Talking 9 to 5: The TV Series with The Kulturecast's Chris Stachiw

Episode Transcript
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(00:00):
Babies Dance Pretty the City. Hello, and welcome to eighties TV ladies,

(00:20):
part of the weirding Way Media Network. I'm your producer, Melissa Roth,
and here are your hosts, SharonJohnson and Susan Lambert Adam. Why hello
there, I'm Susan and I'm Sharon. Today we are looking at an unexpected
television show for us, because untiljust a few months ago when we were

(00:40):
doing some research, neither Susan norI realize this sitcom ever existed. That's
right, at least I didn't.Who knew. The massive comedy hit feature
film Nine to five, which alsofeatures the even more famous nine to five
Dollar parton hit song written for thatfilm, also spawned a sit com.
Yes, today we will be talkingabout the nine to five television series,

(01:06):
and our special guest is fellow popculture podcaster and a huge friend of the
pod Chris Dashu. Chris is thecreator and podcaster of The Culture Cast and
several other television, movie and supernaturalpodcasts. He is co owner, along
with Mike White, of the ProjectionBooth of weirding Way Media. From the

(01:26):
get go, Chris has been ahuge supporter and advisor to me and to
our show, we'll be talking aboutChris and his podcast, as well as
the nine to five TV show andmovie and Jane Fonda's producing career. Welcome
to eighties TV ladies, Chris Stashu, Hi, thank you for having me.
It is such a pleasure to haveyou on the show today. I'm

(01:48):
excited to be here. For themost part, I feel like like it's
weird because this is a bas offof a movie. Things that are based
off of movies tend to have kindof a weird aura of energy around them,
especially things where like everybody has recast. So it's very It's an interesting
situation with this show, and I'mexcited to talk about it me too.

(02:08):
And we're recording some crossover shows withyou, which we think will be super
fun. We're like doing what theydid in the eighties with like Simon and
Simon and Magna Pi, and we'regonna hope that it'll be super fun for
our listeners on both podcasts. Yeah, we're gonna be covering well the movie
that this show talks about, andthen China Syndrome, All of Me,

(02:31):
and then clearly the best of thethree left for last, the Best Little
Horehouse in Texas. The true thatthe piece to resistance of the four clearly
for a reason. Yeah, it'salways important to save the best for last.
Yeah, best is an interesting term. All right, Before we get

(02:51):
into nine to five, let's talkfor a moment about you. Sure,
tell us a little bit about yourself. Where you grew up, where you're
zooming in from now. So I'moriginally from I was born in San Francisco,
but I grew up in North Texasand now I live in the Midwest,
in the great City of Lincoln inthe state of Nebraska. And this
is what I do for a livingis podcasting, and y'all are part of

(03:14):
the y'alls Giveaway where I was.Y'all are part of the weirding Way Network,
which is what I do for aliving, running, managing, and
then creating more content than I knowwhat to do with over there weirding Way
Media, where you can find thisshow and so many other shows, including
like Susan mentioned the show where wehave a crossover episode coming up with the
three of us, and then Susan, you and I did an episode with

(03:37):
Richard where we talked about China syndrome, and then a couple other just kind
of random episodes, kind of justtouching more on the careers of the women
in the film that this show we'regonna be talking about is based on.
So that's what I do. Ijust sit and run my mouth all day.
Sounds like gig. Sounds like,hey, it's a good gig,

(03:58):
all right. Tell us a littlebit about your podcast, The Culture Cast.
How that happened? How did ithappen? Well, one evening I
was watching a movie, as Itend to do on the weekends, and
friend of mine reached out to meand was like, hey, do you
want to do a podcast? AndI had here, here's some information eight
years ago. I had no podcastbackground or knowledge or anything, and so

(04:18):
I was relying on someone else toedit my show, and then that person
became immensely unreliable and I had tolearn how to edit a show pretty much
on the fly. It ended upbeing like a nine hour episode about the
Teenagement, Ninja, Turtles, movies, all of them, and we had
a whole bunch of interviews. Itwas not the best time to start,
kind of the movie podcast of yourdreams, but that's kind of the day

(04:41):
I started the show myself, andso the Culture cast has been running now
since October of twenty fourteen, andso that would put it at nine years
this fall. And then in doingthe show, I've met a whole lot
of other people, including the Projectionbooths Mike White, which is the the
kind of more educational version of myshow, where I like to call my

(05:02):
show the totally less serious version ofhis show, because his show is very
much edutainment, a docu audio seriesabout films that goes way more in depth
than most people should, but it'sreally received by the audience that it's found,
And so I found Mike. Wework on all kinds of things together,
like well, a lot of seventiesTV show podcasts about shows that I

(05:27):
definitely didn't grow up on, likeBarney Miller and Colombo and things people my
age normally aren't watching. I feellike maybe I'm wrong in that regard,
but I kind of have just builta body of work of talking about movies
in TV. And then in twentytwenty, when the pandemic hit, we
kind of transitioned into a paranormal,supernatural true crime podcast and then that arm

(05:54):
kind of has extended out in itsown interesting direction. But I don't know
podcasting is never something I thought Iwould do, but I guess it just
kind of makes sense in a waythe more I think about it. And
I'm glad that I kind of havefound the thing that I like to do
by accident, because most people neverfind it at all. So that's my
story. I've never no one's everasked me. This is like the first

(06:15):
time. I just want to pointthis out. I don't go on other
peoples shows and talk about myself.I am extremely uncomfortable right now talking.
I'm so sorry. No, it'snot a bad thing. I just don't
do it like nobody ever asked.Not that I'm saying, like, please
ask about my life, but it'slike I've never been put on the spot
like that. So thank you.I appreciate it. You're welcome, We're

(06:36):
happy to have you on. We'rehappy to talk to you about this,
and you know you've been a bigfriend of the pod. As it were.
I didn't mention how you and Imet, but we met sideways through
the elephant who's not in the room. Mister Richard had him. He who
talks more than maybe even I do. One might say, I don't know,

(06:59):
I don't know how all your episodestogether are less than four hours.
How they ever end, Richard,we have to stop now what I can't
to keep talking. But that's howSusan and I met was through Richard reaching
out to Mike and I when westarted the first Actually is kind of kind
of funny because Mike and I wekind of became much closer friends by starting

(07:19):
the Coal Check podcast, and that'show Richard met us, and then we
ended up being on speaking of televisionshow from the seventies, we ended up
being on the rerelease of Coal Check. A couple of years ago. We
were on the Blu Ray, whichwas mind blowing in a way. But
if we're sitting here tooting our ownhorn a little bit, I'm gonna get
a little too in for that,because that's that's the thing that I can't

