13 Fun Facts About Newhart

Shout! Factory
Shout! Factory

After six seasons of The Bob Newhart Show, the series’ titular, buttoned-down star wasn’t anxious to commit to another TV series. But once inspiration for an interesting premise struck him, and the right co-creator and team of writers came on board, Bob Newhart signed on to play Dick Loudon, a former New York City advertising exec who chucked it all and moved to Vermont with his wife to run a bed and breakfast while writing a series of how-to books on the side.

Newhart's ratings were strong enough after the second season for a third to be ordered, but the show's star and his staff knew some serious changes were needed if there was to be a fourth season. Luckily the network gave the series—which premiered 35 years ago—the necessary time to find its footing, and it continued on for a total of eight seasons, which culminated in one of the most memorable series finales in the history of the medium.

1. SOME ACTUAL HOTEL “PEOPLE WATCHING” INSPIRED THE SERIES.

Bob Newhart got the idea for Newhart while dining in the restaurant of a Hilton hotel in Seattle. After observing the various visitors for a while, he concluded that hotel guests are just as nonsensical as the patients Bob Hartley used to treat on The Bob Newhart Show. “I function well with a bunch of crazies around me I can react to,” Newhart told the Los Angeles Times in 2008. He pitched the idea to Barry Kemp, who’d previously worked as a writer on Taxi, and the two worked together on a pilot script. Kemp eventually suggested setting the show in Vermont; Newhart agreed, as “after you’ve done three or four rain jokes, you’ve kind of run out of material as far as Seattle is concerned.”

2. IF YOU’RE EVER IN VERMONT, YOU CAN SPEND THE NIGHT AT THE STRATFORD.

The exterior shots of the Stratford Inn are actually the Waybury Inn in East Middlebury, Vermont. It was built by John Foote in 1810 as a boarding house and tavern for local workers and stagecoach travelers passing through the Green Mountains. It’s still in business, complete with an autographed photo of Bob Newhart in the lobby and a few assorted props from the show on display.

3. MARY FRANN BALKED AT PLAYING THE SMILING, INDULGENT WIFE.

When Mary Frann was hired to play Joanna Loudon, Bob Newhart immediately took her aside and warned her, “You’re going to have a tough job because Suzy (Suzanne Pleshette, Newhart’s previous sitcom wife) and I, we had this wonderful rapport, and they’re going to compare you to it, and it’s going to be tough on you.” After a few seasons, Frann rebelled a bit against her restrictive “straight man” role by relentlessly mugging whenever she was on-camera. Sadly, her efforts had the opposite effect; Newhart would subtly distance himself from her and the camera would follow him.

4. BOB NEWHART AND TOM POSTON WERE OLD FRIENDS.

Tom Poston was a longtime personal friend of Bob Newhart’s who would occasionally pop up on The Bob Newhart Show as Bob’s old college roommate and partner-in-juvenile-pranks, “The Peeper.” Poston landed a regular co-starring role on Newhart as George Utley, the seemingly bumbling handyman who also exhibited unexpected moments of brilliant insight. Barry Kemp originally had Jerry Van Dyke in mind for the role of George, but in the end Newhart convinced Kemp that Poston, whose trademark was subtly underplaying a character, was a better overall fit for the character than Van Dyke’s broad style of comedy.

5. LARRY, DARRYL, AND DARRYL ARRIVED SOONER ON THE SCENE THAN YOU MAY REMEMBER.

The trio of backwoodsmen known as Larry, Darryl, and Darryl actually made their first appearance in the series’ second episode. Dick hired their “company,” Anything for a Buck, to unearth the 300-year-old body of a woman buried in the Stratford Inn’s basement. The audience’s reaction to the brothers did not go unnoticed by Newhart and co-creator Kemp, and they were one of the first additions to the regular cast when Newhart underwent a makeover after season two.

6. THE SHOW WASN’T AFRAID TO MAKE RADICAL CHANGES.

Newhart was one of the rare shows that actually improved after a major retooling and the addition of several new characters. Newhart himself has said that, in hindsight, part of the problem with the first two seasons was that there were two characters that weren’t really working: Kirk Devane (the owner of the Minuteman Café, played by Steven Kampmann) and Leslie Vanderkellen (the Stratford’s original maid, played by Jennifer Holmes). Holmes was the first casualty; her Leslie was a student at Dartmouth who was also an Olympic-caliber skier, and was frankly just too nice to be funny, so she was let go at the end of season one. Kirk’s shtick as a pathological liar became a little too one-note, and his lustful pursuit of Leslie had nowhere to go after her character was axed. The writers tried a few different story lines for Kirk, but nothing seemed to click and Kampmann’s contract was not renewed for season three.

