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The 10 Best Bottle Episodes of Your Favorite TV Shows

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Those of us who are old enough to vividly remember the plot lines of such so-bad-they’re-good television shows as The Brady Bunch, Three’s Company, The Dukes of Hazzard, Benson, MacGyver, and Magnum P.I. probably recall that characters always seemed to be accidentally locking themselves in a meat locker/elevator/fill-in-your-favorite-tiny-contained space. Sometimes once per season. While it may have seemed like honest-to-goodness laziness on the part of the shows’ writers, the more likely reason for these single-location episodes was simply lack of money.

Here’s how it works: Television shows are divided into seasons, and each season has its own individual budget. The bulk of that money is spent on the season’s tent pole episodes, i.e. the season premiere, the season finale and any episode that requires a top-dollar guest star, exotic locale, or extensive special effects. Which means that at some point in the season, a showrunner is going to be scrambling to come up with an idea that can be shot on the cheap. Enter “the bottle episode.”

Purportedly coined by the makers of the original Star Trek series, the show’s frequent battles with budgetary constraints resulted in many stripped-down scenarios for the Enterprise, which they referred to as “ship-in-a-bottle” episodes. A typical bottle episode features just one or two regular cast members working together to solve a single problem. Locations, too, are limited to ideally just one. And there are no expensive special effects to be found. Just a couple of actors spending 30 to 60 minutes playing off of each other. 

As television has continued to up its game in the entertainment department, competing with movies both narratively and aesthetically, producers have gotten smarter about their bottle episodes. Like their low-budget Hollywood counterparts, they’re replacing money with creativity, creating more personal, character-driven pieces to drive the season forward and create some of the most beloved episodes in a show’s run. Here are 10 of the great ones.

1. Breaking Bad—Season 3, Episode 10: “Fly” (2010)

If the teaser for Breaking Bad’s final season—which premieres on AMC on Sunday—is any indication of its pace, you’re going to want to bring along an inhaler. It’s the show’s typical breakneck speed that makes “Fly” such a standout episode. Tensions are running high between meth-makers Walter and Jesse, and both of them are keeping secrets. When a fly finds its way into the lab, Walter—sleep-deprived and already teetering on the edge—sets about killing it to avoid any contamination. But this sucker won’t die and the ceilings in that meth lab are high. (No pun intended.) As Jesse looks on and eventually assists Walter in his mission, their inner turmoil plays out in subtle yet gripping ways, both in their dialogue and actions. That virtually every second of the episode’s 47 minutes happens in one location with just the two leading actors makes it a perfect example of television at its barest. That they hired moviemaker Rian Johnson (Brick, Looper) to direct the episode makes it truly cinematic.

2. Community—Season 2, Episode 8: “Cooperative Calligraphy” (2010)

As out there as some of its plotlines may stray, Community has succeeded in becoming one of television’s most self-aware shows. The cast and crew seem to revel in the fact that they’re still on the air (and with good reason, as they’ve been on the scheduling chopping block since the show’s debut). Their boldest move yet may have been “Cooperative Calligraphy,” which is best described as a bottle episode about bottle episodes. As the study group of misfit co-eds packs up their belongings to depart for an on-campus puppy parade, Annie realizes that yet another one of her precious pens has gone missing and insists that no one will leave the room until she uncovers the culprit. Minutes later, Abed realizes what is happening and declares, “I hate bottle episodes. They’re wall-to-wall facial expressions and emotional nuance. I might as well sit in a corner with a bucket on my head.” As the episode continues to unfold, the classmates learn more than they needed to know about each other—like that Abed keeps track of the menstrual cycles of the female group members—and do their best to stay true to Abed’s description of what a bottle episode looks like.

3. Family Guy—Season 8, Episode 17: “Brian & Stewie” (2010)

Okay, so it probably doesn’t save any money to set an animated show in one location and feature just two of the regular actors. But Seth MacFarlane’s ode to the “trapped in a bank vault” trope as part of Family Guy’s 150th episode is worth noting for the sheer audacity it takes to force this setup upon a talking dog and a wise-beyond-his-years baby. Like any great bottle episode, the show is completely character-driven (it’s the only episode that doesn’t feature any cutaways), with Brian and Stewie eventually revealing how much they care about each other—but only after they get drunk, partake in a fair amount of gun violence, and devise an innovative (and disgusting) way to make sure Stewie doesn’t end up with diaper rash.

