Podcasts about The Mary Tyler Moore Show

In memory of the great James Borrows we rebroadcasting this episode of "Dont Be Alone with Jay Kogen". We talk with James Burrows about his reign as Hollywood's greatest sitcom director, being the son of Abe Burrows, the genetics of comedy, his book "Directed by James Burrows", "Cheers", "Will & Grace", "The Mary Tyler Moore Show", "Taxi", "Friends", the scripts that make him want to direct, the ones that don't, his amazing memory, his humble beginnings, the decade it took him to learn how to direct, working with geniuses like James L. Brooks, Chuck Lorre, and Kohan & Mutchnick, and Andy Kaufman. And Jimmy explains how his two best friends are Al Michaels and Bruce Springsteen. BIO: James Burrows was one of television's most respected and honored creative talents. Over his distinguished career, Burrows was the recipient of eleven Emmys, five Directors Guild of America Awards, the 1996 American Comedy Awards' Creative Achievement Award, the Television Critics Association's Career Achievement Award, and in 2006 he was inducted into the Academy of Television Arts and Sciences' Hall of Fame and was honored by the US Comedy Arts Festival with their Career Tribute Award. He was the recipient of 22 nominations for the Directors Guild of America Award, thus bestowing him the honor of being the most nominated director in the history of television at the Guild. He was honored by the DGA with the Inaugural 2014 Lifetime Achievement Award in Television. In November of 2015 he directed his 1,000th episode, which was recognized by a TV Special on NBC in January of 2016. Burrows' success as the director of television pilots was legendary. He directed the first two episodes of the "Frasier" reboot's second season, and wrapped the pilot "Mid-Century Modern" for Fox, which went to series. In January of 2020, he received his fifth DGA Award for directing the Emmy Award-winning show "Live in Front of a Studio Audience #1: Norman Lear's All in the Family and The Jeffersons." He was also asked back to direct "Live in Front of a Studio Audience #3: Diff'rent Strokes and The Facts of Life" in December of 2021. In June of 2022, he published his autobiography, "Directed by James Burrows," which received considerable attention and praise from the industry. Burrows was probably best known as co-creator, executive producer and director of the critically acclaimed series "Cheers." The hit show, which aired for 11 seasons, is tied for the most nominated Comedy series in the Television Academy's history and is in third place for most Emmys received by a Comedy Series. Burrows also received numerous awards for his work on "Will & Grace," "Frasier," "Friends," "Wings," "Night Court," "Taxi," and "Dear John." For the first time in 25 years, he returned to the stage in the spring of 1998 to direct the highly acclaimed "The Man Who Came to Dinner" at the Steppenwolf Theatre in Chicago, starring John Mahoney. Burrows learned his trade from the very best, the legendary writer/director Abe Burrows, whose noted career included such classics as "Guys and Dolls," "How to Succeed in Business Without Really Trying," and "Cactus Flower." Born in Los Angeles and raised in New York, Burrows graduated from Oberlin College and continued his education at Yale, where he earned a Master of Fine Arts degree. Burrows relocated to Hollywood to work as a dialogue coach for "O.K. Crackerby!," a short-lived television series starring Burl Ives. When the show ended, he returned to New York and initially worked as a stage manager before directing several off-Broadway shows, such as "The Castro Complex," and stock productions of "The Odd Couple" and "Never Too Late." In 1974, Burrows moved back to the West Coast when he was invited to visit MTM Productions in Los Angeles and offered a job directing an episode of "The Mary Tyler Moore Show." Mr. Burrows and his wife, Debbie, resided in Los Angeles and between them they had four daughters. He passed away on June 19, 2026. He left an indelible mark on American television. He will be remembered and missed. Learn more about your ad choices. Visit megaphone.fm/adchoices

In honor of the late James Burrows, legendary TV director, I'm resharing our second podcast talk, from 2022. We filmed it at Jimmy's home in Los Angeles. Our first talk was on the set of Will & Grace (the remake) on the Universal Studios lot. You can hear that talk here: really-famous.com/now/jim-burrows I'm airing this as is, as it ran in 2022. I was on a mission to show you the real person behind the TV director of your favorite sitcoms, like Cheers, Friends, Frasier, Will and Grace, The Mary Tyler Moore Show, The Bob Newhart Show, Third Rock from the Sun, the list goes on... I think I succeeded. Send me your feedback. ➤ reallyfamouspodcast@gmail.com Get Jim's book, Directed by James Burrows at my Amazon shop ➤ https://amzn.to/3qQYQK8 Watch my first talk with Jim Burrows: Q&A Old-School TV Shows ➤ https://youtu.be/iB7LxnOUteM Q&A Friends and Will & Grace ➤ https://youtu.be/zu88zfhFR3o Celebrity interview by Kara Mayer Robinson About KARA ➤ https://really-famous.com/bio 

Here in Episode 9 of Season 5, I interview Mr. Rob Long. A longtime Hollywood professional, he was a writer and producer for the classic sitcom Cheers as well as for over a dozen other shows. A National Review contributor and columnist for both Commentary and Washington Examiner magazine, he has authored two books, Conversations With My Agent (1998) and Set-Up, Joke, Set-Up, Joke (2005), and edited one, Bigly: Donald Trump in Verse (2017). As the co-founder of Ricochet, a media network, he hosts “Martini Shot,” a long-running, bite-size showbiz podcast, as well as cohosts “GLoP Culture.” Drawing on his two comic memoirs—alongside his religious studies as a Master of Divinity student at Princeton Theological Seminary—we discuss his life in Hollywood, religious journey, and current training to become an Episcopal priest. Along the way we dig into the nature of humor, the rise and fall of the TV sitcom, the lost formation of the writer's room, what it is like to be a Hollywood conservative, how technology like streaming and AI has changed show business, the strategy for the perfect sermon, and the spiritual calling of the creative arts. Among the shows that are discussed include the Dick Van Dyke Show, Mary Tyler Moore Show, and Andy Griffith Show, plus films like Twentieth Century, A Night at the Opera, The In-Laws, and Midnight Run; along with guest appearances by Michaelangelo's Pieta, Aristotle's Poetics, Moliere, P.G. Wodehouse, P.J. O'Rourke, plus the wit of Jesus of Nazareth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Here in Episode 9 of Season 5, I interview Mr. Rob Long. A longtime Hollywood professional, he was a writer and producer for the classic sitcom Cheers as well as for over a dozen other shows. A National Review contributor and columnist for both Commentary and Washington Examiner magazine, he has authored two books, Conversations With My Agent (1998) and Set-Up, Joke, Set-Up, Joke (2005), and edited one, Bigly: Donald Trump in Verse (2017). As the co-founder of Ricochet, a media network, he hosts “Martini Shot,” a long-running, bite-size showbiz podcast, as well as cohosts “GLoP Culture.” Drawing on his two comic memoirs—alongside his religious studies as a Master of Divinity student at Princeton Theological Seminary—we discuss his life in Hollywood, religious journey, and current training to become an Episcopal priest. Along the way we dig into the nature of humor, the rise and fall of the TV sitcom, the lost formation of the writer's room, what it is like to be a Hollywood conservative, how technology like streaming and AI has changed show business, the strategy for the perfect sermon, and the spiritual calling of the creative arts. Among the shows that are discussed include the Dick Van Dyke Show, Mary Tyler Moore Show, and Andy Griffith Show, plus films like Twentieth Century, A Night at the Opera, The In-Laws, and Midnight Run; along with guest appearances by Michaelangelo's Pieta, Aristotle's Poetics, Moliere, P.G. Wodehouse, P.J. O'Rourke, plus the wit of Jesus of Nazareth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Here in Episode 9 of Season 5, I interview Mr. Rob Long. A longtime Hollywood professional, he was a writer and producer for the classic sitcom Cheers as well as for over a dozen other shows. A National Review contributor and columnist for both Commentary and Washington Examiner magazine, he has authored two books, Conversations With My Agent (1998) and Set-Up, Joke, Set-Up, Joke (2005), and edited one, Bigly: Donald Trump in Verse (2017). As the co-founder of Ricochet, a media network, he hosts “Martini Shot,” a long-running, bite-size showbiz podcast, as well as cohosts “GLoP Culture.” Drawing on his two comic memoirs—alongside his religious studies as a Master of Divinity student at Princeton Theological Seminary—we discuss his life in Hollywood, religious journey, and current training to become an Episcopal priest. Along the way we dig into the nature of humor, the rise and fall of the TV sitcom, the lost formation of the writer's room, what it is like to be a Hollywood conservative, how technology like streaming and AI has changed show business, the strategy for the perfect sermon, and the spiritual calling of the creative arts. Among the shows that are discussed include the Dick Van Dyke Show, Mary Tyler Moore Show, and Andy Griffith Show, plus films like Twentieth Century, A Night at the Opera, The In-Laws, and Midnight Run; along with guest appearances by Michaelangelo's Pieta, Aristotle's Poetics, Moliere, P.G. Wodehouse, P.J. O'Rourke, plus the wit of Jesus of Nazareth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Here in Episode 9 of Season 5, I interview Mr. Rob Long. A longtime Hollywood professional, he was a writer and producer for the classic sitcom Cheers as well as for over a dozen other shows. A National Review contributor and columnist for both Commentary and Washington Examiner magazine, he has authored two books, Conversations With My Agent (1998) and Set-Up, Joke, Set-Up, Joke (2005), and edited one, Bigly: Donald Trump in Verse (2017). As the co-founder of Ricochet, a media network, he hosts “Martini Shot,” a long-running, bite-size showbiz podcast, as well as cohosts “GLoP Culture.” Drawing on his two comic memoirs—alongside his religious studies as a Master of Divinity student at Princeton Theological Seminary—we discuss his life in Hollywood, religious journey, and current training to become an Episcopal priest. Along the way we dig into the nature of humor, the rise and fall of the TV sitcom, the lost formation of the writer's room, what it is like to be a Hollywood conservative, how technology like streaming and AI has changed show business, the strategy for the perfect sermon, and the spiritual calling of the creative arts. Among the shows that are discussed include the Dick Van Dyke Show, Mary Tyler Moore Show, and Andy Griffith Show, plus films like Twentieth Century, A Night at the Opera, The In-Laws, and Midnight Run; along with guest appearances by Michaelangelo's Pieta, Aristotle's Poetics, Moliere, P.G. Wodehouse, P.J. O'Rourke, plus the wit of Jesus of Nazareth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Political historian Oscar Winberg has a fascinating new book titled Archie Bunker for President: How One Television Show Remade American Politics. This book weaves together quite a few different threads in examining the historical context in which the television show, All In The Family, landed on American television screens. Archie Bunker for President examines why this particular sitcom was a kind of inflection point within U.S. politics, within the media landscape at the time and moving forward, and how television production shifted and changed around this one particular television series. Winberg also lays out the path from the early 1970s, when All in the Family first aired, to our contemporary political moment, when celebrity and politics seem to be inescapably intertwined. As Winberg notes in our conversation, television as an entity is inherently conservative, since the functional model was about appealing to the lowest common denominator so that advertisers would be willing to pay for time during shows. In order to reach the most viewers, at least in the age of network television, the television series needed to appeal to the largest market possible, and not “turn off” viewers. What happens in the late 1960s and early 1970s with the television show All in the Family is that this dynamic shifts, and the case is made that it isn't about reaching the most people, but about reaching the people who have the means and inclination to purchase what the advertisers are selling. This is part of the pitch that Norman Lear makes, that CBS executive Bob Wood finally decides to gamble on by greenlighting All in the Family. The dynamic inside the show itself is to focus on politics: to have the characters within the series discuss different political issues, and engage with the impacts of these issues, from women's rights and reproductive health to homosexuality to racism and the anti-war movement. In designing All in the Family with Archie Bunker (played by Carroll O'Conner) clearly defined as a conservative and as a bigot, and with Archie's daughter, Gloria Stivic (played by Sally Struthers) and son in law, Mike Stivic (played by Rob Reiner), as liberals and politically active, the show embedded politics within the narrative. Edith Bunker, played by Jean Stapleton, was an enthusiastic supporter of the Equal Rights Amendment, which was making its way through the ratification process while the series was airing, providing yet another avenue for political discussion within the show's structure. There were quite a few other shows that were developed at the same time as All in the Family that took up similarly political themes in iconic ways, from the Mary Tyler Moore Show to M*A*S*H to Maude. Political conversations were the fabric of these shows in much the same way as in All in the Family, where characters find themselves experiencing dimensions of politics in their lives and they discuss this with friends and family within the narrative construction. This also translated to Americans discussing these shows with each other at dinner, or at the “water cooler”, or at the beauty parlor or barbershop. Given the structure of television in the 1970s and 1980s, before cable and streaming services, options were more limited options, and many of these shows had great writers, actors, and showrunners. This was “appointment television” because there was no way to record or otherwise go back and watch the episode. Episodes were only available at their regularly scheduled time and day—which also meant that lots and lots of Americans were watching the same show at the same time. In some sense, Archie Bunker for President: How One Television Show Remade American Politics is not only about how one television show remade American politics, but also about how All in the Family remade American television, opening up the networks to developing and airing television shows that integrate politics (of all kinds) into the narratives. There is still quite a lot of television, particularly network television, that is pitched to the broadest possible audience, but the narratives in police procedurals or hospital-centered series or sitcoms integrate different dimensions of politics into their storylines in ways that had not been done before All in the Family. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. Learn more about your ad choices. Visit megaphone.fm/adchoices

