Episode 94

Louise Palanker (00:05):

(00:05):

Welcome to Media Path. I am Louise Palanker.

(00:07):

And I'm Fritz Coleman.

(00:08):

It's such a good thing you're here, because today on the show, the Emmy Award-winning stuff of legend, the iconically cool Henry Winkler is with us. Barry is back for season three, and Henry is here to tell us all about it. But first, my recommendations this week are in honor of my mom, Ruth Lanker, who passed away on April 22nd after sharing her light with this world for 92 years. These are her picks for you. We begin with an affair to remember. The plot is best described by Rita Wilson and Sleepless in Seattle. So I will simply bullet point this for you. Carrie Grant and Deborah car fall in love on a cruise ship. They're both engaged to other people. They agree to clean up their personal lives and meet in six months at the top of the Empire State Building.

(00:51):

All does not go as planned. Bring tissues. My mom just loved this movie, which you can find for a few dollars on YouTube. She also loved the original version of Sabrina, so do not come into this expecting Greg Canne. You won't find him. Audrey Hepburn plays the title role as the chauffeur's daughter who is torn between the two Larrabee heirs, played by Humphrey Bogart and William Holden. The rest of the plot is all very silly, but lovely. And you can watch Sabrina on Pluto. My mother loved classical violinist, Nathan Millstein, widely considered one of the finest violinists of the 20th century. Millstein was known for his interpretations of box solo violin works, and Fort works from the romantic period. He performed at the highest of levels into his mid eighties until a broken hand forest retirement. I believe my mother met Millstein through her activities with the Buffalo Phil Harmonic, and he was a guest in our home when I was a child.

(01:49):

She cherished that friendship. My mother's other beloved friendship was with the Mills brothers mom went to see the Mills brothers at the Town Casino on Buffalo when she was the 15 year old girl. After asking to interview them for her school newspaper, she became lifelong friends with Harry and Donald Mills, and they were an important and significant influence in my young life. Their harmonies are magic. Check them out. They leave us 60 years of glorious music. My mother and I share the same favorite singer Jack Jones. As a kid, I poured through my parents' record collection and became instantly obsessed with Jack Jones. You may know him as the guy who sings the Love Boat theme, but he is a gifted vocal artist. Our favorite albums are Jack Jones sings Michelle La Grande and sing me a love song, Charlie. His interpretations of the works of Charles Oar and my mom and possibly your mom's favorite show is Hot Bench.

(02:40):

Hot Bench is the creation of Judge Judy. It's concept three judges, three opinions, one verdict. The three judges first question, the litigants, then they deliberate. These three hot judges are Patricia Damongo, Tanya Acker, and Michael Carrero. Judge Judy created the program after a trip to Ireland where she sat in on a three judge bench while visiting the courts there and realized this would make a great show. Three judge panels are used in many countries throughout the world and in the United States. Most federal appellate cases are heard by three judge panels. Litigants for Hot Bench are found by researchers across the country who find over a thousand real small claims cases a week. From there, the 20 most Compelling are chosen for the show. If the plaintiff wins, the show pays the settlement, and both parties receive a fee for appearing. I wanna thank the folks who make the show because as my mom's activities became increasingly limited, hot bench remained a highlight of her day. These picks come directly from my mom, who also told me that her favorite play is Fritz's. One man show the reception. She saw it maybe five times, and my mom deeply loved Henry, whom she met backstage at a Neil Simon play called The Dinner Party. So you are being here today, Henry means a lot to me. And, uh, Fritz, what have you got for us?

Fritz Coleman (03:56):

Well, I loved your mom's warmth. She just exuded a great warmth to everybody and made everyone feel like they were part of your family. But what I loved the most was to watch her revel in your success. Nobody, uh, appreciated your success, probably including you more than your mom did. And, uh, it it was a great thing to be in her presence. I'm so very sorry for your loss, and it was a slow, painful decline and you and your siblings were there and lifted her up. So she transitioned with a greatest amount of love. I'm really sorry for your loss.

Louise Palanker (04:33):

Thank you very much. And she absolutely adored you, Fritz, and you, I called, I used to call Fritz her, her oldest son, um, which she did not argue with in the slightest. So what have you chosen

Fritz Coleman (04:44):

For? Alright, I I'm gonna go with Bosch Legacy. I'm anxious to see if Henry's watched this show. I love the show. I was a huge fan of the original Bosch series on Amazon Prime. In that series, Harry Bosch was a flaw, bit relatable homicide detective that worked for Lap D. He was always bucking authority, but getting the job done in this new series, he quit the police department and became a private detective. It's called Bosch Legacy. It's Harry Bosch, played by Titus Wellover. They, they bring over characters from the first series that I loved. Attorney Honey Money Chandler, played by Mimi Rogers. Also, I'm happiest about this. They bring Matt Bosch, his daughter, played by Madeline Linz, who is now a rookie l LAPD officer. And it's really interesting to watch her hit her speed bumps as a rookie cop, I just identified with a relationship between father and daughter that sort of grew throughout the series.

(05:33):

It was really well written and I, and Hallelujah, they brought over the comic relief from the first series, two older cops nicknamed Crate and Barrel <laugh>. It's based on the novels of Michael Conley, and it's got great twists and turns and forensics. As he writes, one of the great things is the LA locations. Those of us that live out here can sit and pick out spots who recognize immediately. You can find that on Amazon Prime. But it's also being released on, on a free service call. I never heard of this before. Freek, which makes the show free with limited commercials, almost like Hulu's business model, but less annoying. It's called Freek. It's 10 episodes. Three have dropped. They dropped two more a week through May 27th. Awesome. Great show. Okay,

Louise Palanker (06:14):

Very good recommendation. Henry Winkler stars in Barry as legendary acting coach. Gene Kusano, a layered individual whose intersection with hitman actor Barry may inspire his next book title. Be Careful Who You Teach. Henry Franklin Winkler is an American actor, comedian, author, executive, producer, and director. Initially rising to fame as Fonzi on the American television series. Happy Days. Winkler has distinguished himself as a character actor for roles such as Arthur Hembre in Scream, coach Klein in the Water Boy, Barry Zucker Horn in Arrested Development, Eddie r Lawson and Royal Paynes, Fritz and Monsters at Work. Uncle Joe in the French Dispatch. And Jean Cusano in Barry. He is the recipient of a number of accolades, including a primetime Emmy, two daytime Emmy's, two Golden Globe Awards and won Critic's Choice Award. Welcome, Henry.