(07:43):
believe if you're asking me about likeall the things I've done and like where
I am at, Like I knowyou're not, but just like getting to
this point just thinking about it,like I'm just glad to be here,
to be able to talk. That'sso cool. And this episode that we're
doing now started because I was suggestingcool female drive eighties movies for you to
watch and maybe cover on your show, and the nine to five film came

(08:05):
up, and you invited us onyour show to talk about the movie with
you, and I liked it alot. It was really fun. Had
you heard of it before and notseen it or was it completely new to
you? I don't know, likeI had heard every Look, everybody's heard
the song, you know. Ithink we said as much on the episode,
like everybody's heard the song, Ithink at this point, So I

(08:26):
mean, look anymore? Like Ifeel like I don't get to watch things
I really want to watch, thingsI need to watch, and if those
things tend to intersect, awesome.If not, I will just watch whatever
I need to watch and I won'tget to watch what I want. It's
fine. It's part of doing this, which is not that big of a
deal. So ultimately, there's likea like a lot of people, there's
a list of things I would liketo watch, and this was on a

(08:48):
very long, ever growing list ofthings to watch. So long answer to
a short question. And in doingthe research on that movie, we discovered
there's a television show which I didn'tknow. I did you know? I
don't think so I must have knownabout it at some point and then quickly
forgot about it, because at thetime that the first season aired, I
would have known what was coming onon all three networks because at the time

(09:11):
they're only three. But it wasclearly not something that I watched or that
stuck in my brain, so Imust just completely forgotten about it. So
the movies on a TV show thathad two seasons on ABC and three seasons
in first run syndication. It ranfor eighty five episodes, and I don't
remember there being a TV show,which is, as Sharon says, a

(09:33):
little bit unusual for us here ateight TV Ladies. Yes, I think
I had heard of the TV showin one of those like listicles online where
it's like TV shows based on moviesyou didn't know existed, because I knew
that there was a TV show thathad Dolly Parton's sister playing her character.

(09:54):
Obviously, she's not billed as youknow, Rachel Parton, She's billed as
Rachel Tennyson. But that was likethe big thing in that article was,
oh, there's a nine to fiveTV show where the character who Dolly Parton
plays is played by her sister inthe show. I think what's weird is
like knowing that again had never seenit, and to be fair, trying

(10:15):
to see it seems like a problemin and of itself. My god,
you know again, television show fromthe eighties shouldn't be this hard to find,
yet it is impossible to find.Frankly, yes, now, let
me ask you. I don't wantto aid you, but were you alive
in the eighties? Are you ineighties TV babies and nineties TV babies?
At what point in one's life wouldone say they were able to remember TV

(10:37):
when they were like five or six? That would make me nineties TV?
By okay, all right, that'skind of what I'm getting. I mean,
I've seen probably more television from theseventies and eighties now than I have
from the nineties, because my pointof reference for nineties TV is like literally
more or less the X Files,and I wasn't watching a lot of the
big nineties shows. I haven't seena lot of the big nineties shows,

(11:00):
So you know again, that's whyI ask, like, where is this
line? Because again, like Iprobably watched more two thousands TV. Like
one of the first shows I rememberwatching was Supernatural and that was like two
thousand and six. So I meanagain, I watched a lot of I
Love Lucy growing up because my momloves I Love Lucy, so well that
doesn't, Yeah, i'd really forreal, who doesn't. So I mean

(11:24):
that's if we're talking like that kindof television. I grew up more around
older television and The Simpsons in thenineties, so I'm a nineties TV baby,
but I didn't really start having myown autonomy of TV shows until the
mid two thousands. All right,fair enough, Okay, Well, so
as we talk on the episode wedid with you, the movie actually was

(11:45):
really a movie about a movement,right, and the whole thing started around
a labor movement literally called the nineto five movement, the seeds of which
were in the civil rights, humanrights, and labor rights movements of the
sixties and seventies, and then amplifiedbecause the number of women and women of
cople are moving into the workplace,especially into office jobs, was rising very

(12:07):
quickly, and I sort of justwant to place us a little bit for
you and our listeners who weren't aroundin say, nineteen eighty, kind of
place us in that spot. Lotsof huge advancements in the seventies and late
seventies for women, and it feelslike things are happening fast like Title A,
Title nine Pregnancy Discrimination Act. Youknow, lawsuits are being won,

(12:30):
laws are being changed, and thisI didn't know. The term sexual harassment
was coined in nineteen seventy five.That's the first time that there is an
official term for what is happening.And the first time a suit was upheld
in federal court was in nineteen seventyseven sexual harassment suit. So I think

(12:54):
that is sort of an important factorto both the movie and the television show
and women moving into these workplace comediesin television. Because also in nineteen seventy
nine, the Equal Rights Amendment stallsout, which looked like it was about
to pass get ratified, become thelaw of the land, part of our

(13:16):
constitution that rights shall be equal regardlessof sex. It fails to get the
last three states it needs to beratified, and the Equal Rights Amendment has
never become law, even though itcurrently now has all the ratification it needs
to be law. So just FYI, let's pen that for a minute for
today, and nineteen seventy nine,Jimmy Carter loses the election in nineteen eighty

(13:41):
Ronald Reagan wins, and in Decemberof nineteen eighty, just before nineteen eighty
one, when the Reagan administration wouldmove in and begin dismantling labor relations,
affirmative action unions, and all sortsof pushback against this forward momentum, A
little movie comes out December nineteenth,nineteen eighty, nine to five, starring

(14:03):
Jane Fonda, Lily Tomlin, DollyParton, and Dabney Coleman. Written by
Patricia Resnick and Colin Higgins, anddirected by Colin Higgins. It is produced
by Bruce Gilbert with Jane Fonda forJane Fonda's company IPC Films. The movie
grosses over one hundred million dollars,making it the second highest rated film of

(14:24):
the entire year, just behind theEmpire Strikes Back. Whatever happened to the
guy that directed that movie? Didhe ever do anything else? Just say
flash in the pan? Right?That's still a wild piece of information,
though, Yeah, that's still awild data point for a movie like nine
to five, like up against amovie like Empire Strikes Back. Just the

(14:46):
cultural relevance of both movies, Ithink is I think one is more culturally
relevant than ever now and it ain'tthe one with the lightsabers. So who
wants to synopsize the movie nine tofive for us for a second? I'll
take it on. Jane Fonda playsa former housewife named Judy Burnley. She's
just starting her first job as she'sjust recently divorced, and she meets Violet

(15:09):
Newstead played by Lily Tomlin, whois that person in the office that knows
how to get everything done that everybodyelse relies on. Violet is divorced as
well. I believe it has kids, Yeah, with kids, although Judy
Jane Found's character does not. DollyParton plays Dori Ley, who is kind
of a character based on herself.She's happily married. She's clearly a girl

(15:33):
from the South, although they don'tsay exactly do they say, but clearly
the big city country girl, yeah, exactly, and works for the big
boss. She's the boss's secretarian.Everybody in the office, all the other
women in the office are not particularlyfond of her because they think she's sleeping
with the boss because he's told everyonethat they're sleeping together. What a guy.

