Welcome back! I know I’ve picked up some new readers over the past few months, so I’ll explain what I’m doing here. Ever since I found out that Jennifer and Mary Anne were promoted to regular characters on the strength of seeing them on-screen for two whole minutes, I decided that I needed to get serious about educating myself on the context of Perfect Strangers. So between seasons I now look at whatever interviews and news reporting I can find on the show. It’s much more work than reviewing an episode, but the benefit is I don’t have to watch an episode to write it. I utilize the information found on the long-running Perfect Strangers fansite, as well as the videos curated on the associated YouTube channel. It’s been a worthwhile endeavor, not only for learning trivia like Larry thinking the original decorations for the apartment set made it look like somebody’s grandma’s house, but also for giving me the chance to break the story about Bronson Pinchot’s shoe fetish.
Being finished with season 5 of Perfect Strangers, I’m finding, doesn’t really feel like any sort of milestone. Completing season 3 felt like an accomplishment, because it proved, if nothing else, that I had far less of a social life than the guys who wrote the other two Perfect Strangers blogs. Season 4 had its obvious benefits as the (sorta) halfway point. My emotional response to having season 5 behind me is, for the most part, one of buckling down for the rest of it. Accomplishment has come, been recognized, and gone, and now there’s a set amount left to do. I’ll have more to say about this next week, in the season review, but one of the things that struck me with this week’s research is that I found a reflection of this feeling in the interviews with the actors.
So read on as we look at interviews and articles (et a little cetera too) from May 6, 1989, through May 4, 1990, organized so that all the juicy Bronson stuff will be at the end.
The Show itself
I only find two articles talking about the show leading up to the season 5 premiere. A mid-season article in TV Guide overstates the Larry/Balki “investigative team” relationship, but even more distanced from the actual show is an August article in TV Week:
At 9 o’clock, “Perfect Strangers” moves out of the traditional family hour (8-9) and into an area where presumably more adult themes can be explored in a show that has been maturing since its innception…. The comedy during the first few seasons came from the unrelenting conflict generated by Balki’s naivete and the cousins’ romantic entanglements with a pair of flight attendants, one as solid as Larry and the other as off-the-wall as Balki.
Can you imagine writing about a show you’d never watched?
There’s nowhere else good, narratively, to place this Rolling Stone article about sitcom theme songs, so I’ll mention it here. For one, I never realized how much 80s theme songs read like translated anime theme lyrics, and the article pulls no punches in getting across how meaningless some of them are (like Growing Pains’s “sharing the laughter and love”). These quotes from Jesse Frederick are the most relevant to this blog’s discussion of Perfect Strangers:
Ironically, there’s an intense process to come up with these songs, and they all come out sounding kind of the same.
[ABC] said they wanted the theme to sound contemporary but not too rock & roll. They wanted something real positive. They said, ‘It’s about winning.’
Millions of people hear your music every week…. And you’re generously paid. But somehow you’re not quite as cool as you’d be if you did something else.
Okay, on to the actors.
Melanie did a couple of interviews in the summer of 1989. One of them was on the Pat Sajak Show. Wikipedia doesn’t make any conjectures as to why Sajak’s talk show got low ratings, but maybe it had to do with the fact that he was only bringing in guests like “the taller blonde from Perfect Strangers”? She trots out the same damn stuff about her dad (Mr. Whipple) and her husband (the closetmaker) and I already regret wasting my time this week.
And speaking of repeats from last time, she appeared on A.M. Los Angeles again. The very first thing the male host (in this instance, it looks like someone else was filling in for Steve Edwards) does is talk about her body and obviously think that he’s very charming for doing so. Melanie is still going on about those fucking closets, but she also gives us some actual information about the show. If you’re interested in knowing the turnaround time from taping to air, she mentions that filming for “Father Knows Best???” will begin the following week, meaning that it aired about two months after filming.
For the season opener, “Good Skates”, none of the four actors knew how to rollerskate and someone had to be brought in to train them. (Now how impressed are you at Mark Linn-Baker’s “bad” skating?) She jokes about calling her agent to ask for a new gig when she first heard about the episode, but I feel like she’s not really joking; the host makes a crack about sitcom writers coming up with plots that don’t play to their actors’ strengths.