Speaker 4 (07:07):

Oh my goodness. I'm so happy to hear. I'm so sorry for your loss. Thank you. And, uh, I, uh, really enjoyed your, um, your mom when I, when I met her, and I always found her to be an extraordinary dancer on Hot Bench. That's right.

Louise Palanker (07:28):

<laugh>.

Speaker 4 (07:28):

I thought it was a judicial porn, but I I I got that wrong. <laugh>. I'm, I'm so sorry. Well,

Louise Palanker (07:36):

As my adolescent nephew once taught me there is porn of everything, so I'm sure there's a porn version of Hot Bench and we'll have to look for that.

Speaker 4 (07:45):

Yeah, I'd like to be on it.

Louise Palanker (07:47):

<laugh>. So, Henry, uh, yes. Have you noticed that when you Google someone's name, it brings up a series of frequently asked questions. So this is gonna be like the newly would game. I'm gonna ask you the same questions that we see when we Google your name, and we'll see if your answers match with Google's. Okay. Are you ready to,

Speaker 4 (08:06):

I'm gonna answer the one question, Fritz and I just recorded him this morning. Okay. <laugh> is on, uh, Disney a plus, and he, it is, uh, monsters at Work, which takes up, um, it's now the second season. We are recording the second season, and it takes place right after the movies, monsters

Louise Palanker (08:27):

Inc. Okay. Excellent. I'm sure it's wonderful.

Fritz Coleman (08:31):

I wanted to ask you about that. Is that fun during the voiceover stuff where you just kind of can be free physically, and how is that?

Speaker 4 (08:38):

Well, you, you, you know, what is so interesting is that I, I wore you have to wear a t-shirt because you, uh, if I wear a regular shirt, it, you can hear the, the fabric. Oh, interesting. So it's very restrictive, but in the structure comes the freedom because I am dyslexic and I'm reading the script. Sometimes I just say anything that comes to my mind, <laugh> good. And it makes them laugh. They put it in. Oh,

Louise Palanker (09:08):

Wow. That is exciting. Okay, sir, are you ready? Player game?

Speaker 4 (09:12):

I'm, you know what, I'm strapped in

Louise Palanker (09:15):

<laugh>. All right. Question number one, are Ron Howard and Henry Winkler friends?

Speaker 4 (09:21):

We are, and, uh, we have been friends since, uh, happy days. Um, uh, I, I think of him actually as family. Mm-hmm. <affirmative>, he said to me, he and his beautiful wife, Cheryl, they met in high school. They said, you know, um, uh, Stacey and Henry, would you be the godparents to all of our children? If God forbid anything happens to us, take them in. You can bar mitzvah them if you want

Fritz Coleman (09:53):

<laugh>.

Speaker 4 (09:54):

Wow. Actual

Louise Palanker (09:55):

Story. You would think that they would say, well, take the ones you like and, you know, and we'll see what we can do with the others. I mean,

Fritz Coleman (10:01):

Didn't his youngest daughter just got married like last weekend or something,

Speaker 4 (10:05):

Right? Yeah, it's very possible. Um, I, I don't particularly care for the kids, but mm-hmm. <affirmative>, I would've taken really, it's

Louise Palanker (10:13):

A, it's,

Speaker 4 (10:14):

It really, I would've taken good care

Louise Palanker (10:16):

Of them. I know you would have, so that we have a match. Uh, that's, uh, let's put, uh, a point on the board for Henry and for Google. Google said the two men are good friends. Winkler is the Godfather to Howard's Children's. So that is an exact match. Question number two is Richard Belzer related to Henry Winkler.

Speaker 4 (10:33):

Okay. Um, I spoke to him years, 30 years ago about this. He said it's very possible. I don't remember the connection, it was some Anne who married somebody and <laugh>. Uh, but I, I have to say I'm very proud of, um, Richard Belzer, the really fine actor being a relative.

Louise Palanker (10:59):

All right. So Google says, yes, they are cousins Belzer appeared in night shift and Henry appeared in law in order.

Speaker 4 (11:06):

I did, but not with him. Oh, okay. I mean, I didn't, I didn't actually do a scene with him, I don't think Mary Beth Burt played my, that wonderful actress, um, married to Paul, uh, Schrader, uh, played my wife, who I think I murdered.

Louise Palanker (11:23):

Okay. Well, that <laugh>, I mean, that can happen on a difficult night. On number three, why is Henry Winkler uncredited in Scream? Ah hmm.

Speaker 4 (11:33):

Because they said to me, you know, you were the Fs, and if you are credited, if people know you're in the movie, uh, it, it will knock the balance of the, of the, um, of the darkness off the darkness and the scariness. Oh. And they, they, uh, you know, they, they test, uh, they test the film. And, um, when I walked on screen, I got applause. So the very same people who said, we cannot put your name on the, on the screen, we cannot put your name on the one sheet on the poster, would you do press

Fritz Coleman (12:18):

<laugh>? Oh, that's, wow. That's

Louise Palanker (12:19):

Hysterical. I think what they were, in essence saying to you is, Henry Winkler makes everything less scary. And we're trying to Yeah.

Speaker 4 (12:26):

That, that would've been lovely if that's what they meant.

Louise Palanker (12:29):

<laugh>. I think it's what they meant. All right, Fritz,

Fritz Coleman (12:33):

I wanna talk about,

Speaker 4 (12:33):

But how about this, how about this, this is true. I, I actually, I had a meeting with an executive and I was telling the story, <laugh>, and I said, these people said, we can't put your name on the screen because you'll knock the balance of the terror off <laugh>. And he said, oh, I was that executive

Louise Palanker (12:56):

<laugh>. Wow.

Fritz Coleman (12:58):

Oh.

Speaker 4 (12:59):

And I said, you'll excuse me. Um, I, uh, I'm so sorry. I, uh, didn't mean to call you out and I'll show myself out. Thank you.

Louise Palanker (13:10):

Well, you could have, like, you could have murdered him and then walked out.

Speaker 4 (13:14):

Yeah. You know,

Louise Palanker (13:15):

Because that,

Speaker 4 (13:16):

And that would've been a whole new movie.

Louise Palanker (13:18):

I think it would've been a whole new movie called Poetic Justice. Yes. Uh, so Fritz has a question

Fritz Coleman (13:24):

I'm gonna talk about Barry. Yeah. Uh, um, I, I love Dark and Hero shows, Henry, if, if there are people that you can root for, even modestly, some, you can't, there's nobody to root for. But in Barry, there are lots of people to root for. You've got Yes. You, you've got NoHo, Hank, who's a really interesting character. You have Sally of Monroe Fukes, Stephen Root just makes me laugh, walking on screen.