(15:56):
So we learn all of this kindof through Judy's eyes. His Violet
is taking around the office and explaininghow things work and who's who and how
things are done. Dabney Coleman playsthis stereotypical but just wildly sexist, egotistical
man who allows Violet to do alot of his work for him without giving

(16:19):
her any of the credit. Althoughhe keeps promising her that's coming, it's
coming, it's coming, the promotionshe deserves, but she's still waiting and
I'm so sorry. My brain islosing its way. Violet accidentally thinks she's
poisoned heart. As a result ofthat, these three women get close because

(16:41):
they're bond. They're all involved intrying to help Violet out of this situation,
where actually a lot of hilarity ensues. He sort of figures out that
they tried to kill him, yes, and he's going to take that they
tried to kill him, yes,And ultimately he basically is going to make
Doorley sleep with him, or he'sgoing to tell on them and get them
in trouble, and so they kidnaphim. Well, it all sort of

(17:03):
happens accidentally. It sort of happens. She's in the office yelling at him
and he's trying to escape, andshe manages to tie him to a chair
using a long phone cord, andagain hilarity ensues. But what is crazy
is they keep him for like fourto six weeks while they're waiting on some
information about how he was stealing fromthe company in the company, and they

(17:26):
run the company without him and nobodynotices, and in fact, they improve
things at the company and they makethe workplace happier and healthier and implement flex
hours and have childcare and increase productivityand everything's working great, and then he
escapes. So it's a very funnycomedy. We talked about it on the
Culture Cast like Deeper. But JaneFonda's idea because she produced this, she

(17:51):
produces out of her company. Shewanted to make this, she knew the
people who ran that movement. Shesaid, I want to make a movie
out of this movement. But itcan't be preachy. But it is important
to show that you can run anoffice without the boss, but you can't
run an office without the secretaries,and that you can run an office in
a humane way that's to the benefitof the employees and in ways that help

(18:11):
improve not just their lives, buttheir productivity. They become more productive workers.
They want to work harder because theydon't have to worry about childcare,
or they can work flex times,and they can take care of their families,
and that, you know, allthe things that go into making your
work life better. That heart wasand really just about a free company out

(18:32):
there was not really seeing even todaythe benefit of yes. And then she
wanted to make a movie with threewomen. So movie is a big hit.
And then they decided to produce aTV show and is the first TV
show that Jamee Fonda's company produces asfar as I know from the research.
It's hard, but Chris, you'reabsolutely right. It's hard to find out

(18:52):
about this show. It's hard tofind this hard to find this show.
I'm sure y'all will provide it toy'all's audience. But there's like like a
handful of episodes on YouTube, andthat's that's it. Like it is not
readily available, and I wonder why. Actually, I think we probably all

(19:14):
know where it's sitting. It's sittingin Disney's vaults now with the rest of
everything that's owned by that was producedby and owned by twentieth Century Fox because
it was a twentieth century Fox propertyand it's now owned by our friends at
Disney. And this has come upon my show a couple of times.
But Disney, I don't think isinterested in making something like this readily available

(19:34):
as much as you know, producingand creating Marvel and Star Wars and content
that more or less is guaranteed tomake the money. So this is not
high on the list anymore than Harryand Tonto being rereleased or the Other being
rereleased, or so many other fantasticfilms and TV movies that Disney is kind
of just sitting on, not sayingthat this is great. I'm saying that

(19:56):
this just is worth being rereleased.It's almost hard to judge the quality of
this show. How do you judgethe quality on a show that's like impossible
to find and you can see likea handful of episodes, like, oh,
it's terrible. How could you unlessyou're asking someone who watched all eighty
five episodes, which is almost animpossibility at this point, Like to say
it's good or bad is almost unimportant. Yes, Is it clear though,

(20:18):
that Disney owns it? I meanthe laws back then about ownership of television
shows is very different. Sure,networks could own them. I don't know
if Jane Fonda's company owns it.I mean twentieth Century Fox distributed it,
so I mean it's a big assumption. Sure, but let me put it
this way. Disney owns twentieth centuryFox is stuff now, so maybe not.

(20:38):
But I don't think it's getting rereleasedeither way is probably the bigger problem.
Yeah. I think there's a coupleof challenges. One, nobody archived
that stuff the way that you neededto archive it. They archive stuff on
film. But I believe I couldbe wrong that this may not have been
shot on film. The first seasonmay have been all right, So let's

(21:00):
talk about the episodes we were ableto find, Sharon, Do you want
to run us down the TV show? Just the stats? Sure? So
the nine to five TV show ranfive seasons, with, as Chris mentioned,
eighty five episodes. It ran betweennineteen eighty two and nineteen eighty eight.
Season one starred Rita Moreno as Violet, Rachel Dennison, Dolly Parton's sister

(21:22):
as Dora Lee, and Valerie Curtinas Judy. Gene Marsh played the office
kind of busybody and sort of heartspy on the secretarial floor, keeping him
telling him what everybody was up to. Yes, Yes, Roz and Jeffrey
Tambor played Franklin Hart the role ofDabney Coltman played in the movie. So

(21:45):
that was the cast of the firstseason and was created by Michaels Beer and
Kim Weiscoff, executive produced by JaneFonda and Bruce Gilbert. And so this
season is four episodes. There arefour episodes in the first season, which
makes me think, and this isjust me now that we know a few
things about eighties television, is theygot a six episode order because that's what

(22:06):
you typically got, but two ofthem they didn't air, and I think
part of it is and we wereonly able to find part of one episode,
right, That's what I found.I found an entire episode from that
first season with Jeffrey Tambor in thelead role. I think, okay.
I found some of season one,episode three, the China Syndrome, which

(22:27):
is a little play on Jane Fonda'smovie The China Syndrome. Completely at the
title. I wasn't able to findanything from the first season in its entirety.
The second season had that whole episode. I was hoping to see some
Jeffrey Tambor. I was hoping tosee more of him too. Yeah,
Yeah, I found that episode kindof rocky. Maybe that's why it felt

