING LAST SEASON,
"THE WALTONS" CAUGHT ON.

380
00:17:06,379 --> 00:17:08,413
Girl:
GOOD NIGHT, JOHN-BOY.John-Boy: GOOD NIGHT.

381
00:17:08,517 --> 00:17:10,655
THIS YEAR
THERE'LL BE MORE NOSTALGIA

382
00:17:10,758 --> 00:17:12,034
AND WHOLESOME FAMILY DRAMA.

383
00:17:12,137 --> 00:17:14,379
NOW THAT DINNER'S OVER,
LET'S TRY OUT THE PIANO.

384
00:17:14,482 --> 00:17:16,551
OKAY.
I AM TAKING REQUESTS.

385
00:17:16,655 --> 00:17:18,137
[ PLAYS FLOURISH ]

386
00:17:18,241 --> 00:17:21,034
♪ SUNDAY, MONDAY, HAPPY DAYS

387
00:17:21,137 --> 00:17:24,793
I CREATED "HAPPY DAYS"
NOT WHAT A FAMILY REALLY WAS.

388
00:17:24,896 --> 00:17:26,620
I THOUGHT IT WOULD BE GOOD

389
00:17:26,724 --> 00:17:29,206
IF THERE WERE SOME FAMILIES
THAT <i>DIDN'T</i> GET DIVORCED.

390
00:17:29,310 --> 00:17:30,482
OH, YOU GUYS
ARE REALLY M--

391
00:17:30,586 --> 00:17:31,827
WOW!

392
00:17:31,931 --> 00:17:33,793
IT WASN'T BY ACCIDENT

393
00:17:33,896 --> 00:17:36,310
EVERYBODY ON "HAPPY DAYS"
HUGS EACH OTHER.

394
00:17:36,413 --> 00:17:39,103
IT WASN'T BY ACCIDENT
EVERYBODY IN THE FAMILY

395
00:17:39,206 --> 00:17:42,655
ATE AT THE SAME TIME
AT THE SAME TABLE.

396
00:17:42,758 --> 00:17:44,310
Shales:
IT WAS A SWEET TENDER SHOW

397
00:17:44,413 --> 00:17:45,896
IN THE VEIN
OF "AMERICAN GRAFFITI."

398
00:17:46,000 --> 00:17:48,000
LOOKING BACK ON THAT ERA
OF THE '50s

399
00:17:48,103 --> 00:17:49,379
WITH A CERTAIN AFFECTION.

400
00:17:49,482 --> 00:17:51,172
AY-Y-Y!

401
00:17:51,275 --> 00:17:55,586
ABC WANTED FONZIE'S "AY-Y-Y"

402
00:17:55,689 --> 00:17:57,344
TO COMPETE DIRECTLY

403
00:17:57,448 --> 00:18:01,206
WITH JIMMY "J.J." WALKER'S
"DY-NO-MITE!"

404
00:18:01,310 --> 00:18:03,655
'CAUSE I'M THE FONZ!
AY-Y-Y!

405
00:18:03,758 --> 00:18:04,758
CATCHPHRASES WERE BIG.

406
00:18:04,862 --> 00:18:06,379
SIT ON IT, MARVIN!SIT ON IT, MARVIN!

407
00:18:06,482 --> 00:18:07,448
SIT ON IT, HOWARD.

408
00:18:07,551 --> 00:18:09,310
DOES ANYONE SAY,
"THANK YOU, ARNOLD"?

409
00:18:09,413 --> 00:18:11,379
NO.
YOU KNOW WHAT THEY SAY?

410
00:18:11,482 --> 00:18:12,655
SIT ON IT, ARNOLD.SIT ON IT, ARNOLD.

411
00:18:12,758 --> 00:18:14,172
THAT'S WHAT THEY SAY.

412
00:18:14,275 --> 00:18:17,517
YOU WATCH FONZIE,
AND YOU JUST WANT TO BE FONZIE.

413
00:18:17,620 --> 00:18:19,068
[ SNAPS FINGERS ]
AWW.

414
00:18:21,931 --> 00:18:23,655
HEY, GIRLS.
KNOCK YOURSELVES OUT.

415
00:18:23,758 --> 00:18:25,965
I'M REALLY SORRY.
IT WAS A SLIP OF THE FINGERS.

416
00:18:26,068 --> 00:18:30,551
IT'S A FANTASY
OF WHAT TEEN LIFE COULD BE.

417
00:18:30,655 --> 00:18:32,965
HEY, DeFAZIO!
THEY'RE HERE.

418
00:18:33,068 --> 00:18:34,379
ALL RIGHT.

419
00:18:34,482 --> 00:18:35,793
MWAH!LAVERNE.

420
00:18:35,896 --> 00:18:37,758
THIS IS LAVERNE DeFAZIO.
SHE'S MINE.

421
00:18:37,862 --> 00:18:40,448
AND THIS IS SHIRLEY FEENEY.
SHE'S YOURS, AS YOU CAN SEE.

422
00:18:40,551 --> 00:18:42,896
NICE TO MEET YOU,
RICHIE.MY PLEASURE.

423
00:18:43,000 --> 00:18:45,551
Marshall:
WHEN LAVERNE AND SHIRLEY
MADE A GUEST APPEARANCE,

424
00:18:45,655 --> 00:18:46,896
ONE OF THE CAMERAMEN SAID,

425
00:18:47,000 --> 00:18:49,206
"LOOK AT THIS TWO-SHOT.
THAT'S A SERIES."

426
00:18:49,310 --> 00:18:53,103
SCHLEMIEL! SCHLIMAZEL!
HASENPFEFFER INCORPORATED.

427
00:18:54,103 --> 00:18:56,275
Wallace: TUESDAY NIGHT
BETWEEN 8:00 AND 9:00

428
00:18:56,379 --> 00:18:57,655
IS CALLED THE DEATH SPOT--

429
00:18:57,758 --> 00:19:00,034
DEATH TO ANY PROGRAM
THAT DARES TO GO HEAD-ON

430
00:19:00,137 --> 00:19:03,103
AGAINST ABC's "HAPPY DAYS"
AND "LAVERNE & SHIRLEY."

431
00:19:03,206 --> 00:19:06,172
"LAVERNE & SHIRLEY"
WAS ONE OF THE FEW SITCOMS

432
00:19:06,275 --> 00:19:08,275
THAT EVER DEBUTED AS NUMBER ONE.

433
00:19:08,379 --> 00:19:11,862
THE ABSOLUTE TOP NUMBER-ONE SHOW
THIS SEASON

434
00:19:11,965 --> 00:19:14,344
IS "LAVERNE & SHIRLEY,"
A SEEMINGLY HARMLESS,

435
00:19:14,448 --> 00:19:16,517
BUT ESSENTIALLY BRAINLESS EXERCISE

436
00:19:16,620 --> 00:19:17,896
IN ADOLESCENT SILLINESS.

437
00:19:18,000 --> 00:19:20,379
YOU HAVE TO GO ALL THE WAY BACK
TO "I LOVE LUCY"

438
00:19:20,482 --> 00:19:23,068
TO GET THE SAME SORT OF
SLAPSTICK AND PHYSICAL COMEDY.

439
00:19:23,172 --> 00:19:25,793
I MEAN, WE NEVER
THOUGHT ABOUT ITS IMPORTANCE,

440
00:19:25,896 --> 00:19:28,551
EXCEPT THAT, YOU KNOW,
IT WAS TWO GIRLS TRYING,

441
00:19:28,655 --> 00:19:30,482
AND THE VALUE OF FRIENDSHIP.

442
00:19:30,586 --> 00:19:33,344
IT MUST HAVE SOMETHING
GOING FOR IT.

443
00:19:33,448 --> 00:19:36,724
I DON'T
VO-DEE-OH-DOE-DOE.

444
00:19:36,827 --> 00:19:39,310
YOU VO-DEE-OH-DOE-DOE.

445
00:19:40,482 --> 00:19:43,344
I DON'T
VO-DEE-OH-DOE-DOE.

446
00:19:43,448 --> 00:19:46,344
THEY COULDN'T SAY "SEX,"
SO THEY SAID "VO-DEE-OH-DOE."

447
00:19:46,448 --> 00:19:47,862
YOU VOE-DEE-OH.

448
00:19:47,965 --> 00:19:50,172
EVERYBODY KNEW
WHAT THEY WERE TALKING ABOUT.

449
00:19:50,275 --> 00:19:51,655
ONCE.

450
00:19:51,758 --> 00:19:53,724
MY SON DIDN'T WATCH
"LAVERNE & SHIRLEY"

451
00:19:53,827 --> 00:19:54,931
OR "HAPPY DAYS."

452
00:19:55,034 --> 00:19:56,551
I SAID, "YOU DON'T LIKE IT?"

453
00:19:56,655 --> 00:19:58,724
HE SAYS, "I LIKE IT,
BUT WHAT'S MISSING?

454
00:19:58,827 --> 00:20:00,241
SPACEMEN!"

455
00:20:00,344 --> 00:20:02,275
'CAUSE WE WERE GETTING
INTO SPACE.

456
00:20:02,379 --> 00:20:04,655
AND SO THAT'S WHEN
I CREATED A SPACEMAN.

457
00:20:04,758 --> 00:20:06,551
WHOO-OO-OO!WAIT A MINUTE.
WHO ARE YOU?

