1 00:00:26,460 --> 00:00:28,060 >>> YOU GUYS ARE WORKING HARD FOR ONCE. 2 00:00:28,061 --> 00:00:32,766 THE AMERICAN WORKPLACE IS OUR HOME IN MANY WAYS. 3 00:00:32,766 --> 00:00:36,566 WHERE IS MY SANDWICH? WE ALL NEED A REASON TO GET 4 00:00:36,570 --> 00:00:39,570 UP IN THE MORNING. IT WAS FRAMED. 5 00:00:39,573 --> 00:00:42,276 THE AMERICAN OFFICE IS ICONIC. 6 00:00:42,276 --> 00:00:45,476 HOW MANY PEOPLE CAN I FIRE? NONE. 7 00:00:45,479 --> 00:00:48,448 YOU’RE PICKING A HEALTH CARE PLAN. 8 00:00:48,448 --> 00:00:50,348 WE’LL TABLE THAT FOR THE TIME BEING. 9 00:00:50,350 --> 00:00:56,020 TERRIBLE BOSSES. YOU GOT SPUNK. 10 00:00:56,023 --> 00:00:58,023 WELL. I HATE SPUNK. 11 00:00:58,025 --> 00:01:02,262 TERRIBLE WORK MATES. ARE YOU KIDDING? 12 00:01:02,262 --> 00:01:04,662 DO THESE NOT BEND THE BACK? 13 00:01:04,665 --> 00:01:07,200 NO. EVERYBODY TRYING TO GET 14 00:01:07,200 --> 00:01:09,336 ALONG. THE PROBLEM WITH HIRING WOMEN 15 00:01:09,336 --> 00:01:11,696 IS THAT THEY’RE FRAIL AND BREAKABLE. 16 00:01:11,705 --> 00:01:15,609 IS IT POSSIBLE YOU’RE THINKING ABOUT LIGHTBULB BULBS O 17 00:01:15,609 --> 00:01:16,977 YOUR HIP? HILARIOUS. 18 00:01:16,977 --> 00:01:23,116 WHAT DO YOU SAY TO THAT? WHOA. 19 00:01:23,116 --> 00:01:24,316 OUCH! 20 00:01:24,318 --> 00:01:34,528 LET’S TALK ABOUT EARNING A 21 00:01:34,528 --> 00:01:35,228 LIVING. YEAH. 22 00:01:35,228 --> 00:01:39,198 HAVE YOU EVER DONE IT? NO, BUT I COULD. 23 00:01:39,199 --> 00:01:42,736 LUCILLE BALL WITH THE CHOCOLATES, IT’S FUNNY. 24 00:01:42,736 --> 00:01:44,966 GET TO THE PACKING ROOM UNWRAPPED. 25 00:01:44,972 --> 00:01:48,172 YOU’RE FIRED. ALL THE WRITERS NEEDED TO SAY 26 00:01:48,175 --> 00:01:54,648 IS LUCY HAD A CONVEYER BELT. YOU’RE GOOD. 27 00:01:54,648 --> 00:01:56,948 SOME OF THE MOST MEMORABLE 28 00:01:56,950 --> 00:02:02,255 EPISODES OF "I LOVE LUCY" ARE WHEN SHE GETS A JOB OUTSIDE OF 29 00:02:02,255 --> 00:02:06,125 THE HOME BUT IT ALWAYS UNRAVELS. YOU’RE DOING SPLENDIDLY. 30 00:02:06,126 --> 00:02:08,756 SPEED IT UP. WHEN SITCOMS STARTED, THEY 31 00:02:08,762 --> 00:02:12,099 WERE FAMILY SITCOMS AND FOR YEARS, THAT’S ALL THERE WAS. 32 00:02:12,099 --> 00:02:15,769 AND THEN WE MOVE INTO THE 1960s, WE START TO SEE MORE 33 00:02:15,769 --> 00:02:19,069 PEOPLE WORKING IN AN OFFICE THAN ON A FACTORY LINE. 34 00:02:19,072 --> 00:02:22,075 FOR THE FIRST TIME IN THE HISTORY OF OUR NATION, A 35 00:02:22,075 --> 00:02:25,545 MAJORITY OF ALL WORKERS ARE IN WHITE COLLAR JOBS. 36 00:02:25,545 --> 00:02:28,205 YOU WERE SPENDING TIME GETTING TO KNOW YOUR COLLEAGUES. 37 00:02:28,215 --> 00:02:30,083 YOU READY? I’M READY. 38 00:02:30,083 --> 00:02:39,493 I GOT THOSE ‐‐ THE DICK VAN DYKE SHOW WAS 39 00:02:39,493 --> 00:02:47,733 LAUGH OUT LOUD FUNNY. "THE DICK VAN DYKE" SHOW 40 00:02:47,734 --> 00:02:49,636 BLACK AND WHITE. THAT’S GOT ME INTO SITCOMS. 41 00:02:49,636 --> 00:02:55,776 THAT WAS GROUND BREAKING. FIRST OF ALL YOU HAD CARL 42 00:02:55,776 --> 00:02:58,036 RYANER. CARL RYANER GOT HIS START ON 43 00:02:58,045 --> 00:03:04,685 SHOW OF SHOWS WITH SID CESAR WHICH WAS NOT A SITCOM, IT WAS A 44 00:03:04,685 --> 00:03:07,220 VARIETY SHOW. IT’S SUPPOSED TO BE TENT. 45 00:03:07,220 --> 00:03:14,127 THE WRITER’S ROOM, THE TALENT JUST HAD CARL WITH THAT’S A 46 00:03:14,127 --> 00:03:18,397 PLACE, THAT’S A GOLD MINE. A WRITER’S ROOM IS A GOLD MINE 47 00:03:18,398 --> 00:03:20,967 AND I REMEMBER TALKING TO MYSELF ON THE WAY HOME AND SAID WHAT 48 00:03:20,967 --> 00:03:24,767 PIECE OF GROUND DO I STAND ON THAT NOBODY ELSE STANDS ON? 49 00:03:24,771 --> 00:03:27,071 SO I’LL WRITE ABOUT THE LIFE. I’LL WRITE. 50 00:03:27,074 --> 00:03:31,511 WRITERS ARE LAZY. PEOPLE WRITE WHAT THEY KNOW. 51 00:03:31,511 --> 00:03:34,581 WE GOT A SKETCH. THERE IS NOTHING TO WORRY 52 00:03:34,581 --> 00:03:38,081 ABOUT, KIDS. I HAVE GOT AN IDEA. 53 00:03:38,085 --> 00:03:40,253 HE WILL PLAY THE PART OF A TALKING BULLY PIN. 54 00:03:40,253 --> 00:03:43,657 I THOUGHT IT WAS THE GREATEST IDEA BECAUSE IN MOST SITCOMS, 55 00:03:43,657 --> 00:03:46,526 YOU DON’T KNOW WHAT THE HUSBAND DID FOR A LIVING. 56 00:03:46,526 --> 00:03:49,296 THE SECOND NUMBER SHOULD COME BEFORE THE BIG SKETCH. 57 00:03:49,296 --> 00:03:51,026 GEE, I DON’T KNOW. I LIKE IT. 58 00:03:51,031 --> 00:03:53,331 NOW I LIKE IT. YEAH, ME, TOO. 59 00:03:53,333 --> 00:03:58,003 I LIKE IT, TOO. WHAT DO YOU KNOW? 60 00:03:58,004 --> 00:04:02,809 LOOK AT THE TIE YOU’RE WEARING. I LOVE THE FACT IT WAS A 61 00:04:02,809 --> 00:04:12,719 GLIMPSE INTO THE WRITER’S ROOM. SEEING HOW SHOWS WORKED 62 00:04:12,719 --> 00:04:15,956 ‐‐ PAST NATEFASCINATING TO ME. THIS DRESS IS YEARS OLD. 63 00:04:15,956 --> 00:04:17,556 IT STILL WORKS. IF I’VE ME A KISS. 64 00:04:17,557 --> 00:04:20,987 I MUST HAVE SEEN ABOUT 30 GIRLS AND WHEN SHE CAME INTO THE 65 00:04:20,994 --> 00:04:24,898 ROOM, SHE JUST SAID HELLO, HER NAME WAS AND I HEARD A PING AND 66 00:04:24,898 --> 00:04:27,498 A VOICE. IF IT WILL MAKE YOU FEEL ANY 67 00:04:27,501 --> 00:04:30,036 BETTER IF I TELL YOU HOW REALLY SORRY I AM? 68 00:04:30,036 --> 00:04:34,736 WELL, NO. THE ORIGINAL INTENT OF THE 69 00:04:34,741 --> 00:04:38,341 "DICK VAN DYKE SHOW" WAS MOSTLY IT TO TAKE PLACE IN THE 70 00:04:38,345 --> 00:04:40,814 WORKPLACE. THREE, TWO, ONE, ZERO. 71 00:04:40,814 --> 00:04:43,750 WE DID IT. WHAT? 72 00:04:43,750 --> 00:04:48,889 WHAT DID WE DO? WE WAISTSTED A WHOLE DAY. 73 00:04:48,889 --> 00:04:51,589 AUDIENCES WERE USED TO THE BIG FAMILY SITCOMS OF THE TIME 74 00:04:51,591 --> 00:04:56,461 AND DIDN’T REALLY TAKE TO "THE DICK VAN DYKE SHOW" AT FIRST. 