Far more often than any other, the question that comes to my mind when watching programs for this blog is “How did this happen?” It is remotely possible to make and release a movie with a small crew, and no studio interference. You might end up with a hilarious disaster, a la The Room, or Neil Breen’s Fateful Findings, but it can, in the most basic sense of the phrase, be done. Short of finding a slot on a public access network, however, launching a TV show requires multiple hands on deck, every step of the way. It’s a long, elaborate process to pitch, write, film, produce, and air a show. There are numerous opportunities in that process for someone to say “Wait, that’s not a good idea,” or “Perhaps we should try something different,” or “This is a fucking nightmare,” and yet, as numerous failed sitcoms have illustrated, either nobody speaks up when those opportunities arise, or no one listens to them.
On paper, Lucille Ball making a TV comeback was a perfectly fine idea. It had been more than ten years since Here’s Lucy ended, and she had spent much of that time mostly just appearing on talk shows, sharing tales of old Hollywood in her signature raspy voice. Thanks to The Cosby Show, sitcoms suddenly meant big bucks for television producers again, and Aaron Spelling, despite having already earned enough money to build a 123 room house for four people, wanted a piece of that for himself. He proposed a new sitcom to Ball, who was initially reluctant, until Spelling agreed to give her complete creative control over it. What did that mean? Exactly what it sounds like–Ball’s husband, Gary Morton, despite knowing nothing about television production, was given an executive producer credit (and paid $50,000 more per episode than Ball for his questionable services). In addition, Ball brought in her own writing crew, and demanded that Gale Gordon, her comic foil since The Lucy Show, be added to the cast (Gordon himself refused to come on board until he was promised to be paid for a full 22 episode run, even if only one made it to air). She even insisted that the network hire her sound man from the I Love Lucy days, even though he was nearly 80 years old and hard of hearing.