what have we always said is the most important thing? breakfast. family. family. yeah. family is key to the sitcom mama! it s something that we all can relate to. shake, shake, shake up the in these people s homes for years. you re a part of the family. one good thing about moving here is i have no friends and no distractions. that s why i got all grandma, what does fonzie say? hey. the family sitcom brings people together in a really unexpected way. there s so many different dynamics at work in families. i want you here. it will give us a chance to get reacquainted. that implies we are acquainted at one point. there s a lot of pain. a lot of laughter. you sort of recognize your dynamic in there and go well, their family s just as crazy as mine. i don t care who kissed who and who s got a pimple on her head and who is wearing an outrageously inappropriate dress. we are going to get together and act like a normal family for one tenth of
kramer: take one! jerrrry: no! krkramer stop p it! jajason alexanander: and boom, ththere you gogo, a situtuation comemedy. sheldodon: bazingaga! tim allelen: this twtwenty -t-three minututes of magic. lucycy: it s soo tasty, too! tracy morgan: you fell in love with these characters. arnold: whwhat chu talkin about willllis? geri jewell: we need to laugh at ourselves. joey: yoyou hide my y clothe, i m wearining everything you ow. constance e wu: lalaughter o opens you u u. haley:y: okay ready? sururpri! [screamingng and chaosos] mara b brock akil:l: the thinings that wewe might bee afraid to o talk aboutut. bobow: some pepeople thatt were supposed to protectct us d didn t do the right t thing. tim reid: like racism. son: so ththe cops are the babad guys? dre: yeses. bow: n no. kim m fields: clclass wars ralplph: money!! i m a a millionairire. dadan levy: anand gender diverersity. sarah:h: dad? mamaura: hi girls.s. ted dansnson: you cacan reach id rereally touchch people s
jerry: where d you get those? kramer: the machine. you want one? jerry: no. henry winkler: you come home, turn on that television. kramer: take one. jerry: i don t want one! kramer: no there good. jerry: i don t want it. henry winkler: what do you want? you want comedy. kramer: take one! jerry: no! kramer stop it! jason alexander: and boom, there you go, a situation comedy. sheldon: bazinga! tim allen: this twenty -three minutes of magic. lucy: it s so tasty, too! tracy morgan: you fell in love with these characters. arnold: what chu talkin about willis? geri jewell: we need to laugh at ourselves. joey: you hide my clothes, i m wearing everything you own. constance wu: laughter opens you up. haley: okay ready? surprise! [screaming and chaos] mara brock akil: the things that we might be afraid to talk about. bow: some people that were supposed to protect us didn t do the right thing. tim reid: like racism. son: so the cops are the bad guys? dre: yes. bow: no. kim fields: cla
jim: ah. a quiet evening at home. i could use it. [slam] billy gray: and i played bud. bud usually had a problem with the truth telling, on some level. jim: what was all that racket upstairs? bud: i didn t hear anything. billy gray: father knows best represented the good life; the american dream. jim: i ll read you one story, then off to bed you go. bob: and then leave it to beaver enters the sitcom realm in 1957. wally: what s that? beaver: a haircut i think. tony dow: the real key to leave it to beaver is that it s written from a child s point of view. wally: why didn t you let stanley cut your hair? beaver: i losted my money. jerry mathers: you have the character of beaver and you have wally his older brother who usually does things right, beaver s always the one that gets in trouble. june: [gasps] marisa guthrie: and there were the parents to teach them, to show them the right path. ward: we want you to feel that you can come to me or to your
jim: ah. a quiet evening at home. i could use it. [slam] billy gray: and i played bud. bud usually had a problem with the truth telling, on some level. jim: what was all that racket upstairs? bud: i didn t hear anything. billy gray: father knows best represented the good life; the american dream. jim: i ll read you one story, then off to bed you go. bob: and then leave it to beaver enters the sitcom realm in 1957. wally: what s that? beaver: a haircut i think. tony dow: the real key to leave it to beaver is that it s written from a child s point of view. wally: why didn t you let stanley cut your hair? beaver: i losted my money. jerry mathers: you have the character of beaver and you have wally his older brother who usually does things right, beaver s always the one that gets in trouble. june: [gasps] marisa guthrie: and there were the parents to teach them,