75 00:04:56,463 --> 00:05:01,601 THEY WERE GOING TO CANCEL IT. THEY HAD MARY GRANT TINKER 76 00:05:01,601 --> 00:05:07,171 WHO WAS A CVS EXECUTIVE ON THE SHOW. 77 00:05:07,174 --> 00:05:13,079 TINKER HELPED SAVE THE SHOW BY PUSHING MARY TYLER MOORE TO THE 78 00:05:13,079 --> 00:05:17,117 FOREFRONT. I THINK YOU LOOK VERY NICE 79 00:05:17,117 --> 00:05:18,247 WITHOUT YOUR ‐‐ HAIR? 80 00:05:18,251 --> 00:05:21,988 THESE SHOWS THAT STRADDLE THE WORKPLACE ALMOST ALWAYS RESULT 81 00:05:21,988 --> 00:05:26,927 IN SOMETHING TASTY. NO, I’M NOT SAYING THIS JUST 82 00:05:26,927 --> 00:05:29,327 BECAUSE I’M IN TROUBLE, GOODNESS KNOWS I AM. 83 00:05:29,329 --> 00:05:33,029 WOULD YOU LIKE THESE? WHAT DO YOU SUGGEST I DO WITH 84 00:05:33,033 --> 00:05:37,103 ALL OF THESE NOW, HUH? WELL, THERE MUST BE SOME 85 00:05:37,103 --> 00:05:38,872 NEEDY BALD PEOPLE. 86 00:05:38,872 --> 00:05:42,976 NEEDY BALD PEOPLE? AND IT ULTIMATELY BECAME A 87 00:05:42,976 --> 00:05:45,876 RATING SENSATION. THAT’S THE BEST FIVE YEARS OF 88 00:05:45,879 --> 00:05:47,979 MY LIFE. I DON’T BELIEVE THIS. 89 00:05:47,981 --> 00:05:53,451 THE BEST THING I’VE EVER DONE HANDS OUT NO QUESTION ABOUT IT. 90 00:05:53,453 --> 00:05:59,926 I WAS 19 IN 1967 AND IT WAS DICK VAN DYKE THAT MADE A HUGE 91 00:05:59,926 --> 00:06:03,626 IMPRESSION ON ME. AFTER THE DICK VAN DIKE SHOW, 92 00:06:03,630 --> 00:06:07,500 MARY TYLER MOORE WAS ONE OF THE LARGER STARS IN AMERICA AND MARY 93 00:06:07,500 --> 00:06:11,170 AND MY DAD STARTED LAYING THE GROUNDWORK FOR THEIR OWN 94 00:06:11,171 --> 00:06:13,271 COMPANY. MARY TYLER MOORE ENTERPRISES 95 00:06:13,273 --> 00:06:16,543 HAS A WOMAN WHOSE NAME IS ON THIS. 96 00:06:16,543 --> 00:06:21,882 AND IT’S LIKE I DON’T NEED TO BE THIS ROARING BIG MACHO PRESENCE. 97 00:06:21,882 --> 00:06:26,552 AND WITHIN THAT YOU HAVE IMPORTANT MESSAGING ABOUT WOMEN 98 00:06:26,553 --> 00:06:33,059 IN THE WORKPLACE AND THOSE POLITICS APPEAR ON BROADCAST 99 00:06:33,059 --> 00:06:38,498 TELEVISION, IN A WORKPLACE COMEDY LIKE THE MARY TYLER MOORE 100 00:06:38,498 --> 00:06:42,098 SHOW. ♪ YOU JUST MIGHT MAKE IT AFTER 101 00:06:42,102 --> 00:06:46,706 ALL ♪ MOVES TO MINNESOTA TO START 102 00:06:46,706 --> 00:06:49,706 WORK AT WJ MTV. WHAT RELIGION AM I? 103 00:06:49,709 --> 00:06:53,079 MR. GRANT, I DON’T QUITE KNOW HOW TO SAY THIS BUT YOU’RE NOT 104 00:06:53,079 --> 00:06:56,049 ALLOWED TO ASK THAT WHEN SOMEONE IS APPLYING FOR A JOB. 105 00:06:56,049 --> 00:06:59,819 WANT TO CALL A COP? 106 00:06:59,819 --> 00:07:03,989 IT DID REPRESENT WHAT WOMEN WERE GOING THROUGH IN THE ’70s. 107 00:07:03,990 --> 00:07:05,825 THEY WERE STANDING UP SAYING I MUST BE HEARD. 108 00:07:05,825 --> 00:07:09,125 SITCOMS USED TO BE ABOUT THE WIFE WAS AT HOME DOING THE 109 00:07:09,129 --> 00:07:12,929 DISHES AND THEN THIS WOMAN SPRANG ON TO A SCREEN TO HAVE A 110 00:07:12,933 --> 00:07:15,468 JOB AND OFTEN THE SMARTEST PERSON THERE. 111 00:07:15,468 --> 00:07:21,068 IT WAS SORT OF LIBERATING. YOU GOT SPUNK. 112 00:07:21,074 --> 00:07:24,344 AND I WAITED A BEAUTIFUL MOMENT AND I SAY. 113 00:07:24,344 --> 00:07:28,848 I HATE SPUNK. AND I WANT TO CORRECT 114 00:07:28,848 --> 00:07:31,117 SOMETHING RIGHT NOW. I DON’T HATE SPUNK. 115 00:07:31,117 --> 00:07:37,157 I LOVE SPUNK. IT WAS A TOTAL SHIFT IN 116 00:07:37,157 --> 00:07:40,187 GENDER ROLES. SHE’S A SINGLE WORKING WOMAN, 117 00:07:40,193 --> 00:07:43,163 YOU KNOW, LIVING IN A BUILDING WITH OTHER SINGLE WOMEN. 118 00:07:43,163 --> 00:07:55,308 HOW WOULD YOU BOTH LIKE TO HELP ABOLISH CAPITAL PUNISHMENT? 119 00:07:55,308 --> 00:07:58,638 FILLPHILIS, THERE IS NO CAPIT PUNISHMENT. 120 00:07:58,645 --> 00:08:00,847 IT CREATING THIS UNCOMFORTABLE DYNAMIC. 121 00:08:00,847 --> 00:08:05,417 IT WAS RIGHT, HUH? YES, TED, YOU WERE RIGHT. 122 00:08:05,418 --> 00:08:11,388 TED THE EGO STATISTICAL EGO MAN. 123 00:08:11,391 --> 00:08:13,791 ALL RIGHT, ALL RIGHT, LET’S NOT DWOEL ON IT. 124 00:08:13,793 --> 00:08:16,696 THE EXTRAORDINARY BETTY WHITE. 125 00:08:16,696 --> 00:08:22,766 WHO PLAYED SUE ANN WHO WAS MAN HUNGRY AND HAD A MIRRORED 126 00:08:22,769 --> 00:08:25,269 CEILING OVER HER BED. I THINK TELEVISION NEEDS 127 00:08:25,271 --> 00:08:26,940 BRIGHT YOUNG WOMEN. LOOK AT ME. 128 00:08:26,940 --> 00:08:29,840 THAT’S WHAT I LOVE ABOUT WORKPLACE COMEDIES. 129 00:08:29,843 --> 00:08:32,512 PEOPLE THAT WOULD NEVER IN A MILLION YEARS HAVE SPOKEN BUT 130 00:08:32,512 --> 00:08:36,249 COME CONNECTED ANYWAY AND HAVE TO LIVE WITH HUMOR ON A DAY TO 131 00:08:36,249 --> 00:08:38,985 DAY, SECOND TO SECOND BASIS TO GET THROUGH IT. 132 00:08:38,985 --> 00:08:43,385 CHUCKLES THE CLONE IS BENT. THE FUNERAL OF CHUCKLES THE 133 00:08:43,390 --> 00:08:46,359 CLOWN IS ONE OF THE GREAT MOMENTS IN COMEDY. 134 00:08:46,359 --> 00:08:53,929 HE WENT TO THE PARADE DRESSED AS PETER PEANUT AND A ROGUE 135 00:08:53,933 --> 00:08:56,636 ELEPHANT TRIED TO SHELL HIM. EVERYONE IS TRYING TO MAKE 136 00:08:56,636 --> 00:08:59,606 FUN OF IT OTHER THAN MARY. I WONDER WHICH ONES ARE THE 137 00:08:59,606 --> 00:09:04,106 OTHER CLOWNS. THEY WILL JUMP OUT OF A 138 00:09:04,110 --> 00:09:06,846 LITTLE HURST. AT THE END OF THE DAY, ALL 139 00:09:06,846 --> 00:09:09,576 THESE COMEDIES ARE ABOUT A CRAZY DYSFUNCTIONAL FAMILY GATHERED 140 00:09:09,582 --> 00:09:13,686 TOGETHER IN A WORKPLACE. CHUCKLES THE CLOWN BOUGHT 141 00:09:13,686 --> 00:09:17,356 PLEASURE TO MILLIONS. 142 00:09:17,357 --> 00:09:27,797 IT’S SO RELATABLE. SO GO AHEAD 143 00:09:41,815 --> 00:09:46,086 >>> YOU WERE DISMISSING SOME OF THE STAFF. 144 00:09:46,086 --> 00:09:48,886 DID YOU INTEND TO FIRE ME TOO, ESPECIALLY ME. 145 00:09:48,888 --> 00:09:57,228 GO ON HAVING DOING "THE MARY TYLER MOORE" SHOW BECAUSE I LOVE 146 00:09:57,230 --> 00:10:01,600 IT SO MUCH. MARY TYLER MOORE ENTERPRISES 147 00:10:01,601 --> 00:10:03,801 DECIDED TO END THE SHOW WHILE IT WAS STILL GOOD. 148 00:10:03,803 --> 00:10:07,107 THE TELEVISION STATION WHERE MARY WORKS IS BOUGHT OUT. 149 00:10:07,107 --> 00:10:12,807 EVERYONE IS FIRED. I THINK WE ALL NEED SOME 150 00:10:12,812 --> 00:10:22,856 KLEENEX. THERE IS SOME NEAR YOUR DESK. 151 00:10:22,856 --> 00:10:27,526 HOW DO WE LEAVE THIS ROOM? SAYING GOOD‐BYE TO THE SHOW 152 00:10:27,527 --> 00:10:33,697 AND TO EACH OTHER. 153 00:10:33,700 --> 00:10:35,935 IT’S STILL EMOTIONAL AFTER 154 00:10:35,935 --> 00:10:45,035 ALL THESE YEARS BECAUSE THAT WAS A FAMILY. 