458
00:20:06,655 --> 00:20:08,758
I AM MORK FROM ORK.

459
00:20:08,862 --> 00:20:10,586
THE WRITERS ALL ROLLED
THEIR EYES.

460
00:20:10,689 --> 00:20:12,275
"AN ALIEN?
HE WANTS AN ALIEN."

461
00:20:12,379 --> 00:20:13,896
I HAD TO MAKE UP A STORY--

462
00:20:14,000 --> 00:20:16,000
FONZIE'S RUNNING OUT
OF ADVERSARIES.

463
00:20:16,103 --> 00:20:18,862
THAT'S RIGHT.
FONZIE'S NEVER LOST A...YET.

464
00:20:18,965 --> 00:20:21,034
AND WE GOT THE HOME-PLANET
ADVANTAGE.

465
00:20:21,137 --> 00:20:24,689
THEN WE GOT HIM ON HIS OWN SHOW,

466
00:20:24,793 --> 00:20:27,758
AND "MORK & MINDY" WAS
THE HIP SHOW OF THE '70s.

467
00:20:27,862 --> 00:20:29,344
[ THUNK! ] <i>SHAZBOT!</i>

468
00:20:29,448 --> 00:20:30,827
AH!

469
00:20:30,931 --> 00:20:32,896
HAH!Rosenthal:
THE AUDIENCE--

470
00:20:33,000 --> 00:20:35,241
TALK ABOUT A WILLING
SUSPENSION OF DISBELIEF--

471
00:20:35,344 --> 00:20:37,482
IS WILLING TO BUY THE PREMISE...MIND IF I DO?

472
00:20:37,586 --> 00:20:39,551
...JUST SO THEY CAN WATCH
ROBIN WILLIAMS.

473
00:20:39,655 --> 00:20:40,551
[ BURPS ]

474
00:20:40,655 --> 00:20:41,344
<i>NA-NU! NA-NU!</i>

475
00:20:42,620 --> 00:20:44,862
WELL, EXCUSE ME!

476
00:20:44,965 --> 00:20:47,620
Burton: THAT WAS AN INTERESTING
PART OF THE BALANCE, I THINK,

477
00:20:47,724 --> 00:20:49,379
OF THE TELEVISION DIET.

478
00:20:49,482 --> 00:20:51,551
THAT THERE WAS AN ATTEMPT TO
EXPLORE DEEPER INTO THE PSYCHE

479
00:20:51,655 --> 00:20:53,000
OF WHAT MAKES US TICK.

480
00:20:53,103 --> 00:20:55,517
BUT THERE WAS ALSO, YOU KNOW,
A NEED TO ESCAPE.

481
00:20:55,620 --> 00:20:57,413
I'M GOING
TO A BEACH BARBECUE.

482
00:20:57,517 --> 00:21:01,931
UH-HUH. I CAN SEE WHAT'S
GONNA HEAT UP THE COALS.

483
00:21:02,034 --> 00:21:03,862
Wallace:
IF THERE'S ANY SINGLE PHENOMENON

484
00:21:03,965 --> 00:21:06,172
THAT HAS TILTED THE RATING BOOK
IN ABC's DIRECTION,

485
00:21:06,275 --> 00:21:07,758
IT'S "T" AND "A."

486
00:21:07,862 --> 00:21:09,689
HERB JACOBS,
AT THE CBS AFFILIATES MEETING,

487
00:21:09,793 --> 00:21:12,862
HE EXPLAINED TO US HOW THESE
"T"-AND-"A" SHOWS ARE CONCOCTED.

488
00:21:12,965 --> 00:21:15,620
AND THEY TAKE THEIR CLOTHES OFF
THREE TIMES, THEY GET IDEAS,

489
00:21:15,724 --> 00:21:18,137
AND THEN THEY WANT TO HAVE TO
RUN TWO OR THREE TIMES,

490
00:21:18,241 --> 00:21:21,448
SO THEY JIGGLE, AND ALL
ARE WELL-ENDOWED, OF COURSE,

491
00:21:21,551 --> 00:21:24,310
AND THEN THEY SAY, "NOW, LET'S
GET THREE UNDRESS SCENES

492
00:21:24,413 --> 00:21:26,827
AND THREE JIGGLES,
AND WRITE A SCRIPT AROUND IT."

493
00:21:26,931 --> 00:21:28,448
Wallace: THERE ARE
SOME WHO WILL TELL YOU

494
00:21:28,551 --> 00:21:30,517
THAT "T" AND "A" HAS PEAKED
AND IS ON ITS WAY OUT.

495
00:21:30,620 --> 00:21:32,827
BUT ABC HAS SHOWS
LIKE "THE LOVE BOAT"

496
00:21:32,931 --> 00:21:34,103
AND "THREE'S COMPANY."

497
00:21:34,206 --> 00:21:36,103
Connelly: "JIGGLE TV"
REFERRED TO THE FACT

498
00:21:36,206 --> 00:21:37,586
THAT THESE WERE WOMEN
WHO WERE--

499
00:21:37,689 --> 00:21:40,448
YOU KNOW, WHO-- WHO WERE,
YOU KNOW...

500
00:21:40,551 --> 00:21:42,000
[ LAUGHS ]

501
00:21:42,103 --> 00:21:43,172
CHARLIE:
Good morning, Angels.

502
00:21:43,275 --> 00:21:44,655
Angels:
GOOD MORNING, CHARLIE.

503
00:21:44,758 --> 00:21:48,000
Ken: "CHARLIE'S ANGELS" BECAME
A VERY ENDURING TRADEMARK

504
00:21:48,103 --> 00:21:49,586
OUT OF THE '70s.

505
00:21:49,689 --> 00:21:52,482
CHARLIE:
I've already made arrangements
for you three to go to prison.

506
00:21:52,586 --> 00:21:53,344
OPEN YOUR TOWEL.

507
00:21:53,448 --> 00:21:55,758
I'LL BE STANDING
AS ERECT AS EVER.

508
00:21:55,862 --> 00:21:57,413
GOOD LUCK, ANGELS.

509
00:22:01,310 --> 00:22:04,275
Farrell: OH, GOD, I DID
"BATTLE OF THE NETWORK STARS"

510
00:22:04,379 --> 00:22:06,448
A COUPLE OF TIMES,
AND I HATED IT.

511
00:22:06,551 --> 00:22:09,344
I THINK I MADE UP SOME PRETTY
GOOD TIME ON BILLY CRYSTAL.

512
00:22:09,448 --> 00:22:12,137
Connelly: NETWORKS WOULD
LOAN OUT THEIR TV STARS

513
00:22:12,241 --> 00:22:15,448
TO COMPETE IN A SERIES
OF QUASI-OLYMPIC TYPE EVENTS.

514
00:22:15,551 --> 00:22:17,482
Cosell:: SHE'S LEANING SO FAR
OVER IN THE BOAT,

515
00:22:17,586 --> 00:22:19,206
SHE SEEMS TO BE WOBBLING
A GREAT DEAL.

516
00:22:19,310 --> 00:22:21,655
ERIN GRAY WITH THAT
LITHE, SUPPLE BODY.

517
00:22:21,758 --> 00:22:23,137
Crystal: [ LAUGHS ]

518
00:22:23,241 --> 00:22:25,517
SHE'S GOT A GREAT SET OF LEGS.
WHAT THE HECK!

519
00:22:25,620 --> 00:22:27,827
I THINK THAT WE HAVE A LOT
TO APOLOGIZE FOR

520
00:22:27,931 --> 00:22:29,206
WITH THE WORST OF TELEVISION.

521
00:22:29,310 --> 00:22:32,310
MY ONLY DEFENSE WAS,
IT WAS THE '70s.

522
00:22:32,413 --> 00:22:33,310
[ LAUGHS ]

523
00:22:33,413 --> 00:22:35,517
DID I JIGGLE MUCH?

524
00:22:35,620 --> 00:22:37,896
[ LAUGHS ]

525
00:22:38,000 --> 00:22:40,413
ENH...LIVE AND LEARN.

526
00:22:50,448 --> 00:22:54,275
PUBLIC TELEVISION HAS BEEN
EXPECTED TO DO A GREAT DEAL.

527
00:22:54,379 --> 00:22:57,034
ALMOST HALF OF NON-COMMERCIAL
PROGRAM HOURS

528
00:22:57,137 --> 00:22:59,137
ARE AIMED AT CHILDREN.

529
00:22:59,241 --> 00:23:03,758
AND IT HAS COME TO BE SO MANY
THINGS TO SO MANY PEOPLE.

530
00:23:03,862 --> 00:23:07,172
Burton: THE PBS CHILDREN'S
PROGRAMMING IN THE '70s

531
00:23:07,275 --> 00:23:10,206
BECAME THE PLATINUM STANDARD
ON THE PLANET

532
00:23:10,310 --> 00:23:13,172
FOR HOW YOU USE THIS MEDIUM
TO EDUCATE KIDS.

533
00:23:13,275 --> 00:23:16,241
♪ WOULD YOU BE MINE?
COULD YOU BE MINE? ♪

534
00:23:16,344 --> 00:23:19,103
♪ WON'T YOU BE MY NEIGHBOR?