Speaker 4 (13:50):

Isn't he the greatest? Yeah. I'm telling you, he, I was just in Austin, Texas with, uh, Sarah Goldberg, uh, uh, Anthony Corgan and, uh, Stephen Root Doing Press, and we had the most wonderful time together.

Fritz Coleman (14:09):

Oh. And they're all hysterical and dark in their own way, but you can root for them. Some shows you can't. So explain Jean Ku, who he is, and so people know if they haven't seen your show.

Speaker 4 (14:19):

I play an acting teacher based on one of the writer's wives actually went to the, the teacher. And, and from her notes, uh, Jean was created. And then I added every one of the 14 drama teachers I had in college and graduate school. Then I added my own imagination of what it would be like to teach

Louise Palanker (14:47):

<laugh>.

Speaker 4 (14:49):

And, um, all of a sudden, Jean came out, he was created as more of an idiot than he is. And, um, I guess as I was playing him, giving him humanity of some sort, the writer said, oh, well, we could go in that direction.

Fritz Coleman (15:07):

That's exactly what I'm talking about. Thank goodness you did that. It's really some of your best acting. I think

Speaker 4 (15:12):

It's wonderful. Thank you. I I will tell you, this year, the third season, no hyperbole, no joking. It is some of the most intense work I have ever done in my professional life. Wow.

Louise Palanker (15:26):

Talk about Mr. Kunos arc, because he's a different person this season than he was in season one.

Speaker 4 (15:33):

Well, in, in season two, we read the scripts before we started shooting, and I asked Alec Berg and Bill Hader if I could have a meeting with them. And I said, look, I really appreciate this role. It is a gift in my life. I don't recognize the gene in this year from the Gene in the first year. And they said, basically, we will never repeat ourselves. Hmm. And so it, I I, I no longer ask any questions. I memorize, I go to the set. I think I know what I'm doing. Alec Berg and Bill Hader direct, uh, different episodes, you know, um, and they take me to a place I never even imagined.

Fritz Coleman (16:27):

So you're building a whole new character. It seems like there ought to be continuity of character from one season. There,

Speaker 4 (16:31):

There is continuity, but it, you know, it, he went from, I don't care if you can act, just pay me in cash. <laugh> to, I finally met a woman I love, and Barry, you have ripped her out of my heart to, I want revenge to, oh, this man is crazy. And if I wanna stay alive, I better listen.

Louise Palanker (17:06):

Wow. That, that is, that's an art that is just, I, I I would say probably so delicious for a great actor such as yourself. But I do have to ask this question. Go ahead. Did Go ahead. You actually punch Bill and does it hurt when you actually punch someone?

Speaker 4 (17:24):

Okay. I don't know. Because being a short Jew, I usually run, rather than, I have never punched a human being in my life. Uh, I have punched pillows.

Louise Palanker (17:36):

Mm-hmm. <affirmative> same.

Speaker 4 (17:38):

Right. But I've never punched the human being, and it was very carefully staged so that I in no way harmed our executive, producer, creator, writer, star, and director.

Fritz Coleman (17:56):

That was smart.

Louise Palanker (17:57):

Is it exciting when you see some of your work show up in the trailer? Cuz you never know when you're filming what they're gonna cut together or how it's gonna look even in the show, but then when you see it in the trailer, is that exciting?

Speaker 4 (18:08):

You know, it's funny that you should say that because there is never a time, and I've been doing this since June 30th, 1970. There is never a time when you see your name in print. There's something about it makes it seem like real. I don't, you know, like, wow, I'm here <laugh> and in the trailer, the same thing. There is not a time when we're watching the trailer for whatever the, the show is. My wife and I go, eh, wait. There you are

Louise Palanker (18:44):

<laugh> it's delight. Like,

Speaker 4 (18:46):

Like by, you know, like sheer delight. Yeah. I'm in the show.

Louise Palanker (18:51):

Yeah, yeah. Yeah. It's, it does feel still magical. Even for people who are in show business, show business seems magical. I love

Speaker 4 (18:59):

That. It it is true. Uh, uh, it is very magical to me, and I'm very grateful.

Fritz Coleman (19:05):

This show is where we are now. We're streaming and all these services, and we're exploding in all kinds of directions. The universe is expanding. When Happy Days was possible, it was appointment television families watched together. It was one episode a week. The arcs were stretched out over a season with streaming. There is no more appointment television. It's a buyer's market now, except for news and sports. Everything is binged that plays into a shorter attention span. And people's sort of addictive behavior. H how, I mean, I mean, what do, what does that force a change in how shows are written and how story arcs are created and how

Speaker 4 (19:45):

They don't I don't think so. You know, everything is different about making entertainment except the humanity, the writing. Mm-hmm. <affirmative>, if it ain't on the page, it ain't on the stage. The acting, the directing, the, the craft service person, the Dolly grip, uh, on our set, Mary, you know, it's,

Fritz Coleman (20:08):

It's just how it's consumed. It's different. That's,

Speaker 4 (20:11):

It's how it's consumed is different. And I am guilty, you know, uh, uh, I watch a show, uh, we binge mm-hmm. <affirmative>, we, we watch it over a very short amount of time the entire season, and then fall into a show hole <laugh> when it's over.

Louise Palanker (20:28):

Oh. A show hole is

Fritz Coleman (20:29):

What are your phases? What are you binging now?

Speaker 4 (20:32):

Uh, now, uh, we, we just started, uh, Ozark the second half.

Fritz Coleman (20:38):

Everybody loves that show. I haven't seen one, so I have That's, that's a catch up. It's

Speaker 4 (20:42):

Also dark. No. What it really is, it's, uh, a wonderful show. Uh, I will tell you, Julia, uh, starring, uh, Sarah Lancaster and Bibi Newk and David, uh, PI, uh, Hyde Pierce.

Louise Palanker (20:57):

Is it Julia Child?

Speaker 4 (20:59):

It's Julia Child. I, I wanna see And you think, yeah. This woman is Julia Child. Where,

Fritz Coleman (21:04):

Where is it found?

Speaker 4 (21:06):

That is on H B O Max. Mm-hmm.

Louise Palanker (21:08):

<affirmative>. Ooh. Ooh. I have to, that

Speaker 4 (21:09):

Hat, uh, is amazing.

Fritz Coleman (21:11):

Oh, I love her. I'm so happy for G Smart. She lost her husband, and then suddenly it's Emmy's and she's got this great show. That show is funny. And the woman that, that, that plays that comic, you know, it's really hard to make them believable when you're writing words for an actor. But that girl is so,

Speaker 4 (21:28):

Do you know who that is? Lorraine Newman's daughter?