155 00:10:45,645 --> 00:10:55,515 "THE MARY TYLER MOORE" SHOW. IN THE 1970s, THE BABY BOOM 156 00:10:55,522 --> 00:11:05,231 GENERATION HAD NOT SETTLED INTO THE DOMESTIC SCENE. 157 00:11:05,231 --> 00:11:10,601 THE STANDARD FAMILY SHOW. I’M SURE HE HAS GIRLFRIENDS 158 00:11:10,603 --> 00:11:17,343 BUT HE DENIES IT. WELL, OF COURSE, TODD IS 13 159 00:11:17,343 --> 00:11:18,043 NOW. 160 00:11:18,044 --> 00:11:21,581 THE FACT THAT SO MANY PEOPLE IN HOLLYWOOD WERE HITTING THE 161 00:11:21,581 --> 00:11:24,551 COUCH PROBABLY OPENED THE DOORS FOR THE SETTING OF THE SHOW. 162 00:11:24,551 --> 00:11:27,887 I ENJOYED THE ODDITY OF THE PEOPLE. 163 00:11:27,887 --> 00:11:31,357 WHAT SEEMS TO BE YOUR PROBLEM, STAN? 164 00:11:31,357 --> 00:11:37,827 YOU HAVE NO IDEA WHAT IT’S LIKE TO BE INCREDIBLY GOOD 165 00:11:37,830 --> 00:11:42,500 LOOKING. 166 00:11:42,502 --> 00:11:51,811 I GO INTO MY OFFICE AND THERE IS A PUPPET. 167 00:11:51,811 --> 00:11:57,717 THERE IS A WORKPLACE COMEDY OR FAMILY COMEDY, YOU BRING 168 00:11:57,717 --> 00:12:02,887 TOGETHER THESE ECCENTRIC TYPES AND IT WORKS BECAUSE OF BOB NEW 169 00:12:02,889 --> 00:12:04,958 HEART’S VOICE. BOB, THEY ARE FLIPPING A 170 00:12:04,958 --> 00:12:06,726 CORN, YOU’RE GOING TO MITSZ THE WHOLE THING. 171 00:12:06,726 --> 00:12:10,396 YOU PUT A LOT OF THOUGHT AND EFFORT AND ENERGY INTO THIS. 172 00:12:10,396 --> 00:12:17,266 ARE YOU GOING TO ASK ME IF YOU CAN EAT IN FRONT OF THE 173 00:12:17,270 --> 00:12:18,738 TELEVISION SET? EVENTUALLY I WAS DOING TO ASK 174 00:12:18,738 --> 00:12:20,206 YOU. I THINK IT WAS THE BEGINNING 175 00:12:20,206 --> 00:12:25,506 OF A REALLY SMART SOPHISTICATED ENSEMBLE COMEDY. 176 00:12:25,511 --> 00:12:35,488 I DON’T HEAR NOTHING. WAIT FOR IT. 177 00:12:35,488 --> 00:12:39,425 M. A. S. H. IS A WORKPLACE THAT THE CHAOS OF THE WAR MAKES THE 178 00:12:39,425 --> 00:12:42,855 WORK SO INTENSE AND CRAZY. WE WERE SET IN KOREA BUT OF 179 00:12:42,862 --> 00:12:51,571 COURSE, AT THAT TIME IT AIRED THE VIETNAM WAR WAS GOING ON? 180 00:12:51,571 --> 00:12:54,407 THOSE HELICOPTERS WILL BE FILLED WITH CANADIANS. 181 00:12:54,407 --> 00:12:56,607 A LOT OF THOSE KIDS AREN’T GETTING HOME FROM THAT PARTY. 182 00:12:56,609 --> 00:13:00,209 ATTENTION, ALL PERSONNEL REPORT IMMEDIATELY TO ADMITTING 183 00:13:00,213 --> 00:13:03,650 WARD AND OPERATING ROOM. WE WERE PEOPLE WHO WERE 184 00:13:03,650 --> 00:13:13,226 FLAWED DOING THEIR BEST WORK IN AN IMPOSSIBLE SITUATION, ON 185 00:13:13,226 --> 00:13:15,995 M. A. S. H. I WAS DRAWN TO THE OFF BEAT CHARACTERS. 186 00:13:15,995 --> 00:13:19,225 IF YOU SAY NO, WE’LL TELL EVERYBODY YOUR BROTHER IS IN 187 00:13:19,232 --> 00:13:21,132 JAIL. MY BROTHER IS A WARDEN. 188 00:13:21,134 --> 00:13:25,138 WE WON’T SAY THAT PART. HAWK EYE PIERCE WAS THE 189 00:13:25,138 --> 00:13:28,568 CENTER OF THE SHOW. HE WAS THAT PIVOT AND IT WAS 190 00:13:28,574 --> 00:13:33,112 HAWK EYE AND TRAPPER JOHN FLIPPING THE BIRD TO THE 191 00:13:33,112 --> 00:13:36,916 ESTABLISHMENT TO GET ONE UP ON HOT LIPS AND FRANK. 192 00:13:36,916 --> 00:13:40,416 I’VE ALWAYS SAID IT, BEHIND EVERY GREAT MAN THERE IS A WOMAN 193 00:13:40,420 --> 00:13:43,589 WITH A VIBRATOR. WHAT DO YOU WANT? 194 00:13:43,589 --> 00:13:46,759 THEY RUN THE CAMP THAT 195 00:13:46,759 --> 00:13:48,359 COLONEL BLAKE THOUGHT HE WAS RUNNING. 196 00:13:48,361 --> 00:13:57,770 CLINGER, THE ONE THING MCARTH GIRL WITH A 5:00 SHADOW. 197 00:13:57,770 --> 00:14:01,140 THERE IS A CONSTANT DEBATE ABOUT MORALITY. 198 00:14:01,140 --> 00:14:04,940 WHY ARE WE HERE? HOW ARE WE TREATING THESE PEOPLE 199 00:14:04,944 --> 00:14:08,348 AND EACH OTHER? I HOPE THIS GUY DOESN’T MIND 200 00:14:08,348 --> 00:14:11,478 IGNORING ORDERS BY LIVING. AT THE END OF THE THIRD 201 00:14:11,484 --> 00:14:14,120 SEASON. PUT A MASK ON. 202 00:14:14,120 --> 00:14:23,830 KERRY WALKS IN AND SAYS. THE PLANE WAS SHOT DOWN OVER 203 00:14:23,830 --> 00:14:32,038 THE SEA OF JAPAN. IT’S BUNION. 204 00:14:32,038 --> 00:14:38,608 THERE WERE NO SURVIVORS. THAT MOMENT IS PURE HONESTY. 205 00:14:38,611 --> 00:14:44,250 I HAVE TROUBLE TELLING THAT STORY FOUR YEARS LATER. 206 00:14:44,250 --> 00:14:47,887 I JUST NEVER EVEN THINK OF IT AS A SITCOM. 207 00:14:47,887 --> 00:14:53,025 YOU KNOW, IT WAS JUST M. A. S. H. M. A. S. H. REALLY BLEW UP WHAT 208 00:14:53,025 --> 00:14:56,555 A WORKPLACE SITCOM COULD BE. THERE WAS DEATH. 209 00:14:56,562 --> 00:15:01,332 THERE WAS SORROW. THERE WAS REALLY A MIXING OF 210 00:15:01,334 --> 00:15:03,169 AGAIN RA GENRE THAT WAS GROUND BREAKING. 211 00:15:03,169 --> 00:15:10,676 THE FIRST DRAMAITY IN PRIME TIME TELEVISION. 212 00:15:10,676 --> 00:15:14,576 IT’S GUNFIRE. IT’S 2:30 IN THE MORNING. 213 00:15:14,580 --> 00:15:19,450 "M. A. S. H." LASTED 11 SEASONS. IF WE DIDN’T HAVE SUCH A 214 00:15:19,452 --> 00:15:24,490 TERRIFIC UNION HERE, I’D PUT IN MY TWO‐WEEK NOTICE BY IN TWO 215 00:15:24,490 --> 00:15:27,360 WEEKS. FEBRUARY 28th, 1983 THE WAR 216 00:15:27,360 --> 00:15:36,836 IS OVER AND THE SHOW IS OVER. IT’S THE MOST ORGANIC PERFECT 217 00:15:36,836 --> 00:15:37,896 FINALLY. YOU BOYS ALWAYS MANAGED TO 218 00:15:37,904 --> 00:15:40,940 GIVE ME A GOOD LAUGH WHEN I NEEDED IT THE MOST. 219 00:15:40,940 --> 00:15:45,077 I LOVE A GOOD LAUGH LIKE THIS. TO THIS DAY, WE ARE STILL THE 220 00:15:45,077 --> 00:15:51,447 HIGHEST RATED TV SHOW. 125 BILLION WATCHED THAT LAST 221 00:15:51,451 --> 00:15:53,286 EPISODE. SO MANY OF US COULDN’T GET 222 00:15:53,286 --> 00:15:58,916 THROUGH THE GOOD‐BYES. WE JUST KEPT CRYING. 223 00:15:59,525 --> 00:16:06,225 I TURNED TO MY DAD AND HE WAS CRYING. 224 00:16:06,232 --> 00:16:11,137 AND IT HITS ME THAT YOU CAN MAKE PEOPLE LAUGH FOR HALF AN HOUR 225 00:16:11,137 --> 00:16:19,307 BUT YOU CAN ALSO IN AN INSTANT BECAUSE THEY CARE, TWIST A KNIFE 226 00:16:19,312 --> 00:16:20,512 THAT 227 00:16:33,626 --> 00:16:34,856 >>> PEOPLE WHO WANT TO WORK BUT CAN’T FIND JOBS. 228 00:16:34,861 --> 00:16:39,699 THE ’70s IS KIND OF A LOSE GENERATION AND EVERYBODY WAS 229 00:16:39,699 --> 00:16:48,139 TRYING TO FIND THEMSELVES. THE ECONOMY WAS IN THE TANK 230 00:16:48,140 --> 00:16:52,078 AND YOU SEE THAT REFLECTED IN THE SITCOM. 