The characters weren’t the only thing to change on Newhart. At the beginning of season two, they began recording the show on film rather than videotape (at Newhart’s request). Season three brought several more major changes, including the addition of brothers Larry, Darryl, and Darryl as the new owners of the Minuteman Café, and Leslie’s vain, spoiled cousin Stephanie Vanderkellen (Julia Duffy) as the hotel’s reluctant new maid.

The writers also decided that there weren’t unlimited laughs to be found in the publishing world, so in addition to writing how-to books, Dick Loudon began hosting a local talk show, Vermont Today. The producer of that show was uppity yuppie Michael Harris, played by Peter Scolari. The quirky new characters combined with the oddball talk show guests gave Newhart an element of surrealism reminiscent of Green Acres, and the previously middling ratings steadily improved.

7. THE STARS KNEW HOW TO GET THE AUDIENCE TO LAUGH WITH THEM AND AT THEM.

Unlike most sitcom stars, Newhart preferred to go out and do his own audience warm-up before each episode was filmed. It helped him keep in touch with his stand-up roots and relieved any pre-show jitters. Tom Poston had his own crowd-bonding ritual: he would purposely blow a line in his first scene and then utter an expletive. The studio audience would roar with laughter, and he would consider them sufficiently “loose” enough to appreciate the rest of the show.

8. “LARRY” WORE A LUCKY QUARTER IN HIS EAR.

William Sanderson, who played Larry, graduated from Memphis State University with a BBA and JD, but the acting bug bit him before he sat for the bar exam. Despite this educational pedigree, Sanderson remained very much a good ol’ Memphis boy at heart. While working on Newhart he sipped Jack Daniels and read the Bible in his dressing room between takes, and he constantly chewed tobacco. He had a habit of leaving his spittle cups all over the set, to the disgust of his co-workers.

The part of Larry was actually written with veteran character actor Tracey Walter in mind, but Walter was asked to audition for the role and in the end Sanderson (who had worked with Walter in Coal Miner’s Daughter) managed to steal the part away from him. Sanderson partially attributed his success to the lucky coin he’d worn in his ear at the audition (and which he continued to wear while in character), because he’d done the same when he had auditioned for Coal Miner’s Daughter.

9. THE DARRYLS WEREN’T ALLOWED TO SPEAK TO THE PRESS.


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Tony Papenfuss (First Darryl) and John Voldstad (Second Darryl) are both classically trained actors who had years of stage experience on their resumes when they landed their Newhart parts. Both actors’ agents actually advised them against accepting the roles, since they were non-speaking parts. (Did they mind never getting to talk? “They never said anything to me about it,” Sanderson told PennLive.com in 2015.) One aspect the duo was less enthusiastic about was the fact that MTM Enterprises, who owned the characters, would not let the actors appear in public in character, nor were they allowed to talk to the press.

10. ART IMITATED LIFE IN AT LEAST ONE EPISODE.

Steven Kampmann lived in Vermont for several years after graduating from the University of Pennsylvania. While still working on Newhart, he talked to the writers about an article he’d read in the Burlington Free Press about recent UFO sightings in Richford, Vermont. That news story was the basis for the season one episode entitled “Heaven Knows Mr. Utley.” Interestingly enough, that area of Vermont is still reportedly being visited by extra-terrestrials.

11. BOB NEWHART PREFERRED A LESS IS MORE APPROACH.

Bob Newhart was reportedly as laid back in real life as his character appeared to be on the show. Watch carefully and you’ll notice that in most scenes he remains fairly stationary, either standing behind the check-in desk or sitting down on the sofa. He preferred to let the other cast members do all the walking around; the less he had to do, other than delivering his lines, the better. He also didn’t waste time once the final “Cut!” was called; he traditionally left the set once filming wrapped and headed straight for home while still wearing his stage wardrobe. Someone from the wardrobe department would stop by the Newhart home later and collect “Dick’s” clothes and return them to the studio.