Fritz Coleman (21:31):

No way. I didn't

Speaker 4 (21:33):

Know that.

Louise Palanker (21:33):

Yeah, she's so good.

Speaker 4 (21:34):

Smart Lorraine Newman's daughter from snl,

Fritz Coleman (21:37):

You know, I know Lorraine that,

Speaker 4 (21:39):

That, but, but Jean Smart is, I don't know, one of the great actors on the neuro icing. Yeah. Yeah. She can do anything.

Fritz Coleman (21:49):

Yeah. Not only that show, but Mayor of East Town, she was wonderful.

Speaker 4 (21:52):

Oh my God. Great, great, great, great, great. Yeah. Mm-hmm. <affirmative> and that, and also, you know what? I loved what? 1983? Oh, what is it? It's the origin story of Yellowstone.

Louise Palanker (22:04):

It's a pre Quilty Yellowstone. Oh,

Fritz Coleman (22:06):

Oh oh, right, right. With Sam Elliot.

Louise Palanker (22:08):

That was wonderful. God

Speaker 4 (22:09):

Have a, I wrote Sam a fan letter.

Fritz Coleman (22:12):

Oh,

Louise Palanker (22:12):

Good for you. I would love to see you in that. I wonder if they're gonna keep going. Cuz now they've got that

Fritz Coleman (22:16):

Well doing and he's doing the cowboy thing from

Speaker 4 (22:17):

Texas. No. You know why, why? Because 1883 is over. And it is now becoming 1932. I just spoke to the writer, creator and director Taylor Sheridan. Um, I wrote him a fan letter too. And, uh, he is like one of the mo he's one of the most prolific writers, David, but, um, you know who, uh, um, Aaron Short. David Kelly. David.

Louise Palanker (22:48):

Yeah. David Kelly. Yeah. So what would, what did David Kelly just do? That was

Fritz Coleman (22:52):

From, he did the British Show. Yes. Called, uh, anatomy of A

Speaker 4 (22:56):

Scandal.

Fritz Coleman (22:57):

Anatomy of a Scandal. Which was fantastic.

Louise Palanker (22:59):

It's really good. There's two, it sounds like it's going to be a running theme. Like they're just gonna take a scandal from British history. Oh, no. That was different. I'm, I'm mixing up my scandals. No,

Fritz Coleman (23:09):

That's what it was though. Scandal. Scandal.

Speaker 4 (23:12):

I

Louise Palanker (23:12):

Have Scandal.

Fritz Coleman (23:13):

Confusion. You're, he's an executive producer and the right co-writer. He and somebody else wrote on

Louise Palanker (23:17):

This piece, anatomy of A Scandal is in Modern Time. But the, but the British scandal shows the first one was like three years ago, and it had, it had, uh, I should prepare for this show, shouldn't I?

Fritz Coleman (23:28):

No, we just lapsed in

Louise Palanker (23:29):

Because I wanted to say Hugh Downs, and I don't think it

Fritz Coleman (23:31):

Is. See, that would be, that would've no

Louise Palanker (23:32):

Wrong. I don't think Hugh Downs was in it. Hugh Hugh Grand Hug Grand. Thank you. Henry <laugh>. And so, and

Speaker 4 (23:39):

Full.

Louise Palanker (23:40):

Yes. And then the New Scandal is a whole new scandal. But it's from the sixties. Yeah. And it's just rich people behaving very badly.

Speaker 4 (23:48):

Yeah. Yeah. Okay. Yeah. And that I, I'll tell you another, a show that is really worth it. Um, uh, they, the, the South Koreans make unbelievable television.

Louise Palanker (24:01):

Yes.

Speaker 4 (24:02):

And there is one called Crash Landed into You. Ooh. Crash landed into you. Okay.

Louise Palanker (24:12):

I've never heard of

Speaker 4 (24:12):

It. And I'm telling you, you give it a few episodes. This very wealthy young lady from a very wealthy industrial family, uh ha. Runs a company. And there she is. Yeah. And she goes paragliding or parasailing. Right. And a gust of wind blows her into that guy <laugh>, who is a North Korean soldier. Oh,

Louise Palanker (24:40):

That's, does he need a nanny?

Speaker 4 (24:43):

<laugh>? And I'm telling you, no, the adventure begins. Ooh. Okay. It is enchanted.

Louise Palanker (24:50):

Oh,

Speaker 4 (24:50):

There's another one called Vizo. Wow. And Vizo, this is the Logline. He was born in South Korea. He was raised in Italy. Hmm. He was groomed by the mafia.

Louise Palanker (25:09):

Oh wow. That it a great tag.

Speaker 4 (25:11):

Nice. And he is one of the great heroes. And I'm telling you, uh, where he found there he is. Netflix.

Louise Palanker (25:21):

Great. Very handsome.

Speaker 4 (25:22):

Uh, he is, there're they're all the, the, uh, the television stars in, uh, in South Korea are beautiful people.

Louise Palanker (25:31):

Henry, you should be on our show every week with all of these wonderful recommenda, uh, recommendations that you

Speaker 4 (25:36):

Do. Well, you know, I watch a lot of television.

Louise Palanker (25:38):

Yes. But that's exactly why we need you. So now, Henry, I really do. Have you noticed that there was a, a New York Times article about you? And you know

Speaker 4 (25:46):

It, it's funny to mention that I spoke to that man. Yes. Four and a half years.

Louise Palanker (25:51):

He said this is before the pandemic or during the pandemic that you, he, you took him to your, the apartment where you grew up. Yeah. And you took him to your bus stop and you took him to your deli and he walked in your footsteps. So tell us about that.

Speaker 4 (26:05):

Uh, you know what, it was very, first of all, there is a prime example. Henry Winkler. Mm-hmm. <affirmative> from 78th Street in Broadway. Mm-hmm. <affirmative> was in a profile in the New York Times.

Louise Palanker (26:19):

Mm-hmm. <affirmative>. It was beautifully done. He did a wonderful

Speaker 4 (26:21):

Job. We got the New York Times. I, I, I, you know, I'm dyslexic so I'm not a great reader. Mm-hmm. <affirmative>. But it's delivered into my life every day for 60 years.

Louise Palanker (26:35):

Right.

Speaker 4 (26:36):

And now I'm in the magazine section

Louise Palanker (26:39):

And they took some beautiful photographs and you can Oh

Speaker 4 (26:42):

My God, God, that just recently.