231 00:16:52,078 --> 00:16:57,848 THAT’S NO LONGER A PROBLEM. THAT’S A TRADITION. 232 00:16:57,850 --> 00:17:00,050 SOMETHING IS WRONG WITH YOUR LIGHTS. 233 00:17:00,052 --> 00:17:05,157 IF YOU LOOK AT THE 12th PRECINCT, IT WAS SUCH A CREPTED 234 00:17:05,157 --> 00:17:07,557 PLACE. WELL, WELL, WELL, THE SAME 235 00:17:07,560 --> 00:17:12,360 OLD MELTING POT. KELLY, WHAT ARE YOU DOING HERE? 236 00:17:12,365 --> 00:17:15,067 HOW DO YOU LIKE THIS. HAVEN’T HELPED A BIT. 237 00:17:15,067 --> 00:17:24,137 REAL COPS DEALING WITH FUNNY 238 00:17:24,143 --> 00:17:25,077 SITUATIONS. GET OUT OF HERE. 239 00:17:25,077 --> 00:17:26,307 BOY, DO I HATE TO START A DAY LIKE THIS? 240 00:17:26,312 --> 00:17:30,550 HOW LYNDON IS BASICALLY THE BOB NEW HEART OF THAT OFFICE. 241 00:17:30,550 --> 00:17:39,990 SURROUNDED BY ALL THE CRAZY NESS MY PERSONALITY. 242 00:17:39,992 --> 00:17:41,792 DOES SHE HAVE THE SAME ADDRESS? 243 00:17:41,794 --> 00:17:45,831 THE WORKPLACE COMEDY IS GREAT BECAUSE ALL THE CHARACTERS COME 244 00:17:45,831 --> 00:17:48,501 IN AND ARE NOT RELATED SO THEY DON’T HAVE SOMETHING IN COMMON. 245 00:17:48,501 --> 00:17:53,005 TURNED OUT TO BE A DIVERSE CAST WHICH WAS I GUESS, 246 00:17:53,005 --> 00:17:59,645 DIFFERENT IN THOSE DAYS. JACK SUE, GREGORY SIERRA, RON 247 00:17:59,645 --> 00:18:02,205 GLASS WAS UNUSUAL AND REVOLUTIONARY. 248 00:18:02,214 --> 00:18:06,018 I BELIEVE THAT WHEN THE ’70s HAPPENED 249 00:18:06,018 --> 00:18:08,348 HAPPENED, IT WAS A FALLOUT OF THE ’60s AND THEY WHO MIGHT HAVE 250 00:18:08,354 --> 00:18:15,761 HAD A DREAM ABOUT HOW AMERICA WOULD BE A COMPLETELY DIFFERENT 251 00:18:15,761 --> 00:18:22,301 PLACE THEN HAD TO GET A JOB. WE’RE ALL PART TIME HERE. 252 00:18:22,301 --> 00:18:25,071 I ONLY WORK 60 HOURS A WEEK. A BUNCH OF PEOPLE IN THE 253 00:18:25,071 --> 00:18:26,038 GARAGE. WE HAD DREAMS. 254 00:18:26,038 --> 00:18:28,668 WE’RE NOT GOING TO MAKE IT. WE’LL STICK IN THE GARAGE 255 00:18:28,674 --> 00:18:33,012 FOREVER BUT THE DREAM IS THE THING IT WAS ABOUT. 256 00:18:33,012 --> 00:18:37,216 I JUST CALLED THE GYM. THEY WANT ME TO SPAR WITH 257 00:18:37,216 --> 00:18:39,216 CARLOS. THE GYM? 258 00:18:39,218 --> 00:18:43,956 WOW. THE CHAMP HITTING MY FACE. 259 00:18:43,956 --> 00:18:50,056 DANNY DeVITO’S CHARACTER ON "TAXI" HAS TO BE TOP FIVE 260 00:18:50,062 --> 00:18:51,797 GREATEST SITCOM CHARACTERS OF ALL TIME. 261 00:18:51,797 --> 00:18:55,967 HE IS TERRIFYING. ONCE A BUM, ALWAYS A BUM. 262 00:18:55,968 --> 00:18:59,038 OH, YEAH, YEAH, I SAY TONY HAS A GOOD CHANCE. 263 00:18:59,038 --> 00:19:01,538 I KNOW HE HAS A GOOD CHANCE. I SAY HE CAN WIN. 264 00:19:01,540 --> 00:19:07,747 WANT TO BET? WELL ‐‐ 265 00:19:07,747 --> 00:19:16,217 THE FRIENDSHIPS THEY HAD IN 266 00:19:16,222 --> 00:19:17,622 "TAXI "TAXI" WOULD GET THEM THROUGH 267 00:19:17,623 --> 00:19:19,158 AND WOULD BE OKAY. THERE IS ONE PERSON TO TRUST. 268 00:19:19,158 --> 00:19:26,966 NOT ME. PROBABLY STAND UP. 269 00:19:26,966 --> 00:19:31,596 ON THAT SHOW PEOPLE FROM COMPLETELY DIFFERENT BACKGROUNDS 270 00:19:31,604 --> 00:19:33,873 CREATE A DYSFUNCTIONAL FAMILY AND THAT’S EXCITING FOR COMEDY 271 00:19:33,873 --> 00:19:36,409 BECAUSE YOU GET TO BOUNCE THESE PEOPLE OFF EACH OTHER. 272 00:19:36,409 --> 00:19:47,787 AND NOW, HERE IS OUR LEAD. MUCH LIKE "TAXI" IT’S A STAFF 273 00:19:47,787 --> 00:19:50,687 OF WORKING PEOPLE DOING THEIR BEST AND NOT ALWAYS THE BEST IS 274 00:19:50,690 --> 00:19:59,598 COMING FROM IT. THIS IS ROCK BOTTOM. 275 00:19:59,598 --> 00:20:03,198 "WKRP" IS ABOUT A LOW RATE THE STATION. 276 00:20:03,202 --> 00:20:05,538 HOW ABOUT THIS STATION’S HELICOPTER? 277 00:20:05,538 --> 00:20:08,868 WE DON’T HAVE ONE. WHY DO WE HAVE HELICOPTER 278 00:20:08,874 --> 00:20:10,943 REPORTS? JUST ME, I GET ON AND DO 279 00:20:10,943 --> 00:20:12,878 THIS. LIGHTS TODAY AND TRAFFIC ARE 280 00:20:12,878 --> 00:20:14,447 HEAVY. THE WORKPLACE IS A WONDERFUL 281 00:20:14,447 --> 00:20:22,647 SETTING FOR SO MANY COMEDIES BECAUSE IT’S A REFUGE. 282 00:20:22,655 --> 00:20:29,095 YOU GET AWAY FROM YOUR KIDS. YOU GET AWAY FROM YOUR WIFE. 283 00:20:29,095 --> 00:20:31,597 AND YOU’RE IN THIS LITTLE ENVIRONMENT WITH PEOPLE YOU GET 284 00:20:31,597 --> 00:20:35,227 TO KNOW PROBABLY CLOSER THAN YOU SHOULD KNOW AND OUT OF THAT WILL 285 00:20:35,234 --> 00:20:39,572 COME CONFLICTS. I DON’T TAKE DICTATION. 286 00:20:39,572 --> 00:20:42,441 I DON’T KNOW HOW JENNIFER ENDED UP AS RECEPTIONEST. 287 00:20:42,441 --> 00:20:47,146 GET COFFEE FOR THE GUYS HERE. I DON’T GET COFFEE, WE AGREED 288 00:20:47,146 --> 00:20:52,416 AGREED. MY MOTHER WAS A ’50s 289 00:20:52,418 --> 00:20:54,648 HOUSEWIFE SO SHE WAS NOT IN A WORKPLACE. 290 00:20:54,653 --> 00:20:58,123 JENNIFER MARLEAU WAS SO POPULAR BECAUSE GIRLS ARE GOING LIKE 291 00:20:58,124 --> 00:21:01,160 YEAH, YOU CAN BE JUST AS CUTE AS YOU WANT TO BE AND BE SMART AND 292 00:21:01,160 --> 00:21:02,995 YOU DON’T HAVE TO DO WHAT YOU DON’T WANT. 293 00:21:02,995 --> 00:21:08,265 THANK YOU. OH, NO, THANK YOU. 294 00:21:08,267 --> 00:21:10,236 HOW DID SHE GET AWAY WITH THAT? 295 00:21:10,236 --> 00:21:17,706 ARE YOU KIDDING? I LOVE THE "WKRP IN 296 00:21:17,710 --> 00:21:19,210 CINCINNATI." THAT TURKEY EPISODE IS ONE OF 297 00:21:19,211 --> 00:21:21,111 THE FUNNIEST THINGS I’VE SEEN IN MY LIFE. 298 00:21:21,113 --> 00:21:24,316 HERB, YOU’RE IN CHARGE OF GETTING THE TURKEYS. 299 00:21:24,316 --> 00:21:28,186 EVERY THANKSGIVING WHEREVER I AM IN THE WORLD SOMEBODY WILL 300 00:21:28,187 --> 00:21:30,656 BRING UP TURKEYS AWAY. IT’S A CLASSIC. 301 00:21:30,656 --> 00:21:33,826 SOMETHING JUST CAME OUT OF THE BACK OF THE HELICOPTER. 302 00:21:33,826 --> 00:21:39,196 IT’S A DARK OBJECT. OH MY GOD, IT’S TURKEYS. 