(22:51):
like it hadn't really found its tonefor a TV series as opposed to the
movie, because obviously they're not goingto go through the same beats, right,
They're not going to kidnap the boss. Yeah, because that's a movie
story exactly. But it just feltlike it was still kind of finding its
way a little bit and hadn't reallyAnd perhaps it's evidence by the fact that
Jeffrey Tambor was replaced by Peter Bonnersthey weren't quite sure they had found it

(23:11):
either, and that may have beenpart of their attempt to try to change
it into something that was more televisionready. Well, and this has a
ton of cast changeover from first seasonto second season, and then it looks
like it's canceled, and then firstrun syndication picks it up, so there's
a big break. It runs fromeighty two to eighty three, and then

(23:33):
it comes back in first run syndicationeighty six to eighty eight, which is
a huge gap. Yeah, right, who was waiting that long. I
was like, it's like four yearslike somebo somebody sitting like wrapping their fingers
on the table, like nine tofive shows better be coming back, Like
no, I think nobody acts thatway now about TV. Like if things
are gone for a year, peopleforget. Like when Game of Thrones was

(23:55):
like we'll be back in eighteen months, it's like, so long for fifteen
months, like not gonna remember anything, Like it's insanity to me. It's
it's like the show has gone forfour years and it still comes back somehow.
But it wasn't gone because what youhad then that you don't have now
is syndication, right, and thatthere were only a few channels and there
wasn't enough content and so they justreran episode. So they're rerunning episodes of

(24:19):
a show called nine to five,which if you didn't catch it at the
time that it aired, you couldcatch it again and again and again and
again until you're sick of that themesong. I'm sick of hearing it.
I don't want to hear Dolly anymore. Nine to five from five until midnight
every day on CW. I wasalso surprised that the song opens the show,

(24:40):
but not Dolly Parton singing it.So in season one she doesn't sing
it, season two it's her singingit. It's pretty much the song from
the movie, right, and thenin season three it is season four and
five it's just an instrumental. Ithink that was the on a very serious
episode on nine to five, Likethat's they take the Dolly Parton music out.

(25:03):
I'm joking, but like that couldthat could be why I did want
to mention first episode of the showis directed by someone who the pretty good
hands to be in Nome Pitlick,who cut his teeth on Barney Miller.
Won an Emmy because of Barney Miller. That's why I was really hoping like
to find like he actually directed thefirst two episodes. So like the show
starts off on the right foot andthey're putting their best foot forward. Jane

(25:26):
Fonda is involved until the third seasonof the show, right, and the
look of that first season from thesnippets we saw it looks really good.
Yeah, it looks unusual. I'msure it's shot on film. Actually that
season was shot on film. Ithink by season three they may be shooting
on video because the look of theshow is different and some might call it

(25:48):
worse and terrible. Probably didn't havethe same budget that they had when it
was on Networks. Some might say, I have heard, I mean the
show doesn't I think I saw fromall over the run of the show,
and it seemed like the log orthe show went on the cheaper. It
looked that was eighties television. Ifyou made it to season three, they
just apparently cut your budget and youjust kept running. You guys can do

(26:12):
it. You're fine, you knowwhat you're doing already. But episode three
was directed by Nell Cox, whois a female director from the seventies and
eighties and directed a bit of stuff, and so that I thought was really
important. And the episode three waswritten by Deborah Frank and Scott Rubinstein.

(26:34):
There were women in the writer anddirector positions on this show very early on.
I definitely think that was Jane Fondaand the mission of the show.
I'm going to say, because themission of the show was to promote women
and to have women in these rolesand to say that women could be in
these spaces. And Jane Fonda,I think spent a lot of time putting

(26:56):
her money where her mouth was.What do y'all think about the again,
like obviously, like you just mentionedSusan, like, the show is less
static than most TV shows tend tobe. What did y'all think about the
recas of the main three, atleast the main versions of the recas,
like Rita Moreno, Rachel Dennison,and Valerie Curtin. I guess those are

(27:17):
the three big ones right of thelittle that we can see. Rita Moreno
is amazing. I think she's great. She's funny, she's smart. She
totally buy her as running this officeor able to run this office. I
really liked her. I agree,I thought she was great too. Valerie
Curtin played Judy a little more neurotic, for lack of a better word.

(27:37):
It was less naive and more neurotic. Yeah, and more anxious. Yes,
that's the word I'm looking for.Rachel Dennison in the first season was
clearly showing that she was not anexperienced actress. She got better by the
time I saw the episodes from thelast season. I thought she got much
better. But in the first seasonit was you know again, she's charming,

(27:59):
yes, she's sweet, but she'splaying the character. It's just if
you've just come off that movie DollyParton is a huge surprise in the movie.
I mean, she is so goodin that movie. Yeah, and
it's clear that Rachel Dennison is inthe TV show because she's Dolly Parton's sister
and she sort of looks fine.Yeah, Dory, she's the one that

(28:21):
they cast to be the most likethe character in the movie, clearly,
and I'd liked that they kind ofshifted a little bit for the other characters.
Valerie Curtain is sort of doing herown thing. She's not quite playing
Jane Fonda, and Rida Marina isnot trying to do Lily Tomlin. She's
doing Rida Marina. But I appreciatethat. What did you think? I
thought Valerie Curtain was interesting. Itkind of didn't realize she was playing the

(28:45):
Jane Fonda character until they said thename. Because it's not different, but
it is different. I don't knowhow to explain it, like it's different,
but not in a way that's unwelcome. You know, I wouldn't want
someone to just go and do theJane Vonda thing, because it's more or
less Rachel Dennison is doing, whichis just the Dolly Parton thing, which
that's what you need in this show. You need to recapture that chemistry somehow,

(29:08):
and I think that they do byhaving Rachel Dennison as kind of the
I'm not saying anchor is and shedrags everybody down. I'm saying anchor is,
And she's the one who's there theentire time. She is there for
the entire run of the show,and I think by having her there,
there's at least a point of referencefor the characters to interact with that feels
consistent with what the movie was tryingto get across. I think to your

(29:32):
point, Sharon, the longer theshow went on and the more I saw
of it, the better Rachel Dennisongot. It's frankly kind of surprising.
This was more or less it likeshe did this and nothing else. And
by the kind of the later episodesthat I saw, she was fine,
Like for a network television show doingkind of the Dolly Parton adjacent thing,
and she was perfectly fine. Andshe does get better, and she's the