Political historian Oscar Winberg has a fascinating new book titled Archie Bunker for President: How One Television Show Remade American Politics. This book weaves together quite a few different threads in examining the historical context in which the television show, All In The Family, landed on American television screens. Archie Bunker for President examines why this particular sitcom was a kind of inflection point within U.S. politics, within the media landscape at the time and moving forward, and how television production shifted and changed around this one particular television series. Winberg also lays out the path from the early 1970s, when All in the Family first aired, to our contemporary political moment, when celebrity and politics seem to be inescapably intertwined. As Winberg notes in our conversation, television as an entity is inherently conservative, since the functional model was about appealing to the lowest common denominator so that advertisers would be willing to pay for time during shows. In order to reach the most viewers, at least in the age of network television, the television series needed to appeal to the largest market possible, and not “turn off” viewers. What happens in the late 1960s and early 1970s with the television show All in the Family is that this dynamic shifts, and the case is made that it isn't about reaching the most people, but about reaching the people who have the means and inclination to purchase what the advertisers are selling. This is part of the pitch that Norman Lear makes, that CBS executive Bob Wood finally decides to gamble on by greenlighting All in the Family. The dynamic inside the show itself is to focus on politics: to have the characters within the series discuss different political issues, and engage with the impacts of these issues, from women's rights and reproductive health to homosexuality to racism and the anti-war movement. In designing All in the Family with Archie Bunker (played by Carroll O'Conner) clearly defined as a conservative and as a bigot, and with Archie's daughter, Gloria Stivic (played by Sally Struthers) and son in law, Mike Stivic (played by Rob Reiner), as liberals and politically active, the show embedded politics within the narrative. Edith Bunker, played by Jean Stapleton, was an enthusiastic supporter of the Equal Rights Amendment, which was making its way through the ratification process while the series was airing, providing yet another avenue for political discussion within the show's structure. There were quite a few other shows that were developed at the same time as All in the Family that took up similarly political themes in iconic ways, from the Mary Tyler Moore Show to M*A*S*H to Maude. Political conversations were the fabric of these shows in much the same way as in All in the Family, where characters find themselves experiencing dimensions of politics in their lives and they discuss this with friends and family within the narrative construction. This also translated to Americans discussing these shows with each other at dinner, or at the “water cooler”, or at the beauty parlor or barbershop. Given the structure of television in the 1970s and 1980s, before cable and streaming services, options were more limited options, and many of these shows had great writers, actors, and showrunners. This was “appointment television” because there was no way to record or otherwise go back and watch the episode. Episodes were only available at their regularly scheduled time and day—which also meant that lots and lots of Americans were watching the same show at the same time. In some sense, Archie Bunker for President: How One Television Show Remade American Politics is not only about how one television show remade American politics, but also about how All in the Family remade American television, opening up the networks to developing and airing television shows that integrate politics (of all kinds) into the narratives. There is still quite a lot of television, particularly network television, that is pitched to the broadest possible audience, but the narratives in police procedurals or hospital-centered series or sitcoms integrate different dimensions of politics into their storylines in ways that had not been done before All in the Family. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Political historian Oscar Winberg has a fascinating new book titled Archie Bunker for President: How One Television Show Remade American Politics. This book weaves together quite a few different threads in examining the historical context in which the television show, All In The Family, landed on American television screens. Archie Bunker for President examines why this particular sitcom was a kind of inflection point within U.S. politics, within the media landscape at the time and moving forward, and how television production shifted and changed around this one particular television series. Winberg also lays out the path from the early 1970s, when All in the Family first aired, to our contemporary political moment, when celebrity and politics seem to be inescapably intertwined. As Winberg notes in our conversation, television as an entity is inherently conservative, since the functional model was about appealing to the lowest common denominator so that advertisers would be willing to pay for time during shows. In order to reach the most viewers, at least in the age of network television, the television series needed to appeal to the largest market possible, and not “turn off” viewers. What happens in the late 1960s and early 1970s with the television show All in the Family is that this dynamic shifts, and the case is made that it isn't about reaching the most people, but about reaching the people who have the means and inclination to purchase what the advertisers are selling. This is part of the pitch that Norman Lear makes, that CBS executive Bob Wood finally decides to gamble on by greenlighting All in the Family. The dynamic inside the show itself is to focus on politics: to have the characters within the series discuss different political issues, and engage with the impacts of these issues, from women's rights and reproductive health to homosexuality to racism and the anti-war movement. In designing All in the Family with Archie Bunker (played by Carroll O'Conner) clearly defined as a conservative and as a bigot, and with Archie's daughter, Gloria Stivic (played by Sally Struthers) and son in law, Mike Stivic (played by Rob Reiner), as liberals and politically active, the show embedded politics within the narrative. Edith Bunker, played by Jean Stapleton, was an enthusiastic supporter of the Equal Rights Amendment, which was making its way through the ratification process while the series was airing, providing yet another avenue for political discussion within the show's structure. There were quite a few other shows that were developed at the same time as All in the Family that took up similarly political themes in iconic ways, from the Mary Tyler Moore Show to M*A*S*H to Maude. Political conversations were the fabric of these shows in much the same way as in All in the Family, where characters find themselves experiencing dimensions of politics in their lives and they discuss this with friends and family within the narrative construction. This also translated to Americans discussing these shows with each other at dinner, or at the “water cooler”, or at the beauty parlor or barbershop. Given the structure of television in the 1970s and 1980s, before cable and streaming services, options were more limited options, and many of these shows had great writers, actors, and showrunners. This was “appointment television” because there was no way to record or otherwise go back and watch the episode. Episodes were only available at their regularly scheduled time and day—which also meant that lots and lots of Americans were watching the same show at the same time. In some sense, Archie Bunker for President: How One Television Show Remade American Politics is not only about how one television show remade American politics, but also about how All in the Family remade American television, opening up the networks to developing and airing television shows that integrate politics (of all kinds) into the narratives. There is still quite a lot of television, particularly network television, that is pitched to the broadest possible audience, but the narratives in police procedurals or hospital-centered series or sitcoms integrate different dimensions of politics into their storylines in ways that had not been done before All in the Family. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Political historian Oscar Winberg has a fascinating new book titled Archie Bunker for President: How One Television Show Remade American Politics. This book weaves together quite a few different threads in examining the historical context in which the television show, All In The Family, landed on American television screens. Archie Bunker for President examines why this particular sitcom was a kind of inflection point within U.S. politics, within the media landscape at the time and moving forward, and how television production shifted and changed around this one particular television series. Winberg also lays out the path from the early 1970s, when All in the Family first aired, to our contemporary political moment, when celebrity and politics seem to be inescapably intertwined. As Winberg notes in our conversation, television as an entity is inherently conservative, since the functional model was about appealing to the lowest common denominator so that advertisers would be willing to pay for time during shows. In order to reach the most viewers, at least in the age of network television, the television series needed to appeal to the largest market possible, and not “turn off” viewers. What happens in the late 1960s and early 1970s with the television show All in the Family is that this dynamic shifts, and the case is made that it isn't about reaching the most people, but about reaching the people who have the means and inclination to purchase what the advertisers are selling. This is part of the pitch that Norman Lear makes, that CBS executive Bob Wood finally decides to gamble on by greenlighting All in the Family. The dynamic inside the show itself is to focus on politics: to have the characters within the series discuss different political issues, and engage with the impacts of these issues, from women's rights and reproductive health to homosexuality to racism and the anti-war movement. In designing All in the Family with Archie Bunker (played by Carroll O'Conner) clearly defined as a conservative and as a bigot, and with Archie's daughter, Gloria Stivic (played by Sally Struthers) and son in law, Mike Stivic (played by Rob Reiner), as liberals and politically active, the show embedded politics within the narrative. Edith Bunker, played by Jean Stapleton, was an enthusiastic supporter of the Equal Rights Amendment, which was making its way through the ratification process while the series was airing, providing yet another avenue for political discussion within the show's structure. There were quite a few other shows that were developed at the same time as All in the Family that took up similarly political themes in iconic ways, from the Mary Tyler Moore Show to M*A*S*H to Maude. Political conversations were the fabric of these shows in much the same way as in All in the Family, where characters find themselves experiencing dimensions of politics in their lives and they discuss this with friends and family within the narrative construction. This also translated to Americans discussing these shows with each other at dinner, or at the “water cooler”, or at the beauty parlor or barbershop. Given the structure of television in the 1970s and 1980s, before cable and streaming services, options were more limited options, and many of these shows had great writers, actors, and showrunners. This was “appointment television” because there was no way to record or otherwise go back and watch the episode. Episodes were only available at their regularly scheduled time and day—which also meant that lots and lots of Americans were watching the same show at the same time. In some sense, Archie Bunker for President: How One Television Show Remade American Politics is not only about how one television show remade American politics, but also about how All in the Family remade American television, opening up the networks to developing and airing television shows that integrate politics (of all kinds) into the narratives. There is still quite a lot of television, particularly network television, that is pitched to the broadest possible audience, but the narratives in police procedurals or hospital-centered series or sitcoms integrate different dimensions of politics into their storylines in ways that had not been done before All in the Family. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Political historian Oscar Winberg has a fascinating new book titled Archie Bunker for President: How One Television Show Remade American Politics. This book weaves together quite a few different threads in examining the historical context in which the television show, All In The Family, landed on American television screens. Archie Bunker for President examines why this particular sitcom was a kind of inflection point within U.S. politics, within the media landscape at the time and moving forward, and how television production shifted and changed around this one particular television series. Winberg also lays out the path from the early 1970s, when All in the Family first aired, to our contemporary political moment, when celebrity and politics seem to be inescapably intertwined. As Winberg notes in our conversation, television as an entity is inherently conservative, since the functional model was about appealing to the lowest common denominator so that advertisers would be willing to pay for time during shows. In order to reach the most viewers, at least in the age of network television, the television series needed to appeal to the largest market possible, and not “turn off” viewers. What happens in the late 1960s and early 1970s with the television show All in the Family is that this dynamic shifts, and the case is made that it isn't about reaching the most people, but about reaching the people who have the means and inclination to purchase what the advertisers are selling. This is part of the pitch that Norman Lear makes, that CBS executive Bob Wood finally decides to gamble on by greenlighting All in the Family. The dynamic inside the show itself is to focus on politics: to have the characters within the series discuss different political issues, and engage with the impacts of these issues, from women's rights and reproductive health to homosexuality to racism and the anti-war movement. In designing All in the Family with Archie Bunker (played by Carroll O'Conner) clearly defined as a conservative and as a bigot, and with Archie's daughter, Gloria Stivic (played by Sally Struthers) and son in law, Mike Stivic (played by Rob Reiner), as liberals and politically active, the show embedded politics within the narrative. Edith Bunker, played by Jean Stapleton, was an enthusiastic supporter of the Equal Rights Amendment, which was making its way through the ratification process while the series was airing, providing yet another avenue for political discussion within the show's structure. There were quite a few other shows that were developed at the same time as All in the Family that took up similarly political themes in iconic ways, from the Mary Tyler Moore Show to M*A*S*H to Maude. Political conversations were the fabric of these shows in much the same way as in All in the Family, where characters find themselves experiencing dimensions of politics in their lives and they discuss this with friends and family within the narrative construction. This also translated to Americans discussing these shows with each other at dinner, or at the “water cooler”, or at the beauty parlor or barbershop. Given the structure of television in the 1970s and 1980s, before cable and streaming services, options were more limited options, and many of these shows had great writers, actors, and showrunners. This was “appointment television” because there was no way to record or otherwise go back and watch the episode. Episodes were only available at their regularly scheduled time and day—which also meant that lots and lots of Americans were watching the same show at the same time. In some sense, Archie Bunker for President: How One Television Show Remade American Politics is not only about how one television show remade American politics, but also about how All in the Family remade American television, opening up the networks to developing and airing television shows that integrate politics (of all kinds) into the narratives. There is still quite a lot of television, particularly network television, that is pitched to the broadest possible audience, but the narratives in police procedurals or hospital-centered series or sitcoms integrate different dimensions of politics into their storylines in ways that had not been done before All in the Family. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Political historian Oscar Winberg has a fascinating new book titled Archie Bunker for President: How One Television Show Remade American Politics. This book weaves together quite a few different threads in examining the historical context in which the television show, All In The Family, landed on American television screens. Archie Bunker for President examines why this particular sitcom was a kind of inflection point within U.S. politics, within the media landscape at the time and moving forward, and how television production shifted and changed around this one particular television series. Winberg also lays out the path from the early 1970s, when All in the Family first aired, to our contemporary political moment, when celebrity and politics seem to be inescapably intertwined. As Winberg notes in our conversation, television as an entity is inherently conservative, since the functional model was about appealing to the lowest common denominator so that advertisers would be willing to pay for time during shows. In order to reach the most viewers, at least in the age of network television, the television series needed to appeal to the largest market possible, and not “turn off” viewers. What happens in the late 1960s and early 1970s with the television show All in the Family is that this dynamic shifts, and the case is made that it isn't about reaching the most people, but about reaching the people who have the means and inclination to purchase what the advertisers are selling. This is part of the pitch that Norman Lear makes, that CBS executive Bob Wood finally decides to gamble on by greenlighting All in the Family. The dynamic inside the show itself is to focus on politics: to have the characters within the series discuss different political issues, and engage with the impacts of these issues, from women's rights and reproductive health to homosexuality to racism and the anti-war movement. In designing All in the Family with Archie Bunker (played by Carroll O'Conner) clearly defined as a conservative and as a bigot, and with Archie's daughter, Gloria Stivic (played by Sally Struthers) and son in law, Mike Stivic (played by Rob Reiner), as liberals and politically active, the show embedded politics within the narrative. Edith Bunker, played by Jean Stapleton, was an enthusiastic supporter of the Equal Rights Amendment, which was making its way through the ratification process while the series was airing, providing yet another avenue for political discussion within the show's structure. There were quite a few other shows that were developed at the same time as All in the Family that took up similarly political themes in iconic ways, from the Mary Tyler Moore Show to M*A*S*H to Maude. Political conversations were the fabric of these shows in much the same way as in All in the Family, where characters find themselves experiencing dimensions of politics in their lives and they discuss this with friends and family within the narrative construction. This also translated to Americans discussing these shows with each other at dinner, or at the “water cooler”, or at the beauty parlor or barbershop. Given the structure of television in the 1970s and 1980s, before cable and streaming services, options were more limited options, and many of these shows had great writers, actors, and showrunners. This was “appointment television” because there was no way to record or otherwise go back and watch the episode. Episodes were only available at their regularly scheduled time and day—which also meant that lots and lots of Americans were watching the same show at the same time. In some sense, Archie Bunker for President: How One Television Show Remade American Politics is not only about how one television show remade American politics, but also about how All in the Family remade American television, opening up the networks to developing and airing television shows that integrate politics (of all kinds) into the narratives. There is still quite a lot of television, particularly network television, that is pitched to the broadest possible audience, but the narratives in police procedurals or hospital-centered series or sitcoms integrate different dimensions of politics into their storylines in ways that had not been done before All in the Family. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI.