4. The Sopranos—Season 3, Episode 11: “Pine Barrens” (2001)

Note to the networks: Indie film directors make fantastic bottle episode directors. Before he became a series regular in season five, Steve Buscemi directed what is arguably one of The Sopranos’ single best episodes: “Pine Barrens.” Though it’s not a one-location episode, the bulk of the action centers on Paulie and Christopher getting lost in the woods after an attempt to collect a debt from a Russian mobster goes horribly wrong. Totally unprepared for facing the elements, right down to their unlined leather jackets, the duo must overcome bad cell phone reception and the possibility that there’s a highly-skilled solider attempting to hunt them down to find their way out of the forest (or at least lead mob boss Tony Soprano to them for rescuing). Paulie’s relationship to Christopher was always one of the show’s most interesting, alternating between fatherly and competitive. This episode forces them to confront their issues head-on, in a language and with a humor that is completely their own.

5. Mad About You—Season 6, Episode 9: “The Conversation” (1997)

Though it aired for seven seasons, Mad About You—starring Paul Reiser and Helen Hunt as married couple Paul and Jamie Buchman—has been largely forgotten. Which is unfortunate, considering that it often pushed the conventions of typical sitcom-making. In the show’s sixth season, director Gordon Hunt channeled his inner Ingmar Bergman to do the unthinkable: drop a camera on the floor of the Buchmans’ apartment and leave it there. For the entire show. Whether the actors were in the shot or not. The only image that stays constant is the door of their baby daughter Mabel’s room, as they attempt to let her cry herself to sleep, leaving the audio to drive the narrative. The result is a 20-minute conversation filmed in one take that was broadcast uninterrupted so as not to lose the flow. It was pretty revolutionary stuff, and they knew it (and made a clever nod to it in the closing credits).

6. Homicide: Life On The Street—Season 1, Episode 5: “Three Men And Adena” (1993)

The bottle episode made an early appearance on the police drama Homicide: Life on the Street. Midway through the first season, Martin Campbell (who refreshed the James Bond franchise with Casino Royale) directed this Emmy Award-winning episode, in which detectives Frank Pembleton and Tim Bayliss have 12 hours to solicit a confession from Risley Tucker for the murder of an 11-year-old girl. The episode plays out almost entirely in the interrogation room as a single conversation between the two officers and their suspect. And it’s one big power play, with each man taking a turn in the hot seat. This is an example of a police procedural at its most gripping: partners playing the good cop/bad cop game, and a suspect turning the tables on his interrogators. In the end, there is no confession, and the case (which is based on the real-life murder of Latonya Kim Wallace) remains unsolved; but the detectives’ impressions—of each other and Tucker’s guilt—have been forever altered. It’s a near-flawless example of the power the camera holds and how a simple shift of an angle can add a new dimension to the viewer experience.

7. The X-Files—Season 1, Episode 8: “Ice” (1993)

Like a television version of John Carpenter’s The Thing, “Ice” slowed the sci-fi juggernaut down just long enough for audiences to see what would happen when their beloved special agents Fox Mulder and Dana Scully were forced to work against each other. After being called to Alaska to investigate the mysterious deaths of a group of geophysicists, Mulder and Scully determine that an alien parasite is to blame, and they’ve got the samples to prove it. But the agents disagree on whether to preserve or destroy the deadly organisms and just about everything else. No one is sure who has been infected and who hasn't, and the agents each have different methods for figuring it out. The divisive nature of this particular mission helped to introduce the often-complex relationship these two would have throughout the series, and gave them the dramatic flexibility to establish that early on.

8. Seinfeld—Season 2, Episode 6: “The Chinese Restaurant” (1991)

When Seinfeld co-creator Larry David originally pitched the idea of “The Chinese Restaurant” to the executives at NBC, they rejected it outright, believing that the audience would be bored by the lack of storyline, which consisted of Jerry, George, and Elaine waiting for a table—in real time—at a Chinese restaurant before hitting up a screening of Plan 9 from Outer Space. But for a series that was popularly referred to as “a show about nothing,” an episode that was literally about nothing seemed apropos. So David wasn’t about to let the idea die so quickly, even threatening to quit if the show didn’t air as written. The execs relented, and the episode was a hit. While not a bottle episode from a cost-savings standpoint (the restaurant was unique to this storyline), the close quarters/couple of friends formula became a staple of the series, and was repeated just a few months later in the next season with the equally funny “The Parking Garage.”