535
00:23:19,206 --> 00:23:21,793
Burton: IT WAS FRED ROGERS
WHO MADE IT OKAY

536
00:23:21,896 --> 00:23:25,413
TO SPEAK TO AN AUDIENCE OF KIDS
LIKE THEY WERE HUMAN BEINGS.

537
00:23:25,517 --> 00:23:29,137
THERE ARE SOME THINGS THAT ARE
VERY DIFFICULT TO UNDERSTAND

538
00:23:29,241 --> 00:23:31,172
IN A NEWSPAPER.

539
00:23:31,275 --> 00:23:33,482
Gilligan: EVERY NOW AND THEN I
THINK BACK TO MR. ROGERS,

540
00:23:33,586 --> 00:23:35,724
AND I THINK, "HE WOULD SAY,
'DON'T BE SCARED,

541
00:23:35,827 --> 00:23:37,241
LIFE IS GOOD, LIFE IS SPECIAL.'"

542
00:23:37,344 --> 00:23:41,275
EVERYBODY IS SO SPECIAL
BECAUSE EVERYBODY IS DIFFERENT.

543
00:23:41,379 --> 00:23:43,068
JUST GO AND DO THE THING
THAT YOU LOVE,

544
00:23:43,172 --> 00:23:44,275
AND THAT ALWAYS STUCK WITH ME.

545
00:23:44,379 --> 00:23:45,931
SEE YOU TOMORROW.

546
00:23:46,034 --> 00:23:50,068
♪ COULD YOU TELL ME HOW TO GET,
HOW TO GET TO SESAME STREET? ♪

547
00:23:50,172 --> 00:23:52,586
"SESAME STREET"
INTRODUCED MY CHILDREN

548
00:23:52,689 --> 00:23:55,586
TO THE INTERACTION OF PEOPLE
WITH DIFFERENT BACKGROUNDS.

549
00:23:55,689 --> 00:23:59,068
♪ IT'S NOT BAD BEING,
BEING GREEN ♪

550
00:23:59,172 --> 00:24:00,379
John John:
COUNT THIS PENNY.

551
00:24:00,482 --> 00:24:01,862
COUNT THAT PENNY?

552
00:24:01,965 --> 00:24:03,413
YEAH, COUNT IT.

553
00:24:03,517 --> 00:24:04,586
OKAY.

554
00:24:04,689 --> 00:24:05,827
COUNT IT.

555
00:24:05,931 --> 00:24:07,172
ONE.

556
00:24:07,275 --> 00:24:10,034
Bianculli:
"SESAME STREET" WAS AGGRESSIVE

557
00:24:10,137 --> 00:24:13,310
IN TERMS OF LEARNING
NOT ONLY CONCEPTS OF READING,

558
00:24:13,413 --> 00:24:15,206
BUT CONCEPTS OF INTERACTING.

559
00:24:15,310 --> 00:24:16,931
I MAY BE SMALL...

560
00:24:17,034 --> 00:24:18,344
All: I MAY BE SMALL...

561
00:24:18,448 --> 00:24:19,896
...BUT I AM......BUT I AM...

562
00:24:20,000 --> 00:24:21,689
...SOMEBODY!...SOMEBODY!

563
00:24:21,793 --> 00:24:24,931
"SESAME STREET" WAS, YOU KNOW,
AS BIG AS IT GOT

564
00:24:25,034 --> 00:24:26,758
IN TERMS OF CELEBRITY.

565
00:24:26,862 --> 00:24:28,965
EVERYBODY WANTED TO HANG
WITH THE MUPPETS.

566
00:24:29,068 --> 00:24:30,931
AREN'T YOU JOHNNY TRASH?

567
00:24:31,034 --> 00:24:32,586
CASH.
CASH. CASH.

568
00:24:32,689 --> 00:24:33,517
[ THUNK ]

569
00:24:33,620 --> 00:24:35,724
EDUCATIONAL CHILDREN'S
TELEVISION

570
00:24:35,827 --> 00:24:37,344
REALLY MATURED IN THE '70s.

571
00:24:37,448 --> 00:24:39,241
I'M LEAVING.
WHEW!

572
00:24:39,344 --> 00:24:40,827
I LOVE YOU.

573
00:24:40,931 --> 00:24:42,965
I LOVE YOU, TOO.

574
00:24:43,068 --> 00:24:44,413
OH, THANKS.

575
00:24:44,517 --> 00:24:46,793
AND NOW FOR SOMETHING
COMPLETELY DIFFERENT.

576
00:24:46,896 --> 00:24:51,620
Rosenthal: WHEN I WAS 13, THIS
SHOW FROM ENGLAND CAME ON PBS,

577
00:24:51,724 --> 00:24:54,310
WHICH BEFORE THAT WAS ONLY
THE REALM OF MY PARENTS.

578
00:24:54,413 --> 00:24:55,931
UGH!WHAT DO YOU MEAN, UGH?

579
00:24:56,034 --> 00:24:57,862
I DON'T LIKE SPAM!

580
00:24:57,965 --> 00:25:01,655
AND SUDDENLY THEY'RE DOING
THE MOST OUTLANDISH, RACY,

581
00:25:01,758 --> 00:25:03,896
NON SEQUITUR TYPE OF HUMOR...

582
00:25:04,000 --> 00:25:05,413
[ SQUAWK! ]

583
00:25:05,517 --> 00:25:07,931
...AND KILLING ME,
THE 13-YEAR-OLD.

584
00:25:08,034 --> 00:25:09,827
IT'S EXTRAORDINARY WHAT YOU
<i>CAN'T</i> DO

585
00:25:09,931 --> 00:25:11,000
ON AMERICAN TELEVISION.

586
00:25:11,103 --> 00:25:12,379
I THINK YOU CAN DO IT ON PBS,

587
00:25:12,482 --> 00:25:14,137
AND THAT'S WHY I HOPE
YOU ALL WATCH IT.

588
00:25:14,241 --> 00:25:15,482
COME AT ME
WITH THAT BANANA!

589
00:25:15,586 --> 00:25:16,896
COME ON, ATTACK ME
WITH IT!

590
00:25:17,000 --> 00:25:18,655
COME ON!
AAAH!

591
00:25:18,758 --> 00:25:19,793
[ GUNSHOT ]

592
00:25:19,896 --> 00:25:21,724
AND SO YOU HAVE THIS
GENERATION OF COMEDY NERDS

593
00:25:21,827 --> 00:25:23,896
WHO DON'T EVEN KNOW
THAT THEY'RE COMEDY NERDS.

594
00:25:24,000 --> 00:25:26,206
THIS PARROT IS NO MORE.

595
00:25:26,310 --> 00:25:29,344
IT HAS CEASED TO BE.

596
00:25:29,448 --> 00:25:33,068
Bianculli: "MONTY PYTHON" TURNED
OUT TO BREAK SO MANY RULES.

597
00:25:33,172 --> 00:25:34,896
I MEAN, IT CHANGES EVERYTHING.

598
00:25:35,000 --> 00:25:36,758
JUST LIKE WITH THE BEATLES,
YOU CAN SAY,

599
00:25:36,862 --> 00:25:38,344
"OH, THEY CAME
AFTER THE BEATLES."

600
00:25:38,448 --> 00:25:40,000
YOU LOOK
AT "SATURDAY NIGHT LIVE,"

601
00:25:40,103 --> 00:25:41,206
YOU LOOK AT "SCTV"--

602
00:25:41,310 --> 00:25:42,827
OH, AFTER--
AFTER "MONTY PYTHON."

603
00:25:42,931 --> 00:25:44,344
BEGINNING ON OCTOBER THE 11th,

604
00:25:44,448 --> 00:25:46,620
SATURDAY NIGHT WILL OPEN UP
A WHOLE NEW LIVE VENTURE

605
00:25:46,724 --> 00:25:47,896
FROM NEW YORK CITY.

606
00:25:48,000 --> 00:25:50,689
WE JUST HAPPEN TO HAVE
THE PRODUCER OF THE PROGRAM,

607
00:25:50,793 --> 00:25:51,793
MEMBERS OF HIS COMPANY.

608
00:25:51,896 --> 00:25:53,827
WHAT SHOULD WE LOOK FOR
ON YOUR PROGRAM?

609
00:25:53,931 --> 00:25:55,137
ANXIETY.

610
00:25:55,241 --> 00:25:57,034
Sepinwall: LORNE MICHAELS,
THIS CANADIAN COMEDY PRODUCER,

611
00:25:57,137 --> 00:25:58,413
WAS GIVEN FREE REIN...

612
00:25:58,517 --> 00:25:59,586
HI. I'M LORNE MICHAELS,

613
00:25:59,689 --> 00:26:01,379
THE PRODUCER
OF "SATURDAY NIGHT."

614
00:26:01,482 --> 00:26:05,068
Sepinwall:
...AND HE ULTIMATELY WINDS UP
HIRING A BUNCH OF IMPROV COMICS.

615
00:26:05,172 --> 00:26:06,103
REHEARSAL OF WARMUPS.

616
00:26:06,206 --> 00:26:07,793
LET'S DO 20 FACE-SLAPS.

617
00:26:07,896 --> 00:26:09,758
COME ON. SLAP.

618
00:26:09,862 --> 00:26:11,206
COME ON, MAKE IT HURT.

619
00:26:11,310 --> 00:26:12,586
GEORGE CARLIN WAS
THE FIRST HOST,

620
00:26:12,689 --> 00:26:15,482
AND WANTED TO BE
A PERMANENT HOST.