Political historian Oscar Winberg has a fascinating new book titled Archie Bunker for President: How One Television Show Remade American Politics. This book weaves together quite a few different threads in examining the historical context in which the television show, All In The Family, landed on American television screens. Archie Bunker for President examines why this particular sitcom was a kind of inflection point within U.S. politics, within the media landscape at the time and moving forward, and how television production shifted and changed around this one particular television series. Winberg also lays out the path from the early 1970s, when All in the Family first aired, to our contemporary political moment, when celebrity and politics seem to be inescapably intertwined. As Winberg notes in our conversation, television as an entity is inherently conservative, since the functional model was about appealing to the lowest common denominator so that advertisers would be willing to pay for time during shows. In order to reach the most viewers, at least in the age of network television, the television series needed to appeal to the largest market possible, and not “turn off” viewers. What happens in the late 1960s and early 1970s with the television show All in the Family is that this dynamic shifts, and the case is made that it isn't about reaching the most people, but about reaching the people who have the means and inclination to purchase what the advertisers are selling. This is part of the pitch that Norman Lear makes, that CBS executive Bob Wood finally decides to gamble on by greenlighting All in the Family. The dynamic inside the show itself is to focus on politics: to have the characters within the series discuss different political issues, and engage with the impacts of these issues, from women's rights and reproductive health to homosexuality to racism and the anti-war movement. In designing All in the Family with Archie Bunker (played by Carroll O'Conner) clearly defined as a conservative and as a bigot, and with Archie's daughter, Gloria Stivic (played by Sally Struthers) and son in law, Mike Stivic (played by Rob Reiner), as liberals and politically active, the show embedded politics within the narrative. Edith Bunker, played by Jean Stapleton, was an enthusiastic supporter of the Equal Rights Amendment, which was making its way through the ratification process while the series was airing, providing yet another avenue for political discussion within the show's structure. There were quite a few other shows that were developed at the same time as All in the Family that took up similarly political themes in iconic ways, from the Mary Tyler Moore Show to M*A*S*H to Maude. Political conversations were the fabric of these shows in much the same way as in All in the Family, where characters find themselves experiencing dimensions of politics in their lives and they discuss this with friends and family within the narrative construction. This also translated to Americans discussing these shows with each other at dinner, or at the “water cooler”, or at the beauty parlor or barbershop. Given the structure of television in the 1970s and 1980s, before cable and streaming services, options were more limited options, and many of these shows had great writers, actors, and showrunners. This was “appointment television” because there was no way to record or otherwise go back and watch the episode. Episodes were only available at their regularly scheduled time and day—which also meant that lots and lots of Americans were watching the same show at the same time. In some sense, Archie Bunker for President: How One Television Show Remade American Politics is not only about how one television show remade American politics, but also about how All in the Family remade American television, opening up the networks to developing and airing television shows that integrate politics (of all kinds) into the narratives. There is still quite a lot of television, particularly network television, that is pitched to the broadest possible audience, but the narratives in police procedurals or hospital-centered series or sitcoms integrate different dimensions of politics into their storylines in ways that had not been done before All in the Family. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