12. NEWHART’S WIFE WAS ALLEGEDLY THE GENIUS BEHIND THAT CLASSIC CLOSING SCENE.

Newhart writer Dan O’Shannon has gone on record disputing the story, but both Bob Newhart and Suzanne Pleshette have explained the genesis for the final episode as follows: At the end of season six, Bob Newhart was seriously considering calling it quits with the series. He was unhappy with CBS over several issues and felt that he and his crew weren’t being treated fairly. He and his wife, Ginny, were at a Christmas party when he finally voiced his intention to quit aloud. Ginny quickly suggested that he should end the show on a dream sequence, since there were so many inexplicable things about the show: “You should wake up in bed with Suzy and explain that you’d had a dream about owning an inn.”

As luck would have it, Suzanne Pleshette was at the same party and Bob was able to discuss the idea with her later that evening. She immediately agreed, but ended up waiting two more years to do it since Newhart settled his issues with CBS and stayed with the show for two more seasons.

13. THE CLOSING SCENE WAS THE RESULT OF A MASTERFUL STEALTH OPERATION.

The filming of that classic scene in the series finale was conducted with the utmost secrecy. A fake final act was written and included in the script given to the rest of the cast. The Hartleys’ Chicago bedroom set was built on a separate stage and Suzanne Pleshette was confined to a dressing room for six hours so that no one would see her. There was no rehearsal for scene, and the rest of the cast wasn’t let in on the secret until 20 minutes before it was actually filmed. After that slice of television history was in the can, Suzanne slipped out quietly without attending the wrap party, even though she had been invited. She later stated that she would have felt uncomfortable, particularly around Mary Frann, since that concluding scene basically negated every previous episode of the series.

Additional sources: Chicago Tribune, February 3, 1985 Orange Coast Magazine, February 1987 Emmy TV Legends interview with Suzanne Pleshette
Telephone interview with Terry Bolo, Julia Duffy's stand-in for six seasons

17 Funny Facts About Schitt's Creek

Pop TV
Pop TV

Schitt’s Creek is a classic fish-out-of-water story: After they lose their entire video store fortune to the government because their business manager hasn't been paying their taxes, the Rose family—parents Johnny (Eugene Levy) and Moira (Catherine O'Hara) and their adult children David (Daniel Levy) and Alexis (Annie Murphy)—head to the only asset the government has allowed them to keep: the town of Schitt’s Creek. The cosmopolitan Roses, who had purchased the town as a joke, move in to the local motel, where they share two adjoining rooms; they stick out like sore thumbs in their new home.

But at its heart, Schitt’s Creek is a show about family. “We’ve used a fish out of water scenario to help dramatize that story,” co-creator and star Daniel Levy told Assignment X, “forcing them into a motel room and ... examining what it means to be a family and what relationships are and having the time to concentrate and focus on who they are to each other and what they mean to each other.” Here are a few things you might not have known about the series.

1. Reality TV inspired some elements of Schitt's Creek.

Annie Murphy as Alexis Rose and Jennifer Robertson as Jocelyn Schitt in Schitt's Creek.
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Daniel told Out in 2015 that “It really just started with me being in Los Angeles, knowing that I wanted to write. I had been watching some reality TV at the time and was concentrating on what would happen if one of these wealthy families would lose everything. Would the Kardashians still be the Kardashians without their money?”

Annie Murphy recounted at 92Y Talks in 2018 that she looked to the Kardashians for inspiration for her character. “I watched a bunch of clips—YouTube clips, because I couldn’t bring myself to watch entire shows—of, you know, Kardashians and that kind of thing” for some of Alexis’s tone and mannerisms, including the particular way she holds her hands, she explained. “When they hold their handbags, they hold their purses [on their arms] with their broken wrist this way,” Murphy said, pantomiming someone holding a bag with their hand hanging limply, palm up. For Alexis, she flipped her wrist so that her hand was hanging palm down (you can see it in action here).

2. Schitt's Creek is a family affair.

To flesh out his idea, Levy turned to his dad, frequent Christopher Guest collaborator (and American Pie star) Eugene. The two had never worked together before; in fact, pre-Schitt’s, Daniel had been adamant about doing his own thing. “People are so quick to judge children of people in entertainment,” he told Assignment X. “I just thought, if nobody knows the association and I’m able to build something for myself, then I can introduce my dad—when people actually respect me for what I’ve done, as opposed to snap-judge why I got the job or what I was doing.”