(29:53):
only cast member that stays all theway through. I Yeah, she's there
now, That's what I'm saying.Like, because she's there the whole time,
you get to your interact with SallyStruthers. You're gonna to see her
interact with Leia Airs in that thirdseason, which there's even like the third
season feels like the one that's reallyhard to find. The third season's hard
to find, and the third seasonis the only one without Valerie Curtain.
They kick Valerie Curtain to the curband bring in Leiah Airs, Yeah,

(30:18):
to sort of not replace her asthat character. She's playing a different character
from what I read, because againit's hard to find. And Peter Bonners
is their first season two and threeplaying Heart. But then season four and
five they bring in Sally Struthers,right, Rita Moreno's gone, and Edward

(30:38):
Winter as well, Yes, whoplays kind of a more likable heart kind
of character. Right, Yeah,he's not as awful. Yeah, And
here's my biggest problem with past seasontwo. From what we can tell season
one and two, the Boss isthe antagonist. Based on what I can

(31:00):
read about the synopsis of the show, he's being an egotistical, sexist jerk.
He's not as bad as Dabney Colemanbecause it's a sitcom and you have
to like him sort of, butby the later seasons it is not the
movie. Now it's not an artistfrom the movie. The situation itself has

(31:21):
shifted, and it's basically this harriedmale boss trying to deal with all these
crazy women. That's literally what itfelt like in some of those episodes.
To me, it became more ofa standard office sitcom. I still thought
the women were the focus and theirtrials and tribulations with these crazy bosses that
they have to work with. TheseYou've got the idiot who's you know,

(31:45):
who's an executive because god knows whythere's actually a female executive. I never
did quite figure out what she wasdoing, but it's it's hard to track
someone. Yeah, and then you'vegot everybody's boss played by Edgar Winter,
who's Dora Lee is his secretary,and again he's the kinder. He's the
boss that comes in at the bigboss that comes in at the end of
the movie. He's like, oh, he's still just but he's more competent

(32:06):
and he's less ikey than Heart was. But it's about the workplace, and
I still think it's more about howthe women have to put up with all
of this as opposed to the oppositeof the men, sort of because it's
clear that they're still not getting theirrespect they deserve, especially when you look
at this idiot executive who does godknows what. But it's still about them

(32:28):
and what they have to put upwith, those those three women. There
was one of the later episodes thatfelt very off because it felt like it
was more about the boss than itwas about the women. That the Fred
Applegate episode where they introduce another anotherboss. Yes, there's like three bosses
or something. There's a short,little fat boss and there's a tall,

(32:52):
not as abrasive boss, and thenthere's like one other guy. It's like
geeze by. Oh, they eachneeded an antagonistic person to play playoff of,
is probably what they thought. Bythe end, it's like Jesus six
main actors as you're like leads justlike it and it don't need those combinations.
It's two three of them are men. Like. Their ratio shifts dramatically

(33:13):
from the first season where it's clearlythe women are centered, the women are
top of the call sheet, andit's way more women than men in those
scenes, in those stories, andthen by the end the opening sequence is
literally here's some three women, oh, and here's some guys, and here's
more guys, and here's another guylike you're like, but if you're working

(33:36):
in an office at that time,that was the reality. To me.
It still felt like the women weretelling the story through them. It was
still their story, okay, tellingthe story through them about all these executives,
some of them who were brighter thanothers, that they had to deal
with to try to keep their jobsor to try to get jobs, or

(33:58):
having watched hard ever all of II think I thought it was a full
episode. Maybe it wasn't the onethat we watched. From the first season,
it seemed like they maybe couldn't quitefigure out a way to stay with
what the movie was into a televisionshow. And so what they seem to
have done finally going a syndication perhapsis expand the universe a little bit,

(34:19):
because how do you sustain I mean, this heart guy, there's just he's
so awful. How do you keepthat? How do you stay in that
job? Yeah? For you,That's what I was going to say.
How was that a show for morethan a season? Maybe? I think
that's always a challenge of turning amovie into a television show, which happened,
as you said, a lot inthe eighties. I think the most
successful I would say from that era, which from the seventies and eighties,

(34:43):
would be Mash. Of course,like Mash is the gold standard. Is
there a example that is TV tomovie that worked though, That is a
good question. That's like a morerecent thing. I can think of the
Test Files in the nineties, butlike I think, I don't know if
that was happening in the eighties.The other direction clearly was happening this way.
Twenty one Jump Street okay, TheAdams Family okay, the A Team

(35:06):
okay, The Hulk, Yes,a Hulk cartoon, The Hulk that was
a comic before it was a TVa TV show and then hasn't even longer.
Tale Wonder Woman is now a movie. Wonder Woman. Oh, I
was talking just in the eighties.I mean we're talking like now, like
yeah, but but I was morelike in the eighties, Like, were
there things in the eighties where itwas like a show that became a movie.

(35:30):
I'm going to guess, because Imean, even then there was this
bifurcation between television and movies. Itdoesn't really exist in the same way today.
It was really hard for TV actorsto make the leap over to movies,
and you didn't get a lot ofcontemporary movie actors doing television. They
tended to be you know, moreseasoned actors who are doing guest roles or

(35:52):
whatever. It's. Things have changeda lot in that regard, and there
was, and I think there stillis, kind of a sense that at
getting people to go to a movietheater and pay to see something that they've
been watching on television for free isdifficult. It's not something that normally happens.
I don't know that many of themwere very successful. The Muppet Show.

(36:15):
The Muppet Show was a television showand almost same timeframe had successful theatrical
films. And then there's a lotof TV movies that are done after these
shows. But there was something thatwasn't surprising. Did the start treks?
But was that eighties? Start trekwas sixties and then that the movies movies

(36:37):
were started in the eighties, TwilightZone sixties and eighties. There is there's
the huge gap between sort of seventiesand eighties shows that are now remade you
know, quite differently Police Squad toyou know, Naked Gun, the Fugitive,
the Fugitive. Yeah, like that'sit's just like it wasn't. I

(36:57):
feel like the other direction, there'sthat little bit of lag time because it
needs to maybe like build up kindof that head esteem to get back to
that point. I mean something likeeven Community now is getting a movie and
it's a contemporary show that's taken.I don't even know if it's been a
decade since that show Wasn't on,but it's been a while, so I
feel like it happens the other directionfaster, Especially in the age I mean,

(37:21):
there were plenty of eighties cartoons basedoff of movies. I mean it
seemed like every movie that came outthat could be halfway marketed to kids was
turned into cartoon. Ghostbusters, Imean not Star Wars, but like I
mean most, I mean most thingswere existing to sell toys, and they
could sell a toy by making amovie into a cartoon, they would.
So, as someone who grew upwatching Godzilla and Men in Black in the