621
00:26:15,586 --> 00:26:17,275
NICE TO SEE YOU. WELCOME.

622
00:26:17,379 --> 00:26:19,172
AND THANKS FOR JOINING US LIVE.

623
00:26:19,275 --> 00:26:21,655
THERE WERE A LOT OF NAMES
BANDIED ABOUT

624
00:26:21,758 --> 00:26:23,586
IN TERMS OF A PERMANENT HOST.

625
00:26:23,689 --> 00:26:26,241
Shales: THAT'S ONE OF THOSE
TV RULES THAT YOU MUSTN'T BREAK

626
00:26:26,344 --> 00:26:27,965
UNTIL YOU DO,
AND THEN YOU REALIZE,

627
00:26:28,068 --> 00:26:30,379
WHY DON'T YOU HAVE
A DIFFERENT HOST EVERY WEEK?

628
00:26:30,482 --> 00:26:33,275
BUT IT WAS THE CAST THAT FINALLY
WON THE PEOPLE'S HEARTS.

629
00:26:33,379 --> 00:26:34,862
COME ON,
WHO IS THIS?

630
00:26:34,965 --> 00:26:35,689
Man: CANDYGRAM.

631
00:26:35,793 --> 00:26:37,689
AAH! NO!

632
00:26:37,793 --> 00:26:38,517
YOU GOT THAT?

633
00:26:38,620 --> 00:26:40,000
YOU CUT YOUR OWN STEAKS!

634
00:26:40,103 --> 00:26:41,448
WE GIVE YOU THE SAUCE!

635
00:26:41,551 --> 00:26:42,827
I'M BARBARA WAWA.

636
00:26:42,931 --> 00:26:44,482
THANK YOU. THANK YOU.
THANK YOU VERY MUCH.

637
00:26:44,586 --> 00:26:46,034
YOU'RE BEAUTIFUL.
YOU'RE BEAUTIFUL. THANK YOU.

638
00:26:46,137 --> 00:26:48,137
Shales:
YOU WERE DRAWN TO THE TV SET

639
00:26:48,241 --> 00:26:50,310
BECAUSE YOU KNEW SOMETHING
INSANE MIGHT HAPPEN...

640
00:26:50,413 --> 00:26:51,551
LIVE!
LIVE!

641
00:26:51,655 --> 00:26:53,137
LIVE FROM NEW YORK!

642
00:26:53,241 --> 00:26:54,206
...PARTLY BECAUSE IT WAS LIVE,

643
00:26:54,310 --> 00:26:55,689
BUT PARTLY BECAUSE YOU KNEW

644
00:26:55,793 --> 00:26:57,724
TELEVISION WAS NOW IN THE HANDS
OF THE TELEVISION GENERATION.

645
00:26:57,827 --> 00:27:01,413
♪ NBC, SMART AS A PEACOCK

646
00:27:01,517 --> 00:27:04,931
AND THESE WERE "KIDS"
WHO JUST MIGHT DO ANYTHING.

647
00:27:05,034 --> 00:27:06,551
YES, HAVING SEX
WITH WOMEN!

648
00:27:06,655 --> 00:27:09,620
THE PRESIDENT,
WITHIN THESE VERY WALLS.

649
00:27:09,724 --> 00:27:13,206
THAT NEVER HAPPENED
WHEN DICK NIXON WAS
IN THE WHITE HOUSE.

650
00:27:13,310 --> 00:27:14,896
IT WAS COUNTER TELEVISION,

651
00:27:15,000 --> 00:27:16,172
AND THAT'S PARTLY
WHAT MADE IT ATTRACTIVE.

652
00:27:16,275 --> 00:27:17,896
NO PROBLEM.

653
00:27:18,000 --> 00:27:19,862
Hanks:
EVERY ONE OF THEIR EPISODES

654
00:27:19,965 --> 00:27:23,758
BECAME WORTHY OF TALMUDIC STUDY,
IF THAT'S THE WORD.

655
00:27:23,862 --> 00:27:26,448
Klein: WHEN I HOSTED,
LORNE CALLED ME INTO HIS OFFICE

656
00:27:26,551 --> 00:27:30,068
AND SAID, "YOU REALIZE
THE KIDS ARE THE STARS.

657
00:27:30,172 --> 00:27:32,551
THE HOST WASN'T
NEARLY AS IMPACTFUL...

658
00:27:32,655 --> 00:27:35,068
THAT'S NOT QUITE IT. UH...

659
00:27:35,172 --> 00:27:37,379
...BECAUSE THE THING WAS
ALL THE RAGE.

660
00:27:37,482 --> 00:27:38,586
[ MELODY PLAYS ]

661
00:27:38,689 --> 00:27:40,310
Bianculli:
THEY CALLED THEMSELVES

662
00:27:40,413 --> 00:27:41,931
"THE NOT READY
FOR PRIME TIME PLAYERS,"

663
00:27:42,034 --> 00:27:43,724
NOT BECAUSE THEY FELT
THEY WEREN'T GOOD ENOUGH,

664
00:27:43,827 --> 00:27:45,275
BUT BECAUSE THEY FELT
THEY WERE TOO GOOD.

665
00:27:45,379 --> 00:27:47,241
GOOD EVENING.
I'M CHEVY CHASE,

666
00:27:47,344 --> 00:27:48,551
AND YOU'RE NOT.

667
00:27:48,655 --> 00:27:50,344
CHEVY CHASE
BECAME AN INSTANT STAR.

668
00:27:50,448 --> 00:27:51,275
OUR TOP STORY TONIGHT...

669
00:27:51,379 --> 00:27:52,862
[ Shouting ]
OUR TOP STORY TONIGHT...

670
00:27:52,965 --> 00:27:54,827
...PRESIDENT FORD FLEW TO PARIS
FOR A SUMMIT CONFERENCE...

671
00:27:54,931 --> 00:27:56,586
...PRESIDENT FORD FLEW TO PARIS
FOR A SUMMIT CONFERENCE...

672
00:27:56,689 --> 00:27:57,896
...AND BOY,
ARE HIS ARMS TIRED.

673
00:27:58,000 --> 00:28:00,448
...AND BOY,
ARE HIS ARMS TIRED.

674
00:28:00,551 --> 00:28:03,068
CHEVY CHASE WAS ON THE SHOW
FOR ONE YEAR.

675
00:28:03,172 --> 00:28:05,275
Carson: ARE YOU SORRY YOU LEFT
"SATURDAY NIGHT LIVE"?

676
00:28:05,379 --> 00:28:07,068
I'M DEEPLY, DEEPLY SORRY.

677
00:28:07,172 --> 00:28:08,724
[ LAUGHS ]

678
00:28:08,827 --> 00:28:11,931
Miller: CHEVY DECIDED
THAT HE WAS TOO BIG FOR
THE SHOW, AND SO HE LEFT.

679
00:28:12,034 --> 00:28:16,103
IN SOME WAYS CHEVY LEAVING AFTER
THE FIRST YEAR WAS A BLESSING

680
00:28:16,206 --> 00:28:18,379
BECAUSE IT SHOWED
THAT "SATURDAY NIGHT LIVE"

681
00:28:18,482 --> 00:28:20,931
WAS GOING TO DO
MUCH MORE THAN SURVIVE.

682
00:28:21,034 --> 00:28:25,482
♪ THERE ARE SOME THINGS
THAT JUST AREN'T EXPLAINABLE ♪

683
00:28:25,586 --> 00:28:26,586
HELLO, I'M BILL MURRAY.

684
00:28:26,689 --> 00:28:27,965
YOU CAN CALL ME "BILLY,"

685
00:28:28,068 --> 00:28:30,620
BUT AROUND HERE, EVERYBODY
JUST CALLS ME "THE NEW GUY."

686
00:28:30,724 --> 00:28:33,068
WHEN CHEVY CHASE LEAVES,
BILL MURRAY COMES IN.

687
00:28:33,172 --> 00:28:36,379
COME ON.OKAY, ALL OF IT IN.

688
00:28:36,482 --> 00:28:38,068
Murray: CUT! CUT!

689
00:28:38,172 --> 00:28:40,482
MAKEUP, CAN WE GET IN HERE,
PLEASE? SORRY, FELLAS.

690
00:28:40,586 --> 00:28:42,862
I MEAN, THAT JUST OPENED UP
OTHER DOORS,

691
00:28:42,965 --> 00:28:46,000
AND "SATURDAY NIGHT LIVE" WAS
JUST KIND OF TAKING OFF.

692
00:28:46,103 --> 00:28:48,275
TWO WILD AND CRAZY GUYS!

693
00:28:48,379 --> 00:28:49,758
SUPER BASS-O-MATIC '76.

694
00:28:49,862 --> 00:28:52,241
YOU'LL NEVER HAVE TO SCALE,
CUT, OR GUT AGAIN.

695
00:28:52,344 --> 00:28:53,931
"DEAR ROSEANNE ROSANNADANNA..."

696
00:28:54,034 --> 00:28:56,413
[ Greek accent ]
CHEESEBURGER! CHEESEBURGER!CHEESEBURGER!

697
00:28:56,517 --> 00:28:59,413
BACK TO GRADUATION! NO!

698
00:28:59,517 --> 00:29:01,103
WHERE DO WE COME FROM?FRANCE.