Why go to him for Schitt’s? As Daniel explained to NPR, he had seen the family-loses-it-all idea “played out on mainstream television and sitcoms, but I'd never really seen it explored through the lens of a certain style of realist comedy that my dad does so well. So I came to him and pitched the idea and asked him if he would be interested at all in just fleshing it out and seeing if there was anything there. And fortunately, there was some interest and we started talking.”

Eugene told The New York Times that he was thrilled to have the chance to collaborate with his son: “My heart was actually palpitating. You could see it over my shirt.”

(Eugene and Daniel aren't the only Levys on the show, either: Sarah Levy, daughter of Eugene and sister of Daniel, also appears on Schitt’s Creek as Twyla Sands, the lone waitress at the town’s most happening diner, Cafe Tropical.)

3. Eugene Levy came up with the title Schitt's Creek.

“It was actually just out of coincidence really," Daniel told Out. "He was having a dinner conversation a few weeks prior, about this theoretical town of Schitt's Creek: You would have Schitt Hardware and Schitt Grocers." When they were researching ways that people had lost their fortunes, they came across stories of people who had bought towns for various reasons and later ended up bankrupt. “We thought, well, what if this family, as a joke for the son's 16th birthday, found this town called Schitt's Creek, bought it as a joke because of the name and then ended up having to live there?” Daniel said.

The show’s name can make promotional tours interesting: Not all TV or radio outlets can say it, for fear of being fined for using profanity. On The Late Show with Stephen Colbert, for example, the name of the show has to appear on screen every time it’s spoken aloud.

4. Annie Murphy also auditioned for the role of Stevie Budd.

At a 92Y Talks discussion in 2016, Murphy revealed that she auditioned for both Stevie Budd—the deadpan concierge at the Schitt’s Creek motel where the Roses make their home—and Alexis, the self-centered socialite character she would eventually play. “I’ve never worked so hard at an audition in my life,” she said. “I made my husband rehearse it with me just into the ground.”

In the presentation pilot—which is meant to secure a season order and not destined to air on TV—Alexis had been played by Abby Elliott, who couldn’t continue on the show because of another project. So auditions were held in Los Angeles, where Daniel said they saw “hundreds” of people for the role.

“There had to be some kind of intrinsic likeability to this family, otherwise there’s really no reason to watch—because on paper they’re not very likeable,” he said. “I had been sitting through two days of auditions, and you see these girls come in and they’re dressed like Paris Hilton and they’re playing that part, which was essentially the part that was written on paper. But what I was looking for was what Annie brought in, which was this wonderfully natural likeability to this girl who is so unlikeable, who is so, like, horrifyingly self-involved … It all kind of fell into place, and I called my dad and said ‘I found Alexis, thank god.’”

But Eugene’s immediate response, according to Daniel, was that Murphy had brown hair, unlike the blonde vision of Alexis he had in his head from the pilot. So they had Murphy read for Stevie, because, Daniel said, “I’m not not having her on the show.” When Murphy landed the role of Alexis, she dyed her hair blonde, and Emily Hampshire was cast as Stevie (who had been played by Lindsay Sloane in the pilot).

5. Emily Hampshire doesn't remember anything about her audition.

Emily Hampshire as Stevie Budd in Schitt's Creek.
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When she got the audition for Schitt's Creek, Hampshire was living in L.A. and going through a rough time. "I literally had $800 in my bank account, hadn't worked in a year, was getting a divorce," she tells Mental Floss.

To make matters worse, she was also breaking out into hives when she went out on auditions. So when her agent called about Schitt's, Hampshire said she absolutely couldn't go read in person; what she could do instead was put herself on tape. But at her agent’s insistence, Hampshire went in to audition in front of Daniel and a casting director—and it was a memorable experience for everyone involved but her: Hampshire says she doesn't remember any of it.

