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Good & Evil aired from September until October 1991 on ABC.

An off-the-wall comedy from Susan Harris, the creator of Soap, in many ways patterned on that hit series. In Soap the opposites were the Uptown Tates and the blue-collar Campbells. Here they were 2 sisters: impossibly pure, idealistic Genny ( Margaret Whitton) who was " good" and ruthless, conniving Denise ( Teri Garr) who was evil. The later was so mean she was determined to steal both her mother's cosmetics empire and her sister's boyfriend, Dr. Eric . Every character was a cartoon: Charlotte ( Marian Seldes), the imperious mother, not about to be conned by anyone; Harlan (Lane Smith), her feisty southern boyfriend; Eric ( Lane Davies), the stiff but handsome heart surgeon with a sordid past; George ( Mark Blankfield), the blundering, blind psychiatrist also in love with sweet Genny; Caroline ( Brooke Theiss), Genny's daughter who had been mute since her father's death; Roger ( Sherman Howard), Denise's dumb assistant and Ronald ( Marius Weyers), Denise's adventure-husband, thought lost on the slopes of Mount Everest. Did he fall or was he pushed? Ronald was found frozen stiff in the opening episode, thawed out, and returned with revenge on his mind.

Stories included Denise's pursuit of a new face cream that could make the company's fortune-if it didn't peel faces first;her attempts to blackmail Eric; and her teenage son David's ( Seth Green's) search for his real father Sonny ( William Shockley)

Like Soap, Good & Evil engendered some controversy, particularly for it's wild parody of the blind ( Klutzy George tended to demolish everything in his path with his cane, interestingly, comedian Mark Blankfield had played a similar character on Nutt House in 1989). Members of the National Federation Of The Blind picketed the network. ABC responded that " the show is a parody done to the extremes and there is not a single character in the show intended to be believable."

An Article from the Washington Post

By Patricia Brennan September 8, 1991

ABC's "Good & Evil" starts out with fairytale-like title credits, but you'd better tuck the kiddies in bed: This one's for the grown-ups. As co-star Margaret Whitton put it: "There's something in it to offend everyone."

The sitcom debuts Wednesday, Sept. 25, at 10:30, at the late end of prime-time. That allows the series a freer hand at raunchier scripts to compete with what evil sister Teri Garr called "a massive number of comedies on this season."

Best, too, if the grown-ups have an offbeat sense of humor. Garr -- who does -- said that over the weeks, the lines get increasingly racy. Each one ends as a cliffhanger.

"It gets really wacky," Whitton said, at home in Manhattan between tapings. "Sometimes I just sit there and laugh. It's really kind of absurdist. This cast is so wild -- I actually missed everybody on my week off."

Garr, at home in Los Angeles, echoed the thought: "This is the funnest job I've ever had. The wardrobe people always get the scripts early, because they need to, and I'm always trying to find out what we're doing. It's over the top and funny, and I can't wait to get to work."

Garr plays the beautiful but malevolent Denise, who is trying to outflank her own mother, Charlotte (played by Marian Seldes), and take over the family cosmetics empire. Whitton plays the good Genevieve, a microbiologist who's so tender-hearted she refuses to try her oral vaccines on animals and tests them on herself instead.

Genny has been a widow for two years; her daughter, Caroline (Brooke Theiss), hasn't spoken since her father's death. Garr and Whitton said Caroline doesn't speak through at least the first five installments. But when she does, she'll have plenty to say, because all the other characters are telling her their secrets.

Denise, too, is a widow -- at least, she thinks she is, having pushed her husband Ronald (Marius Weyers) off Mount Everest four years ago. But Ronald, having been encapsulated in ice, is revived in the opener by opportunistic mountain climbers who thaw him out to get his gold Rollex wristwatch.

Denise's teenage son, David (Seth Green), hopes some day to find his father, but Denise is trying to get her handsome doctor, Eric, to marry her. He, however, has fallen for the good Genny.

Then there's Genny's other suitor, George (Mark Blankfield), a psychiatrist who recently lost his sight. In the opener, George isn't doing so well with his white-tipped cane, pratfalling all over Genny's lab, shattering beakers and mistaking a coat on a hanger for his beloved.

In a later installment, said Whitton, "George becomes my daughter's psychiatrist and they're taken then to a carnival, with amazing results."

The pilot was written by executive producer Susan Harris, whose Witt-Thomas-Harris Productions has been responsible for "The Golden Girls," "Empty Nest," "Soap" and "Benson," among others. She's also the force behind NBC's "Nurses," a half-hour sitcom debuting Saturday at 9:30.

Harris has a Humanitas Prize for an episode of "Maude" entitled "Maude's Abortion."

Her colleagues, Paul Witt and Tony Thomas, also produced the TV series "Blossom" and "Lenny," the Oscar-winning film "Dead Poets Society" and the Emmy-winning "Brian's Song." But "Good & Evil" has a lot more in common with "Soap" than with the more sensitive "Dead Poets Society" and "Brian's Song."

"Susan Harris is very involved," said Garr. "She's very funny. She writes some lines that I don't think a man would write. There's one scene where Denise and Charlotte are talking about a man and they call him 'a gold-digging stud pony.' I don't think a man would have written that."