303 00:21:39,198 --> 00:21:42,528 CAN YOU GET THIS? THEY ARE TRYING TO DO A 304 00:21:42,535 --> 00:21:48,073 SPECIAL EVENT FOR THANKSGIVING AND THEY DROP LIVE TURKEYS OUT 305 00:21:48,073 --> 00:21:51,343 OF A HELICOPTER. I DON’T KNOW HOW MUCH LONGER. 306 00:21:51,343 --> 00:21:53,245 THE CHILD IS RUNNING FOR THEIR LIVES. 307 00:21:53,245 --> 00:21:58,515 TURKEYS ARE EXPLODING ALL OVER THE PARKING LOT. 308 00:21:58,517 --> 00:22:07,087 HOME RUN POSITION HERE. THE CLOUD. 309 00:22:07,092 --> 00:22:11,030 NO ONE KNEW IT WOULD BECOME AN ICONIC EPISODE OF TELEVISION. 310 00:22:11,030 --> 00:22:13,065 PEOPLE YELL IT TO ME AT THE AIRPORT. 311 00:22:13,065 --> 00:22:15,625 GOD AS MY WITNESS. GOD AS MY WITNESS. 312 00:22:15,634 --> 00:22:23,084 AS GOD AS MY WITNESS I THOUGHT TURKEYS COULD FL 313 00:22:32,151 --> 00:22:35,187 >>> IT WAS A PERFECT LAUNCH INTO THE HISTORY BOOKS. 314 00:22:35,187 --> 00:22:40,487 IN THE ’80s THERE IS A THIRD WAVE OF FEMINISM AND IT WAS 315 00:22:40,492 --> 00:22:42,492 TRANSFORMING THE OPPORTUNITIES FOR WOMEN. 316 00:22:42,494 --> 00:22:51,437 I WILL DO MY PEST TO SERVE THE COURT AND THIS NATION. 317 00:22:51,437 --> 00:22:58,777 AND SO THE NET WORK’S MANTRA IS TARGET THE WOMEN. 318 00:22:58,777 --> 00:23:05,177 WOMEN RESPONDED POSITIVELY TO MEN PERFORMING DOMESTIC TASKS. 319 00:23:05,184 --> 00:23:09,221 TONY, HERE ABOUT THE JOB. OH, SORRY, THERE MUST BE A 320 00:23:09,221 --> 00:23:11,321 MISTAKE. THIS JOB IS FOR A HOUSEKEEPER. 321 00:23:11,323 --> 00:23:15,361 THAT’S ME, MR. GOOD MOP. ANGELA, CAREER WOMAN 322 00:23:15,361 --> 00:23:31,041 ADVERTISING EXECUTIVE AND TONY T PROFESSIONAL BASEBALL PLAYER. 323 00:23:31,043 --> 00:23:33,178 THIS IS THE BEST SOUP I’VE EVER HAD. 324 00:23:33,178 --> 00:23:36,108 IT’S SOUP. IT JUST THE DUTIES OF LOVE 325 00:23:36,115 --> 00:23:38,017 YOU UNDER TAKE AS A WIFE AND MOTHER. 326 00:23:38,017 --> 00:23:41,717 TONY, YOU ARE THE HOUSE KEEPER AND THIS IS PART OF THE 327 00:23:41,720 --> 00:23:44,556 HOUSE. THE PRIVATE CHAMBER MAY BE MINE 328 00:23:44,556 --> 00:23:52,096 BUT THE DUST IS YOURS. "WHO’S THE BOSS" WAS A GROUND 329 00:23:52,097 --> 00:23:54,867 BREAKING SHOW IN THE WOMEN WAS THE ONE WEARING THE PANELS. 330 00:23:54,867 --> 00:23:57,436 LISTEN TO THE WAY SHE DOES THAT, SAM. 331 00:23:57,436 --> 00:23:59,066 THAT’S WHY THEY MADE HER THE PRESIDENT. 332 00:23:59,071 --> 00:24:03,809 SO ANGELA IS AN ADVERTISING EXECUTIVE ON "WHO’S THE BOSS ". 333 00:24:03,809 --> 00:24:08,979 ELYCE KEETON ON "FAMILY TIES" IS AN ARCHITECT. 334 00:24:08,981 --> 00:24:12,481 THEY HAVE THESE PROFESSIONAL UP SCALE CAREERS RATHER THAN JUST 335 00:24:12,484 --> 00:24:14,520 JOBS. THOSE ARE REALLY POWERFUL 336 00:24:14,520 --> 00:24:18,620 FANTASIES FOR WOMEN IN THE ’80s. AS A TRAVEL AGENT, I LIKE TO 337 00:24:18,624 --> 00:24:21,427 THINK I’M A LITTLE COG IN A BIG MACHINE. 338 00:24:21,427 --> 00:24:28,797 A VERY LITTLE COG. IN 1986, LINDA BLOOD WORTH 339 00:24:28,801 --> 00:24:32,638 TOMSON WENT TO CBS AND SAID I JUST WANT TO SAY WHAT ALL WOMEN 340 00:24:32,638 --> 00:24:41,578 ARE REALLY ABOUT, OPINIONATED AND SUCCESSFUL WHEN GIVEN 341 00:24:41,580 --> 00:24:44,316 OPPORTUNITIES. LINDA BLOOD WORTH TOMSON 342 00:24:44,316 --> 00:24:47,316 CREATED AN ALL VERSION OF THE FEMALE WORKPLACE COMEDY THAT WE 343 00:24:47,319 --> 00:24:50,389 HAD NOT SEEN BEFORE. 344 00:24:50,389 --> 00:24:52,219 I’M GOING TO DO WHAT I ALWAYS 345 00:24:52,224 --> 00:24:57,129 WANTED TO DO, START MY OWN DECORATING BUSINESS AND NO 346 00:24:57,129 --> 00:25:02,829 MATTER HOW MANY FIGHT FIRSTED BANKERS WAIL THEIR TEETH, I HAVE 347 00:25:02,835 --> 00:25:06,672 NO INTENTION OF GOING UNDER. IT WAS A GREAT CAST AND GREAT 348 00:25:06,672 --> 00:25:09,608 WRITING. I CAN’T SEEM TO FIND ANY OF 349 00:25:09,608 --> 00:25:19,948 MY AL MOANEN AL AL‐‐ ALAMONY CHE I THINK YOU MISPLACED THEM. 350 00:25:19,952 --> 00:25:23,422 I LOVE THE OUTRAGEOUSNESS OF CHARACTERS. 351 00:25:23,422 --> 00:25:26,725 IF SEX WERE FAST FOOD, THERE WOULD BE AN ARCH OVER YOUR BED. 352 00:25:26,725 --> 00:25:33,595 BUT THEY HAD AN INTELLIGENCE, WHICH WAS REFRESHING TO SEE ON 353 00:25:33,599 --> 00:25:34,867 TELEVISION. Y’ALL WATCHING? 354 00:25:34,867 --> 00:25:40,967 WE’RE JUST ABOUT TO VOTE. IN 1991 "DESIGNING WOMEN" 355 00:25:40,973 --> 00:25:44,510 TAKES ON THE CLEARANCE THOMAS HEARINGS WITH ANITA HILL. 356 00:25:44,510 --> 00:25:54,887 I DENY EACH AND EVERY SINGLE -L ALLEGATION AGAINST ME TODAY. -AL 357 00:25:54,887 --> 00:25:56,755 THEY WERE TACKLING THE ME TOO MOVEMENT BEFORE THAT WAS A NAME 358 00:25:56,755 --> 00:25:59,455 FOR IT. THIS MAN DOESN’T BELONG ON 359 00:25:59,458 --> 00:26:02,127 THE SUPREME COURT. HE BELONGS IN THEATER. 360 00:26:02,127 --> 00:26:12,537 WE WERE AT APOWER AND I THOUG CREATE THIS SHOW AROUND A WOMAN 361 00:26:12,538 --> 00:26:16,368 WHO WAS A FORCE OF NATURE IN A WORKPLACE THAT HAD TRADITIONALLY 362 00:26:16,375 --> 00:26:21,246 BEEN A MAN’S WORLD. AND THAT’S VERY DIFFERENT FROM 363 00:26:21,246 --> 00:26:24,916 WHAT YOU COULD HAVE WRITTEN IN THE EARLY 1970s. 364 00:26:24,917 --> 00:26:29,217 I’M CONNIE CHUNG IN NEW YORK. I’M BARBARA WALTERS. 365 00:26:29,221 --> 00:26:34,726 I’M MURPHY BROWN. I REMEMBER PITCHING THE SHOW 366 00:26:34,726 --> 00:26:40,196 IN A VERY COLD ROOM IN THE CBS BUILDING AND WHEN I GOT TO THE 367 00:26:40,199 --> 00:26:45,599 POINT WHERE SHE HAD JUST COME BACK FROM BETTY FORD. 368 00:26:45,604 --> 00:26:48,474 HI, EVERYBODY. YOU COULD HEAR THE BRAKES 369 00:26:48,474 --> 00:26:50,909 SCREECHING IN THE ROOM. YOU WERE FONDLING IT WHILE I 370 00:26:50,909 --> 00:26:54,079 WAS GONE. THEY SAID COULDN’T SHE BE 30 371 00:26:54,079 --> 00:27:03,889 AND PLAYED BY HEATHER LOCKLEAR AND I EXPLAINED WHY WHEN YOU 372 00:27:03,889 --> 00:27:08,059 SHAVE DOWN THE OFFROUGH EDGES OF THE CHARACTER YOU BLAND THEM OUT 373 00:27:08,060 --> 00:27:11,130 AND MAYBE THIS IS WHY YOU HAVEN’T HAD A HIT. 374 00:27:11,130 --> 00:27:14,330 MURPHY WAS DEFINED AS BEING EXCELLENT IN HER CAREER. 