Thankfully, Levy does. “Emily came in and immediately said, ‘I’m sorry, this is going to be terrible,’” he recalled at 92Y Talks in 2018. “She did it, and it was great, and I remember saying … ‘Why don’t we just try it where she gets a little more kick out of these people. She’s not just judging them, she’s like, enjoying them, too.’ So she did it again, and you can tell when it clicks … and I remember saying, ‘Great, we’re good,’ and she was like, ‘no, it was—oh god, it was terrible, it was so bad.’” Then, she covered her head with her shirt to hide. Hampshire doesn’t remember that part, either, but, said Levy, “I remember it fondly.”

6. Stevie is the audience's stand-in.

“The character of Stevie has always acted as the eyes of the audience," Daniel said during a 92Y Talks in 2018. "She is the person who is going to say the things that the audience is probably saying to each other while watching it. And I think it’s always important to have that one character on the show that you can trust.”

That was something that resonated with Hampshire. "I think what I connected to in Stevie is that she really stands in for the audience in a way," Hampshire says, "and I felt like I just had to watch these people around me and take them in in an honest way and it would be funny."

In the character breakdown she received when she auditioned, Hampshire says that Stevie was described as "being from a small town, and she's very deadpan." But over the course of four seasons, Stevie has evolved. In season one, Hampshire says, "I don’t think she had any attachment to the motel or to anyone—on purpose. To not be attached or kind of be emotionally invested in anything is a much safer place to be. Over four seasons, she has opened up. I think Stevie grows up a lot this season and really learns to take responsibility for things that I don't think she ever wanted to take responsibility for."

In the fourth season, viewers will see how deep Stevie and David's friendship is, and her partnership with Johnny in running the motel gives her "a new support system that allows her to bloom into whatever kind of special thing she's going to become," Hampshire says.

7. Catherine O'Hara brought something special to the character of Moira Rose.

It was Eugene who suggested O’Hara—his frequent collaborator in Guest’s mockumentaries—for the part of Moira Rose. “I was not going to say, ‘No, that’s not a good idea,’” Daniel told The New York Times. “When he offers up Catherine O’Hara, you take it and run with it.”

And Moira’s eccentricities are all O’Hara’s doing. “We always knew Moira was an actress, an ex-soap star, who became a socialite, chairing major charity events around the world,” Eugene told The Hollywood Reporter. “But Catherine, who always brings something so creative to the table, added a very extreme affectation to her actress character that made Moira so much funnier than we had imagined her.”

O’Hara told Awards Daily that her character’s voice is “kind of a mix of people I’ve met. There’s one woman who’s very feminine and lovely. She just has a unique way of putting sentences together.” Inspiration can come from other sources, too: In the Season 3 episode “New Car,” O’Hara at one point had to use a British accent. “There’s a woman on Sirius radio who claims to be a dog whisperer or pet psychic. Have you heard this woman?” she asked Awards Daily. “That’s basically the accent I’m doing.”

8. Moira's aesthetic is based on Daphne Guinness.

Eugene Levy as Johnny Rose and Catherine O'Hara as Moira Rose in Schitt's Creek.
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“Catherine came in with a reference, when we first started exploring what the aesthetic of this strange woman would be, and she brought in a picture of Daphne Guinness, who is the heir to the Guinness fortune,” Daniel said at 92Y Talks in 2018. “And she was a McQueen muse, and I looked at it, and I said ‘How do we translate this to television?’ And we thought if we kept it in black and whites and went just far enough, I think we can sort of rein it in.”

Moira’s over-the-top looks (which include a number of wigs that, according to Hampshire, have names) are created by Dan and Debra Hanson. “They shop all year because these characters have to have extremely high-end, designer wardrobes, but [the Roses] don’t have that money anymore,” O’Hara told Awards Daily. “I’ve never enjoyed wardrobe fittings in my life until now!”

9. The wardrobe on Schitt's Creek tells a story.

“Dan plays a big hand in the costuming, along with the costume designer Debra Hanson, who is amazing,” Murphy told Build. “Catherine and I do hours and hours of fittings before we start shooting. And I’ll come out of the room and Dan will be like, ‘Mm mm,’ and send me back in.”

After joking that that “makes me sound crazy,” Daniel said that “the mandate, from a creative standpoint … was that the wardrobe on this show is able to tell a story that we don’t have to write … we’re constantly reminded of who these people are and where they came from.”