Louise Palanker (26:44):

Yes. Just recently. And you can listen to it. And I have a subscription, so I didn't get that kind of message that says, would you like to subscribe? It just said Hello Louise. You know, cuz it knows my name. But there you are. And did you notice Henry? Well,

Speaker 4 (26:56):

I know your name too. Hi Louise.

Louise Palanker (26:57):

Hi Henry. There's 307 comments and it's, so, it has inspired a great deal of conversation and people argue with each other over what role you played and when you played it and what it inspired. And it was a spinoff of this.

Speaker 4 (27:11):

You mean? Those were the 300 comments?

Louise Palanker (27:13):

Oh, lots of comments. But I'm gonna read you some samples cuz I think you might enjoy these and then you could respond. Alright,

Speaker 4 (27:18):

Lord, they hurt my

Louise Palanker (27:19):

No, no. I didn't pick out any that would hurt your feeling. No one here is gonna hurt your feelings. Everyone is about love at the New York Times, you know that. So Food Chemist wrote, watch a Happy Day's rerun. Henry Winkler carried that show like nobody's business before or since. Hardly a scene where he's not simply phenomenal. The body language, the facial gestures. As a school age kid, when the show first came out, I thought he was just the fons. And yeah, everyone kind of idolized him. But what phenomenal acting behind it all, despite the type casting. I think that's a thing that us kids that grew up watching Fonzi, we just kind of accepted, well, this is Fonzi. That's the way he acts. That's the way he talks. We didn't really see the, the beauty of the, the acting and how you created that character and how it jumped off because of you. Uh, not just that you were accidentally along for the ride.

Speaker 4 (28:17):

Well, you know what, um, uh, I, I trained, I went to school because I did not wanna be a flash in the pan. Mm-hmm. <affirmative>. I didn't wanna be a one show wonder. I wanted to be able to carry on. And that went on the air in 1974. And here we are in 2022, and I'm still having an incredibly rich and wonderful, um, uh, you know, acting life. Mm-hmm.

Fritz Coleman (28:49):

<affirmative>, how much of the fonts did Gary let you create on your own? The physical mannerisms, the A did? Was any of that you, or was it most of it The

Speaker 4 (28:56):

Right. A lot. A lot was me. Oh, I added, whoa, <laugh>, which came from a horseback riding, was my favorite sport at the time. Uh, you know, they, they really, they trusted me because I trusted them. Mm-hmm. <affirmative>, I did not ever, uh, try and demand anything. I just tried stuff. And if it worked, it was in. But I will tell you mm-hmm. <affirmative> in the first year, the second year where there's a scene at the dinner table, and they asked me to say, grace. And the show was being run by, uh, a man named Bill, who was, was very religious. And I understood from the Fonzis point of view of talking to God. And so I said, grace, I went a God whoa

Louise Palanker (29:58):

<laugh>.

Speaker 4 (29:59):

And in that, whoa, I said, thank you, and I'm grateful. And I argued, I had to literally stop the filming for a minute and argue my case because he wanted me to say a paragraph of, Hey, we're very, very thankful and thank you for everything, and this is all wonderful. And Mrs. C made a meatloaf and <laugh>, and I thought it all went into a God. Whoa. That's perfect. Just perfect. And it stayed in the show. And that was one of my only arguments in, uh, in 255 episodes.

Louise Palanker (30:41):

And, and, and you trusted your gut and it worked. And that's, that's another thing probably in acting, is knowing when to sort of fight, not fight, but push or, you know, be a little bit insistent upon something and knowing when to just trust them.

Speaker 4 (30:55):

And you know what? You're exactly right. Yeah. That is exactly right. There are sometimes there are directors you work with, uh, or another actor who is not as in tune with the job <laugh>, and they tell you to do something and you go, you, wow, thank you. Absolutely <laugh>. And then you do what you know is right and they go see

Louise Palanker (31:21):

<laugh>. Everyone wants to feel like they're, they're a part of the creation. And it's true. Yes. And so sometimes you just sort of posture towards their suggestion and they, they feel validated.

Speaker 4 (31:33):

Well, you know, that if you did what they told you to do, or what they, what they, what they thought you should do, it would not end well.

Louise Palanker (31:41):

<laugh>. Well, you know what, Henry, I have, I have another comment to read. I think you're gonna enjoy. Yes. You're gonna enjoy this. One comes from DJ K About 15 years ago, I was writing the NR downtown to Times Square after work. And I was balancing a large pile of manila envelopes on my lap that I needed to drop in the mail. I didn't realize the package, the packages were starting to slide off my lap until the man next to me caught them before they fell on the subway floor. He was polite and looked concerned. I mumbled thanks and went back to staring into space. It took a minute for me to realize that the man was Henry Winkler, but I wasn't convinced until he got out at 49th Street. And another guy standing nearby said, yo, the Fons rides the train murmurs of acknowledgement pass through our little area of the subway car. It was a good NYC moment. And I wanna say a proper thank you to Henry Winkler for helping out a fellow stranger also. You are amazing. In Barry.

Speaker 4 (32:37):

Wow. See that? I'm telling you, that has made my month <laugh>. First of all, let me tell you, I took the NR every day, and I'll tell you exactly when it was. Okay. It, in 2000 and 2001, I was doing a Broadway play Oh. Uh, with John Ritter. Right.

Louise Palanker (32:55):

And the dinner party, uh,

Speaker 4 (32:57):

Uh, the, the dinner party. And, uh, I was living on the east side, uh, in a, uh, in an apartment in a hotel. And I took the NR every day to the theater. And then from 49th Street or 42nd Street, I walked to 45th Street to the music box where the play took place. That was another great moment. But oh my god, the another human being right. It, the manila envelopes were slipping and sliding. Of course. Who else? You else?

Louise Palanker (33:31):

What do you do? What do you do? You, you, you help

Speaker 4 (33:33):

Out. What do you help them?

Louise Palanker (33:35):

Sure. It's a subway floor. You have to, it, it's lava. You know, you can't touch it. <laugh>. So here's one more from Chuck Jane. When I was young, the Fonz was the coolest character on tv. I grew up a little and bought a Harley, a white t-shirt, and a black le leather jacket. I grew a little more, got married and had four kids. The writers deserved much credit, of course, but Henry Winkler created a cool, that was kind. And he inspired folks like me being cool for a short period of one's life is a very good thing and being kind is everything.

Speaker 4 (34:08):

Wow. That's nice. What's thoughtful coming

Louise Palanker (34:11):

Really isn't that, isn't that lovely? And I think you knew that you were doing that with your character.