“Katie and I, our relationship could be a little exciting -- I had to watch my step, I had to toe the line. I had to behave myself or I'd get taken to the principal's office... And she was the principal.” -- Bruce BoxleitnerREWIND EPISODE: The 80s TV Ladies - Sharon and Susan - are both moving! More details in our next episode. Meanwhile, please enjoy a few of our favorite episodes on repeat - consider it early summer rerun season. Let us know what you think about Bruce, Lee Stetson, and Scarecrow and Mrs. King. We think it's one of the most adorable interviews with Bruce Boxleitner ever. :)In Part Two of their conversation, Bruce reflects on the differences between doing TV then and now, his relationship with Kate Jackson -- and how the long hours can sometimes turn your co-stars into your family…Bruce Boxleitner's television career started way back in 1973 with an appearance on The Mary Tyler Moore Show and he has since appeared in over 100 films and TV shows including Gunsmoke, Baretta, Police Woman, Hawaii 5-0, Babylon 5, Crossing Jordan, Commander in Chief, American Dad, Cold Case, Heroes, Chuck, NCIS, Supergirl, The Orville, When Calls The Heart, How The West Was Won, Bring ‘Em Back Alive, The Gambler and Tron.THE PART 2 CONVERSATIONTHE UGLY SIDE OF LEE STETSON: When Lee slaps Amanda in “Burn Out” (S2; EP.21) What was going on? --  “Kate said, “Hit me.” It was no fun. I didn't enjoy doing it at all.”ON THE JAZZ: In Europe, Mel Stuart -- a saxophonist -- fell in with some local jazz musicians and ended up sitting-in in clubs all over Munich.DOUBLE TROUBLE: Bruce finds out the strange reason his stunt double Gary Davis did the pilot's helicopter stunts with no safety cable!On doing network TV: “This is where I come off sounding like a grumpy old man, but in my day, we had fun. Nobody is having fun anymore. Because we have cell phones on the set, everyone's on their cell phone. No one's talking.”WHO CAN TURN THE WORLD ON WITH HIS SMILE? Bruce got his first gig on The Mary Tyler Moore Show because the producer owed his agent a favor.On doing a streaming series: “I'm doing a series now -- six episodes. They call that a series? I call it a two-parter.”Bruce gets a surprise walking onto the Gunsmoke set when he discovers the entire town is built inside a soundstage.On filming pilots: “George Clooney says he's the king of the unsold pilots. Well, buddy, I'm the runner-up!”While shooting The Orville, Bruce finds out that the biggest SMK fan… is Seth McFarlane!How do you marry Lee and Amanda? Should you marry Lee and Amanda?So, join Susan and Sharon -- and Bruce -- as they talk How The West Was Won, Ted Knight, Tron, Juanita Bartlett, Susan Diol, Police Woman. Plus pranking Martha Smith -- and Kate Jackson -- AND Beverly Garland… and the sad, tragic life of “Dean, the Boyfriend”!AUDIO-OGRAPHYFind out more about Bruce Boxleitner at Facebook.comFollow him at Instagram.com/BoxleitnerBruceCatch him on Cameo at Cameo.com/BoxleitnerBruceWatch S2, Ep. 21: Burn out on TubiGet The Ultimate Fan's Guide to Scarecrow & Mrs. King by David Johnson, Taya Johnston and Sabine Ludewig at Amazon. CONNECTVisit 80sTVLadies.com for transcripts.Sign up for the 80s TV Ladies mailing list.Support us and get ad-free episodes on PATREON.AUDIO-OGRAPHYFind out more about Bruce Boxleitner at Facebook.com Follow him at Instagram.com/BoxleitnerBruceCatch him on Cameo at Cameo.com/BoxleitnerBruceWatch SMK for free at Internet Archive.Watch S2, Ep. 21: Burn out on Internet Archive here. Read the NY Times review of Bruce's 1973 Broadway play debut, Status Quo Vadis. And guess who else was in the cast? (Hint: Sam from Cheers!)   CONNECTVisit 80sTVLadies.com for transcripts.Sign up for the 80s TV Ladies mailing list.Support us and get ad-free episodes on PATREON.VOTEREMEMBER: Make sure you're ready.Register or Check your US Election Registration at Vote.orgBe sure to vote in your primaries. Find out what's on your ballot at BallotReady.orgJuly 15th this year is the 47th anniversary of President Carter's Crisis of Confidence speech. Read Susan's play about the speech and the confidence it takes to be president in challenging times: Confidence (and the Speech) at Conchord Publishing DPS. Credits: 80s TV Ladies™ Episode RERUN 305: Produced by 134 West and Susan Lambert Hatem. Hosted by Susan Lambert Hatem and Sharon Johnson. Guest: Bruce Boxleitner. Sound Engineer and Editor: Kevin Ducey. Producers: Melissa Roth, Richard Hatem, Sharon Johnson. Associate Producers: Sergio Perez, Sailor Franklin. Music by Amy Engelhardt. Copyright 2024 2026 134 West, LLC and Susan Lambert. All Rights Reserved. Visit 80sTVLadies.com for more info.Listen to 80s TV Ladies at YouTube. Subscribe and help us grow.Don't miss out. Sign up for the 80s TV Ladies mailing list!Help us make more episodes and get ad-free episodes, video interviews, and exclusive content on PATREON.