Because the show is on a tight budget, lots of the wardrobe, he said, comes from eBay and thrift stores. Levy told Vulture in 2019 that all the clothes have to come from around the time when the Roses lost their money—and that the most he'll pay for any item is $200.

10. The location of Schitt's Creek is purposefully ambiguous.

Schitt’s Creek is a Canadian production, and the Rose family had a place in New York, but when people ask him where the town of Schitt’s Creek is located, Eugene says that he tells them it’s wherever they think it should be. “We didn’t set Schitt’s Creek in any location or any country, it’s just Schitt’s Creek,” he said at 92Y Talks in 2016. “We honestly wanted the focus of the show to be on this town, and if you put it in a country with real states or put it in a country with real provinces, then things become tangible … it kind of diffuses the focus to me.”

11. There's not a lot of improv on the Schitt's Creek set.

That fact might surprise fans of Eugene and O'Hara’s work on Guest films like Waiting for Guffman and Best in Show, where the cast works from an outline of the action with no dialogue rather than a traditional script. “[Schitt’s] is completely a scripted show, but we do an awful lot of playing around with the lines when we get to the set,” Eugene told The Hollywood Reporter. “What looked good on paper doesn’t always play when you hear the words out loud. So, we do change things until they end up sounding right.”

“When we get the script, I kind of work on it on my own and play with it then,” O’Hara told Awards Daily. “The Levy gentlemen give me respect, and I respect them and email them with possibilities. I don’t feel the need to improvise because our scripts are great.”

Which is not to say that everything is shot as written: Levy said at 92Y Talks in 2018 that Murphy’s “you get murdered first!” from the pilot episode was improvised.

12. The baseball team in the town where Schitt's Creek films changed its name to honor the show.

Schitt’s Creek films in Canada, in Goodwood, Ontario. “We did dingy up the town tremendously,” Daniel told NPR. “It is a lovely town that we had turned into the town of ‘Schitt's Creek.’”

All of the show's interiors are shot at a studio, but the buildings are actual structures in Goodwood, dressed to look like Schitt's Creek. According to Hampshire, many of the buildings are on a single intersection. "There’s Bob’s Garage, which is a garage, but we put a sign up, and then the café and the apothecary are stores," Hampshire says. "When we shoot there, we make them into our stores." The motel was, at one point, actually a motel. "It’s been since turned into this basketball boys club sleeping quarters camp thing," she says. "When we go in, it really smells like a locker room."

In the first season, locals set up lawn chairs to watch filming and wandered through shots; by the second season, Eugene told 92Y Talks in 2016, they were “proud citizens of Schitt’s Creek.” The town seems to have embraced its alter ego, as evidenced by the actions of its minor league baseball team. “They had a minor league kind of baseball team there that actually changed their name from the Goodwood Bears to the Schitt's Creek Bears for an entire month,” Eugene told NPR.

13. When it comes to Schitt's Creek, Daniel Levy leaves no detail unconsidered.

And that includes the wear and tear on the carpets in the mote. “In my head it’s like, ‘We should all know that they don’t vacuum their carpets all the time,’” Levy told GQ in 2019. "These are lived-in carpets. We’re in a motel. If we’re going to vacuum the carpets, which I know has to be done, we also need to scuff them up a bit after." He does all the scuffing himself: "It’s in the details for me, and when the details aren’t executed perfectly, I get a bit … ornery," he said. (But Daniel doesn't bring that energy to set: "It’s crazy how comfortable he is doing this, how calm and confident he is running the show," O'Hara told GQ.)

14. Chris Elliot makes Eugene break constantly.

Eugene Levy as Johnny Rose and Chris Elliott as Roland Schitt in Schitt's Creek.
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According to Murphy, Eugene “giggles like a schoolboy” in scenes with Chris Elliot, who plays Schitt’s Creek Mayor Roland Schitt. “He’s got my number,” Levy said in an interview with Build. “He’s constantly making me laugh on set … He does it intentionally, of course, and he actually succeeds.”

One scene in the show’s third season was particularly tough to get through and resulted in hours of outtakes: “[Chris] gets in kind of behind me, trying to show me how to hold a [golf] club properly,” Levy recalled. “That’s one of the times I think I laughed the hardest in the three seasons, was trying to get through that scene.” He couldn’t stop laughing and was eventually admonished by the director. (They did eventually get the shot.)