9. All in the Family—Season 8, Episode 19: “Two's a Crowd” (1978)

Like so many other sitcoms of its time period, this late-season episode of All in the Family used the “locked together in a room” device as its setup. But where it stands out among the show’s nine seasons is in its humanization of the irascible Archie Bunker. When Archie and his son-in-law Mike accidentally lock themselves in the storeroom of a bar, they decide to pass the time by depleting the supply of alcohol that surrounds them. After a few drinks too many, Archie talks about his difficult upbringing, complete with an abusive father. Archie’s monologue on his life—and why he is the man he is—is a genuinely moving piece of drama in an otherwise comedic series that brings the show’s two male leads closer together (even if Archie doesn’t remember it when he wakes up).

10. Star Trek—Season 1, Episode 14: “Balance Of Terror” (1966)

If you’re going to invent the terminology, you’d better have a list of episodes that fit the bottle bill. Star Trek certainly does, beginning in season one, when the Romulans make their first appearance in “Balance of Terror.” When Captain Kirk learns that a Romulan ship has destroyed several nearby outposts, he sets about finding it so that he may destroy it (despite the vessel’s invisibility shield, of course). The episode morphs into a game of cat and mouse between Kirk and his Romulan counterpart, as the two ships race each other toward the neutral zone. Relying on banter over visuals, the episode is refreshingly dialogue-heavy, giving Kirk and his cronies (including Spock, Sulu and Uhura) the chance to explore more than just the great unknown; they get to talk about their feelings. Fun side note: Mark Lenard, who played the Romulan captain in this episode, would later return to play Sarek, Spock’s father.

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11 Magical Facts About Willow
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Five years after the release of Return of the Jedi (1983) and four years after Indiana Jones and the Temple of Doom (1984), George Lucas gave audiences the story for another film about an unlikely hero on an epic journey, but this time he had three Magic Acorns and a taller friend instead of a whip and gun to help him along. Willow (1988) was directed by Ron Howard and starred former Ewok and future Leprechaun, Warwick Davis.

Over the past few decades, Willow—which was released 30 years ago today—has become a cult classic that's been passed down from generation to generation. Before you sit down to explore that world again (or for the first time), here are 11 things you might not have know about Willow.

1. IT WAS WRITTEN FOR WARWICK DAVIS.

In an interview with The A.V. Club, Warwick Davis revealed that George Lucas first mentioned the idea for the film to Davis’s mother during the filming of one of the Ewok TV specials in 1983, in which he was reprising his role as Wicket. Lucas had been developing the idea for more than a decade at that point, but working with Davis on Return of the Jedi helped him realize the vision. “George just simply said that he had this idea, and he was writing this story, with me in mind,” Davis said. “He didn't say at that time that it was going to be called Willow. He said, 'It's not for quite yet; it's for a few years ahead, when Warwick is a bit older.'" The role was Davis’s first time not wearing a mask or costume on screen.

2. IT WAS ORIGINALLY CALLED MUNCHKINS.

Five years after he mentioned the idea, Lucas was ready to make his film with Ron Howard directing and a then-17-year-old Davis as the lead. The original title was presumably inspired by the characters from L. Frank Baum's The Wonderful Wizard of Oz, and the subsequent Victor Fleming film.

3. IT WAS CRITICIZED FOR BEING A COPY OF STAR WARS.

Having thought of the two worlds simultaneously, Lucas may have cribbed some of his own work and other well-known stories a little too much for Willow, and some critics noticed. “Without anything like [Star Wars’s] eager, enthusiastic tone, and indeed with an understandable weariness, Willow recapitulates images from Snow White, The Wizard of Oz, Gulliver's Travels, Mad Max, Peter Pan, Star Wars itself, The Hobbit saga, Japanese monster films of the 1950s, the Bible, and a million fairy tales," wrote Janet Maslin of The New York Times. "One tiny figure combines the best attributes of Tinkerbell, the Good Witch Glinda, and the White Rock Girl.”

Later in her review, Maslin continued to point out the similarities between the two films: “When the sorcerer tells Willow to follow his heart, he becomes the Obi-Wan Kenobi of a film that also has its Darth Vader, R2-D2, C-3P0 and Princess Leia stand-ins. Much energy has gone into the creation of their names, some of which (General Kael) have recognizable sources and others (Burglekutt, Cherlindrea, Airk) have only tongue-twisting in mind. Not even the names have anything like Star Wars-level staying power.”