(37:42):
cartoon, it's like those things didnot need to exist, and even though
I enjoyed them, they didn't needto exist. Yeah, so there was
a lot more movies spawning television showsthan television show spawning movies. Although now
if you include, you know,the Star Skin Hutches and oh yeah,
twenty one Jumps Streets and things likethat. There's a lot more of seventies

(38:04):
and eighties and nineties television launching prettybig movies now right, yeah, you
know, like you said, twentyone Jump Street got a sequel. Even
Charlie's Angels, Charlie's Angels, theeight Team. You know, these are
shows that as we sort of rereuse ip and their names, they're familiar
names. Nine to five was createdinto a TV show because the movie and

(38:28):
the song were so successful and thesong we're not even talking about. They
put that song on that show.You could sell to syndication based on the
song alone, because the song wasa number one song. It was Dolly
Parton's one of her biggest of thedecade, maybe one of her biggest of
all time, right and one twoGrammys and an Oscar nomination. At least,

(38:50):
I believe it's a big deal.It was a It was a big
deal. It was. That's Imean nine to five the name, right,
Like, that's why I was turnedinto a musical in two thousand and
nine because everything old is new again, and I have to say the musical
is easier to find on streaming thanthe television show, and it shouldn't be.

(39:10):
I mean, however, I didenjoy checking it out. But what
I do like, it's the samewriter that adapted it to a musical.
It's Patricia Resnick adapted the book andDolly Parton does the music, so it's
really quite great. They of coursehave the nine to five song, so
that's just right there. You know, you've got your great opening number.

(39:32):
And they fixed some story problems Ihad with the movie in the second act
and in the final scenes. I'vealways felt it was a little bit like
you know, d Sex Maknina anda little too like oh and then the
Big Boss comes in and kind ofsolves everything. I wish we'd been able
to watch more of the show tosee how they kind of wrangle the end

(39:52):
of the movie into the beginning ofthe show, because they must have done
some interesting gymnastics to get from theend of the movie where they essentially say,
well, he goes away and theygo and do the future eventually do
something else, but the show picksup again, like since we're not able
to see it, like I wouldlove to have seen the gymnastics. They
go through it to see if theyundo the ending of the movie, if

(40:15):
they change it in a substantive way, because the movie's ending is pretty like
cut and dried, like this iswhat happened. If I had to guess,
they just ignore the whole second andthird act and it's just start at
the beginning of the movie with allwhat the dynamics are and right from there,
right, just tell the movie asa show, like they don't even

(40:35):
bother. Yeah, that would bethe way I would have done it.
Like they're not mutually exclusive. Itdoesn't need to be like I don't know,
like you can draw from it,but like it would be weird to
be like, oh we other endingdidn't matter never mind, Like yeah,
I don't know. Again, JaneFonda was involved either way, so her
I feel like she would have hadsome say in it, at least I
think because the first episode we wereable to find pieces of was episode three,

(41:00):
and it was sort of like thealternate dimension. We start in the
same place as the movie, andthen we just go in this way and
we don't end up kidnapping him yet. Let's save that for season three.
Yeah, that's my guess, andI'm looking here. It is. So
the first episode, Violet and Judysuspect a new secretary has been hired for

(41:22):
her physical attributes, so Judy isthe arrival are unknown into the movie,
into the movie when Judy Jane Fonda'scharacter in the movie shows up to get
a job for the first time becauseshe's been married and now she's divorced,
and now she has to take careof herself and she doesn't have kids.
Violet has kids, but in thiscase, the new girl in town is

(41:44):
Rachel Dennison. Is the Dolly Partoncharacter, right, which makes sense why
she's with the show the entire run. She's the main character of the show.
There you go, he's the maincharacter of the show. But I
don't get that. I get theViolet as the main character of the show
from the episodes we saw. Yeah, but it's just me anyway. So
but clearly she's hired by Heart tobe the new secretary, and that flips

(42:07):
the world up, and that's agreat place to start. It's like a
prequel. It's a little bit ofa prequel, yeah, except that Judy's
already it's a little bit of it. I imagine. Yeah's reimagining the world,
but the world is very clear.I did love the look of the
opening sequence because it looked like themovie, and I love the look of

(42:28):
the show for that season. AndI liked in the second season episode that
I was able to find the OldestProfession Season two episode fifteen, directed by
Peter Baldwin, written by Freddie Tobin, which I went in to look up,
has a number of credits around theeighties, and I think, but
it's hard to track any more informationexcept that there is a playwright, Freddie

(42:51):
Tobin, and I believe it's awoman. It's Freddie with f R E
D. I is how it's spelled, and I'm making a long swing at
that. Freddie Tobin is a femalewriter who was a playwright and then became
a supcom writer. But in theepisode The Secretaries, and I love that,
that's how you tell these stories,That's how they're told in these synopsises.

(43:14):
The secretaries do this, and thesecretaries do that, because secretary is
such a loaded word. It's likehousewife, right, It's such a seventies,
eighties, nineties word. So youknow the assistants, you know the
coordinators, which but the ladies needmore money, so they take on a
second job as doing singing telegrams.And singing telegrams are such an eighties thing.

(43:39):
It's really funny that that was astory. You can understand. Just
to speak of our friend Richard HadAM. He and his friend Larry did two
stooges singing telegram in the eighties whenhe was in high school. He and
Lara used to go and be youknow, most and Curly and whoever they

(44:00):
were doing the singing telegram for.They would basically incorporate as their third stooge
and they would be the three stooges. They weren't singing, they were doing
a little bit, but it wasto deliver this you know, telegram of
happy birthday or you know, happyanniversary, because that's what you would do,
is send the two stooges to wishsomeone a happy anniversary. Um.