*turns head to camera, The Office-style*
It’s long been my complaint that Jennifer’s character is as developed as someone with Kallmann Syndrome. And Melanie’s interviews have so far been the least interesting of the bunch, so it surprised me to find something of interest in the articles.
Also, she has opinions on her role in the show. For one, she’s a little embarrassed that in three years, she’s only kissed Larry as many times. Another article (published soon before the season 5 premiere goes much further into depth on what she thinks Jennifer’s personality is. ‘Bout to give y’all a bunch of quotes, because this is worth reading.
“She’s not just polite, she’s very polite. She’s not just proper, she’s very proper. She’s not only intelligent, she’s very intelligent. And she’s not just repressed, she’s very, very repressed,” Melanie says.
Hey, if you say so, Mel. I mean, if you give a character no lines and no agency, what else can you assume about the character other than “she holds herself back”?
Melanie describes [the sitcom-making] process as “…a courtship, really, between actors and writers. Jennifer and I have some similarities on which the writers have drawn. For example, like Jennifer, I went abroad to study. I was quite academic during my school years; I was, and remain, a voracious reader. I think that as they’ve come to know me, they’ve taken a part of me and given it to her which then gives her, thankfully, another dimension.”
My god, how much of these scripts got cut between Monday and Thursday?
“They’ve allowed her to be different from the typical TV ‘blonde’. You could say,” Melanie said, “that she’s treated more like the ‘typical TV series’ brunette’ would be.”
Okay, whatever, I mean, jeez, even the actors have headcanon
“What I’m also pleased about is the way the writers have been rounding Jennifer out over the past year. She has more of a sense of who she is, and what she wants, and more strength as a person. I suppose you could say she’s coming into her own.”
What the shrinking fuck? Christ, this sounds like me waxing eloquent about my “process” in writing jokes about buttfucking. Let’s review what we’ve learned about Jennifer this season: she rollerskates, she plays tennis, she has a dad, she occasionally gets very mad at her best friend instead of regular mad, and sometimes she’s playful with her boyfriend if there’s an extra 10 seconds the writers need to fill. I find it easier to believe that her role was reduced than that she was making shit up, and if that’s the case, then fuck this show.
Weep for Jennifer, y’all.
Speaking of forgotten actresses, here’s Mark with Rae Dawn Chong. I’ve only seen a couple of her movies (if your tastes run anything near to mine, check out The Borrower; it’s one of my favorite batshit-crazy scifi movies), and seeing her here made me wonder why I don’t see more of her. I found out her career wasn’t short-lived, it’s just never been very prominent. And, here’s this blog’s rare intersection with current events: she recently spoke up about her then-agent’s complicity in a harrassesque (?) encounter with Steven Seagal in the 80s.
Anyway, back to Mark. Just like with Melanie, the televised stuff is more boring than the written. Just watching the clips, Mark doesn’t seem like he wants to be there. It’s not that his answers are particularly short, he just doesn’t say much in terms of his feelings or thoughts on things. In his appearance on A.M. Los Angeles in March of 1990, it appears that someone had to do research just to have something to ask him questions about. The hosts (in this case, Tawny Little and the same guy filling in for Steve Edwards, unless Steve got a dye job that month) blow through questions about the physical comedy on the show so fast they end up having to bring out that years-old line about him being the cheapest guy in Hollywood. I mean, look at this guy’s evasion:
Host: Any new twists and turns in the plotline we should know about Perfect Strangers before we go?
Mark Linn-Baker: Just, uh… same stuff, physical comedy, Balki and I continue to work together, and hopefully it’s funny.
Well, now we know who the show’s biggest fan was, right? I was so bored by this I ended up focussing on the giant chairs they’re sitting in. I wonder if that was in any way the inspiration for this Tim & Eric bit?