375 00:27:14,333 --> 00:27:18,303 THE JUSTICE DEPARTMENT SHUT YOU DOWN ON 15 COUNTS OF FRAUD. 376 00:27:18,303 --> 00:27:22,573 THEY SAID YOU SWINDLED $10 MILLION FROM UNSUSPECTED 377 00:27:22,574 --> 00:27:23,742 INVESTORS. SHE DIDN’T CARE WHAT PEOPLE 378 00:27:23,742 --> 00:27:27,980 THOUGHT OF HER. YOU’RE THE MOST COOL HEADED 379 00:27:27,980 --> 00:27:30,380 PERSON I EVER MET. YOU’RE ELITEST. 380 00:27:30,382 --> 00:27:32,618 YOU ALWAYS HAVE TO MAKE A POINT, DON’T YOU? 381 00:27:32,618 --> 00:27:35,618 YES, I DO AND HERE IS ANOTHER POINT. 382 00:27:35,621 --> 00:27:41,091 MURPHY BROWN HIT BIG AND DREW 20 TO 25 MILLION VIEWERS A WEEK. 383 00:27:41,093 --> 00:27:44,363 AND MURPHY HAD A BABY. IF I DON’T COME UP WITH A 384 00:27:44,363 --> 00:27:47,232 NAME FOR HIM IN, SAY, A YEAR IS THAT A VERY BAD THING? 385 00:27:47,232 --> 00:27:49,732 SHE’S A SINGLE WORKING MOTHER. 386 00:27:49,735 --> 00:27:52,971 IT GOT UNDER PEOPLE’S SKIN. WITH THE CALIFORNIA PRIMARY 387 00:27:52,971 --> 00:27:57,441 TWO WEEKS AWAY, VICE PRESIDENT QUAIL BLAMED THE BREAK DOWN OF 388 00:27:57,442 --> 00:28:01,112 AMERICAN FAMILIES IN PART ON THE PROGRAM "MURPHY BROWN". 389 00:28:01,113 --> 00:28:04,216 BEARING BABIES IR RESPONSIBLE IS SIMPLY WRONG. 390 00:28:04,216 --> 00:28:06,785 I THOUGHT I’M TRADING ONE LINERS WITH THE VICE PRESIDENT 391 00:28:06,785 --> 00:28:10,885 OF THE UNITED STATES. IN A RECENT SPEECH, VICE 392 00:28:10,889 --> 00:28:14,526 PRESIDENT QUAIL USED ME AS AN EXAMPLE OF THE POVERTY OF VALUES 393 00:28:14,526 --> 00:28:18,426 IN THIS COUNTRY. DIANE ENGLISH AND LINDA BLOOD 394 00:28:18,430 --> 00:28:23,000 WORTH TOM SON CHANGED THE GAME. MOST SHOW RUNNERS IN A TOTALLY 395 00:28:23,001 --> 00:28:26,838 MALE DOMINATED INDUSTRY. THE SHOWS WERE BREAKTHROUGH. 396 00:28:26,838 --> 00:28:30,738 WE COULD CHOOSE TO BLAME THE MEDIA OR THE CONGRESS OR AN 397 00:28:30,742 --> 00:28:37,452 ADMINISTRATION THAT’S BEEN IN POWER FOR 12 YEARS OR WE COULD 398 00:28:47,526 --> 00:28:50,826 >>> DO YOU HAVE ANY IDEA WHAT TIME WE GET OUT OF HERE? 399 00:28:50,829 --> 00:28:54,599 WE DON’T WANT TO WORK. IT’S NOT FAIR TO THESE PEOPLE. 400 00:28:54,600 --> 00:28:58,170 THESE PEOPLE ARE MY FRIENDS AND I CARE ABOUT THEM. 401 00:28:58,170 --> 00:29:01,240 FROM THE 1990s, DEFINITELY WORKING MORE THAN BEFORE AND AS 402 00:29:01,240 --> 00:29:04,740 A RESULT OF THAT, YOU START TO SEE MORE WORKPLACE SETTINGS THAN 403 00:29:04,743 --> 00:29:06,812 MIGHT HAVE BEEN POSSIBLE PREVIOUSLY. 404 00:29:06,812 --> 00:29:13,518 WE’RE A SUPER STAR SHORT. DID WE HAVE LUCK ON JIM CARRY? EY 405 00:29:13,518 --> 00:29:18,318 WE NEVER LET HIM PLUG "ACE VENTURA". 406 00:29:18,323 --> 00:29:20,592 BROKE THE RULES OF WORKPLACE COMEDY. 407 00:29:20,592 --> 00:29:23,629 THE LARRY SANDERS SHOW IS PROBABLY THE MOST REALISTIC SHOW 408 00:29:23,629 --> 00:29:34,239 EVER WRITTEN ABOUT TELEVISION. LISTEN, HOW WOULD YOU LIKE TO 409 00:29:34,239 --> 00:29:37,109 KM COME ON MY SHOW TOMORROW NIGHT 410 00:29:37,109 --> 00:29:40,545 AND SAY GOOD‐BYE? IT’S THE WHOLE END OF A THING 411 00:29:40,545 --> 00:29:43,045 TOMORROW NIGHT. GOOD‐BYE. 412 00:29:43,048 --> 00:29:47,948 CAPTURING HOW BROKEN AND LOW FUNCTIONING THE PEOPLE ARE. 413 00:29:47,953 --> 00:29:50,889 A LITTLE UNETHICAL, DON’T YOU THINK? 414 00:29:50,889 --> 00:29:54,089 UNETHICAL? THE WHOLE WORLD WITH UNRAVEL. 415 00:29:54,092 --> 00:29:58,030 THANKS FOR THE UPBEAT TALK. MARY TYLER MOORE DIDN’T WORK 416 00:29:58,030 --> 00:30:03,130 IN A NEWSROOM. BOB NEW HEART WASN’T A 417 00:30:03,135 --> 00:30:06,638 PSYCHIATRIST BUT CAR RIGARY HAD TALK SHOW HOST. 418 00:30:06,638 --> 00:30:09,007 SLEEP WELL. REMEMBER, WE’LL ALL BE SLEEPING 419 00:30:09,007 --> 00:30:11,376 AT THE SAME TIME. I THINK HE SIGNALLED YOU 420 00:30:11,376 --> 00:30:15,546 COULD MIND YOUR LIFE AND MAKE A SHOW OUT OF THAT. 421 00:30:15,547 --> 00:30:18,877 SO WHAT DO I DO NOW? PRETEND LIKE YOU’RE TALKING 422 00:30:18,884 --> 00:30:21,853 TO ME UNTIL WE’RE OFF THE AIR SO IT WON’T SEEM WEIRD. 423 00:30:21,853 --> 00:30:24,723 THE LARRY SANDERS SHOW GAVE HBO THEIR VOICE. 424 00:30:24,723 --> 00:30:28,793 BUT THAT WAS ON PAY CABLE. THE NETWORK TELEVISION WE HAD 425 00:30:28,794 --> 00:30:32,130 SPENT TENURES DOING THESE HANGOUT SHOWS AND EVENTUALLY 426 00:30:32,130 --> 00:30:35,730 EVERYONE REALIZED, LIKE, THERE IS NOT GOING TO BE ANOTHER 427 00:30:35,734 --> 00:30:38,937 "FRIENDS" AND SO WE KIND OF RETURNED TO THIS NOTION THEY’RE 428 00:30:38,937 --> 00:30:40,467 HANGING OUT BECAUSE THEY WORK TOGETHER. 429 00:30:40,472 --> 00:30:45,742 THEY DON’T HAVE A CHOICE. BY THE TIME YOU GET TO THE 430 00:30:45,744 --> 00:30:48,880 2000s, "SCRUBS" IS A GOOD EXAMPLE. 431 00:30:48,880 --> 00:30:56,250 MY PITCH WAS A BROAD SILLY COMEDY. 432 00:30:57,155 --> 00:30:59,815 A BROTHER FINALLY CAN BREATHE. 433 00:30:59,825 --> 00:31:03,628 AND YOU’RE INSIDE OF A YOUNG DOCTOR’S HEAD. 434 00:31:03,628 --> 00:31:11,698 DEATH IS ALWAYS HANGING AROUND THIS HOSPITAL. 435 00:31:11,703 --> 00:31:16,041 MATCH WAS AN INFLUENCE ON ME PAUSE I WAS DRAWN TO COMEDY THAT 436 00:31:16,041 --> 00:31:17,509 SOMEHOW WAS STILL ABOUT SOMETHING. 437 00:31:17,509 --> 00:31:20,078 THIS ISN’T REALLY WHAT I EXPECTED, YOU KNOW? 438 00:31:20,078 --> 00:31:24,048 MOST OF MY PATIENTS ARE CHECKED OUT MENTALLY. 439 00:31:24,049 --> 00:31:28,587 PUMPKIN? THAT’S MODERN MEDICINE. 440 00:31:28,587 --> 00:31:31,187 ADVANCES THAT KEEP PEOPLE ALIVE THAT SHOULD HAVE DIED A 441 00:31:31,189 --> 00:31:34,025 LONG TIME AGO BACK WHEN THEY LOST WHAT MADE THEM PEOPLE. 442 00:31:34,025 --> 00:31:38,925 FOR THE LOVE OF GOD. WHAT? 443 00:31:38,930 --> 00:31:41,930 DO YOU THINK WE SHOULD BE TALKING IN FRONT OF HER? 444 00:31:41,933 --> 00:31:45,036 SHE’S DEAD. IN THE EARLY 2000s THERE WAS 445 00:31:45,036 --> 00:31:48,636 THIS HUNGER TO REINVENT THE NETWORK SITCOM AND NBC DECIDED 446 00:31:48,640 --> 00:31:51,877 TO TAKE A CHANCE ON A U. K. HIT CALLED "THE OFFICE ". 