699
00:29:01,206 --> 00:29:02,551
JANE, YOU IGNORANT SLUT.

700
00:29:02,655 --> 00:29:06,965
IT WAS THE SHOW <i>FOR</i> US.
IT WAS THE SHOW <i>ABOUT</i> US.

701
00:29:07,068 --> 00:29:08,827
Miller:
YOU WANTED TO BE A PART OF IT.

702
00:29:08,931 --> 00:29:11,103
IT WAS INEXTRICABLY LINKED
WITH THE TIMES.

703
00:29:11,206 --> 00:29:12,724
THAT'S THE NEWS.
GOOD NIGHT.

704
00:29:12,827 --> 00:29:15,310
AND HAVE A PLEASANT TOMORROW.

705
00:29:25,206 --> 00:29:26,862
[ ALARM RINGS ]

706
00:29:28,551 --> 00:29:29,758
MONDAY! MONDAY!

707
00:29:29,862 --> 00:29:31,482
MONDAY'S THE GREATEST DAY
OF THE WEEK!

708
00:29:31,586 --> 00:29:33,000
Hanks:
THROUGHOUT HIGH SCHOOL,

709
00:29:33,103 --> 00:29:35,310
THERE WAS ONE SHOW
THAT WAS RELIGIOUS BROADCASTING

710
00:29:35,413 --> 00:29:37,482
THAT YOU HAD TO WATCH
'CAUSE IF YOU DIDN'T SEE IT,

711
00:29:37,586 --> 00:29:39,206
YOU WOULDN'T HAVE
ANYTHING TO TALK ABOUT

712
00:29:39,310 --> 00:29:42,034
FOR ALL OF TUESDAY
AND MOST OF WEDNESDAY

713
00:29:42,137 --> 00:29:43,482
AND A BIG PART OF THURSDAY.

714
00:29:43,586 --> 00:29:47,275
WHY? BECAUSE MONDAY NIGHT IS
NFL FOOTBALL NIGHT, THAT'S WHY.

715
00:29:47,379 --> 00:29:49,379
[ THEME MUSIC PLAYS ]

716
00:29:49,482 --> 00:29:54,379
"MONDAY NIGHT FOOTBALL" GOT ITS
START ON SEPTEMBER 21, 1970,

717
00:29:54,482 --> 00:29:56,551
WITH THE CLEVELAND BROWNS
HOSTING THE NEW YORK JETS.

718
00:29:56,655 --> 00:29:59,689
WELCOME TO ABC's MONDAY NIGHT
PRIME TIME

719
00:29:59,793 --> 00:30:02,068
NATIONAL FOOTBALL LEAGUE
TELEVISION SERIES.

720
00:30:03,689 --> 00:30:06,793
Jackson: AND THIS GAME
IS UNDER WAY ON ABC.

721
00:30:06,896 --> 00:30:08,827
Ohlmeyer: FRANK WAS THERE
TO DO PLAY-BY-PLAY.

722
00:30:08,931 --> 00:30:10,758
DON WAS THERE TO DO REPLAYS

723
00:30:10,862 --> 00:30:13,034
AND PROVIDE SOME HUMOR
TO THE TELECAST.

724
00:30:13,137 --> 00:30:16,862
AND HOWARD WAS THERE TO BE THE
STRAW THAT STIRRED THE DRINK.

725
00:30:16,965 --> 00:30:20,310
LET'S HEAR IT!
COME ON! LET'S GO! LET'S GO!

726
00:30:20,413 --> 00:30:24,241
Bianculli: THE PAIRING OF
HOWARD COSELL WITH DON MEREDITH

727
00:30:24,344 --> 00:30:27,482
IS A CLASSIC SITCOM
ODD-COUPLE KIND OF PAIRING.

728
00:30:27,586 --> 00:30:29,620
Miller: YOU COULDN'T HELP
BUT BE SWEPT UP

729
00:30:29,724 --> 00:30:31,241
BY WHAT THOSE GUYS WERE SAYING.

730
00:30:31,344 --> 00:30:33,758
THE BOOTH ITSELF WAS ALMOST
LIKE A VARIETY SHOW.

731
00:30:33,862 --> 00:30:35,758
WE HAVE OUR EXTRA
HERE WITH US THIS EVENING.

732
00:30:35,862 --> 00:30:37,655
I'VE CALLED IT
A TRAVELING FREAK SHOW,

733
00:30:37,758 --> 00:30:39,275
AND IT REALLY WAS
KIND OF A--

734
00:30:39,379 --> 00:30:42,137
AND THE HEAD FREAK WAS HOWARD,
AIN'T NO QUESTION ABOUT THAT.

735
00:30:42,241 --> 00:30:43,965
Connelly: THE TENSION
BETWEEN THE TWO OF THEM

736
00:30:44,068 --> 00:30:46,344
MADE FOR THE KIND OF THING YOU
JUST WANTED TO SEE EVERY WEEK.

737
00:30:46,448 --> 00:30:48,241
PROFESSIONAL FOOTBALL
IS RAPIDLY GROWING

738
00:30:48,344 --> 00:30:49,586
INTO A VERY BIG BUSINESS.

739
00:30:49,689 --> 00:30:51,413
YOU UNDERSTAND FOOTBALL?
OUR FOOTBALL?

740
00:30:51,517 --> 00:30:52,931
NOT WHAT THEY CALL
FOOTBALL IN EUROPE.

741
00:30:53,034 --> 00:30:55,034
I LIKE TO WATCH IT,
BUT I DON'T UNDERSTAND TOO MUCH.

742
00:30:55,137 --> 00:30:58,000
WOULD YOU LIKE TO LEARN
MORE ABOUT IT?

743
00:30:58,103 --> 00:31:00,758
Ohlmeyer:
WE WERE ON A MISSION THAT
TOOK US VERY CLOSE TO SAYING,

744
00:31:00,862 --> 00:31:03,517
"SCREW THE FOOTBALL FAN BECAUSE
HE'S GONNA COME ANYWAY."

745
00:31:03,620 --> 00:31:06,310
WHAT WE NEEDED TO DO
WAS APPEAL TO WOMEN.

746
00:31:06,413 --> 00:31:09,620
WE NEEDED TO APPEAL
TO THE CASUAL FOOTBALL FAN.

747
00:31:09,724 --> 00:31:12,172
THAT'S WHY WE STARTED
TELLING STORIES--

748
00:31:12,275 --> 00:31:13,758
TO HUMANIZE THE PLAYERS.

749
00:31:13,862 --> 00:31:15,827
JOE NAMATH, ONE OF THE GREATEST
OF ALL TIME,

750
00:31:15,931 --> 00:31:17,862
UNFORTUNATELY, HIS LEGS
DO NOT GO WITH THAT ARM.

751
00:31:17,965 --> 00:31:21,000
Ohlmeyer: THERE'S THINGS
THAT PEOPLE ASSOCIATE WITH.

752
00:31:21,103 --> 00:31:22,724
RECOGNIZE THIS FELLOW?

753
00:31:22,827 --> 00:31:23,827
WHAT'S BEEN YOUR VIEW

754
00:31:23,931 --> 00:31:25,827
OF THIS AMERICAN
PROFESSIONAL FOOTBALL SCENE?

755
00:31:25,931 --> 00:31:27,689
IT'S AN AMAZING EVENT
AND SIGHTS.

756
00:31:27,793 --> 00:31:30,448
IT MAKES ROCK CONCERTS
LOOK LIKE TEA PARTIES.

757
00:31:30,551 --> 00:31:33,068
I'D LIKE TO HAVE YOUR JOB
AND BE A SPORTSCASTER.

758
00:31:33,172 --> 00:31:35,103
Connelly: THAT SHOW BECAME,
WEEK AFTER WEEK,

759
00:31:35,206 --> 00:31:37,275
ONE OF THE MOST
HIGHLY RATED SHOWS IN AMERICA.

760
00:31:37,379 --> 00:31:40,827
♪ TURN OUT THE LIGHTS,
THE PARTY'S OVER ♪

761
00:31:40,931 --> 00:31:44,413
IT SHOWED THAT FOOTBALL WAS
AN ENTERTAINMENT EXPERIENCE

762
00:31:44,517 --> 00:31:47,758
ON PAR WITH ANY PRIMETIME SHOW
YOU COULD IMAGINE.

763
00:31:47,862 --> 00:31:48,965
MAYBE IT WAS BETTER

764
00:31:49,068 --> 00:31:51,448
BECAUSE YOU DIDN'T KNOW
HOW IT WAS GONNA END.

765
00:31:52,931 --> 00:31:56,862
"60 MINUTES" DECIDED TO PEER
INTO THE ELECTRONIC FUTURE

766
00:31:56,965 --> 00:31:59,689
TO TAKE A LOOK AT WHAT MAY BE
IN STORE FOR TELEVISION VIEWERS

767
00:31:59,793 --> 00:32:01,206
IN THE DECADE OF THE '70s.

768
00:32:01,310 --> 00:32:04,689
IT IS TELEVISION BY CABLE,
A COMMUNICATIONS REVOLUTION

769
00:32:04,793 --> 00:32:07,344
THAT COULD RADICALLY ALTER
OUR WAY OF LIFE.