Anyway, a couple of interviews do mention his theater company, which I finally found out is the New York Stage & Film Company. What’s more, he co-founded it before he was ever on Perfect Strangers! I’d expect him to gush about it, but he’s so focussed on his duty of doing interviews that he stays on the topic of Perfect Strangers. You know how last time I talked about behind-the-scenes stories being shortened and streamlined, losing both detail and truth, over the course of four years? Mark makes it sound here like that was the goal all along, which doesn’t jibe with the stories I saw in season 1. It makes me want to interview Mark myself and ask about the show’s course.
Not that I would ever try to interview him, of course…
Back when I reviewed “Father Knows Best???, parts 1-9”, commenter and Christmas-ruiner Philip J Reed asked how they managed to film the flooded basement. In an October 1990 appearance on the Arsenio Hall Show, Mark tells that they used a tank filled with water–one of the same ones that Esther Williams used–for it. Arsenio brings up Me & Him, which evidently didn’t get released in the US, so it surprised Mark to hear that someone in the audience had seen it. (Since it was a European-only release, this means that most countries did not hear his voice.)
The interview isn’t exciting, or really worth watching, and I think Mark sums things up pretty nicely when he jokes that he “lives for” interviews.
Luckily, Mark’s a little more talkative in print, and we get some information on the show’s own process. I hinted at a Monday-Thursday schedule above (apparently shortened from five days to four with season 5, and Mark is where this info comes from
According to an article in Nightlife magazine, which no doubt refers to season 4,
Each week, the cast and crew begin their “fun time” with an almost — dare we say? — theatre-like process that lasts five days. Writers, actors and director discuss motives, characterization and what is funny about the script and what’s not. “There’s pretty much agreement about what works, when it works,” he says of the workshop method. “It’s like putting on a playlet every five days.”
So, yes, everyone shares credit for the cousins shaking their butts during the Wedding March in “Wedding Belle Blues”, but that means that everyone is also responsible for the laff riot that was Larry getting his blanket stolen in prison. We learn from an interview in Drama-Logue* that Perfect Strangers was the first of Mark’s roles where he (at the producer’s urging) watched his own performances. “It’s not that it’s bad, it’s just not what you expect. Miller said I had to get over that and I did.”
This is thrilling stuff, right? Call now and pledge to keep these wonderful blog posts going.
Ah, now we’re getting somewhere! Rebeca didn’t do very many interviews, but she did have some other television appearances.
She appeared on Circus of the Stars in both 1988 and 1989 (I missed the ‘88 one last time, sorry), and now that I’ve watched a little bit of both, I have to wonder: what was the draw? It seems like it’s a lot of work to get actors trained, and for what? On the one hand, you get to see actors doing things entirely unrelated to their talents, and on the other hand, stunts done by people who aren’t trained professionals. I asked some of my older friends what was so special about these shows, and they reminded me that there wasn’t cable back then. Check the clips out if you want, especially if you want to hear Leslie Nielsen read bad copy that misuses the word “glasnost”.
As we saw in Opposites Attract, though, Rebeca was in great shape after two years of training. In one of the two interviews I have, she talks to Pat Sajak about the training. I doubt we’ll see Sajak again during the course of this blog, so I’ll say this about him: I really respect how skilled he is at reading the feeling of a conversation and nudging it in the right direction, I just wish he were funny too.
Her other interview on–surprise, surprise–A.M. Los Angeles is of note because the hosts (here Steve Edwards and Tawny Little) bring out Victoria Jackson during the segment. Rebeca jokes that she wants Victoria to play Mary Anne’s sister, and never have I made something headcanon so quickly. Instead of anyone having done enough research to ask about the episode they appeared in together, the host derail the whole conversation by trying to get them to say that they get typecast as dumb blonde characters. Neither of them bites, and good for them. Fuck you, Steve Edwards and Tawny Little.
Mother of fuck, it’s Jim J. Bullock!
There’s not much to say here, other than I find it delightful to watch Rebeca get some time in the spotlight. There’s a bit in the second clip where a spokesperson for Alberto-Culver (one of the advertisers on the show, I’d imagine) has come in from France, and he goes up to Rebeca’s square and they pretend to make out for most of the episode.