447 00:31:51,877 --> 00:31:54,707 THERE IS GOOD NEWS AND BAD NEWS. 448 00:31:54,713 --> 00:32:00,118 THE BAD NEWS IS SOME OF YOU WILL LOSE YOUR JOBS, YEAH, YEAH, I 449 00:32:00,118 --> 00:32:01,248 KNOW. I KNOW. 450 00:32:01,253 --> 00:32:02,353 GUTTING. GUTTING. 451 00:32:02,354 --> 00:32:04,423 I WAS SO IMPRESSED BY THAT SHOW. 452 00:32:04,423 --> 00:32:06,758 THIS IS NOTHING LIKE ANYTHING ON TV RIGHT NOW. 453 00:32:06,758 --> 00:32:15,267 THE GOOD NEWS IS I’VE BEEN PROMOTED 454 00:32:15,267 --> 00:32:17,936 PROMOTED. I HAD A DREAM I WAS ON COMEDY 455 00:32:17,936 --> 00:32:23,006 COURT AND THEY TOOK ME TO TASK FOR RUINING THE BRITISH SHOW. 456 00:32:24,376 --> 00:32:32,846 AND GREG DANIELS WAS LIKE HEY, YOU LIKE THE ENGLISH 457 00:32:32,851 --> 00:32:36,151 "OFFICE" LET’S STAY CLOSE TO THE PILOT. 458 00:32:36,154 --> 00:32:42,093 HOW MANY TIMES HAVE I TOLD YOU THERE IS A SPECIAL FILING 459 00:32:42,093 --> 00:32:44,062 CABINET CABINET. 460 00:32:44,062 --> 00:32:46,832 THE WASTE PAPER PASTBASKET. THERE ARE SO MANY REASONS TO 461 00:32:46,832 --> 00:32:53,238 HAVE FAILED. WEIRD LOOKING ACTORS. 462 00:32:53,238 --> 00:32:59,438 YOU KNOW, ARE WE ROLLING? SO THE FIRST SEASON ENDS. 463 00:32:59,444 --> 00:33:02,914 NO ONE LIKES IT. IRONICALLY A LOT OF VIEWS SAID 464 00:33:02,914 --> 00:33:06,284 IT HUES TOO CLOSE TO THE BRITISH SHOW. 465 00:33:06,284 --> 00:33:10,422 THEN THE BIG THING WAS OKAY, NOW WE’LL WRITE ALL OUR OWN STORIES. 466 00:33:10,422 --> 00:33:13,492 I WANT MICHAEL TO BE VERY OPTIMISTIC. 467 00:33:13,492 --> 00:33:16,692 HIS INTENTIONS HAD TO BE GOOD EVEN WHEN HE WAS DOING TERRIBLE 468 00:33:16,695 --> 00:33:19,498 THINGS. NOBODY LEAVES UNTIL WE WORK 469 00:33:19,498 --> 00:33:23,228 THIS OUT. CAGE MATCH. 470 00:33:23,235 --> 00:33:25,403 CAGE MATCHES, YEAH, THEY WORK. 471 00:33:25,403 --> 00:33:28,473 HOW COULD THEY NOT WORK? IF THEY DIDN’T WORK, EVERYBODY 472 00:33:28,473 --> 00:33:31,743 WOULD BE IN THE CAGE. AMERICAN SHOWS ARE LESS 473 00:33:31,743 --> 00:33:33,411 SCENICAL. DO I HAVE A SPECIAL SOMEONE? 474 00:33:33,411 --> 00:33:37,048 WELL, YEAH, OF COURSE. A BUNCH OF THEM. 475 00:33:37,048 --> 00:33:40,918 MY EMPLOYEES. I WROTE A CHRISTMAS EPISODE 476 00:33:40,919 --> 00:33:46,089 WHERE MICHAEL HAD BOUGHT RYAN A VIDEO IPOD, WHICH HAD JUST COME 477 00:33:46,091 --> 00:33:47,591 OUT. WHOA. 478 00:33:47,592 --> 00:33:49,027 WOW. GEE. 479 00:33:49,027 --> 00:33:53,127 ABOUT FOUR DAYS LATER, APPLE ANNOUNCES THAT IT HAS MADE 480 00:33:53,131 --> 00:33:57,836 CONTENT DEALS WITH NBC. I’D LIKE TO JUST SHOW YOU THE 481 00:33:57,836 --> 00:34:01,306 TV SHOW HERE. THIS IS AN EPISODE FROM "THE 482 00:34:01,306 --> 00:34:02,706 OFFICE." NO! 483 00:34:02,707 --> 00:34:07,407 YOU’LL THANK ME LATER. THE FIRST EPISODE WACKBACK WA 484 00:34:07,412 --> 00:34:11,249 THE HIGHEST EPISODE EVER BECAUSE NOBODY DID ANYTHING BUT SPEND 485 00:34:11,249 --> 00:34:15,419 WEEKS OF WATCHING "THE OFFICE" ON VIDEO IPODS. 486 00:34:15,420 --> 00:34:17,789 THIS WAS ASTOUNDING TO THE PEOPLE AT NBC. 487 00:34:17,789 --> 00:34:20,825 THESE ARE HIGH SCHOOL AND COLLEGE KIDS WATCHING THE SHOW 488 00:34:20,825 --> 00:34:24,395 IN DROVES AND THEY’VE NEVER SET FOOT IN AN OFFICE. 489 00:34:24,396 --> 00:34:28,766 AND EVENTUALLY, I REALIZED, OKAY, WELL THIS IS BECAUSE THEIR 490 00:34:28,767 --> 00:34:32,097 EXPERIENCE IN SCHOOL. EVERYTHING DWIGHT DOES ANNOYS 491 00:34:32,103 --> 00:34:34,372 ME. DID YOU GET YOUR TICKETS? 492 00:34:34,372 --> 00:34:41,746 TO TWO? THE GUN SHOW. W? 493 00:34:41,746 --> 00:34:45,016 THE GUN SHOW. H? THE GUN SHOW. A? 494 00:34:45,016 --> 00:34:47,146 THE GUN SHOW. T? THE GUN SHOW. 495 00:34:47,152 --> 00:34:50,188 THEY’RE PUT AT A DESK TO ANOTHER KID THEY MAY OR MAY NOT 496 00:34:50,188 --> 00:34:51,118 LIKE. THAT MUST BE WHAT THEY’RE 497 00:34:51,122 --> 00:34:53,358 IDENTIFYING WITH. I MANAGE MY DEPARTMENT AND 498 00:34:53,358 --> 00:34:58,897 I’VE BEEN DOING THAT FOR SEVERAL YEARS NOW AND I’VE LEARN AID LOT 499 00:34:58,897 --> 00:35:01,967 OF LESSONS ALONG THE WAY. YOUR DEPARTMENT IS JUST YOU, 500 00:35:01,967 --> 00:35:03,727 RIGHT? YEAH, BUT I’M NOT EASY TO 501 00:35:03,735 --> 00:35:07,872 MANAGE. IT WAS THE BIGGEST SITCOM 502 00:35:07,872 --> 00:35:14,479 NBC AND NBC WAS SOLD ON THE QUIRK WORKPLACE SITCOMS. 503 00:35:14,479 --> 00:35:19,249 WITH "30 ROCK" I WANTED TO SEE HOW MUCH YOU COULD PUSH THE 504 00:35:19,250 --> 00:35:24,420 PREMISE TO "MARY TIEYLER MOORE" AND THE FIRST WAS IN A NEWS 505 00:35:24,422 --> 00:35:29,661 ENVIRONMENT AND NBC PASSED ON IT AND SAID NO, WRITE MORE OF WHAT 506 00:35:29,661 --> 00:35:31,761 YOU KNOW. WE WERE THERE AT "30 ROCK" 507 00:35:31,763 --> 00:35:34,899 AND "SNL." WE KNEW WHAT WENT ON IN THE 508 00:35:34,899 --> 00:35:37,235 OFFICE. LET’S GET TO TWO COMMERCIAL 509 00:35:37,235 --> 00:35:40,765 PARTY. WE WERE TRYING TO THINK OF A 510 00:35:40,772 --> 00:35:44,442 FUNNYIER CEREAL NAME. THE FIRST INCLUDES HONEY BUNCHES 511 00:35:44,442 --> 00:35:53,118 OF SADNESS, OAT BUM AND SWASTIKOS. 512 00:35:53,118 --> 00:35:56,818 FAR NUGGETST NUGGETS. 513 00:35:56,821 --> 00:36:14,571 "30 ROCK" IS A WOMAN THAT’S A CARETAKER FOR AN EGO 514 00:36:14,572 --> 00:36:18,142 I CAN’T FIRE ROSEMARY. YES, YOU CAN, IT IS EASY. 515 00:36:18,143 --> 00:36:21,179 OBSERVE. JONATHAN, YOU ARE FIRED. 516 00:36:21,179 --> 00:36:23,915 THE WORKPLACE SETTING IS GREAT FOR COMEDY BECAUSE YOU ARE 517 00:36:23,915 --> 00:36:26,645 WITH ALL KINDS OF DIFFERENT PEOPLE. 