770
00:32:07,448 --> 00:32:09,206
Mesce: CABLE,
FOR A QUARTER OF A CENTURY,

771
00:32:09,310 --> 00:32:10,931
THERE'S NOTHING
DISTINCTIVE ABOUT IT.

772
00:32:11,034 --> 00:32:11,931
IT'S JUST A WAY FOR YOU

773
00:32:12,034 --> 00:32:13,862
TO GET WHAT EVERYBODY ELSE
CAN ALREADY GET.

774
00:32:13,965 --> 00:32:16,241
AND THAT'S THE WAY IT IS
UP UNTIL...

775
00:32:16,344 --> 00:32:19,241
<i>WELCOME TO HOME BOX OFFICE
SUBSCRIPTION TELEVISION.</i>

776
00:32:19,344 --> 00:32:22,068
...HBO DEBUTS NOVEMBER 8, 1972.

777
00:32:22,172 --> 00:32:24,724
AND IT IS NOT
AN OVERNIGHT SUCCESS.

778
00:32:24,827 --> 00:32:27,344
PRESENTING THE PENNSYLVANIA
POLKA FESTIVAL.

779
00:32:27,448 --> 00:32:29,413
Mesce:
AND THE OFT-REPEATED SAYING WAS,

780
00:32:29,517 --> 00:32:30,655
GETTING PEOPLE TO PAY FOR TV

781
00:32:30,758 --> 00:32:33,482
WILL BE LIKE GETTING THEM
TO PAY FOR AIR.

782
00:32:33,586 --> 00:32:35,482
Shales: SATURDAY MORNINGS,
THEY WOULD PLAY BAND MUSIC,

783
00:32:35,586 --> 00:32:38,275
AND YOU'D SEE SLIDES
OF NOTHING-- I DON'T KNOW.

784
00:32:38,379 --> 00:32:39,965
Mesce:
NOBODY KNEW WHAT YOU COULD DO.

785
00:32:40,068 --> 00:32:41,655
NOBODY KNEW
WHAT YOU COULDN'T DO,

786
00:32:41,758 --> 00:32:45,275
BUT YOU WERE DESPERATELY TRYING
NOT TO BE COMMERCIAL TELEVISION.

787
00:32:45,379 --> 00:32:46,586
HOW MUCH TIME WE GOT?

788
00:32:46,689 --> 00:32:48,793
<i>LADIES AND GENTLEMEN,
ROBERT KLEIN.</i>

789
00:32:48,896 --> 00:32:50,379
Klein:
THE BEAUTY OF IT WAS,

790
00:32:50,482 --> 00:32:52,689
YOU DIDN'T HAVE TO PACK
EVERYTHING QUICKLY.

791
00:32:52,793 --> 00:32:54,551
YOU COULD WARM UP
AND GET TO KNOW,

792
00:32:54,655 --> 00:32:56,448
AND TAKE THE STAGE,
SO TO SPEAK.

793
00:32:56,551 --> 00:32:58,448
THE TALK SHOWS ARE OKAY,
YOU KNOW?

794
00:32:58,551 --> 00:32:59,724
I DO "THE TONIGHT SHOW."

795
00:32:59,827 --> 00:33:02,344
I SIT, COME IN, I HAVE TO BE
FUNNY IN A HURRY.

796
00:33:02,448 --> 00:33:05,310
I GET SO LITTLE TIME, 6 MINUTES,
AND BOOM-BOOM-BOOM.

797
00:33:05,413 --> 00:33:10,724
IT WASN'T THIS CONTRIVED-- IT
WAS A FULL-THROATED PERFORMANCE.

798
00:33:10,827 --> 00:33:12,241
THIS IS NOT REGULAR TELEVISION.

799
00:33:12,344 --> 00:33:14,172
IT'S SUBSCRIPTION.
YOU CAN SAY ANY--

800
00:33:14,275 --> 00:33:15,620
[BLEEP]

801
00:33:15,724 --> 00:33:17,793
Mesce: BECAUSE YOU'RE NOT USING
PUBLIC AIRWAVES,

802
00:33:17,896 --> 00:33:19,344
THE FCC CAN'T
REGULATE YOUR CONTENT.

803
00:33:19,448 --> 00:33:22,448
I UNDERSTAND YOU HAD
TWO ORGASMS YESTERDAY.

804
00:33:22,551 --> 00:33:25,482
CAN YOU TELL US ABOUT THEM?

805
00:33:25,586 --> 00:33:27,758
Mesce: HBO GAVE CABLE
SOMETHING TO SELL.

806
00:33:27,862 --> 00:33:31,448
YOU WERE GETTING MOVIES UNCUT
IN YOUR HOME,

807
00:33:31,551 --> 00:33:33,689
ALL THE NAUGHTY BITS INTACT.

808
00:33:35,379 --> 00:33:38,068
AND THEN SEPTEMBER 1975,

809
00:33:38,172 --> 00:33:42,000
WE DEBUT COAST TO COAST
WITH "THE THRILLA IN MANILA,"

810
00:33:42,103 --> 00:33:44,344
ONE OF THE ALL-TIME CLASSIC
HEAVYWEIGHT FIGHTS--

811
00:33:44,448 --> 00:33:45,482
FRAZIER/ALI--

812
00:33:45,586 --> 00:33:47,448
AND THAT'S WHEN HBO EXPLODES.

813
00:33:47,551 --> 00:33:48,965
Man: IT'S ALL OVER,

814
00:33:49,068 --> 00:33:51,655
AND MUHAMMAD ALI AT THE END
OF THE 14th ROUND...

815
00:33:51,758 --> 00:33:54,689
Mesce: BEFORE THAT,
YOU'RE COUNTING GROWTH

816
00:33:54,793 --> 00:33:56,758
IN TENS OF THOUSANDS
OF SUBSCRIBERS.

817
00:33:56,862 --> 00:33:59,793
AFTER THAT,
YOU'RE COUNTING IN MILLIONS.

818
00:33:59,896 --> 00:34:02,655
THAT'S REALLY DAY ONE
FOR BOTH BUSINESSES--

819
00:34:02,758 --> 00:34:04,896
HBO AND THE CABLE INDUSTRY.

820
00:34:05,000 --> 00:34:06,068
<i>IF YOU'RE A FAN,</i>

821
00:34:06,172 --> 00:34:09,034
<i>WHAT YOU'LL SEE
IN THE NEXT MINUTES TO FOLLOW</i>

822
00:34:09,137 --> 00:34:11,931
<i>MAY CONVINCE YOU
YOU'VE GONE TO SPORTS HEAVEN.</i>

823
00:34:12,034 --> 00:34:14,000
Miller: IN THE MID-'70s
IN THE SPORTS WORLD,

824
00:34:14,103 --> 00:34:19,482
THERE WERE JUST THESE
THREE GIANTS-- CBS, ABC, NBC.

825
00:34:19,586 --> 00:34:20,896
AND THEN IN CONNECTICUT,

826
00:34:21,000 --> 00:34:23,241
SOMEBODY GOT A HOLD
OF A TRANSPONDER.

827
00:34:23,344 --> 00:34:25,413
THE PICTURE
YOU'RE WATCHING RIGHT NOW

828
00:34:25,517 --> 00:34:26,689
HAS BEEN TAKEN BY A CAMERA

829
00:34:26,793 --> 00:34:28,724
SENT THROUGH
SOME SOPHISTICATED EQUIPMENT

830
00:34:28,827 --> 00:34:30,482
TO THIS EARTH
TRANSMITTING STATION.

831
00:34:30,586 --> 00:34:32,275
Miller:
THIS GUY, BILL RASMUSSEN,

832
00:34:32,379 --> 00:34:34,482
WHO HAD BEEN FIRED FROM HIS JOB

833
00:34:34,586 --> 00:34:37,068
AND JUST TRYING
TO FIGURE OUT A WAY

834
00:34:37,172 --> 00:34:39,137
TO DELIVER LOCAL CABLE SPORTS.

835
00:34:39,241 --> 00:34:41,689
THEN WHEN THEY FOUND OUT
ABOUT THE SATELLITE, THEY SAID,

836
00:34:41,793 --> 00:34:43,551
"SO, CAN WE COVER
THE WHOLE STATE?"

837
00:34:43,655 --> 00:34:45,793
AND THE GUY LOOKED AND HE SAID,
"NO, YOU DON'T UNDERSTAND."

838
00:34:45,896 --> 00:34:47,689
Shales: "FOR ANOTHER 25 CENTS
OR WHATEVER,

839
00:34:47,793 --> 00:34:49,344
YOU CAN SEND THIS ALL
OVER THE COUNTRY."

840
00:34:49,448 --> 00:34:52,862
AND THEY WENT, "OH, GEE, WHY
WOULD ANYONE WANT TO DO THAT?"

841
00:34:52,965 --> 00:34:55,206
THEY DIDN'T QUITE KNOW
WHAT THEY HAD.

842
00:34:55,310 --> 00:34:59,000
AND HE WOUND UP REVOLUTIONIZING
TELEVISION SPORTS.

843
00:34:59,103 --> 00:35:02,655
WELCOME, EVERYONE,
TO THE ESPN SportsCenter.

844
00:35:02,758 --> 00:35:05,241
FROM THIS VERY DESK
IN THE COMING WEEKS AND MONTHS,

845
00:35:05,344 --> 00:35:08,241
WE'LL BE FILLING YOU IN ON
THE PULSE OF SPORTING ACTIVITY,

846
00:35:08,344 --> 00:35:11,310
NOT ONLY AROUND THE COUNTRY,
BUT AROUND THE WORLD, AS WELL.