I have–oh god–to watch 17 interviews with Bronson this time around, not to mention read 15 articles. So take off your shoes and let’s tackle these in chronological order.
I didn’t mean you, Bronson!
Seen here: Bronson at the tender age of “high school”.
The majority of the interviews during 1989 had Bronson talking much more about Second Sight than Perfect Strangers, and this one (a May 6, 1989, airing of Public People, Private Lives) is no different. But rather than focus on his work, this show’s focus is on what goes on for actors off-screen. We get a recap of his story of growing up poor and overweight, with a few new bits of trivia sprinkled throughout (he wanted Balki to be named Apollo). Even after claiming to be on a “girl diet” after tiring of women leaving him after six weeks, the host keeps pressing him to talk about his deep, sexual needs. After mounting her briefly…
…Bronson answers that, after growing up in a depressing situation, acting gives him his greatest joy:
I think I was sad because I was just what I still am, which is sensitive. And if you’re sensitive, life makes you sad, and that’s all there is to it…. That little boy wants to be somebody else. It gives me great pleasure, I mean, like, sexual pleasure to, like, change, and just be completely different.
Self-awareness is a slow and fitful thing, as not two weeks later he’s quoted in a newspaper as saying that his role as Balki was “the first time someone had approached me as an actor, not a bubble-gum machine and saying, ‘We want that flavor.'” Yeah, I suppose vanilla, French vanilla, and vanilla bean do have their subtleties.
In September 1989 on Movietime, baffled honesty from Bronson when asked about the Family Matters spinoff:
[Jo Marie is] going to be a lot happier on her own show, because on our show, you need a soul made of cast iron if you’re not Mark or me, to, like, live from week to week, because there’s–they don’t–there’s nothing for those people to do, and how they make it I don’t know. But there’s often, like, tears and headbanging. I mean, it’s like so focussed, it probably… I don’t know, I don’t know if there is another show where it’s so totally focussed on so few characters.
Holy shit, not only does this (along with Melanie Wilson’s kind-of complaint) confirm so much of what I’ve been suspecting about the show, but it’s also the first time I’ve heard Bronson complain about something in a way that didn’t position him as either hero or victim. And if Jo Marie wasn’t happy on Perfect Strangers because all she got to do was stand around and do crossword puzzles, I can only imagine how difficult it was to have her own show taken away from her by a 13-year-old. I wish I could pick her brain about it, but like I say, no chance in hell I’d ever even consider trying to interview any of these actors.
By the time October of 1989 rolled around, it was all about advertising Second Sight. Most of the interviews feature Bronson talking about how he researched and interviewed real-life psychics for the role of Bobby McGee (and how he got almost nothing funny to use). Aside from the research, Bronson doesn’t have much to say about the movie other than that it’s “hilarious” and that “you have to turn off your brain”. Other trivia: “Murray” was named after the original director, who walked off the picture; Bobby McGee gained psychic powers after being struck by lightning at 15 (I know you were all wondering); Bronson intended the “Freeway of Love” scene in Second Sight to imply Bobby thought he was Aretha Franklin. Because that’s what psychics do, mistakenly think that they’re the people they hear on the radio. Good three months of research there, Bronnie.
And lest you thought that his new-found candor meant that he was no longer up to his old antics, Bronson once again grabbed the hosts’ question cards and read through them first thing on his October appearance on Attitudes. I’m willing to be a little more understanding about this now that I’ve seen so many of his interviews; the ones available can’t possibly be all that he did, and he has to have been bored with the same dull questions over and over again (the host on Movietime asked him did it feel good to be cheered for after a performance). He also uses his new girlfriend Wren, who was in the audience, as a distraction.
But he also reacts somewhat strongly when the hosts on Attitudes to try put everything he’s said in other interviews (about his early life, being a late-bloomer, and how he developed his eccentric interests) into a narrative. I get the impression that he’s thrown off by the genuine interest that Linda Dano and Dee Kelly have in the questions they have about his real life.