4. IT WAS THE LARGEST CASTING CALL FOR LITTLE PEOPLE IN MOVIE HISTORY.

Lucas has previously cast several little people for roles in Return of the Jedi, and there were more than 100 actors hired to portray Munchkins in The Wizard of Oz. But, according to Davis, the casting call for Willow was the largest ever at the time with between 225 and 240 actors hired for the film.

5. THE DEATH DOGS WERE REAL DOGS IN COSTUME.

The big bad in the film, Bavmorda, has demon dogs that terrorize Willow’s village. The dogs are more boar-like than canine, but they were portrayed by Rottweilers. The prop team outfitted the dogs with rubber masks and used animatronic heads for close-up scenes.

6. IT WAS THE FIRST USE OF MORPHING IN A FILM.

While trying to use magic to turn an animal back into a human, Willow fails several times before eventually getting it right, but he does succeed in turning the animal into another animal, which is shown in stages. To achieve this, the visual effects teamed used a technique known as "morphing."

The film’s visual effects supervisor, Dennis Muren of Industrial Light & Magic, explained the technique to The Telegraph:

The way things had been up till that time, if a character had to change at some way from a dog into a person or something like that it could be done with a series of mechanical props. You would have to cut away to a person watching it, and then cut back to another prop which is pushing the ears out, for example, so it didn't look fake ... we shot five different pieces of film, of a goat, an ostrich, a tiger, a tortoise, and a woman and had one actually change into the shape of the other one without having to cut away. The technique is much more realistic because the cuts are done for dramatic reasons, rather than to stop it from looking bad.”

7. THE STORY WAS CONTINUED IN SEVERAL NOVELS.

Willow has yet to receive a sequel, but fans of the story can return to the world in a trilogy of books that author Chris Claremont wrote in collaboration with Lucas between 1995 and 2000. According to the Amazon synopsis of Shadow Moon, the first book picks up 13 years after the events of the film, and baby Elora Danan’s friendless upbringing has turned her into a “spoiled brat who seemingly takes joy in making miserable the lives around her. The fate of the Great Realms rests in her hands, and she couldn't care less. Only a stranger can lead her to her destiny.”

8. THERE IS A MISSING SCENE CONCERNING THE MAGIC ACORNS.

Hardcore fans of the film have noticed that there is a continuity error that involves the Magic Acorns Willow was given by the High Aldwin. During an interview with The Empire Podcast, Davis explained that in a scene near the end of the film, he throws a second acorn and is inexplicably out after having only used two of the three Magic Acorns he had been given earlier in the film. Included in the Blu-ray release is the cut scene, in which Willow uses an acorn (his second) in a boat during a storm and accidentally turns the boat to stone. Davis says that his hair is wet in the next scene that did make it into the original version of the film, but the acorn is never referenced.

9. JOHN CUSACK AUDITIONED FOR THE PART OF MADMARTIGAN.

Val Kilmer in 'Willow' (1988)
20th Century Fox Home Entertainment

Val Kilmer famously played the role of the reluctant hero two years after played Iceman in Top Gun (1986), but he was not the only big name to audition for the role. Davis revealed in a commentary track that he once read with John Cusack, who in 1987 had already starred in Sixteen Candles (1984), Stand by Me (1986), and Hot Pursuit (1987).

10. THERE IS A NOD TO SISKEL AND EBERT.

During a battle scene later in the film, Willow and his compatriots have to fight a two-headed beast outside of the castle. The name of the stop motion beast is the Eborsisk, which is a combination of the names of famed film critics, Roger Ebert and Gene Siskel.

11. THE BABY NEVER ACTED AGAIN.

A scene from 'Willow' (1988)
20th Century Fox Home Entertainment

As is the case with most shows and films, the role of the baby Elora was played by twins, in this case Kate and Ruth Greenfield. The IMDb pages for both actresses only has the one credit. In 2007, Davis shared a picture of him posing with a woman named Laura Hopkirk, who said that she played the baby for the scenes shot in New Zealand, but she is not credited online.

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30 Things You Might Not Know About Cheers
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On May 20, 1993—25 years ago today—television audiences said farewell to Sam Malone, the fictional Red Sox pitcher-turned-proprietor of Cheers. Though it's the Boston bar where everybody knows your name, there’s plenty you probably don’t know about the classic sitcom, which spent 11 seasons on the air.