PAUL CHANDLER, THE SHY YETI lloks at THE LUCY SHOW and HERE'S LUCY.First broadcast on FAB RADIO INTERNATIONAL at 19:00 on May 3rd 2026.As a lot of you may already know from one or two of his previous appearances on VISION ON SOUND, our friend PAUL CHANDLER, THE SHY YETI himself, is a big fan of the kind of archive television that features women in prominent roles, holding their own against the prevailing masculine dominance that featured in most of the television of the time. PAUL has come on to the show to talk about the more female-oriented dramas and comedies that were being made at the time, featuring women who were far more than just the sidekicks, housewives and mothers that society often demanded that they portray, and somehow managed to break the moulds, constraints and expectations that America and the world insisted women should meekly conform to.One of the many names that he has enjoyed talking about is LUCILLE BALL, who was something of a powerhouse in American television not least because of her six-year stint on the sitcom I LOVE LUCY in the 1950s. Such was her star power that she became a legendary television producer with DESILU PRODUCTIONS which went on to produce three of the most iconic drama series of the 1960s, THE UNTOUCHABLES, STAR TREK and MISSION: IMPOSSIBLE, two of which are still proving to be just as popular today as they were back in the 1960s.PAUL has recently been watching two of LUCILLE BALL's later sitcom successes and wanted to discuss what he had seen of them with me today. These were the ground-breaking THE LUCY SHOW from the mid-1960s, and HERE'S LUCY which followed it. Both of these shows ran for six seasons, and were just as popular when she chose to end them as they always had been, with the latter holding its own alongside other iconic series such as THE MARY TYLER MOORE SHOW and BEWITCHED in the cauldron of female emancipation that brewed in the early 1970s.PLEASE NOTE - For Copyright reasons, musical content sometimes has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

“Kate was able to go off script. Then I found I could go with her. Pretty soon we're doing stuff that is not on the written page. That's where we found the little ‘in-between' moments.”  - Bruce BoxleitnerREWIND EPISODE: The 80s TV Ladies are both moving! More details in a later episode, so please enjoy a few of our favorite episodes on repeat - consider it early rerun season. Let us know what you think about Bruce, Lee Stetson, and Scarecrow and Mrs. King. We think it's one of the most adorable interviews with Bruce Boxleitner ever. :)Susan and Sharon are so excited to talk with the star of one of their favorite 80s TV shows of all time -- Bruce Boxleitner from Scarecrow & Mrs. King!  Bruce's television career started way back in 1973 with an appearance on The Mary Tyler Moore Show. He has since appeared in over 100 films and TV shows including Gunsmoke, Baretta, Police Woman, Hawaii 5-0, Babylon 5, Crossing Jordan, Commander in Chief, American Dad, Cold Case, Heroes, Chuck, NCIS, Supergirl, The Orville, When Calls The Heart, How The West Was Won, Bring ‘Em Back Alive, The Gambler and Tron.In Part One of this two-part interview, Bruce reflects on getting the role of Lee Stetson, working with Kate Jackson and the cast of Scarecrow & Mrs. King and filming some of the show's most memorable episodes during the summer of 1984 in Europe.THE CONVERSATIONGETTING THE SHOW: "I was in a daze. I ended up on the roof... The security guard down below: 'What are you doing up there?' 'I don't know!'"UN-“HAPPY DAYS”: How Bring ‘Em Back Alive fought a losing battle on Tuesday nights against Richie Cunningham and the Fonz… But how it led to Bruce's most famous TV role of all time!CALLING ALL SPIES: What was it like auditioning with Kate Jackson -- in front of the same executives that just cancelled his last show?On Mel Stuart: “He was the best. I miss him so much. He made me laugh more than anyone I've ever worked with.”THE OLD CAR: Driving that '63 Porsche Speedster around Washington, D.C. during the pilot: “It died after every take.”THE NEW CAR: a 1984 Corvette: “It fit me like a pair of fiberglass pants.”Gary Davis -- Bruce's secret stunt double -- did all Lee Stetson's stunts, and doubled for Bruce more times than you might think.NOT TOO MANY GUNFIGHTS AT 8PM: The Scarecrow editors assembled a gag reel of all the times top agent Lee Stetson lost his gun.SAVING MS. SMITH: While filming in Munich, Bruce and Martha Smith walked into the wrong punk bar. Bruce got her out -- but only after throwing some Stetson-style punches!Working in the Alps and in Amanda's house with Jean Stapleton -- “I wish she could have done more episodes.”One of Bruce's favorite episodes? S2; EP1 “To Catch a Mongoose”S2; EP21: “Burn Out” -- and the scene where Lee slaps Amanda. How did that feel for Kate -- and Bruce?So, join Susan and Sharon -- and Bruce -- as they talk Beverly Garland, James Garner, quirky humor, Scotland Yard, Lee Stetson's wardrobe, “When should we kiss?”  -- and what happened the day Moonlighting premiered!Make sure to join us NEXT EPISODE for Part Two of our conversation with Bruce Boxleitner!AUDIO-OGRAPHYFind out more about Bruce Boxleitner at Facebook.com Follow him at Instagram.com/BoxleitnerBruceCatch him on Cameo at Cameo.com/BoxleitnerBruceWatch SMK for free at Internet Archive.Watch S2, Ep. 21: Burn out on Internet Archive here. Read the NY Times review of Bruce's 1973 Broadway play debut, Status Quo Vadis. And guess who else was in the cast? (Hint: Sam from Cheers!)   CONNECTVisit 80sTVLadies.com for transcripts.Sign up for the 80s TV Ladies mailing list.Support us and get ad-free episodes on PATREON.VOTEREMEMBER: Make sure you're ready. Register or Check your US Election Registration at Vote.orgBe sure to vote in your primarys. Find out what's on your ballot at BallotReady.orgJuly 15th this year is the 47th anniversary of President Carter's Crisis of Confidence speech. Read Susan's play about the speech and the confidence it takes to be president in challenging times: Confidence (and the Speech) at Conchord Publishing DPS. Visit 80sTVLadies.com for more info.Listen to 80s TV Ladies at YouTube. Subscribe and help us grow.Don't miss out. Sign up for the 80s TV Ladies mailing list!Help us make more episodes and get ad-free episodes, video interviews, and exclusive content on PATREON.

In the 1970s and 80s you couldn't go to the movies without running into this week's legend Cloris Leachman. While the Oscar that catapulted her to stardom was for a drama (The Last Picture Show), here we remember her for bushels of laughs, expertly delivered on the Mary Tyler Moore Show and the Phyllis spinoff, and in some of Mel Brooks' classic films (notably Young Frankenstein). After that burst of activity, Cloris continued on with movie and television guest roles, picking up more Emmy awards along the way. A member of the Television Hall of Fame, Cloris also has a star on Hollywood's Walk of Fame. Stop by sometime and say "Blucher" - you just might hear a horse off in the distance. As always find extra clips below and thanks for sharing our shows. Want more Cloris? When Cloris joined the cast of the Mary Tyler Moore Show she brought just the right mix of snark, snobbery, and sweet to the role of Phyllis Lindstrom. https://youtu.be/Gw2GOvsd3Sg?si=l-WJcrCe2MvSeMB6 We mentioned the great bit about Frau Blucher that ran throughout Mel Brooks' Young Frankenstein. And here it is! https://youtu.be/nx8LjVmoSZk?si=DrlyiU_5_ZGuFvaA Later in her career Cloris had a recurring role on Malcolm in the Middle, picking up two Emmy's along the way. https://www.reddit.com/.../one_of_the_great_scenes.../...