Speaker 4 (34:17):

No. Oh, no, no, no. Oh, no, no, no. I, I'm, I'm so happy that that was the way it was interpreted, or that's the way it landed. Mm-hmm. <affirmative> or, you know, people experienced it. But when I was doing it, my goal was to be funny. Mm. Taking each story, some silly, some good, some well-written, some poorly written 255 episodes and making sure they were funny every week, I swear to you. And then the, uh, loyalty, uh, came, you know, to Richie and, and, uh, to, um, Anson Williams and Don Most, uh, and Mrs. C, the wonderful Marion Ross that came because it was so important to me mm-hmm. <affirmative> as a person. Mm-hmm.

Louise Palanker (35:11):

<affirmative>.

Speaker 4 (35:11):

Right. So maybe that way I kind of knew what I was doing. But the rest of it, uh, when you read that to me mm-hmm. <affirmative>, I, it, it is, it to, to this day, it is amazing to me that I could have that kind of an effect on anybody.

Louise Palanker (35:31):

Wow. It's beautiful.

Fritz Coleman (35:33):

We knew that when we were doing our show, the Couch, and we would walk around. Yeah. I had never experienced fame at that level before. We were going through I c m and I watched the, the waters part. As you would walk in there and just watch people, whether it was verbal or not, react to seeing Henry Winkler, it was really amazing to

Louise Palanker (35:50):

Watch. Right. But back up a step, and, and for two years or maybe more, we, this team, Henry Fritz and Wheezy would, we took this concept all over town and we took meetings and, and, you know, and they're called pitch meetings. And Henry, you can describe it from there.

Speaker 4 (36:04):

Here it is, um, uh, in Louise's house, in her living room, she and Fritz and two other comedians mm-hmm. <affirmative>, two other people Yep. S sat around, had friends come in, have a problem. The friends had a problem. And they literally created a, um, a funny, uh, session of therapy having no, um, right. To give advice to anybody

Louise Palanker (36:43):

<laugh>

Speaker 4 (36:44):

And literally solving the problem. And when I saw it, I saw it, and I still do, they tried to make it once with a, with a lot of big stars mm-hmm. <affirmative>, and they took the humanity out of it mm-hmm. <affirmative> and the, um, the, um, in the moment out of it. And it just flitter into nothing. But I always have thought, this is a fantastic show.

Louise Palanker (37:10):

Well, we shot the pilot at N B NBC because Fritz's n NBC Weatherman Yes.

Speaker 4 (37:15):

And Comedy Channel.

Louise Palanker (37:16):

And so we had, you know, we had Rabbi Eisenberg and James Arnold Taylor and we, and, and we, we had worked together at Premier. So we had these rhythms and we understood each other's humanity. And we really wanted to help people solve their dispute. And we did it in a fun and funny but loving way. But we had this rapport, so that was great. That pilot you can now find on YouTube, that's the pilot that Henry was helping us shop. But when we finally sold it to Comedy Central, they said, okay, we love this, but we're gonna cast our comedians in it. And so they replaced us with, you know, people who are famous comedians and the PO and we

Speaker 4 (37:51):

Watched, they had, they had no chemistry. Right.

Louise Palanker (37:54):

And we,

Speaker 4 (37:54):

They were each individually very fucking

Louise Palanker (37:56):

Oh yes. Very funny. But Henry and I sat behind the double, whatever that glass is called, where they don't know you're there, it looks like a mirror. And we watched the focus groups react to our show, <laugh>. And it was just, it was everything that people complained about was something that Comedy Central had stripped from our pilot. And so that show business, that's, this is how it happens.

Fritz Coleman (38:16):

Not only that, the lady that let us develop the show, uh, lost her job. Like the week after we finished the pilot, the lady who the vice president in charge of development got fired. So back to ground zero. But it just being,

Speaker 4 (38:30):

It, it, to get a show on the air takes a long to get, get a show even into development, is like pushing a camel through the eye of a needle.

Louise Palanker (38:41):

Mm-hmm. <affirmative>. And that's if the needle is not well lubed and didn't want you there and said No.

Speaker 4 (38:47):

No. Wow. And you, you've got to be so tenacious and you've got to believe in the material so that every time you're knocked down, you just stand right back up.

Louise Palanker (38:56):

But you must have, but what I wanted you to explain, Henry was like the, the whole pitch culture, because you've pitched millions of shows, we're just a, a little part of your resume, but you've pitched,

Speaker 4 (39:06):

I'll tell you, uh, from where I started mm-hmm. <affirmative> pitching, when you, you go in with no more than three people, you sit with two or three executives from the network or the production company or the, um, uh, you know, whatever it is, the movie company. And then you try with all your might to make it unbelievably entertaining and sell them the idea mm-hmm. <affirmative> so that they get excited and they say, yes, let's make this show. And how can we change everything we liked in the pitch <laugh> and make it into garbage

Fritz Coleman (39:47):

<laugh>?

Louise Palanker (39:47):

They do. They wanna put their stamp and their ownership upon it. But Fritz is describing the moment when we first walk into the suite of offices and people look up from their cubicles and see Henry Winkler

Fritz Coleman (39:58):

Quite seriously. I mean, I'd never experienced fame at that level, but what really impressed me, honestly, Henry and I, I learned a lot about, I, I'm not famous, but people locally know I'm like a neighbor. And I said, do I know him? And that, but I learned, you treat famous, you treat fans and, and people that just interlopers on the street with such charm and gentleness and dignity. And it really is impressive to see how you, how you react to the general public as they react to you.

Speaker 4 (40:32):

You know, I, I have to say there are, first of all, I think there is an emotional component to being dyslexic or learning challenge. Oh. Hmm. Where I could not believe, but I mean deeply in my soul believe mm-hmm. <affirmative> that what people were saying to me was true. Oh,

Fritz Coleman (40:57):

Wow.

Speaker 4 (40:58):

It could not be that they are saying this to me. So I heard the words, but I did not allow the words to penetrate into my mind or soul. Right. Wow. So I was seeing these lovely people saying hello, and that's what I saw mm-hmm. <affirmative> not how they were treating me or what they were saying, except that the people who were disrespectful, uh, or who wanted to get me because they, before, uh, they thought I was gonna get them, those people, um, would, uh, would really irk me. They, they got, they got to me.

Fritz Coleman (41:43):

Well, you, you and I think it's just the quality of her soul. You treat them with such dignity. And, uh, I just, I learned a lot from that. I learned a lot watching that in my brief.

Louise Palanker (41:52):

Well, I, I, I watched you go around the world with William Shatner, and he seemed confused by how, how much you enjoy interactions with humans. And he said something like, I think he actually likes this. Like, because it wouldn't occur to him to wanna be approached or something, but you know him better than we do. But that's, he,

Speaker 4 (42:15):

He's a very, um, idiosyncratic, phenomenal man. Mm-hmm. <affirmative>

Louise Palanker (42:19):

Truly.