1. CHEERS ALMOST DIDN’T MAKE IT THROUGH SEASON ONE.

Like many of television’s greatest success stories (e.g. Seinfeld), Cheers was not an immediate hit. It premiered on September 30, 1982 to dismal ratings—77th place out of 100 shows that week, according to Nielsen. It was NBC’s entertainment president at the time, Brandon Tartikoff, who saved the show from cancellation during its first season.

2. THE BULL & FINCH PUB, ON WHICH CHEERS IS MODELED, IS NOW CALLED CHEERS

Talk about life imitating art. After it was decided that the series would be set in a bar instead of a hotel, co-creators Glen and Les Charles decided the locale should be moved to New England. “Boston was chosen partially because only five short-lived television shows claimed the city and the East Coast pubs were real neighborhood hangouts,” wrote Dennis A. Bjorklund in his book, Toasting Cheers.

As the show’s popularity rose, it didn’t take long for word to spread that the Beacon Hill tavern was the “real” Cheers (though only the exterior shots were filmed there), turning the neighborhood hangout into a tourist attraction. To satisfy the masses, a second location—this one was actually called "Cheers" and featuring a replica of the bar viewers were used to—was opened in nearby Faneuil Hall in 2001. One year later, the Bull & Finch officially changed its name to Cheers.

3. SAM MALONE WAS ORIGINALLY A PROFESSIONAL FOOTBALL PLAYER.

In the script’s earliest incarnations, Sam Malone was an ex-football player, which made sense considering that Fred Dryer—the former NFL defensive end who would go on to star in Hunter—was a top choice to play the role of Sam (opposite Julia Duffy as Diane; William Devane was also a strong contender). Ultimately, it was the chemistry between Ted Danson and Shelley Long that led to them getting the gigs. Once the casting was finalized, the creators swapped out football for baseball, based on Danson’s body type.

4. TED DANSON ATTENDED BARTENDING SCHOOL.

Danson spent two weeks at a bartending school in Burbank, California as part of his training to play Sam.

5. NORM AND CLIFF WEREN’T INTENDED TO BE REGULAR CHARACTERS.

Both George Wendt and John Ratzenberger auditioned for the same role in the pilot, a minor character named George who had a single line: “Beer!” The character’s name was changed to Norm Peterson when Wendt was cast. But Ratzenberger wasn’t about to give up so easily. “As I was leaving the office after the audition, I turned around and asked them, ‘Do you have a bar know-it-all?,’” the Bridgeport, Connecticut-born Ratzenberger recalled to Ability Magazine. “None of the creators was from New England. They were all Hollywood-centered. And I said, ‘Well, every local bar in New England has got a know-it-all—someone who pretends to have the knowledge of all mankind between his ears and is not shy about sharing it.’” Thus, Cliff Clavin was born.

6. NORM PETERSON IS BASED ON A REAL GUY.

In 2012, co-creator Les Charles told GQ that Norm was based on a real person. “I worked at a bar after college, and we had a guy who came in every night. He wasn't named Norm, [but he] was always going to have just one beer, and then he'd say, ‘Maybe I'll just have one more.’ We had to help him out of the bar every night. His wife would call, and he'd always say, ‘Tell her I'm not here.’”

7. NORM’S NEVER-SEEN WIFE VERA IS VOICED BY GEORGE WENDT’S REAL WIFE.

Though she’s only credited in one episode, George Wendt’s wife, Bernadette Birkett, provided the voice for Norm’s wife, Vera. Birkett did make one appearance on the show—as a love interest of Cliff’s—in season three.

8. JOHN RATZENBERGER IMPROVISED MANY OF CLIFF’S FUN FACTS.

Many of the random (and untrue) facts that Cliff Clavin offers up were ad libbed by Ratzenberger. “After a couple of years on the show they realized they could trust me not to mess it up,” Ratzenberger told Deseret News in 1993. “So little by little they've let me just sort of run off. Because I know when to stop … It's easy to improvise comedy. It really is. But the art is knowing when to shut up and let other people talk. That's a hard thing to learn.”

9. SOME OF THE DIALOGUE CAME FROM REAL BAR CONVERSATIONS.

In order to nail the bar talk aspect of the series, the creators regularly visited bars in the Los Angeles area to eavesdrop on patrons’ conversations. In the series premiere, there’s an argument about the sweatiest movie ever made, which was lifted from one of these overheard conversations.