(44:23):
People talk about what they would doif they invented a time machine. I
know where I'm going and I knowwhat I want to see. Richard doing
the two stooges bit would be prettygreat. Let me ask you this.
Has he told the story of usingthat to get in a room? I
think so. As he told thestory, of I don't want to tell

(44:45):
it because I don't know. Ican't, I can't speak about it.
It's you know, if he hasn'ttold it, it says his to tell
anyway. They're just a radio show. I heard it, you heard it,
given the story of radio show.Yeah, okay, so when years
ago, yes, I actually heardit on the radio. You heard it
on the radio. There you go, so yes. So he's already told

(45:06):
the story of when he basically senthimself to Stephen Cannell in order to use
the singing singing telegram bit to thenbasically go on Stephen Cannell's birthday to basically
go, oh, and I havea script and he was in high school.
That's that, you know what?Yeah, I believe it. Yep.
And then later years later, hewas hired by Stephen Cannell to write

(45:30):
one of the first adaptions of theA Team into a movie. He got
hired and paid, He worked withStephen Cannell and Stephen Cannell's team, and
he never mentioned that story. Ohwow, that's the best part of the
story right there, because man,what is that conversation? Like, I
just wanted to let you know.At one point, someone who looked like
me may have come to your office. He looked very different. That's the

(45:53):
benefit. Probably he's like, Iknow, yet he doesn't even recognize me
anyway. This is something that showedup in the seventies though, because they
used it in Barney Miller, andit's like, that's not a thing.
It's so not a thing anymore.No doorbells to avoid having to open the
door to people. No one's gonnabe like, there's a person I don't
know my front door, dressed uplike a shark. Let me let me

(46:14):
open my door and see what theywant. Like, yeah, that's not
happening. Yeah, it's not happeningin twenty twenty three. I'm not even
I'm not even going to interact withthem through my ring doorbell. Let alone
go and stand on my front porchand interact with them, or like you
said, Sharon, invite them inmy home, Like no, thank you,
I'm good. Hey, we don'thave the same office culture. But
b even when we did, youcouldn't get into those offices now, even

(46:35):
after basically after nine to eleven oreven before that, Yeah, there was
no way to get into spaces likethat and do that kind of interesting anachronism,
yes, but when they're doing this, basically a vice cop thinks because
they're all dressed up in these weird, wacky costumes and he thinks their prostitutes
and arrests them, and then theyend up spending the night in jail with
the nanny I brand dresser playing theactual woman sex worker in the scene.

(47:05):
And again, for me, thatwas a great episode because that was very
much in a very funny, interestingway talking about the roles for women,
talking about challenges for women. Theyhave to take a second job because they
need more money and they're overworked,and then they're mistaken for sex workers and

(47:27):
then they're in jail and they're notbelieved. But then there's an interchange with
an actual sex worker who is sortof going, hey, this is back
off they, you know, becauseRina Marna gets all judgy, you know,
Violet gets all judgy about it.And I just thought that was really
great. I thought that was areally great episode. I thought everybody was
funny. I thought Valerie Curtin washilarious because she starts like, this is

(47:49):
a great story and she starts usingthe paper towels to write the story of
their drama. I was really Iwas like, I want more of that
show, and that's season two.And it was nice to see a very
young fran Dresser too, just ohmy gosh, she was adorable. I
liked her because, like you couldpick her out immediately because it's not an
immediate close shot on her, butit's like pretty far back and again on

(48:13):
YouTube, pretty grady. But themoment you see her, it's like,
it's fran Dresser and she's not.Really, she's not. She still sounds
like fran Dresser, but she's notdoing the she's not doing the fran Dresser
thing that everybody expects now, butit's still a little bit there. But
she's great. It look this islike this show clearly had some legs,
and the minor amount that we couldfind, I think it's pretty entertaining,

(48:34):
pretty stock in trade what they weredoing at the time. It was only
Yeah, the stories they were tellingwere pretty interesting, and I think it
was more important that it's three femaleleads as the ones taking this show where
it needs to go, not relyingon a mail anything. Really, I
mean, again, the male antagonist, at least as we're led to believe
the first two maybe three seasons clearlythey kind of just went overboard later of

(49:00):
the show win. But I likethe stories that they're telling are so focused
on the three leads, and that'sI think that's really smart. Yeah,
and I like Sally Struthers too.I don't dislike or I just think after
Rita Moreno, it was just aand it's different character like, it just
feels different. Everything feels different.So it's clearly a revamp. It's clearly
several years later, Jane Fonda andher producer leave basically after season two because

(49:24):
of creative differences with the studio network. An interesting fact toid of when this
premiered, it launched the same timeas Cagney and Lacy Cagney Lacy on CBS,
This on ABC. And I justthought that was really interesting and I
wonder who jumped against each other first, it says I was reading it says

(49:47):
that there was an actor who wasin Cagney and Lacey and was on this
show as well, and playing thekid right, playing Violet Son in this
show. So playing Violet Son inthis show and playing Lacy Son in LA
sort of like Beverly Garland playing Iknow mothers have not the same time,
but close enough, and this kid'splaying everybody's son and across the networks.

(50:10):
I guess, oh my gosh,all right, well we haven't taken a
break. I'm just gonna say,we have to take a break, and
then we'll come back from a breakand we're back. I need to be
back, all right. So sortof wrap up on nine to five TV
show, Chris, I will tellyou that I think a few things came

(50:32):
out of the TV show and themovie. Obviously, the pairing of the
three personality types of the actresses inthe movie very clearly influenced the TV shows
kind of expectations for the actresses thatthey wanted to play the three leads.
And then what's interesting is eighty forBrady comes out this year and you have

(50:53):
Rita Moreno and Lily Tomlin finally workingtogether because Rita Moreno was in the t
V show. Jane Fonda produces TVshow, so they're working together on the
show. They're not in the samescenes right like so, but it is
very much the eighty for Brady becauseit involves three people involved in either the
movie or the television show Nine tofive, which is kind of I don't

(51:16):
think the movie eighty for Brady andeven Grayson Frankie don't exist without nine to
five and them figuring out what thatchemistry is between the three of them and
kind of that pairing. I think. I mean again, Dolly Parton shows
up in the last season of GraysonFrankie for a reason because of nine to
five. Like, this movie hassome really long kind of pop culture ties

(51:38):
that mean eighty for Brady came outlike early twenty twenty three. The effect
of the nine to five movie clearlyis resonating into today literally, But it's
so interesting, and I want togive Jane Fonda some props. Man,
she produced these really amazing movies inthe seventies and eighties, China Syndrome,

(52:00):
Electric Horseman, nine to five,and nine to five. Everything you read
about that was it was her.It was her saying, I want to
make a movie out of a movement. I have these friends that are doing
this thing, and I want tomake it about these women. And she
was the one that was like,oh, I want to put Lily Tomlin
in this. I want to workwith Lily Tomlin. Oh my god,

(52:22):
I'm listening to Dolly Parton sing oneof her songs. But there's a story
where she's like I was hearing DollyParton saying, I was like, oh,
Dolly Partner would be great as DoraLee. And she sort of built
that movie with Colin Higgins. Butreally I got to give her props for
that. And then she was like, I'm going to do television and feature
film. People didn't do television,as we said, right, but she's