518 00:36:26,651 --> 00:36:27,786 I UNDERSTAND THIS IS TOUGH FOR YOU. 519 00:36:27,786 --> 00:36:31,216 WHAT DID I TELL YOU? NOT TO FREAK OUT. 520 00:36:31,222 --> 00:36:34,726 WHAT ELSE? STOP FALLING IN LOVE WITH GAY 521 00:36:34,726 --> 00:36:36,586 GUYS. ANYBODY WORKED IN A REGULAR 522 00:36:36,594 --> 00:36:42,374 OFFICE BECAUSE YOU ARE LATE. I AM THE ONE WHO ALWAYS 523 00:36:51,009 --> 00:36:55,909 >>> DO YOU KNOW JOE BIDEN? HE’S ON MY CELEBRITY SEX 524 00:36:55,914 --> 00:36:58,483 LIST. TRUST ME, YOU CAN DO BETTER 525 00:36:58,483 --> 00:37:00,885 THAN JOE. NO, I DON’T THINK I CAN. 526 00:37:00,885 --> 00:37:06,185 IN SUMMER OF 2008, BARACK OBAMA WAS RUNNING FOR PRESIDENT 527 00:37:06,191 --> 00:37:16,267 AND THE GOVERNMENT WAS GOING TO BE PLAYING AN ACTIVE ROLE IN 528 00:37:16,267 --> 00:37:18,067 PEOPLE’S LIVES. PARKS AND RECS ACTUALLY CALLED 529 00:37:18,069 --> 00:37:23,139 PUBLIC SERVICE AT ONE POINT. WE ARE TAKING THE TEMPLATE OF 530 00:37:23,141 --> 00:37:26,411 "THE OFFICE," IT TAKES PLACE IN ONE OF THREE ROOM AND IN THE 531 00:37:26,411 --> 00:37:30,081 SAME DREARY BUILDING. ALL OF A SUDDEN THE WORLD IS OUR 532 00:37:30,081 --> 00:37:34,551 OYSTER. HERE WE GO. 533 00:37:34,552 --> 00:37:44,295 LESLIE KNOPE WAS OPTIMISTIC BUT SHE HAD BIG AMBITION WHICH WAS 534 00:37:44,295 --> 00:37:46,695 GOOD FOR COMEDY. ILL WOULD LIKE TO TELL PEOPLE 535 00:37:46,698 --> 00:37:54,938 GET ON BOARD AND BUCKLE UP. WE THOUGHT IT WAS IMPORTANT 536 00:37:54,939 --> 00:37:57,976 FOR THE MAIN CHARACTER TO BE A WOMAN BECAUSE HE WANTED TO BE A 537 00:37:57,976 --> 00:38:02,146 SHOW AND A TRAILBLAZER IN MANY WAYS. 538 00:38:02,147 --> 00:38:05,347 DO YOU MIND IF I BORROW YOUR HAT? 539 00:38:05,350 --> 00:38:08,987 IT WAS A REALISTIC LOOK OF A VIKSAL VERSION WE ALL HAD 540 00:38:08,987 --> 00:38:13,117 BECAUSE THERE WERE PEOPLE OF ALL DIFFERENT SHAPES AND SIZES AND 541 00:38:13,124 --> 00:38:18,496 ETHNICITYIES AND ALL MINGLING TOGETHER. 542 00:38:18,496 --> 00:38:21,826 CAN YOU GET ME OUT OF IT? YES. 543 00:38:21,833 --> 00:38:27,305 NORMALLY IF GIVEN A CHOICE BETWEEN SOMETHING OR NOTHING, I 544 00:38:27,305 --> 00:38:34,205 CHOOSE TO DO NOTHING. WHEN "PARKS AND RECS" ENDED, 545 00:38:34,212 --> 00:38:39,150 WE LANDED ON A JOINT RESPECT FOR BOBBY MILLER. 546 00:38:39,150 --> 00:38:43,350 MOST LIFE AS AN OFFICER IS NOT CHASING BAD GUYS IN THE STREETS, 547 00:38:43,354 --> 00:38:46,124 IS SITTING AROUND THE PRECINCT AND KILLING TIME BECAUSE IT IS 548 00:38:46,124 --> 00:38:48,092 AN OFFICE. WHAT THE HELL IS GOING ON 549 00:38:48,092 --> 00:38:59,671 AROUND HERE? AND GO! 550 00:38:59,671 --> 00:39:02,071 THE SHOW STARTED OFF AS PRETTY SILLY. 551 00:39:02,073 --> 00:39:07,011 ONE OF THE TRICKY THING ABOUT A SHOW LASTING FOR A LONG TIME IS 552 00:39:07,011 --> 00:39:09,111 ATTITUDE CHANGED AND IN THIS CASE THERE WAS NO VERSION OF 553 00:39:09,113 --> 00:39:12,417 TELLING A BUNCH OF STORIES ABOUT A POLICE PRECINCT THAT COULD 554 00:39:12,417 --> 00:39:19,087 HAVE GONE ALL OVER THE ISSUES OF POLICEING THAT THE WHOLE COUNTRY 555 00:39:19,090 --> 00:39:20,290 TACTIC TALKED ABOUT. 556 00:39:20,291 --> 00:39:27,161 I GOT STOPPED BY A COP LAST NIGHT CHLGT 557 00:39:27,165 --> 00:39:27,866 NIGHT. FOR WHAT? 558 00:39:27,866 --> 00:39:29,426 FOR WALKING. WHAT ARE YOU DOING AROUND 559 00:39:29,434 --> 00:39:30,969 HERE? I LIVE AROUND HERE. 560 00:39:30,969 --> 00:39:36,007 IT IS OUR REMARKABLE ACHIEVEMENT TO TAKE A SOCIAL 561 00:39:36,007 --> 00:39:39,277 ISSUE, SOMETHING THAT’S SO SERIOUS AND NOT ONLY FIND THE 562 00:39:39,277 --> 00:39:42,477 HUMOR BUT FIND THE HUMANITY IN IT. 563 00:39:42,480 --> 00:39:47,685 IT IS RIGHT OUTSIDE MY HOME. NOTHING LIKE THAT NEVER HAD 564 00:39:47,685 --> 00:39:50,215 HAPPENED TO ME AND I HAVE DONE SOMETHING SUSPICIOUS IN THE 565 00:39:50,221 --> 00:39:52,657 STREETS. WHAT ARE YOU DOING? 566 00:39:52,657 --> 00:39:56,127 PLAYING A PRANK ON MY BUDDY. SOUNDS FUN. 567 00:39:56,127 --> 00:39:59,497 AFTER THE ELECTION OF PRESIDENT OBAMA, THERE WAS NO 568 00:39:59,497 --> 00:40:02,797 ROOM FOR HOPE IN POLITICIANS AS MUCH AS DIVISION. 569 00:40:02,800 --> 00:40:07,570 WHICH WAS THE PERFECT TIME FOR A SHOW LIKE "VEEP." 570 00:40:07,572 --> 00:40:11,976 I CAN’T BELIEVE HOW TERRIBLE YOU ARE AT YOUR JOB. 571 00:40:11,976 --> 00:40:16,706 WHAT ARE YOU RUNNING ON A PLATFORM OF HIGHER TAXES? 572 00:40:16,714 --> 00:40:19,350 IF A BOMB WENT OFF IN THE WHITE HOUSE, I WOULD NOT CARE. 573 00:40:19,350 --> 00:40:21,786 THOSE ARE THE WORSE PEOPLE ON EARTH. 574 00:40:21,786 --> 00:40:30,995 WHERE WERE YOU, AMY? YOU SAID YOU HAD IT COVERED. 575 00:40:30,995 --> 00:40:35,325 I THINK WE LOVE WORKPLACE SITCOM BECAUSE WE IDENTIFY WITH 576 00:40:35,333 --> 00:40:38,736 THEM EVEN WITH THESE UNLIKABLE PEOPLE IN THIS UNLIKABLE WORLD. 577 00:40:38,736 --> 00:40:45,906 WELL, THEY THINK EXCITED OF A POSSIBILITY OF A WOMAN BECOMING 578 00:40:45,910 --> 00:40:48,680 A PRESIDENT. NOT NECESSARILY YOU. 579 00:40:48,680 --> 00:40:55,386 EVERY GENERATION GETS PUT IN THE SATIRE IT DESERVES. 580 00:40:55,386 --> 00:40:57,246 IT IS TOUGH TO COMPETE WITH REALITY. 581 00:40:57,255 --> 00:41:00,625 THE TRUMP ADMINISTRATION. I HAVE A LOVELY INAUGURATION, 582 00:41:00,625 --> 00:41:03,728 BILLY JOEL IS GOING TO SING SO YOU GUYS HAVE TO STOP THE 583 00:41:03,728 --> 00:41:06,197 RECOUNT. ANY SHOW IS ABOUT WORKPLACE 584 00:41:06,197 --> 00:41:10,727 OR A GROUP OF PEOPLE, THEY EVENTUALLY MIGRATE INTO WELL, 585 00:41:10,735 --> 00:41:14,405 WHO’S THE DAD OR THE MOM OR THE CRAZY UNCLE. 586 00:41:14,405 --> 00:41:17,235 THEY KIND OF FIT INTO A FAMILY CIRCUMSTANCES. 587 00:41:17,241 --> 00:41:20,141 ANYWHERE CAN BE A WORKPLACE. 588 00:41:20,144 --> 00:41:25,316 MORNING. YOU DO REALIZE THAT I AM 589 00:41:25,316 --> 00:41:29,116 LOST, RIGHT? OH. 590 00:41:29,120 --> 00:41:31,220 IT IS THIS WAY, SIR. IT CAN BE AN AMERICAN COACH 591 00:41:31,222 --> 00:41:34,158 BEING DROPPED IN A BRITISH PREMIER FOOTBALL TEAM. 592 00:41:34,158 --> 00:41:42,166 LOOK AT THIS GUY. THEY CALL IT POLICE BOOTS. 593 00:41:42,166 --> 00:41:48,606 I THOUGHT YOU SAID THE TRUNK OF THE CAR IS A BOOT? 594 00:41:48,606 --> 00:41:52,576 REFLECTING SOCIETY. REFLECTING ALL OF OUR FALSE AND 595 00:41:52,577 --> 00:41:57,307 YET BEING ABLE TO LAUGH AT OURSELVES. 596 00:41:57,315 --> 00:42:03,821 WHETHER IT IS "DIRTY ROCK" DOING A TV SHOW OR ON MOON BASE. 597 00:42:03,821 --> 00:42:08,291 DO NOT TAKE OFF YOUR SEAT BELT. 598 00:42:08,292 --> 00:42:11,862 I FORGOT TO MY BIRD. OH MY GOD, WHERE IS YOUR