10. CHEERS WASN’T AFRAID TO TACKLE SOCIAL ISSUES.

Cheers’ writers never shied away from taboo topics such as alcoholism or homosexuality, through they always had a sense of humor about them. The season one episode “The Boys in the Bar,” in which one of Sam’s former teammates announces that he is gay, earned writers Ken Levine and David Isaacs a GLAAD Media Award.

11. PLANS FOR AN HIV SCARE FOR SAM HAD TO BE ABANDONED.

In 1988, the Writers Guild of America went on strike, which meant that several planned episodes of the series were never filmed. Among them was a season six cliffhanger in which Sam learns that a former girlfriend is HIV positive.

12. RHEA WASN’T THE ONLY PERLMAN ON THE SET.

Rhea Perlman wasn’t the only member of her family to grace the set of Cheers. Her younger sister, Heide, produced more than two dozen episodes between 1985 and 1986 and wrote several episodes throughout the show’s run. Perlman’s father, Phil, played one of the bar regulars (named Phil).

13. JAY THOMAS MURDERED EDDIE LEBEC.


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When character actor Jay Thomas wasn’t portraying Carla’s Bruin-turned-ice-show-performer husband Eddie LeBec, he was the host of a popular morning radio show in Los Angeles. Which is exactly what led to his character being killed off rather prematurely by way of Zamboni. “A few episodes of recurring bliss and then one day on Jay’s radio show, a caller asked him what it was like to be on Cheers,” recounted writer Ken Levine. “He said something to the effect of, ‘It’s brutal. I have to kiss Rhea Perlman.’ Well, guess who happened to be listening ... Jay Thomas was never seen on Cheers again.”

14. A CHEERS MINI-EPISODE WAS PRODUCED FOR THE U.S. TREASURY.

Early in Cheers’ run, its creators were contracted by the U.S. Treasury to create a special mini-episode to promote the purchase of U.S. savings bonds. Titled “Uncle Sam Malone,” the episode never aired on television nor is it included on any of the DVDs; it was intended to be screened for promotional purposes at savings bond drives only.

15. A “LOST” SCENE ALSO AIRED AS PART OF THE 1983 SUPER BOWL XVII PREGAME SHOW.

Back in early 1983, writers Ken Levine and David Isaacs wrote a special one-off scene to air before Super Bowl XVII in which Sam, Diane, Carla, Norm, Cliff, and NBC announcer Pete Axthelm bet on who will win the big game. “They ran it just before game time and it was seen by 80,000,000 people,” Levine recalled of the spot on his blog. “Nothing we've ever written before or since has been seen by that many eyeballs at one time. But the scene was never repeated. It never appeared on any DVDs. It just disappeared.” (Until now: You can watch it at the link above.)

16. TED DANSON WORE A HAIRPIECE TO PLAY HAIR-OBSESSED SAM


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A fact that became apparent when he accepted the Emmy—sans hairpiece—in 1990. In the 1993 episode “It’s Lonely on the Top,” Sam shares his follicular challenge with Carla.

17. VIEWERS FREQUENTLY COMPLAINED ABOUT THE VOLUME OF THE LAUGH TRACK, EVEN THOUGH THERE WAS NO LAUGH TRACK.

In 1983, a quick disclaimer—spoken by one of the regular cast members—was added to the beginning of each episode: “Cheers was filmed before a live studio audience.” This was a direct response to viewer complaints that the “laugh track” was too loud.

18. THE PART OF FRASIER WAS WRITTEN FOR JOHN LITHGOW.


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After recent roles in All That Jazz, Blow Out, and The World According to Garp (for which he received his first of two consecutive Oscar nominations), Lithgow was not interested in working on the small screen. “I just said, 'No,’” Lithgow recalled to The Hollywood Reporter. “I barely even remembered that … It was like swatting away a fly … I just wasn’t going to do a series.”

19. KELSEY GRAMMER PLAYED FRASIER CRANE FOR 20 YEARS.

Grammer made his Cheers debut in the third season premiere in 1984. Though he was intended to be a short-lived character, Crane’s popularity with audiences led to him becoming a series regular. Four months after Cheers ended in May of 1993, Frasier made its debut (on the redesigned Cheers stage, no less) and ran for its own 11 seasons. Grammer’s two-decade run as the pretentious psychiatrist is a record-breaking one for an American comedy actor.