On the other hand, Bronson’s just as uncomfortable in his Geraldo appearance, even though he’s almost completely out of the spotlight. This episode of Geraldo features a number of real-life psychics whose services were used for police cases, and Bronson is there to promote Second Sight. It’s the same kind of almost-synergy feel that Jury Duty had. Geraldo tries to lighten the mood by showing off a production still of Bronson as Jorge Jiminez–
–but Bronson stumbles through his answers and looks like he wishes he could be somewhere other than on a stage sitting in a row of people he doesn’t know and doesn’t get to talk to. It must have been difficult to go that long in front of an audience without escaping into being someone else. (Bonus: he refers to his catchphrase as “DBR”.)
If Bronson had little to say about how Second Sight turned out in the week leading up to the premiere, it didn’t stop him from talking up his own abilities. Not only did he help “develop” the script, but it was his whole idea to overload Bobby with psychic abilities. In an article in the New York Post, he talks about Serge → Perfect Strangers → Second Sight as a deliberate (or at the very least fortuitous) set of steps in his career. At the same time, self-awareness rears it head as Bronson says “I think they see me as a comic…. I don’t get other scripts and I don’t know that I’d send them to me, either.” And just as quickly it’s gone again, as Bronson starts his decades-long habit of throwing shade on better actors:
Eddie Murphy’s funny, but I have yet to see him play a character. He always winks at you through the character. I call that the post-‘Saturday Night Live’ thing…. Maybe there is someone in an office somewhere saying ‘Let’s not use Bronson Pinchot — I’m sick of him,’ but I sort of doubt it.
Most of the televised interviews that week are a grab bag o’Bronson. In both his appearance on Regis & Kathie Lee, as well as on After Hours, he talks like the character of Balki, accent and all, was birthed straight from his head, Hera-style.** There’s a woman in the audience dressed up, bearing a shepherd’s crook emblazoned with BALKI FAN, who begs to be Bronson’s “Myposian Bo Peep”.
Bronson gives a signal to Wren, talks about how he met her in a furniture store, and cracks jokes so bad one of the crew off-stage groans loudly a few times. The After Hours host asks Bronson if he wants to do another five years of Perfect Strangers, and Bronson just gives her a look for a few seconds.
And that same day, on Entertainment Tonight, Bronson wishes he knew what he’d be doing after his two last contract years were over on the show.
Bronson talks about his shoes on his Arsenio Hall appearance (the night before Second Sight’s premiere), but that’s old hat by now. We get some more behind-the-scenes information: Mark had to tell Bronson not to be grabbing asses the first time Melanie and Rebeca were on the show; Bronson peed his pants during the scene where they poured the wine; and Bronson can’t even come up with the name “Rebeca”, referring to his co-star as “the girl sitting next to him”. Most interesting to me is Arsenio asking about the comedy album. Bronson refers to it as “The Further Adventures of Serge”, and says that the A&M representative forgot asking him to record it; A&M gave him a pity session where they listened to the material, and the recording ultimately ended up at Bronson’s house. (Roadtrip, anyone?) He also mentions appearing with Jan Hooks as host on Friday Night Videos, a show which ran for twenty years and I somehow never once heard of. If anyone has a copy, I’d love to see it, just for curiosity’s sake.
The next morning–
oh for fuck’s sake it’s A.M. Los Angeles and those fucking awful hosts again. Bronson complains that the audience on Arsenio were demanding he do the Serge voice, and Steve Edwards’s response to this is to ask for the Serge voice. Fuck you, Steve. Bronson gives us once again the history of him only accepting the Perfect Strangers role after a summer in Europe (financed by his Risky Business royalties). You’re probably tired at this point of me rehashing this story, but it sticks out to me here because which parts he’s being honest about have changed again. He admits to being broke, but instead of being accompanied by his girlfriend, it’s just “a friend”. I’ve been building this narrative that Bronson just puffs himself up, but I’m beginning to think that maybe, just maybe, he’s a real person, and there are certain things he doesn’t want to talk about, or be asked questions about, in certain situations. I mean, Wren probably was watching this show. Bronson also takes questions from callers, including one who is upset that he’s in a movie about such evil things as psychics, and someone who knew Bronson in 3rd grade (and whom Bronson remembers having a crush on).