847
00:35:11,413 --> 00:35:13,517
Miller: THEY DIDN'T HAVE
THE MONEY TO GO OUT

848
00:35:13,620 --> 00:35:15,482
AND BUY BASEBALL GAMES
OR NFL GAMES.

849
00:35:15,586 --> 00:35:18,344
WHAT THEY DID DO WAS THEY TOOK
ALL THE LEFTOVERS OUT THERE.

850
00:35:18,448 --> 00:35:20,896
I'M JOE BOYLE, AND I'LL BE
HANDLING THE PLAY-BY-PLAY

851
00:35:21,000 --> 00:35:23,655
FOR TONIGHT'S GAME BETWEEN
THE BADGERS AND THE BLUE DEMONS.

852
00:35:23,758 --> 00:35:25,275
THAT GAVE BIRTH TO ARGUABLY

853
00:35:25,379 --> 00:35:28,103
THE GREATEST MEDIA SUCCESS STORY
OF ALL TIME.

854
00:35:28,206 --> 00:35:30,793
AT ITS BEST,
CABLE TELEVISION COULD PROVIDE

855
00:35:30,896 --> 00:35:33,586
A REFRESHING RELIEF
FROM THE TREND TOWARD BIGNESS,

856
00:35:33,689 --> 00:35:35,068
TOWARD CENTRALIZATION.

857
00:35:35,172 --> 00:35:38,551
AT ITS WORST, CABLE TV
COULD INVADE OUR PRIVACY,

858
00:35:38,655 --> 00:35:40,206
TRANQUILIZE OUR CHILDREN,

859
00:35:40,310 --> 00:35:43,793
REMOVE US ELECTRONICALLY
FROM THE FLESH-AND-BLOOD WORLD,

860
00:35:43,896 --> 00:35:46,000
AND WE'D HAVE TO PAY
FOR THE PRIVILEGE.

861
00:35:46,103 --> 00:35:50,206
THE QUESTION IS, INDEED,
WILL THE MIRACLE BE MANAGED?

862
00:36:00,000 --> 00:36:03,103
[ THEME MUSIC PLAYS ]

863
00:36:03,206 --> 00:36:05,965
Bianculli: THE BEST THING PBS
DID FOR ADULTS IN THE '70s

864
00:36:06,068 --> 00:36:07,655
WAS THE MINISERIES--

865
00:36:07,758 --> 00:36:10,206
THE IDEA OF NOVELS
FOR TELEVISION.

866
00:36:10,310 --> 00:36:12,724
GOOD EVENING.
I'M ALISTAIR COOKE.

867
00:36:12,827 --> 00:36:15,724
WE'RE AT THE NINTH EPISODE
OF "I, CLAUDIUS."

868
00:36:15,827 --> 00:36:20,482
WE OUGHT TO PUT UP A SIGN,
"DISCRETION IS ADVISED."

869
00:36:20,586 --> 00:36:23,620
I WAS NOT ALLOWED TO WATCH IT
'CAUSE IT HAD THE NUDITY IN IT.

870
00:36:23,724 --> 00:36:25,137
I VERY MUCH WANTED TO.

871
00:36:25,241 --> 00:36:27,379
Sepinwall: RATHER THAN TRY
TO COME UP WITH A SHOW

872
00:36:27,482 --> 00:36:28,931
THAT WOULD RUN
FOR YEARS AND YEARS,

873
00:36:29,034 --> 00:36:32,137
IT WAS THIS IDEA
THAT HERE IS A LIMITED STORY,

874
00:36:32,241 --> 00:36:34,103
WE'RE GONNA TELL IT
IN "X" NUMBER OF EPISODES,

875
00:36:34,206 --> 00:36:36,448
AND LET'S JUST DO THIS ONE
SELF-CONTAINED THING.

876
00:36:36,551 --> 00:36:38,862
WE ALL DID THINGS DURING
THE REIGN OF MY MAD BROTHER

877
00:36:38,965 --> 00:36:40,827
THAT WE MIGHT NOT
OTHERWISE HAVE DONE.

878
00:36:40,931 --> 00:36:42,379
Bianculli:
IT LOOKS CHEAP.

879
00:36:42,482 --> 00:36:45,103
IT WAS THE SCRIPT AND
THE PERFORMANCES THAT MATTERED.

880
00:36:45,206 --> 00:36:47,344
IN OTHER WORDS,
IT COULD BE GOOD FOR YOU,

881
00:36:47,448 --> 00:36:49,172
BUT IT WAS FUN AT THE SAME TIME.

882
00:36:49,275 --> 00:36:53,551
THE MINISERIES IS SUCH A HUGE
SUCCESS FOR PUBLIC TELEVISION.

883
00:36:53,655 --> 00:36:56,206
ABC WAS THE NETWORK
THAT HIT GOLD

884
00:36:56,310 --> 00:36:58,137
WITH "RICH MAN, POOR MAN."

885
00:36:58,241 --> 00:37:02,206
YOU CAN TELL A STORY THAT
ISN'T CONTROLLED BY THE CLOCK.

886
00:37:02,310 --> 00:37:04,689
CHARACTERS CAN GROW AND CHANGE
AND DIFFER.

887
00:37:04,793 --> 00:37:06,896
HEY...I WANT TO TALK
TO YOU.

888
00:37:07,000 --> 00:37:07,862
ABOUT WHAT?

889
00:37:07,965 --> 00:37:10,034
ABOUT MAKING AN HONEST MAN
OUT OF ME.

890
00:37:10,137 --> 00:37:13,241
IT'S A SUBJECT I RARELY
DISCUSS IN THE NUDE.

891
00:37:13,344 --> 00:37:16,000
WHAT WE SAW IN THE '70s WAS
THAT THE BIG-EVENT TELEVISION,

892
00:37:16,103 --> 00:37:18,206
IF IT WAS DONE RIGHT,
AND IF IT WAS COMPELLING,

893
00:37:18,310 --> 00:37:21,413
THE AUDIENCE KEPT ON
COMING BACK AND BACK.

894
00:37:21,517 --> 00:37:24,172
Bianculli: HERE YOU HAVE TOPICS
THAT START TO GET SERIOUS

895
00:37:24,275 --> 00:37:26,413
AND IMPORTANT AND GROUNDBREAKING
FOR TELEVISION.

896
00:37:26,517 --> 00:37:28,206
Karl:
THERE'S NO LIFE LEFT HERE,

897
00:37:28,310 --> 00:37:30,689
AND I DON'T WANT HARM
TO COME TO YOU BECAUSE OF ME.

898
00:37:30,793 --> 00:37:32,103
I WON'T--

899
00:37:32,206 --> 00:37:33,931
I WON'T LISTEN TO THIS.

900
00:37:35,206 --> 00:37:36,241
[ GUNSHOTS ]

901
00:37:36,344 --> 00:37:38,827
THE MAJORITY REACTION
TO THE "HOLOCAUST" PROGRAM

902
00:37:38,931 --> 00:37:40,034
HAS BEEN POSITIVE.

903
00:37:40,137 --> 00:37:42,655
IT HAS NOT BEEN WITHOUT DEBATE.

904
00:37:42,758 --> 00:37:45,000
Bianculli:
WITH "HOLOCAUST,"

905
00:37:45,103 --> 00:37:48,689
"THE HEAT WAS YOU SHOULDN'T EVEN
TOUCH THIS SUBJECT.

906
00:37:48,793 --> 00:37:49,827
IT'S DISRESPECTFUL."

907
00:37:49,931 --> 00:37:51,586
BUT FINALLY THE THINKING WAS,

908
00:37:51,689 --> 00:37:54,793
"NO, TO <i>NOT</i> TALK ABOUT IT
WOULD BE DISRESPECTFUL,

909
00:37:54,896 --> 00:37:58,000
TO NOT PERPETUATE THE MEMORY
FOR ANOTHER GENERATION,

910
00:37:58,103 --> 00:38:01,172
SO IF YOU'RE TOO YOUNG TO KNOW,
HERE'S A DEPICTION.

911
00:38:01,275 --> 00:38:02,586
[ SPEAKING GERMAN ]

912
00:38:02,689 --> 00:38:06,275
Francis:
NOT SINCE THE WAR HAVE EMOTIONS
BEEN SO HIGH IN GERMANY.

913
00:38:06,379 --> 00:38:08,896
THE "HOLOCAUST" TELECAST
CAUSED HEATED DISCUSSION.

914
00:38:09,000 --> 00:38:11,379
ITS MOST TANGIBLE
POLITICAL EFFECT WAS SHOWN

915
00:38:11,482 --> 00:38:12,965
WHEN THE GERMAN LEGISLATURE

916
00:38:13,068 --> 00:38:15,310
DEBATED THE SEARCH
FOR NAZI WAR CRIMINALS.

917
00:38:15,413 --> 00:38:17,965
"HOLOCAUST" MADE IT EASIER
FOR LAWMAKERS

918
00:38:18,068 --> 00:38:20,379
TO VOTE TO CONTINUE
THE HUNT FOR NAZIS.

919
00:38:20,482 --> 00:38:21,931
Klein:
HOLOCAUST BROUGHT IT HOME.