Speaker 4 (42:20):

Mm-hmm. <affirmative>. But it, we have different approaches to, um, the world. Mm-hmm.

Louise Palanker (42:26):

<laugh>.

Speaker 4 (42:26):

It is true.

Fritz Coleman (42:27):

You mentioned Marian Ross earlier, and you've credited her with being one of your mentors. How so?

Speaker 4 (42:34):

Uh, Marian Ross is limitless in her ability as an actress.

Louise Palanker (42:40):

Mm-hmm. <affirmative>,

Speaker 4 (42:42):

She could do anything. Um, she is retired, but when she was working, she could play a Polish grandmother

Louise Palanker (42:54):

Right

Speaker 4 (42:55):

On, on uh, uh, bridge, uh, bridge to Brooklyn or Bridges,

Louise Palanker (42:59):

Or Brooklyn Bridge, I think it was called.

Speaker 4 (43:00):

Yeah. Brooklyn Bridge. I knew there was something in there.

Louise Palanker (43:02):

It's such a wonderful show.

Speaker 4 (43:04):

Uh, she could play Mrs. C mm-hmm. <affirmative>, who was ditzy and loving and, uh, you know, just like a, a homemaker with great wisdom. Mm-hmm.

Louise Palanker (43:16):

<affirmative>,

Speaker 4 (43:16):

She, there, there was nothing she couldn't do. And I would look to her for a gauge, how am I doing? Am I in the right place? Am I doing, am I, am I filling, uh, the funds out correctly like that, you know, um, I, I have love and admiration for her. Um, uh, she's just an incredible human being.

Fritz Coleman (43:49):

Yeah. And you also said that, that, uh, Gary Marshall, uh, uh, a man who high hold in high esteem prepared you for what was going to come after the Fonz was over preparing you for the rest of your career.

Speaker 4 (44:05):

Well, what he, what he taught me was how to run a set, how to be a leader mm-hmm. With an iron fist and a very gentle glove. Mm.

Louise Palanker (44:18):

Mm-hmm.

Speaker 4 (44:19):

<affirmative>, you know, I, once, once in the 10 years we worked together, I, I said for him to hurry up while he was introducing the guest cast, because I had to catch a plane to Little Rock, Arkansas Okay. To make an appearance. The next day I was getting a thousand dollars to just appear to sign autographs for the Little Rock newspaper. Mm-hmm. <affirmative>. Mm-hmm. <affirmative>. And, um, and I, I should really disconnect the phone, but I haven't. That's

Fritz Coleman (44:53):

Okay. That's

Speaker 4 (44:53):

Fine. And after he finished introducing the guest cast, he put the microphone down. He literally grabbed me by the shirt, put me against the wall, and said, don't you ever interrupt me again when I'm introducing to get here. They have every right to be introduced. Like, you <laugh> Gary, I'm gonna sit over here. I'm not saying I'm putting a tick lock on my mouth, <laugh>. I'm not saying a word. If you need me, I'm right here. And, uh, you know, uh, there were so many lessons eventually when I became an executive producer that I had absorbed and didn't even know it.

Louise Palanker (45:44):

Wow. Did you make it to, did you make it to Arkansas?

Speaker 4 (45:47):

I did. Okay.

Louise Palanker (45:49):

<laugh>.

Speaker 4 (45:49):

I did. I now have, uh, Stacy and I Yeah. Have a fishing buddy from Little Rock. He is a doctor and we meet every year at a lodge and fish for trout. Oh wow. Yeah. Oh, that's

Fritz Coleman (46:05):

Very wonderful. Alright, so you're gonna have one of the great experiences for anybody that's a parent, a a proud and wonderful bonding experience of getting to work with your son, who is a director. And you're getting ready to do a show for H B O called King Rex, which is about a cowboy crime boss, which sounds very, it sounds like a cross, a godfather in Yellowstone. So tell us what this show's about when you're gonna shoot and how it is to work with your

Speaker 4 (46:32):

Son. Okay. It is being written, I have worked for my son only in student films wearing Bermuda shorts, Nissan, and, uh, lying in a tub, <laugh>. Uh, he's never hired me the stinker for a professional job. So King Rex is a, it started as an article, uh, about a real man who is a, um, a clothier in, uh, Texas. He sells, um, uh, cowboy wear, you know, uh, upscale. Mm-hmm. <affirmative> cowboy wear. And, uh, he, uh, he has a son, but he's not crazy about his son. And then there's another man, or a young man who works, I think, in the store that he then, uh, uh, adopts kind of like the son he never had, except he's got one. And it turns out that this clothing salesman who knows everybody in town, who is like the social mayor of his area, uh, is up to no good.

Louise Palanker (47:50):

And that's gonna be you.

Speaker 4 (47:51):

And that is me.

Louise Palanker (47:52):

Wow. Okay. Awesome. I love this. Now, how are you excited that Max, are you more excited that Max is a director than you would've been if Max were an actor?

Speaker 4 (48:03):

No, because I wanted him to do, we both did. Mm-hmm. <affirmative>, we wanted him to do what he wanted. What, what was his passion mm-hmm. <affirmative>. And when he was 10 years old mm-hmm. <affirmative>, he told us and anybody else who would listen <laugh>, he was going to be a director. Oh,

Louise Palanker (48:22):

Really?

Speaker 4 (48:23):

And he wasn't joking.

Louise Palanker (48:24):

So he knew.

Speaker 4 (48:25):

He knew. And, you know, he has, uh, he's a cinephile. Mm-hmm. <affirmative>, you know, who else is a Bill Hader Oh. Knows, as I think has seen every film ever created by a human being on the earth.

Fritz Coleman (48:39):

Wow.

Louise Palanker (48:39):

Oh, that's really interesting.

Speaker 4 (48:41):

Yeah. But I am, I, there are no words actually. And I'm a pretty verbal guy, as you know, <laugh>. Yes. There are no words to tell you how felt my soul is Aww. That I'm going to be directed by Max.

Louise Palanker (48:58):

Aw, I love that so much. That is really wonderful. You know, I wanted to talk for a moment before we close about your Twitter presence, because I love, you have a whole Twitter brand personality. And how, how would you describe how you present yourself on Twitter?

Speaker 4 (49:19):

Wow, that's interesting. I don't think, uh, there are things I will not retweet because I think they've gone too far. Mm-hmm. <affirmative>, or, because I'm not comfortable. I, I, I tweet from my stomach. Okay. But I will say I, if Twitter changes the nature of its existence, right. I, I'm thinking very, very strongly about having to leave.