White Linen by Estée Lauder (1978) + The Mary Tyler Moore Show season 4 (1973-74) + Ordinary People by Judith Guest (1976) + Robert Redford's Ordinary People (1980) 4/3/26 S8E21 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Ella McCay (2025) Film Buff Review: James L. Brooks' Return to Directing After 15 Years Analyzed here with fresh eyes in 2026: Is Ella McCay—the 2025 political comedy-drama written and directed by legendary filmmaker James L. Brooks—still relevant for today's audiences? As a dedicated film buff, I break down this question while reminding everyone exactly who James L. Brooks is (and was). The Oscar-winning writer-director behind timeless classics like Terms of Endearment, Broadcast News, and As Good as It Gets—plus iconic TV hits including The Mary Tyler Moore Show, Taxi, and The Simpsons—has shaped American culture with his signature blend of sharp wit, heartfelt family dynamics, and relatable characters for over five decades. His influence on both cinema and television is undeniable, even if his big-screen output has been quiet in recent years. That said, here's my honest review of his long-awaited 2025 comeback, Ella McCay, starring the fantastic and highly watchable Emma Mackey. (And yes, I double-checked—she's not 100% Margot Robbie, though fans of Barbie will spot that same charismatic energy and screen presence in her performance as the idealistic young politician juggling family chaos and high-stakes work life.) This warm yet uneven ensemble piece also features a stacked supporting cast including Jamie Lee Curtis, Albert Brooks, Woody Harrelson, Kumail Nanjiani, Ayo Edebiri, and more. Set against a political backdrop, it explores the messy realities of "having it all" in a way that feels both nostalgic and timely. #EllaMcCay #EllaMcCayMovie #JamesLBrooks #EmmaMackey #FilmReview #MovieReview #PoliticalComedy #2025Movies #JamesLBrooksReturn #TermsOfEndearment #AsGoodAsItGets #BroadcastNews #FilmBuff #Cinema #HollywoodComeback #IndieFilm #ComedyDrama

Ella McCay (2025) Film Buff Review: James L. Brooks' Return to Directing After 15 YearsAnalyzed here with fresh eyes in 2026: Is Ella McCay—the 2025 political comedy-drama written and directed by legendary filmmaker James L. Brooks—still relevant for today's audiences?As a dedicated film buff, I break down this question while reminding everyone exactly who James L. Brooks is (and was). The Oscar-winning writer-director behind timeless classics like Terms of Endearment, Broadcast News, and As Good as It Gets—plus iconic TV hits including The Mary Tyler Moore Show, Taxi, and The Simpsons—has shaped American culture with his signature blend of sharp wit, heartfelt family dynamics, and relatable characters for over five decades. His influence on both cinema and television is undeniable, even if his big-screen output has been quiet in recent years.That said, here's my honest review of his long-awaited 2025 comeback, Ella McCay, starring the fantastic and highly watchable Emma Mackey. (And yes, I double-checked—she's not 100% Margot Robbie, though fans of Barbie will spot that same charismatic energy and screen presence in her performance as the idealistic young politician juggling family chaos and high-stakes work life.)This warm yet uneven ensemble piece also features a stacked supporting cast including Jamie Lee Curtis, Albert Brooks, Woody Harrelson, Kumail Nanjiani, Ayo Edebiri, and more. Set against a political backdrop, it explores the messy realities of "having it all" in a way that feels both nostalgic and timely.#EllaMcCay #EllaMcCayMovie #JamesLBrooks #EmmaMackey #FilmReview #MovieReview #PoliticalComedy #2025Movies #JamesLBrooksReturn #TermsOfEndearment #AsGoodAsItGets #BroadcastNews #FilmBuff #Cinema #HollywoodComeback #IndieFilm #ComedyDrama

H. Alan Scott/Sadie Pines and Kerri Doherty break down a season 3 Mary Tyler Moore Show episode titled "Mary's Father," which surely inspired The Golden Girl's episode "Forgive Me, Father." They discuss the comparisons and differences, Betty White's Blanche-like attitude, and how exactly priests get paid. Watch this episode of The Mary Tyler Moore Show on YouTubeFollow friend of the pod Jeffrey Carder on InstagramJoin the GG VIP Club at Patreon.com/GoldenGirlsPodcastWatch video versions of the podcast on YouTube.com/OutonTheLanaiFor more Golden Girls greatness, visit OutOnTheLanai.com and follow us at...instagram.com/OutOnTheLanaiOfficialfacebook.com/GoldenGirlsPodcasttwitter.com/GoldenGirlsPodFOLLOW H. ALAN SCOTT/SADIE PINES...instagram.com/SadiePinesinstagram.com/HAlanScottlinktr.ee/HAlanScottFOLLOW KERRI DOHERTY...instagram.com/squidsytwitter.com/SquidEatSquidSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Laurence Luckinbill is an acclaimed Emmy Award winning and Tony Award nominee, actor, playwright and director. He's worked in film, television and theatre, in the latter as a writer, director and actor. He has starred in several celebrated one-man shows including as Teddy Roosevelt, Clarence Darrow and Lyndon Johnson. And he became a cult hero portraying Spock's half-brother Sybok in the film “Star Treck V: The Final Frontier”. He's been in a whole bunch of TV shows including Law and Order and the Mary Tyler Moore Show. On Broadway he made his debut in A Man For All Seasons and starred in The Shadow Box, for which he received a Tony nomination.  My featured song is “Studio One” from the album Play by my band Project Grand Slam. Spotify link. —----------------------------------------------------------- The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for All Episodes  Click here for Guest List  Click here for Guest Groupings  Click here for Guest Testimonials Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH LAURENCE:www.laurenceluckinbill.com —---------------------------------------- ROBERT'S LATEST RELEASE: “MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars. CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —--------------------------------------- ROBERT'S RECENT SINGLE “MI CACHIMBER” is Robert's recent single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhorn CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —-------------------------------------- ROBERT'S LATEST ALBUM: “WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)” CLICK HERE FOR THE OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —---------------------------------------- Audio production: Jimmy RavenscroftKymera Films   Connect with the Follow Your Dream Podcast: Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com   Follow Robert's band, Project Grand Slam, and his music: Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com    

Send a textJoin director and former child actor Moosie Drier, and author, Jonathan Rosen, as they chat with Joyce Bulifant from The Mary Tyler Moore ShowJoyce discusses her time on the iconic series, filming the comedy classic Airplane, appearances on the fun game show Match Game, and much more!Support the show

Send a textJoin director and former child actor Moosie Drier, and author, Jonathan Rosen, as they chat with Joyce Bulifant from The Mary Tyler Moore ShowJoyce discusses her time on the iconic series, filming the comedy classic Airplane, appearances on the fun game show Match Game, and much more!Support the show

Book: My Four Hollywood Husbandshttps://a.co/d/bTbuNAj   Show CreditsHost/Producer: Steve KmetkoAll things technical: Justin ZangerleExecutive Producer: Jim LichtensteinMusic by: Brian SanyshynTranscription: Mushtaq Hussain https://stillherehollywood.comhttp://patreon.com/stillherehollywoodSuggest Guests at: stillherehollywood@gmail.comAdvertise on Still Here Hollywood: jim@stillherenetwork.comPublicist: Maggie Perlich: maggie@numbertwelvemarketing.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

GGACP celebrates the birthday (December 30) of Emmy-winning television director James Burrows with this ENCORE of an interview from 2019. In this episode, James talks about the importance of the “straight man,” the influence of his legendary dad Abe Burrows, the societal impact of “Will & Grace” and the winning formulas behind “Taxi,” “Friends” and “The Mary Tyler Moore Show.” Also, Andy Kaufman comes to dinner, Woody Harrelson changes the game, Norman Lear writes a fan letter and James meets John Steinbeck, Truman Capote and Groucho Marx. PLUS: Sydney Pollack! Remembering Ruth Gordon! The comedy of Patchett and Tarses! The generosity of Jay Sandrich! And James directs an “All in the Family” reboot! Learn more about your ad choices. Visit megaphone.fm/adchoices

Director and screenwriter James L. Brooks feels quizzical about being Conan O'Brien's friend. James sits down with Conan to discuss his journey from CBS usher to writing for the best of 70s and 80s television, creating The Mary Tyler Moore Show at exactly the right time, and returning to directing for the screen with his latest film Ella McCay. Plus, Aaron Bleyaert makes a return to expose a hygiene scandal in the studio. For Conan videos, tour dates and more visit TeamCoco.com.Got a question for Conan? Call our voicemail: (669) 587-2847. Get access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using this show link: https://siriusxm.com/conan. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

TVC 718.1: From November 2015: Tony, Donna, and Ed discuss the legacy of The Mary Tyler Moore Show (CBS, 1970-1977), including a look at its spinoff series Rhoda (CBS, 1974-1978), Phyllis (CBS, 1975-1977), and Lou Grant (CBS, 1977-1982).

SEASON 4 EPISODE 38: COUNTDOWN WITH KEITH OLBERMANN A-Block (2:30) SPECIAL COMMENT: It’s not simple gaslighting about the price of gas: It’s neurological disintegration; obsessive repetition of the same lie. He has now - for the 14th time in 28 weeks - announced with shock and excited surprise that gas has "just hit" $1.98 a gallon (or "$1.99" or "under $2.00"). It's not just a lie; it's something he heard, could not understand in the first place, and is repeating at regular intervals as if he just heard it moments earlier. It is a classic sign of neurological crisis. And it is proof that invoking the 25th Amendment is imperative. And won’t happen. Any more than Trump realizing he already TOLD that lie. ALSO: Jack Smith still has a way to make the second half of his report convicting Trump public, while it turns out he tried to get rid of Aileen Cannon a year ago. It is also becoming increasingly apparent that ESPN's Stephen A. Smith may be the Jill Stein of 2028 - a stalking horse pretending to be a Democrat while being pushed by fascists. We know this much: he's mailing it in. He thinks the name of the governor of Florida is named "Ron Santis." AND TRUMP AND MELANIA talking about "Pile Driving" at night in the White House? That must be the first time in eighteen years. B-Block (35:00) THE WORST PERSONS IN THE WORLD: The Shamwow guy is back and, what else, running for Congress as a MAGA because he can't keep this up all day. Bari Weiss obviously never saw the Mary Tyler Moore Show: she's fired her old CBS News Anchors before she's fired her NEW CBS News Anchors. And Jake Tapper really does it: after he put his thumb on the scale for Trump in the Biden debate and wrote a book and sold it on CNN about Biden's acuity, he's defending Trump's mental instability. C-Block (42:00) THINGS I PROMISED NOT TO TELL: Hal Steinbrenner, owner of the New York Yankees whose franchise has increased in value by three billion in just the last four years, is trying to convince people that maybe the Yankees aren't profitable. This is clownage as old as sports itself: the saga of the year the owner of the Los Angeles Dodgers insisted "we lost two million last year!"See omnystudio.com/listener for privacy information.