And then Second Sight premiered that night. And that’s when Bronson seems to change.
Here’s the New York Times’s one-star review of Second Sight, written by Janet Maslin, who still does film reviews for them. She blames the lack of humor in the movie on director Joel Zwick, and is only relatively kind to Pinchot and Larroquette. Part of me wishes I could dig up other contemporary reviews, say from Variety, but I find I don’t need to. A distracted Bronson on the November 4 airing of the Byron Allen Show tells me all I need to know. He seems to be more interested in complimenting Melissa Manchester on whatever song she had just played, and doesn’t seem to pick up how uncomfortable he makes Allen when he sits on top of the guest couch.
Psychology sidebar: we’ve talked about cognitive dissonance before, the phenomenon where people can’t stand to have two conflicting thoughts in mind. If something contradicts a person’s grand narrative or deep-held beliefs, the new information is re-interpreted, re-categorized, or simply rejected. Most people’s grand narrative includes themselves as a good, competent person. When I am successful, I attribute it to my own talents and effort; if I fail, it was the fault of an external factor. (Likewise, when someone we don’t like is successful, it’s due to external factors; if they fail, it was their own damn fault.) To briefly comment on my own hobby, webcomics, it is rare to see a successful webcomics author admit the sheer amount of luck necessary to make a living off selling T-shirts and self-publishing.
So it’s no surprise that, after a couple of years of Perfect Strangers not doing so hot in the ratings (it went from first to second in the first year of TGIF, and then bumped to the third spot in 1989 when Family Matters debuted), and with Second Sight having bombed, Bronson starts assigning blame. In an article towards the end of November 1989, it’s the writers’ fault, since rewrites evidently kept being made up “until air time”, and that it took eight writers to solve the show’s problems. “The fact that any of it works is a miracle.”
(Jesse Frederick’s words echo: “there’s an intense process”… “they all come out the same”…)
In a February article in The Daily Bruin, Bronson goes further, doing a 180 on his earlier claims that he developed the Bobby McGee character. “People could spot a mile off that the character was invented around Bronson Pinchot.” Here, the “television industry” is also at fault for “watering down” programs.
But it is a surprise to see Bronson start accepting some of the blame himself. In the January 11 edition of USA Today, Bronson still refers to Second Sight as a “limp movie” and is still confident that his own talent had not “eroded”. But, referring to sitcom-making as preparing cookies, Bronson feels that “when I’m allowed to fiddle with the batter, sometimes my ideas aren’t that great.” He appears undaunted, though, joking that he wants his own starring series after Perfect Strangers (“The Bronson Pinchot Chot”); and trying to make sheep into sheep-ade by calling Perfect Strangers “cult” status one that will allow him to “create” other characters.
Can’t wait to see that! That very same day, Bronson was again a guest on The Arsenio Hall Show, where, when asked what the fuck happened with Second Sight, starts taking off his pants instead of answering. He discusses Jury Duty (which would air three days later) and mentions that he had asked for his role to be enlarged. Then he takes off his shoes, takes off his pants, and tries to mount Arsenio.
Bronson went to New York from March through May (?) of 1990, after season 5 filming had wrapped up, to work on a play. He was in Zoya’s Apartment, which was on Broadway, and worked with a Russian director, who had to direct with the aid of a translator. He talks about this a little on Late Night with David Letterman in March of 1990, saying that he researched his con-man character by watching King of the Gypsies. (I haven’t seen that film, but I’m sure it’s not as good as The Borrower, starring Rae Dawn Chong.) David Letterman does a better job of controlling his physical environment: when Bronson starts messing with the papers on his desk, Letterman takes them back and keeps the conversation moving. He relates a story about a woman coming up to him on the street and giving him her opinion on Perfect Strangers: “That was cute at one time; your character has not evolved”. In keeping with his newfound honesty/attribution re-assignment, Bronson says he agrees.