15. Cafe Tropical's menu is Murphy's favorite prop.

Jennifer Robinson as Jocelyn Schitt and Catherine O'Hara as Moira Rose in Schitt's Creek.
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Cafe Tropical’s huge menu is often played for laughs on Schitt’s Creek, and it’s Murphy’s favorite prop on the show. “I wish everyone could see the inside of the menu because it’s very detailed and there’s literally every dish you could possibly imagine,” Murphy said at 92Y Talks in 2018. “There are literally 150 things you could order on this menu, and they’re all described.” The props department couldn’t find a big enough real-life menu, so they ended up creating massive ones in a custom size.

16. Hampshire regularly borrows Stevie's clothes.

With her Chucks, flannels, and overalls, Stevie easily has the most comfortable wardrobe on Schitt's Creek. It's so comfortable, in fact, that Hampshire often borrows items to wear on her time off. "I always take this one pair of Stevie’s jeans that I love—they’re like the perfect baggy boyfriend roll-up jeans," Hampshire says. "I take hoodies. I actually take Stevie’s Converse because they’re better than my exact Converse for some reason. I always take her stuff, which Dan doesn't understand at all. He’s like, 'What is there to take? Like, why would you ever borrow this stuff?' But for some reason, the wardrobe women, they just find the perfect hoodie or the perfect jean—so I take those."

17. Season 6 of Schitt's Creek will be its last.

Daniel announced the news on Twitter in a letter written by himself and Eugene. "We are so grateful to have been given the time and creative freedom to tell this story in its totality, concluding with a final chapter that we had envisioned from the very beginning," they wrote. "It’s not lost on us what a rare privilege it is in this industry to get to decide when your show should take its final bow. We could never have dreamed that our fans would grow to love and care about these characters in the ways that you have.” The final season, which will consist of 14 episodes, will air on the CBC and Pop in 2020.

This piece was updated in 2019.

Batmania: When Batman Ruled the Summer of 1989

JD Hancock, Flickr // CC BY 2.0
JD Hancock, Flickr // CC BY 2.0

“Flop” is how marketing research group Marketing Evaluation Inc. assessed the box office potential of the 1989 Warner Bros. film Batman. The big-budget production, directed by Tim Burton and co-starring Michael Keaton as Batman and Jack Nicholson as the Joker, was expected to be one of the rare times a major Hollywood studio took a comic book adaptation seriously. But according to the marketing data, the character of Batman was not as popular as the Incredible Hulk, who was then appearing in a slate of made-for-television movies. And he was only a quarter as appealing as the California Raisins, the claymation stars of advertising.

That prediction was made in 1988. The film was released on June 23, 1989, and went on to gross $253.4 million, making it the fifth most successful motion picture up to that point.

While Marketing Evaluation may have miscalculated the movie’s potential, they did hedge their bet. By the time profits from the movie’s merchandising—hats, shirts, posters, toys, bed sheets, etc.—were tallied, the company said, Warner Bros. could be looking at a sizable haul.

When the cash registers stopped ringing, the studio had sold $500 million in tie-in products, which was double the gross of the film itself.

In 1989, people didn’t merely want to see Batman—they wanted to wear the shirts, eat the cereal, and contemplate, if only for a moment, putting down $499.95 for a black denim jacket studded with rhinestones.

Batmania was in full swing. Which made it even more unusual when the studio later claimed the film had failed to turn a profit.

 

The merchandising blitz of Star Wars in 1977 gave studios hope that ambitious science-fiction and adventure movies would forever be intertwined with elaborate licensing strategies. George Lucas's space opera had driven audiences into a frenzy, leading retailers to stock up on everything from R2-D2 coffee mugs to plastic lightsabers. It was expected that other “toyetic” properties would follow suit.

They didn’t. Aside from 1982’s E.T., there was no direct correlation between a film’s success and demand for ancillary product. In 1984 alone, Gremlins, Ghostbusters, and Indiana Jones and the Temple of Doom were smash hits. None of them motivated people to flock to stores and buy Gizmo plush animals or toy proton packs. (Ghostbusters toys eventually caught on, but only after an animated series helped nudge kids in their direction.)