James L. Brooks (Ella McCay, The Simpsons, Taxi) is an Emmy, Golden Globe, and Academy Award-winning screenwriter, director, and producer. James joins the Armchair Expert to discuss being an industrious high school reporter interviewing Louis Armstrong and Anne Bancroft, his lucky break as a studio page bringing Edward R. Murrow coffee, and co-creating the Mary Tyler Moore Show with Alan Burns. James and Dax talk about why there's no better job in the world than on a television show that's working, seeing Andy Kaufman perform as the vile Tony Clifton for the first time, and that he thinks you go legally insane when directing. James explains what it was like giving notes to Jack Nicholson, starting The Simpsons which is still the longest-running scripted show in history, and what makes a contemporary female heroine in his new screwball comedy Ella McCay.Follow Armchair Expert on the Wondery App or wherever you get your podcasts. Watch new content on YouTube or listen to Armchair Expert early and ad-free by joining Wondery+ in the Wondery App, Apple Podcasts, or Spotify. Start your free trial by visiting wondery.com/links/armchair-expert-with-dax-shepard/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Comedian Cristela Alonzo joins Sam to talk about her new Netflix special Upper Classy, and how before her career took off she made the life-changing decision to leave LA to become her mom’s full-time end of life caretaker. She explains that she started standup as a way of dealing with the grief of losing her mom, and how she didn’t even know it could be a real job before then. Cristela talks about how when you grow up below the poverty line you learn that part of privilege is having the power to get people’s attention and how you might as well make the decision you’re faced with because tomorrow is coming either way. They gush over a shared love of The Mary Tyler Moore Show and “very special episodes” and learning to ride bikes later in life, and why it’s never too late to learn to experience joy. Keep up with Samantha Bee @realsambee on Instagram and X. And stay up to date with us @LemonadaMedia on X, Facebook, and Instagram. For a list of current sponsors and discount codes for this and every other Lemonada show, go to lemonadamedia.com/sponsors.See omnystudio.com/listener for privacy information.

Today on another encore episode of the Rarified Heir Podcast, we are talking to playwright, author and educator Luke Yankee, son of Oscar-winning actress Eileen Heckart. Luke spoke to us about his biography about his mother, Just Outside the Spotlight, his then upcoming play about his mother and the many, many tales he witnessed growing up the son of his actor/mother who was anything but a wilting flower. Eileen was a pistol and o're to be the subject of one of her pointed barbs! We also talk about host Josh Mills' mother Edie Adams who Luke had a first person connection to as well as some of Luke's mother's best known films, The Bad Seed, Barefoot in the Park, Butterflies Are Free and more. Along with that comes great tales about Goldie Hawn, George Segal, Soupy Sales, Sophia Loren, Marilyn Monroe and many more. While all of these amazing stories are told with a fun and mirth, there was one moment that genuinely choked us up in it's beautiful humanity that we just loved hearing. It was a pure and honest moment that gave us a truly well rounded picture of the complex woman that was Eileen Heckert. Broadway, the big screen and even a pivotal role on the small screen on The Mary Tyler Moore Show are all part of this episode with Luke Yankee. Everyone has a story.

Lori's mad at Kelly Clarkson's ex, Priscilla Presley's back in the spotlight with Softly As I Leave You, and Hollywood couples are calling it quits — Shailene Woodley, Nina Dobrev, Kelsea Ballerini. Book reviews: Mean Moms, The Wedding People, and Great Big Beautiful Life. Kevin Federline is telling us how to be a father. Plus: The Offer on Paramount+, the origin of “What's new, pussycat?”, and a farewell to Mary Tyler Moore Show songwriter Sonny Curtis.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Grab your beret and hold onto your typewriter, darlings — it's our hundredth episode! And what better way to celebrate than with the woman who made single, working, independent life look not just possible, but fabulous: Mary Tyler Moore.This week, Kelly and Lisa take a …shallow to medium-ish dive into The Mary Tyler Moore Show — the groundbreaking sitcom that tossed its hat (and the patriarchy) into the air. We talk about Mary Richards as the proto-modern woman, Rhoda as the feminist best friend we all need, and Phyllis and Sue Ann as hilarious caricatures of mid-century womanhood.And because it's our 100th, Kelly was in rare form — slipping into Tallulah Bankhead impersonations, hollering about the political BS, and generally treating broadcast feminism like a cabaret act.So tune in, toss your hat in the air, and join us in celebrating 100 episodes of Bitchstory — where women's stories stay center stage, and the laugh track always comes with a side of revolution.

On the occasion of his latest feature, Where to Land, coming to the Brattle, we welcome indie cinema icon Hal Hartley to discuss his text-built and performer-driven films, the ways the industry has evolved over the decades of his career, as well as his fondness for Kojak and The Mary Tyler Moore Show.

Comedian Cristela Alonzo joins Sam to talk about her new Netflix special Upper Classy, and how before her career took off she made the life-changing decision to leave LA to become her mom’s full-time end of life caretaker. She explains that she started standup as a way of dealing with the grief of losing her mom, and how she didn’t even know it could be a real job before then. Cristela talks about how when you grow up below the poverty line you learn that part of privilege is having the power to get people’s attention and how you might as well make the decision you’re faced with because tomorrow is coming either way. They gush over a shared love of The Mary Tyler Moore Show and “very special episodes” and learning to ride bikes later in life, and why it’s never too late to learn to experience joy. Keep up with Samantha Bee @realsambee on Instagram and X. And stay up to date with us @LemonadaMedia on X, Facebook, and Instagram. For a list of current sponsors and discount codes for this and every other Lemonada show, go to lemonadamedia.com/sponsors.See omnystudio.com/listener for privacy information.

AP correspondent Donna Warder reports on the death of songwriter Sonny Curtis.

In Episode 2 of Me and My Mom, Justine and Rylee are back and diving right in! From the TV shows they're binging to the ups and downs of Patriots football and their fantasy football picks, the mother-daughter duo keeps it fun and real. They also share their excitement for their upcoming trip to Bravocon this November. For the main topic, Justine and Rylee explore how influencers have evolved over the years—from Justine first being introduced to the Mary Tyler Moore Show to the more Modern styles of Bravolebrities—sharing their takes on what's changed, what hasn't, and what it all says about the world we live in.

Send us a textJoin director and former child star Moosie Drier, and author Jonathan Rosen, as they chat with the co-writer of the movies The Jerk & The Frisco Kid, Michael Elias!Michael talks about his involvement in the two comedy films, helping create the sitcom Head of the Class, writing for shows such as The Mary Tyler Moore Show, and The Odd Couple, his books, The Last Conquistador and You Can Go Home Now , and much more!Support the show

Send us a textJoin director and former child star Moosie Drier, and author Jonathan Rosen, as they chat with the co-writer of the movies The Jerk & The Frisco Kid, Michael Elias!Michael talks about his involvement in the two comedy films, helping create the sitcom Head of the Class, writing for shows such as The Mary Tyler Moore Show, and The Odd Couple, his books, The Last Conquistador and You Can Go Home Now , and much more!Support the show

This week, James L Brooks talked about The Simpsons, Mary Tyler Moore ,Terms of Endearment, having a million lunches to cast parts,  his difficult beginnings and how the fear of survival and women's shoes drove him to his success. We also talk about what an amazing mentor he is, incredible writer, the worst notes he's ever gotten from a network, and now he likes to have drool days.Bio:James L. Brooks is a three-time Academy Award®-winner and eighteen-time Emmy® Award-winner.  He began his television career as a writer who also produced such beloved television hits as Taxi, The Mary Tyler Moore Show, The Tracy Ullman Show, and The Simpsons. Brooks began working in film in 1979 when he wrote the screenplay for Starting Over which he co-produced with Alan J. Pakula. In 1983, Brooks wrote, produced and directed Terms of Endearment for which he won three Academy Awards. In 1987, he wrote, produced and directed Broadcast News, which was nominated for seven Academy Awards® including Best Screenplay and Best Picture. Brooks then directed I'll Do Anything starring Nick Nolte, Albert Brooks, and Julie Kavner.  In 1997, Brooks co-wrote, produced, and directed As Good As It Gets, starring Jack Nicholson, Helen Hunt, and Greg Kinnear. The film was nominated for seven Academy Awards® including Best Picture, and both Nicholson and Hunt won Oscars® for their performances. In 2004, Brooks wrote and directed the film Spanglish, starring Adam Sandler, Tea Leoni and Paz Vega. In 2010, Brooks wrote and directed the film How Do You Know, starring Reese Witherspoon, Owen Wilson, Paul Rudd, and Jack Nicholson.Brooks's company, Gracie Films has produced numerous films and television shows since it was formed in 1990. On the television side, the company produces the long-running hit, The Simpsons, as well as producing the Tracey Ullman Show, What About Joan?, and The Critic. On the feature side – Brooks has executive produced the feature film, Say Anything, produced War of the Roses, and co-produced Big. In 1996, Brooks executive produced the film Bottle Rocket, directed by Wes Anderson, and produced Cameron Crowe's Oscar®-winning Jerry Maguire, starring Tom Cruise, Cuba Gooding Jr., and Renee Zellweger. In addition, Brooks produced Penny Marshall's Riding in Cars with Boys, starring Drew Barrymore, and produced the film Edge of Seventeen, written and directed by Kelly Fremon Craig for STX Productions. In addition, Brooks co-wrote and produced The Simpsons Movie, the movie version of the Fox hit.