920
00:38:22,034 --> 00:38:26,206
IT MADE IT REAL EVEN THOUGH
IT WAS A HOLLYWOOD CREATION.

921
00:38:28,137 --> 00:38:31,103
SUNDAY NIGHT, "ROOTS" BEGINS
IN EIGHT PARTS ON ABC.

922
00:38:31,206 --> 00:38:33,482
IF IT SOUNDS LIKE
I'M PLUGGING IT, I AM.

923
00:38:33,586 --> 00:38:36,517
BASICALLY, TELEVISION WILL
NEVER BE THE SAME AGAIN.

924
00:38:36,620 --> 00:38:40,931
THERE WAS REALLY NO BIGGER
TELEVISION EVENT THAN ROOTS.

925
00:38:41,034 --> 00:38:44,241
IT WAS BASED ON A 1976 BOOK
BY ALEX HALEY

926
00:38:44,344 --> 00:38:47,275
ABOUT HIS FAMILY IN AFRICA
AND COMING TO AMERICA AS SLAVES

927
00:38:47,379 --> 00:38:49,620
AND WHAT HAPPENS TO THEM
AS THE CENTURIES GO ON.

928
00:38:49,724 --> 00:38:55,172
I WILL GO TO MY GRAVE BELIEVING
THAT "ROOTS" IS AMERICA'S STORY.

929
00:38:55,275 --> 00:38:57,448
IT'S NOT JUST
BLACK AMERICA'S STORY.

930
00:38:57,551 --> 00:38:59,862
WE MIGHT HAVE COME OVER
IN THE BOTTOM OF THE SHIP,

931
00:38:59,965 --> 00:39:02,413
BUT WE ALL CAME OVER ON SHIPS.

932
00:39:02,517 --> 00:39:05,068
YOUR NAME MEANS "STAY PUT,"

933
00:39:05,172 --> 00:39:07,517
BUT IT DON'T MEAN
STAY A SLAVE.

934
00:39:07,620 --> 00:39:10,275
AS A 19-YEAR-OLD KID, YOU KNOW,
"ROOTS" WAS MY FIRST JOB.

935
00:39:10,379 --> 00:39:13,689
WE'RE NOT CHILDREN. WE'RE VERY
CLOSE TO BEING MEN, YOBOTO.

936
00:39:13,793 --> 00:39:15,241
Man: WHAT'S YOUR NAME?

937
00:39:15,344 --> 00:39:18,344
KUNTA. KUNTA KINTE.

938
00:39:18,448 --> 00:39:21,517
THE CHARACTER THAT I GOT
TO PORTRAY IN "ROOTS,"

939
00:39:21,620 --> 00:39:24,379
KUNTA KINTE THE ADULT,
WAS A DREAM ROLE.

940
00:39:24,482 --> 00:39:26,586
Burton:
IT WAS REALLY INGENIOUS

941
00:39:26,689 --> 00:39:29,965
TO CAST ALL OF AMERICA'S
FAVORITE TELEVISION DADS

942
00:39:30,068 --> 00:39:31,620
IN THE ROLES
OF THE WHITE SLAVE OWNERS

943
00:39:31,724 --> 00:39:33,103
AND THE VILLAINS.

944
00:39:33,206 --> 00:39:35,551
I'LL BE BY TO FETCH YOU
IN THE MORNING, CAPTAIN.

945
00:39:35,655 --> 00:39:37,551
SLEEP WELL.

946
00:39:39,482 --> 00:39:42,000
IT IS DIFFICULT TO EXPLAIN
IN TODAY'S CULTURE

947
00:39:42,103 --> 00:39:43,344
HOW UNPRECEDENTED "ROOTS" WAS.

948
00:39:43,448 --> 00:39:46,137
NO ONE HAD EVER SEEN THE STORY
OF SLAVERY BEFORE,

949
00:39:46,241 --> 00:39:48,482
TOLD FROM THE POINT OF VIEW
OF THE AFRICANS.

950
00:39:48,586 --> 00:39:50,586
[ INDISTINCT SINGING ]

951
00:39:50,689 --> 00:39:53,275
Bianculli:
IT MAY BE THE FIRST TIME

952
00:39:53,379 --> 00:39:57,758
THAT TELEVISION ALLOWED
AN EMBRACING OF BLACK PRIDE.

953
00:39:57,862 --> 00:40:00,896
THEN WE'S FREE.
WE'S FREE, HONEY.

954
00:40:01,000 --> 00:40:04,103
ONE OF THE REASONS THAT "ROOTS"
WAS SO INCREDIBLY POPULAR

955
00:40:04,206 --> 00:40:06,724
IS NOT BECAUSE ABC
HAD SO MUCH FAITH IN IT,

956
00:40:06,827 --> 00:40:09,172
BUT BECAUSE ABC DIDN'T.

957
00:40:09,275 --> 00:40:10,517
Burton:
EARLIER MINISERIES

958
00:40:10,620 --> 00:40:12,379
WERE BROADCAST
IN WEEKLY INSTALLMENTS,

959
00:40:12,482 --> 00:40:14,793
AND THE ABC EXECUTIVES DETERMINED

960
00:40:14,896 --> 00:40:16,655
THAT IF "ROOTS" WERE TO FAIL,

961
00:40:16,758 --> 00:40:19,551
THEY COULD JUST BE DONE WITH IT
IN SEVEN OR EIGHT NIGHTS.

962
00:40:19,655 --> 00:40:22,344
Connelly:
IT WAS HIGH RISK, HIGH REWARD.

963
00:40:22,448 --> 00:40:25,172
IF IT DIDN'T WORK,
YOU WERE OUT A LOT OF TV TIME,

964
00:40:25,275 --> 00:40:26,862
AND NOT MANY PEOPLE WATCHING.

965
00:40:26,965 --> 00:40:29,724
Man: THE TELEVISION PREMIERE
ON EIGHT CONSECUTIVE NIGHTS

966
00:40:29,827 --> 00:40:33,000
ATTRACTED THE LARGEST AUDIENCE
IN HISTORY OF THE MEDIUM.

967
00:40:33,103 --> 00:40:38,448
THERE'S SOMETHING ABOUT IT THAT
SEEMS TO TOUCH ALL HUMAN BEINGS.

968
00:40:38,551 --> 00:40:41,551
IT TRANSCENDS AGE AND RACE.

969
00:40:41,655 --> 00:40:43,586
Burton: ENTERTAINMENT WAS MADE
IN HUMANITY,

970
00:40:43,689 --> 00:40:45,241
AND I THINK THAT'S
THE PRIMARY VALUE

971
00:40:45,344 --> 00:40:48,862
IS TO LEAD HUMANITY FORWARD.

972
00:40:50,068 --> 00:40:52,793
IF THERE'S A LEGACY
OF TELEVISION IN THE '70s,

973
00:40:52,896 --> 00:40:54,931
IT'S THAT <i>YOU</i> MATTER.

974
00:40:55,034 --> 00:40:58,275
Lear: WHILE THERE'S A LOT
GOING ON IN THE WORLD,

975
00:40:58,379 --> 00:41:02,344
TELEVISION WAS A REMINDER OF HOW
MUCH LITTLE THINGS MEAN TO US,

976
00:41:02,448 --> 00:41:04,586
THE SMALLEST OF SITUATIONS.

977
00:41:04,689 --> 00:41:07,068
Rosenthal: NO MATTER WHAT
THE SUBJECT MATTER WAS,

978
00:41:07,172 --> 00:41:08,896
IT WANTED TO INCLUDE YOU.

979
00:41:09,000 --> 00:41:10,241
YOU'RE <i>IN</i> THE FAMILY.

980
00:41:10,344 --> 00:41:13,896
DON'T MAKE FUN OF THE OUTSIDER.
INCLUDE THEM.

981
00:41:14,000 --> 00:41:18,137
ITS LEGACY IS
LOOK HOW LONG IT'S LASTED.

982
00:41:18,241 --> 00:41:23,034
THOSE SHOWS, THEY'RE ABOUT
PEOPLE WHO WERE KIND AND NICE.

983
00:41:23,137 --> 00:41:25,379
THEY WERE NOT
MEAN-SPIRITED SHOWS.

984
00:41:26,655 --> 00:41:30,034
Burton: THERE WAS A CERTAIN
ELEGANCE TO THAT.

985
00:41:30,137 --> 00:41:32,000
I KIND OF MISS IT.

986
00:41:32,103 --> 00:41:36,586
OH, IT WAS SO DELICIOUS.
FIVE DIFFERENT FLAVORS.

987
00:41:36,689 --> 00:41:39,931
ANYWAY, ARCHIE WAS SITTING
AT ANOTHER TABLE

988
00:41:40,034 --> 00:41:42,482
WITH ETHEL
AND JEFFERSON PRATT.

989
00:41:42,586 --> 00:41:43,862
REMEMBER HIM?

990
00:41:43,965 --> 00:41:48,758
ANYWAY, ARCHIE WAS TRYING
TO GET MY ATTENTION,

991
00:41:48,862 --> 00:41:53,310
SO FIRST HE PUT TWO STRAWS
IN HIS NOSE LIKE A WALRUS.

992
00:41:53,413 --> 00:41:55,034
AND THEN HE...

993
00:41:55,137 --> 00:42:04,862
♪