20. TONY SOPRANO'S MOM PLAYED FRASIER'S MOM, TOO.


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Nancy Marchand's character threatened to kill Diane. The role of Frasier's mom was played by Tom Hanks' wife Rita Wilson in a 2001 Frasier flashback.

21. KIRSTIE ALLEY IS THE ONLY MAIN CHARACTER WHO DIDN’T MAKE A GUEST APPEARANCE ON FRASIER.

Throughout Frasier’s 11-season run, Kirstie Alley was the only one of Cheers’ main actors to not make an appearance on the popular spinoff, possibly because the psychiatric profession conflicts with her beliefs as a Scientologist. “Kirstie once said ... she'd never do a show about a psychiatrist,” Kelsey Grammer told Entertainment Weekly in 2002.

22. FRASIER’S DAD WAS MAGICALLY RESURRECTED FOR THE SPINOFF.

When Frasier talked about his family on Cheers, he noted that his father—also a well-respected psychiatrist—had passed away. Yet his ex-cop dad, played by John Mahoney, is a main character in Frasier. Incidentally, Mahoney made a one-off appearance in Cheers’ eleventh season, as a fast-talking jingle writer named Sy Flembeck:

23. NORM’S FIRST NAME IS HILLARY.

His full name is Hillary Norman Peterson.

24. THAT WOODY PLAYED WOODY WAS A TOTAL COINCIDENCE.

Though many of the non-regular bar patrons’ real names were used in filming, that Woody Harrelson ended up playing Woody Boyd is by sheer coincidence. The character’s name was written into the script long before any actors had auditioned for the role.

25. NORM DRANK “NEAR BEER.”

The bar on the set may have been fully functional, but that doesn’t mean the cast got to spend the day throwing back cold ones. Norm may have had it the worst. As the bar’s resident lush, he’s rarely seen without a sudsy glass of beer in his hand. But what’s really in that glass is “near beer,” a weakened strain of ale mixed with a bit of salt to keep a perfect head on the glass at all times. Which Wendt unfortunately had to consume on more than one occasion.

26. THE SHOW HELPED PROMOTE THE IDEA OF A DESIGNATED DRIVER.

It was important to the producers of Cheers that no tipsy bar patron ever drove him or herself home, so there are frequent references to calling cabs and designated drivers. The Harvard Alcohol Project had a hand in spreading this message.

27. SAM AND DIANE DID GET MARRIED AT THE END OF SEASON FIVE.

Because Cheers was filmed in front of a live studio audience, the producers had to occasionally trick the audience so that show developments weren’t leaked. In order to keep Shelley Long’s departure from the series a secret, the live audience saw Sam and Diane get married at the end of season five. The real ending—which sees Diane leaving for six months to finish her book, only to return for a guest appearance in the final season—was filmed on a closed set.

28. CHEERS HABLA ESPAÑOL.

In September 2011, a Spanish version of the series—also called Cheers—made its debut. It starred Alberto San Juan as a former soccer player turned Irish pub owner and ran for just one season.

29. THE END OF THE SHOW IS ALL TED DANSON’S FAULT.

Though understandably so. When Danson announced that he’d be leaving the series at the end of the 1992-1993 season, producers decided that Woody could take over the bar. But Woody Harrelson wasn’t interested in continuing the show without Danson, and so its series finale was set.

30. THE CAST AND CREW GOT REALLY, REALLY DRUNK FOR THEIR SENDOFF.

NBC made a major event of the series finale, with cast and crew celebrating at Boston’s Bull & Finch Pub, where thousands of fans gathered outside to watch the show on two Jumbotrons. Then the drinks started flowing … and flowing … and flowing. “The show ended at eleven,” Ken Levine wrote in a 2013 remembrance of the evening for Vulture. “The next half-hour was an emotional tsunami. Everyone was hugging and crying and doing a lot of drinking. We were all completely wrecked.”

Then it was time for the cast to make an appearance on The Tonight Show. “The cast, in no condition to face anybody, much less 40 million people, dutifully trooped downstairs to do the live show,” Levine continued. “Us non-celeb types stayed back and watched on TV … in horror. They were so drunk they needed designated walkers. They giggled like schoolgirls over nothing, fired spitballs into each other’s mouths, squirted water guns, Woody Harrelson implied he gave oral sex to both Ted Danson and Oliver Stone, and Kirstie Alley sang a song where the only lyric was ‘dick, dick, dick.’”

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