Warner Bros. saw Batman differently. When the script was being developed, producers Jon Peters and Peter Guber were urging writers to make sure scenes were aligned with planned merchandising. They scribbled notes insisting that no onscreen harm come to the Batmobile: It should remain pristine so that kids would want to grab the toy version. As Batman, millionaire Bruce Wayne had a collection of vehicles and gadgets at his disposal—all props that could be replicated in plastic. Batman's comic book origins gave him a unique iconography that lent itself to flashy graphic apparel.

In March 1989, just three months before the film's release, Warner Bros. announced that it was merging with Time Inc. to create the mega-conglomerate Time-Warner, which would allow the film studio to capitalize on a deep bench of talent to help drive the “event” feel of the film.

Prince was signed to Warner's record label and agreed to compose an album of concept music that was tied to the characters; “Batdance" was among the songs and became a #1 hit. Their licensing arm, Licensing Corporation of America, contracted with 300 licensees to create more than 100 products, some of which were featured in an expansive brochure that resembled a bat-eared Neiman Marcus catalog. The sheer glut of product became a story, as evidenced by this Entertainment Tonight segment on the film's licensing push:

In addition to the rhinestone jacket, fans could opt for the Batman watch ($34.95), a baseball cap ($7.95), bicycle shorts ($26.95), a matching top ($24.95), a model Batwing ($29.95), action figures ($5.95), and a satin jacket modeled by Batman co-creator Bob Kane ($49.95).

The Batman logo became a way of communicating anticipation for the film. The virtually textless teaser poster, which had only the June 23 opening date printed on it, was snapped up and taped to walls. (Roughly 1200 of the posters sized for bus stops and subways were stolen, a crude but effective form of market research.) In barber shops, people began asking to have the logo sheared into the sides of their heads. The Batman symbol was omnipresent. If you had forgotten about the movie for even five minutes, someone would eventually walk by sporting a pair of Batman earrings to remind you.

At Golden Apple Comics in Los Angeles, 7000 packs of Batman trading cards flew out the door. Management hired additional staff and a security guard to handle the crowds. The store carried 36 different kinds of Batman T-shirts. Observers compared the hysteria to the hula hoop craze of the 1950s.

One retailer made a more contemporary comparison. “There’s no question Batman is the hottest thing this year,” Marie Strong, manager of It’s a Small World at a mall in La Crosse, Wisconsin, told the La Crosse Tribune. “[It’s] the hottest [thing] since Spuds McKenzie toward the end of last year.”

 

By the time Batman was in theaters and breaking records—it became the first film to make $100 million in just 10 days, alerting studios to the idea of short-term profits—the merchandising had become an avalanche. Stores that didn’t normally carry licensed goods, like Macy’s, set up displays.

Not everyone opted for officially-licensed apparel: U.S. marshals conducted raids across the country, seizing more than 40,000 counterfeit Batman shirts and other bogus items.

Collectively, Warner raked in $500 million from legitimate products. In 1991, the Los Angeles Times reported that the studio claimed only $2.9 million in profit had been realized from merchandising and that the movie itself was in a $35.8 million financial hole owing to excessive promotional and production costs. It was a tale typical of creative studio accounting, long a method for avoiding payouts to net profit participants. (Nicholson, whose contract stipulated a cut of all profits, earned $50 million.)

Whatever financial sleight-of-hand was implemented, Warner clearly counted on Batman to be a money-printing operation. Merchandising plans for the sequel, 1992’s Batman Returns, were even more strategic, including a tie-in agreement with McDonald’s for Happy Meals. In a meta moment, one deleted script passage even had Batman’s enemies attacking a toy store in Gotham full of Batman merchandise. The set was built but the scene never made it onscreen.

The studio was willing to give Burton more control over the film, which was decidedly darker and more sexualized than the original. Batman Returns was hardly a failure, but merchandising was no longer as hot as it was in the summer of 1989. Instead of selling out of shirts, stores ended up marking down excess inventory. McDonald’s, unhappy with the content of the film, enacted a policy of screening movies they planned to partner with before making any agreements. By the time Warner released 1995’s Batman Forever, the franchise was essentially a feature-length toy commercial.

It paid off. Licensing for the film topped $1 billion. Today, given the choice between a film with Oscar-level prestige or one with the potential to have its logo emblazoned on a rhinestone jacket that people would actually want to buy, studios would probably choose the latter. In that sense, the Batmania of 1989 endures.

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