(52:45):
like, I'm going to go trythis out. I don't know that she
did any other television because I don'tthink the experience was as welcoming. Maybe
we can get it on the showone day and ask her. But what
was interesting to me is there's abook about the nine to five working movement
and this is what they had tosay about the movie, which I thought
was really interesting. The most importanteffect of the movie was a change in

(53:06):
public consciousness. Before the film cameout, and I'm paraphrasing a little bit,
we had to argue and argue andargue about whether there was even discrimination
in the workplace. We had topresent proof. We had to convince people,
including women, that they were beingtreated unfairly. After the movie came
out, the argument was over,Yes, the movie was silly, but

(53:27):
the silliness worked by making millions ofpeople laugh at this boss's bad behavior.
The film ended the debate. Wewere no longer arguing that it was happening.
We now were arguing the question ofwhat should be done about it?
And if you're making a movie that'sa huge, awesome hit and is also
changing the conversation about how people aretreated in the workplace, I don't know

(53:50):
which one is better for your legacy. I mean, I think for me,
I'm just glad that something like thisexists and is still relevant and it's
I mean again, the musical isnot like it came out in the nineties,
came out a couple of years agotype thing like that. For me
is the big takeaway is that thesuccess of this movie allowed a lot more
successes down the road, and that'snever a bad thing, especially like you

(54:13):
just mentioned, Susan, the onesthat are a little bit hard to maybe
do intentionally, but at least theydid happen. Yeah, And I think
just opened the door of like everythinglike hidden figures. You think, oh,
this is it, this is thelast door. Yes. Of course,
black women can lead a movie andmake it a huge, huge hit,
and they'll be all sorts of themnow right, I know, but

(54:37):
we just keep knocking on the door. All right. Woo, thank you
so much for coming on the showand talking with us about nine to five
television Show. Hopefully we'll be ableto find it streaming somewhere someday. I'm
hopeful that as we continue down thestreaming road that they will get to some
seventies, eighties and nineties shows thatare a little lost right now out and

(55:00):
don't seem to have a home,because I think they're important to have archived
somewhere. There are plenty of boutiquelabels out there that could pick this up.
I'm sure somebody's got the original somewherethat they could just read. The
song might be hard. The songof music is also hard. If you
didn't clear it for everything, youhave to go back and clear it and
that is very difficult. But ifanybody could pull it off, it might

(55:22):
be someone like Jane Fonda, ValidParton and rad A Moreno are going,
yeah, we want this to happen, And then I don't know, Disney
might say yes, or Paramount Plusshould pick it up. Figure out how
to have it. Nine to fivethe TV Show Streaming but with a different
intro song just that wouldn't that besomething? Well? I think that's what
one of the little hidden videos thatwe found. I think they changed the

(55:45):
title song in order for it notto be pulled, because I think as
soon as that song hits in saya YouTube video or something, it probably
gets pulled pretty quickly. They're workingeight to six in this versions, just
slightly just lightly different, and wewe clear. I'm kind of a ten

(56:06):
to six scal myself. Nine tofive seems like a drag, all right.
Thank you so much for coming onthe show. Where can people find
you? You can find me overat Weirdingwaymedia dot com, where you can
find this lovely show and so manyother shows that so many other people are
putting together every week, myself included, and the aforementioned Mike White and y'all.
So that's where you can find thisshow and all the other shows of

(56:29):
the Weirdingway Media Network. Fantastic.Thank you so much, Thank you for
having me. Have a good one, Chris, Take care, Chris.
Thank you for today's audioography. Tolearn more about the movement that started at
all, visit nine to five dotorg. That's the number nine t o

(56:50):
the Number five dot org and youcan read the book working nine to five,
A Woman's Movement, a labor Union, and the iconic movie by Ellen
Cassidy. You can watch nine tofive, The Story of Her Movement by
Julie Reichert and Stephen Bogner on Netflix, and just for fun, because she's

(57:12):
fabulous, you can follow Rita Morenoon Twitter. That is, if Twitter
is still a thing when we airthis, because every week it feels like
it's about to follow apart. Thewheels are coming off, but I'm still
there. Twitter dot com slash theRita Moreno. We've got a couple of
listeners. Shout outs first to ShariLikestari, thank you so much for becoming
a Patreon supporter. It means somuch to us. If you want to

(57:36):
be as cool as Shari Likestari,then join us at patreon dot com slash
eighties tv Ladies and become a Patreonsupporter. If you do so, you
get ad free episodes and special behindthe scenes video with Susan and I.
And coolest of all, you canwatch some of our guest interviews. That's
true, and Shari like Starr,you've been emailing us almost since the beginning,

(58:00):
So thank you for being one ofour original RG supporters. And I
also want to thank Lena for reachingout on email to us first time listener.
She remembers seeing Stephanie Zimbilis being interviewedand she just got to us and
Remington Steel and she was like,oh, I'm sorry I didn't get to
the show yet. I'm like,listen, you can join this show anytime.

(58:21):
It's never too late. You canhop in the middle, you can
hop in the beginning. We're happyto talk forever and always about eighties TV
ladies. And I also want toshout out to our listeners on YouTube to
Larry, who did indeed remind meand I'm going to be corrected because Archie
did change over the course of theshow. I said that he didn't over
the course of All in the Family. One of the comments on our say

(58:45):
gay looking Back at seventies, eighties, nineties gay Representation and Television with Matt
Baum, he wrote a very thoughtfulcomment about how he did, and he
gave an episode example to prove it. We love your comments there, so
please keep them coming. Anyone cansubscribe at YouTube dot com, slash at
symbol Eighties TV Ladies. We'll seeyou there. Thank you for listening to

(59:08):
Eighties TV Ladies. Please rate andreview us on Apple Podcasts or on your
favorite podcast platform. We're on allof them. Spotify, Google Podcasts,
Good Pods, search Eighties TV Ladiesand tell your friends. And I want
to shout out again to Chris Stashueand Chris and Mike White at weirding Way
Media where you can find this podcastand there's along with many other very cool

(59:31):
podcasts on the weirding Way Network.Hey, if you know or have a
copy of the nine to five TVshow, let us know. We would
love to actually watch all of theepisodes, and not just the like four
and a half we got to scrambleup on YouTube. So please send us
a message if you have a secretfive seasons of this show. We hope

(59:52):
Eighties TV Ladies brings you joy andlaughter and lots of fabulous new and old
shows to watch, all of whichwe'll lead us forward toward being amazing ladies
of the twenty first century. Workingnine two five, What a way to
make a living? Barely get inby it's all taken that no given,

(01:00:15):
I don't know those but it's superawesome anyway, something if you learn it
nine two five that's perfect

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