This week on "the worst of the best," Stephen takes us through an episode of "The Mary Tyler Moore Show" that didn't quite hit its usual comedic mark. Titled "Son of 'But Seriously Folks,'" the episode features Jerry Van Dyke as Wes Callison, a comedian who tries to give up stand-up comedy for a job at WJM. While Van Dyke's performance shines with his trademark humor, the episode struggles to maintain the series' typically sharp comedic pacing and character development. Tune in for a lively analysis of the highs and lows in the life of a TV classic.Send us feedback about the show on BlueSky at @thosedaysshow.bsky.social or email us thosewerethedaysshow@gmail.comFollow us on socials!StephenAmyAudieTvsTravisThose Were The Days on BlueSkySend us a Voicemail!Support 2Dorks on PatreonJoin us every Monday at 9pm ET on Twitch to watch live! Hosted on Acast. See acast.com/privacy for more information.

Shaina Feinberg experienced the struggle that so many women face: being a mom of two kids and having a career as a filmmaker. In recent years, she felt she was failing at both and wondered if she gave one up, would she be more successful at the other? But, when it came to her career, she had a monkey on her shoulder: Shaina's mother had given up her career aspirations to be a full-time mom and she'd always expressed regret about it. Then—while working on a freelance job—Shaina met Joan Darling, a 90-year-old, retired TV director. Joan was an Emmy-winning pioneer with successes like The Mary Tyler Moore Show, MASH and Magnum PI to her credit. While Zooming with Joan, Shaina felt an inexplicable connection, and she was driven to meet the TV veteran in person. Shaina took her camera and flew from New York to Joan's home in Maine. In this episode, Shaina shares the beautiful story of how the two connected over the 3-day visit—and how Joan helped Shaina think thru her struggles while boosting her self-esteem. Tapping on everything from grappling with parents' regrets to holding on to a dream that, at times, feels futile, this episode both thought provoking and touching.

Send us a textFinales can make or break a show's legacy, and in this episode of the Oh Brother podcast we dive into the best and worst of them all. From The Sopranos' infamous blackout to the emotional farewell of The Mary Tyler Moore Show, plus the divisive endings of Game of Thrones and Breaking Bad—we break down what worked, what flopped, and what still keeps fans talking. Did your favorite make the cut? Tune in and find out!#trending #podcast #youtubeActress Karissa Lee Staples Support the showOh Brother Podcast: Subscribe on YouTube Listen on all podcast platforms Follow us on Instagram Leave a 5-star rating/review on Apple Podcasts

"The Mary Tyler Moore Show" is a  sitcom that aired on CBS from 1970 to 1977. The show starred Mary Tyler Moore as Mary Richards, a single, independent woman working as a TV news producer in Minneapolis. More than a workplace comedy, it helped reshape how America viewed women in the 1970. The show was gigantic success winning over both critics and viewers alike. In its run "The Mary Tyler Moore Show" won a total of 29 Emmys. Will the S1E1 boys make this one a green-light after all? Listen as they deep dive the show's pilot episode, "Love Is All Around". Starring: Mary Tyler Moore, Ed Asner, Gavin MacLeod, Ted Knight, Cloris Leachman, Valerie Harper, Angus Duncan, & Lisa Gerritsen www.S1E1POD.com Instagram & X (Twitter): @S1E1POD

Did Alan Alda vehicle The Four Seasons need an eight-part dramedy reboot? The panel -- joined by Alyson Lewis of Cracked -- doesn't think so, although one of us enjoyed returning to a version of a property that aired constantly on HBO in the mid-eighties. But did the story need this many episodes, or this downbeat a tone? Do we enjoy this iteration of a Tina Fey character? And why is a certain actor almost certain to get killed in prestige programs like this? Later, we went Around The Dial with Taskmaster's 19th season, The Mary Tyler Moore Show, and The Clubhouse, and Tara hoped Mary (and "That Woman") would make it into the Canon. Kali Reis won, Disney lost, and we synchronized our schedules for a timely Non-Regulation Game Time. Boot up your favorite second-screen farm game and have a listen! GUESTS

Bree and Rachel are in fits of laughter talking about their favorite Mary Tyler Moore Show episodes S2 Get your Factor Meals today at 50% off factormeals.com/hallmarkies50 (ad) To follow Rachel on goodreads https://www.goodreads.com/user/show/260625-rachel-wagner To follow Bree on goodreads https://www.goodreads.com/user/show/26896300-bree-hill Our podcast art is done by Jessica Miller. Check out all of her work at https://twitter.com/jmillerartistry Check out W Rated podcast https://podcasts.apple.com/gb/podcast/w-rated/id1547255034 Check out the merch store https://www.teepublic.com/stores/hallmarkies?utm_campaign=Hallmarkies&utm_medium=8581&utm_source=affiliate Please support the podcast on patreon at https://www.patreon.com/hallmarkies Follow Bree on instagram at https://www.instagram.com/bree.unabashedly/ Check out The Categorically Romance Podcast https://podcasts.apple.com/us/podcast/the-categorically-romance-podcast/id1558382869 Follow us on ITunes https://itunes.apple.com/us/podcast/hallmarkies-podcast/id1296728288?mt=2 https://twitter.com/HallmarkiesPod on twitter @HallmarkiesPodcast on Instagram Check out our website HallmarkiesPodcast.com Follow Rachel's blog at http://rachelsreviews.net Follow Rachel on twitter twitter.com/rachel_reviews Follow Rachel's Reviews on youtube https://www.youtube.com/c/rachelsreviews Learn more about your ad choices. Visit megaphone.fm/adchoices

GGACP celebrates the birthday (January 23rd) of Emmy-winning comedy writer Arnie Kogen ("The Carol Burnett Show," "Newhart," "The Mary Tyler Moore Show”) by revisiting this 2018 father-son interview with Emmy-winning writer Jay Kogen (“Frasier,” “The Simpsons”). In this episode, the boys talk about failed pilots, cheesy variety shows, the outrageousness of Pat McCormick and the "unwritten rules" of writing for television. Also, Soupy Sales takes flight, Jackie Mason takes offense, Garry Shandling gripes about the sunset and the Kogens party with the Jackson 5. PLUS: "Monkey World"! The genius of James L. Brooks! “The World's Oldest Fireman"! Jay reinterprets "The Aristocrats"! And Gilbert and Arnie remember "Thicke of the Night”! Learn more about your ad choices. Visit megaphone.fm/adchoices

GGACP celebrates the birthday of Emmy-winning actor Ed Asner (b. November 15, 1929) with this ENCORE presentation of an in-depth interview from 2015. In this episode, Ed talks about his early days in the business, his seven memorable seasons as the irascible Lou Grant on “The Mary Tyler Moore Show” and his roles in hugely popular films like “Elf” and Pixar's “Up.” Also, Ed meets Elvis, co-stars with Edward G. Robinson, beats up Jack Lemmon and lusts after Cloris Leachman. PLUS: Sam Jaffe! Michael Cole! “The Duke” names names! The comic genius of Ted Knight! And Ed dishes dirt on Santa Claus! Learn more about your ad choices. Visit megaphone.fm/adchoices

Complete Opie and Anthony Tapes playlist here:  https://www.youtube.com/playlist?list=PLoRwry_hfdo4_LSnc9HoPhSix_mujfyKT Dive into the electric atmosphere of a celebrity poker tournament where Hollywood legend Ed Asner, known for his iconic role in "The Mary Tyler Moore Show," faces off against the notorious radio personality, Opie from the "Opie and Anthony" show. In this clip, tensions rise, leading to Asner dubbing Opie "the destroyer." With Joe Rogan filling in for Anthony, the situation becomes even more unpredictable. This isn't just a game of cards; it's a showdown of personalities. Join us for: A rare glimpse into celebrity interactions outside the glitz and glamour. The raw, unfiltered reaction from Ed Asner, showcasing his fiery side. Insight into the controversial humor style of Opie and Anthony, which often stirs the pot. Whether you're a fan of poker, celebrity dramas, or just curious about the clash between old Hollywood and shock jock radio, this video has it all. Don't forget to like, subscribe, and hit the bell for more exclusive content where entertainment meets reality.  #opieandanthony #EdAsner #CelebrityPoker #ShockJock #ShockJock #JoeRoganSee omnystudio.com/listener for privacy information.