Again, I get the impression that Bronson is willing to talk about some things in certain environments, but not in others. Previously, Bronson seemed to want to forget about his role in Hot Resort, but here he’s fine talking to Letterman about it. (He reports that it was only released in Fiji, and it doesn’t sound like he meant it as a joke; I’m guessing he would know this, right?) Similarly, Bronson doesn’t mention his girlfriend by name in his April 1990 Playgirl interview, which makes a lot of sense. Why spoil the mystery? After all, as Bronson says, Balki is “innocent and untouched – a certain type of woman finds that a real come-on”. Mary Anne and Balki may have kissed more than Larry and Jennifer, but it was much, much longer before any script confirmed their relationship.
Finally, Bronson appeared on the Joan Rivers Show in April of 1990, where he thankfully manages not to mount the host. He talks about a lot of the same stuff we’ve covered already (girlfriend, psychics, the origin of the name “Balki”)***. I’m truly surprised that I’ve gotten this much narrative about Bronson’s career, and his own feelings about it. I’ve never followed a celebrity enough to try to track how they present themselves, and it’s been an interesting trip this week to watch Bronson go from his usual braggart, anticky self to someone going through the emotions of watching their career stumble majorly just when they thought it was picking up speed. If the failure of Second Sight shocked him out of his standard persona enough to get him to criticize both the writing on Perfect Strangers and himself, by the time he talked with Joan Rivers he was trying to look at his own future with a more honest appraisal of his chances. Staying in New York for three months cost him a lot, and he figured he would be out of money by the time season 6 starting filming. And we know from that Entertainment Tonight piece that he knew how soon his Perfect Strangers contract would be finished. Bronson said that 1990 was the year where he would need to be an adult about his finances.
And Bronson was never broke again.
Let’s wrap up our discussion with a longer January 1990 LA Times article about the many shows of Tom Miller and Bob Boyett, and the main question the article sets out to answer is why their shows are so goddam successful. The article offers a token example of criticism towards Miller-Boyett shows (they aren’t “realistic”) which is met with a glib “30 million Uncle Joy fans can’t be wrong” answer. The article even gets a choice quote from Brandon Tartikoff, then president of NBC, who was jealous that he’d come home on Friday night and find his kid watching ABC instead of, um, Baywatch. The main answer for Bob & Tom’s success seems to be that people want familiarity (and damned if that doesn’t share a linguistic root with “family”):
“Shows really have to work to make it today,” Boyett says. “It’s always been tough to have a hit but today it’s a million times more difficult than it was in the 70’s. It used to be that people would sample a new show just because it was new. Now, new is bad. Now, people hear new and they are not interested. We’ve been lucky that the networks have believed in us and our shows long enough for the audience to become attached to them. Our track record certainly helps in that respect.”
They also mention how they try to treat each show’s set of actors “like a family”, and how they make sure to include “a certain amount of women and older people”. This “family” treatment no doubt explains why there was so much “tears and headbanging” behind the scenes on Perfect Strangers (by the way, have a good Thanksgiving with your loved ones!). Anyway, Miller-Boyett had found success with a type of formula and were duplicating it as much as the market would allow, kind of like how Hanna-Barbera pumped out endless variations on Scooby-Doo in the 70s.
So is that the note we’re left with this week, heading into the season 5 wrap-up? That Mark Linn-Baker had nothing bad to say about the show, but even more telling, he had nothing good to say about it? That the actresses were reduced to tears behind the scenes because they were lucky if they got two lines in a single episode? That Bronson would become a has-been as soon as the credits rolled on the series finale? And that, thanks to the reign of Miller-Boyett, that invisible pair dictating orders from a higher floor, Perfect Strangers’s main selling point was that it had been on for five years?
Nah, shit, man, that’s bleak. Let’s end instead by watching a video of Jo Marie cook liver and onions and Reginal VelJohnson enjoy the hell out of eating it.
Next week we’ll bury this fucking season. Bring your shovel!
*The Drama-Logue article claims that Bronson was cut from Annie Hall, easily two years before he even started taking acting classes. Makes me want to smack the writer for such shitty research.
**Actually it was his makeup person on the set of Hot Resort, per the David Letterman interview also in this post.
***It’s mentioned here that Bronson’s first televised interview was with Joan when she was guest-hosting for Carson. I’d love to see that, if anyone can dig up a copy.