Louise Palanker (49:52):

Same, same

Fritz Coleman (49:52):

Elon Musk said today he would open Twitter up for

Louise Palanker (49:55):

Trump again. Yeah. I, I don't know if I can stay if that

Speaker 4 (49:57):

Happens. No, that, that is, that is not free speech. That is, that's dangerous. Mm-hmm.

Fritz Coleman (50:04):

<affirmative>. Absolutely.

Louise Palanker (50:04):

Exactly. Yeah. Yeah. So where would we go? We have to, we have to

Speaker 4 (50:09):

Figure out, you know what I'm, you know what I'm thinking? I, honest to God, I think somebody is gonna create another platform that will be, uh, have some confined, some structure to it where we can all meet again. Mm-hmm. <affirmative>, but I was getting so close to a million followers.

Louise Palanker (50:31):

Oh, well we can do that tonight. So, okay. So go to at h Winkler for real. The number four, I guess all other versions of Henry Winkler were already stolen. So the real check Mark Henry is at H Winkler, number four real. And he's so entertaining. I, I just love following Henry on Twitter because he, you're a very generous tweeter. You retweet people, you reach out to people that you love, to other performers that you're proud of, and you're somewhat political. And so all good things. I love it.

Speaker 4 (51:04):

Yeah. And I love the animal tweets. I love the, the funny animal tweets.

Louise Palanker (51:11):

So fun.

Speaker 4 (51:11):

Mm-hmm. <affirmative>, I retweet them all the time.

Louise Palanker (51:14):

Yeah. Those are, those are they, they just heal your soul. They do. Now, Fritz, did you have a final question for Henry? Cuz I'm gonna end with something that Ron Howard wrote. No, I want you to,

Fritz Coleman (51:24):

I want you to end in dramatic

Louise Palanker (51:25):

Fashion in his book. This is, this is, uh, dramatic the book by Ron and Clint Howard, which according to the, uh, thank yous at the end, Henry was instrumental in helping out, helping Ron remember a lot of his childhood. Uh, this is the last paragraph in the book. I knew the number of the payphone on the floor of Studio 19 at Paramount. I called it and asked to speak to Henry Ron, where are you? He said, when he picked up the receiver, you're supposed to be here, it's gonna hit the press in about 10 minutes. But I wanted to tell you first, Henry, I'm not coming back. I'm going to direct full-time. I heard a soft groan. Henry went quiet for a moment, then he brightened, you'll be unbelievable at it, Ron. Unbelievable. He said, go with God.

Speaker 4 (52:12):

Oh, that's true. My, my acting partner, my, my friend were left after seven years. Uh, I knew that he dreamt of being a director. I didn't know if anyone could take his place because we had an unspoken connection, uh, doing our scenes together. It, it was just amazing. And on the other hand, I knew that he was meeting his destiny and then he became, uh, a billion dollar director. Mm-hmm. <affirmative>. Wow. So, you know, what are you gonna do? What are you gonna say? And then the, the truth of the matter is that, uh, young Scott Bejo, uh, stepped in and hit a home run. He became a wonderful, uh, acting partner with incredible timing. Very funny. Um, uh, we had great repe. So, you know, he kind of saved the day, but Ron will never, ever be replaced.

Louise Palanker (53:18):

Mm-hmm. <affirmative>. And then was it at that point that you did your first film or one of your, your first films with Ron on night shift or Yeah. Was was it when he

Speaker 4 (53:29):

Was night shift. Okay. Night Night Shift. It was his first film for a major studio. And he said, you know, you can play either role. And I thought, well, Billy Blaze was very flamboyant and the fons is pretty flamboyant. I think I'm gonna play Richie. And so I played Chuck.

Louise Palanker (53:48):

Ah, I see.

Speaker 4 (53:51):

I just played the opposite.

Louise Palanker (53:53):

Yeah. But he was, he was

Speaker 4 (53:55):

Different. And Michael Keaton was,

Fritz Coleman (53:56):

That was the breakout from Michael Keaton too, right?

Speaker 4 (53:58):

Yeah. He's one of his first movies, and he was unbelievable to watch in person right then and there, right in front of your eyes. Mm-hmm.

Fritz Coleman (54:07):

<affirmative>.

Louise Palanker (54:08):

Yeah. It was so much fun. But I, I don't think you were playing Richie as much as you were creating a whole new guy. He was more neurotic than, than Richie. He had more Yeah. You know, more angst and he created

Speaker 4 (54:19):

It. Yeah. But you know what, I, I'm proud of it. That film holds up today. Oh yeah. It was May, 1982. And it is funny. Mm-hmm. <affirmative> today.

Fritz Coleman (54:28):

Definitely. Yeah.

Louise Palanker (54:29):

It was

Fritz Coleman (54:30):

Really great. Thank you, Henry. You're the best. Was

Louise Palanker (54:32):

There anything else we, we should know before we say goodbye, Henry, is there anything else we should

Fritz Coleman (54:36):

Know? Is there anything that needs to be plugged between now and King Rex and Barry?

Speaker 4 (54:42):

No, you know, next year, um, uh, Lynn Oliver and I have our newest book coming out. Mm-hmm. <affirmative>. Oh. But it's not available now, so it's hard to talk about mm-hmm. <affirmative> because then people want it. Mm, mm-hmm. <affirmative>, you know, and, but it's about a little duckling Aw. <laugh> on on in New Hampshire,

Louise Palanker (55:02):

<laugh>. I love that. That is wonderful. I'm gonna read the closing credits, Henry, and then please don't leave us just yet because we're gonna stand up next to the Monitor and take our pictures with you.

Speaker 4 (55:13):

Okay?

Louise Palanker (55:13):

Sure. Okay. We would love for you to join us online on Instagram and Twitter, where we are at Media Path Pod, and on Facebook where our show is Media Path Podcast. And our Facebook group is Media Path with Fritz and Weezy podcast community. You can find full episodes with all kinds of bonus visual content on our YouTube channel Media Path podcast. We would love to know what media you've been enjoying. You can contact us at our social media or email us at Media Path podcast@gmail.com. We wanna thank the entertaining, charming, and brilliantly talented Henry Winkler. Our team includes Dean Friedman, John Maddox, Sharon Beo, bill Fiac, Thomas Hubble, Mason Brown, and you. Our theme music is by me and John Maddox. I am Louise Lanker here with Fritz Coleman and Henry Winkler. And we will see you along the media path.