Executive producer Tom Straw also started out as a writer, nominated by the Writers Guild of America in both 1987 and 1988 for "Night Court" scripts. He was a story editor on Mary Tyler Moore's "Mary," developed pilots for Rob Reiner's Castle Rock Entertainment, and was co-executive producer of Fox's offbeat "Parker Lewis Can't Lose."

For this series, the writers are so busy that the production schedule calls for two weeks on and one off for the cast, Whitton said, to allow the writers time to get the scripts in order. ABC has ordered 13.

"The characters really gain diversion as the story fans out," said Whitton. "Number Five is my favorite episode so far, but they've all got wonderful writing."

Whitton commutes to Los Angeles for taping, keeping her place in Manhattan (her boyfriend is a Wall Street broker she calls "my yuppie scum") and her season seats for the New York Yankees. A baseball/softball fan who has written about the sport for the New York Times Book Review, The Village Voice and the defunct sports newspaper, The National, she also plays shortfield on a Broadway Show League softball team called Lost in Yonkers.

Hollywood-born Garr started out as a teen dancer on "Shindig," danced in nine Elvis Presley films and got her first speaking role in a movie called "Head," starring The Monkees and written by her friend Jack Nicholson.

She played Gene Hackman's girlfriend in Francis Ford Coppola's "The Conversation," appeared in "Close Encounters of the Third Kind," starred with Michael Keaton in "Mr. Mom" and won a best-supporting-actress Oscar nomination as Dustin Hoffman's girlfriend in "Tootsie." She said she still thinks of that as "sort of a feminist movie."

On television, she turned up in the original "Star Trek" series, "McCloud," several variety and comedy series, Carol Burnett's send-up miniseries "Fresno" and last season, "A Quiet Little Neighborhood, a Perfect Little Murder."

But even before it airs, "Good & Evil" has given her something special: the black, one-shoulder dress she wears in the first episode. She borrowed it to wear to a White House state dinner for Nicaraguan president Violetta Chmorro.

Garr, who appeared last spring in an invitation-only show at Ford's Theater, said she sat at President Bush's table.

"It was fun," she recalled. "I was caught looking at the back of a plate. It was from Lady Bird Johnson's collection."

Recently Garr hosted a Lifetime comedy show, "Lovelaughs," and last week, she showed up on a PBS special, "Math ... Who Needs It?" Later this season, she'll play Neil Patrick Harris' mother in ABC's "Son's Memories," about a high school athlete who suffers a head injury. Garr said she met the woman she portrays, Randi Thompson, who "wants him to be a football player again, the way he used to be. It's sort of a metaphor for parents who want their children to be what they want them to be."

She's also narrated a PBS documentary about Jonas Salk and the population explosion, and will star with Jon Lovitz in a theatrical film, "Mom and Dad Save the World." She plays a housewife who is kidnapped and taken to another planet.

Whitton has worked mainly as a stage actress, appearing on Broadway in "Steaming" and in regional, touring and off-Broadway productions. Born in Philadelphia to a family descended from American colonists, she thought she was the only member to be in show business until she met Kathy Whitton-Baker, a distant cousin, when both were cast in "Aunt Dan and Lemon," an off-Broadway play at Public Theater Club.

Her longest TV stint was as Louise Phillips in ABC's "A Fine Romance," an hour-long comedy-adventure series that aired from January to March 1989, but succumbed to its competition, NBC's "The Cosby Show." Whitton and Christopher Cazenove played a divorced couple who co-hosted a TV travel show. The series was filmed -- and also aired, more successfully -- in Europe, keeping a production schedule that she called "incredibly hard and incredibly fun."

She also appeared in CBS' "Hometown" (fall 1985), an ensemble comedy-drama based on "The Big Chill," and played on the daytime dramas "Search for Tomorrow" and "The Doctors."

Next up is a movie called "Stepkids" with Griffin Dunne, a role she calls "my farewell to silly rich bitches." (She played bored, lusty Aunt Vera in "The Secret of My Success" with Michael J. Fox, and nasty Rachel Phelps in "Major League" with Charlie Sheen and Corbin Bernsen.)

Whitton, who said she'd live in Washington if she couldn't live in New York, appeared at the Folger Theatre here as Ophelia in "Hamlet" and Juliet in director Michael Tolaydo's funny version of "Romeo and Juliet." She also turned up in "The Art of Dining" and in "Dracula" with Raul Julia at the Kennedy Center.

Whitton, who has lateral-numerical dyslexia, made one another appearance here: at the Lab School of Washington in 1987 when she was one of six people given the Outstanding Learning-Disabled Achiever Award.

A Review from The Baltimore Sun

ABC's 'Good & Evil' is different, at first
TV premiere
September 25, 1991|By Michael Hill

In a television season filled with shows that have that musty smell of your grandmother's attic, "Good & Evil" comes on like a breath of a different odor.

Give this new ABC comedy credit -- it's different. This is not another half hour from the tried-and-true cookie cutter that's carving out most of the season's new shows.

Which is not to say that "Good & Evil," which premieres tonight at 10:30 on Channel 13 (WJZ), does not hearken back to its historical roots. But its family tree is slightly demented as the patriarch is the offbeat serial comedy "Soap," and the matriarch is Susan Harris.

No, not the Susan Harris who's been cranking out raunchy laughfests ever since she struck silver in "The Golden Girls," but the Susan Harris who was lauded as one of the most inventive writers in Hollywood when she came up with "Soap" back in the mid-'70s.

"Good & Evil" tries for that kind of offbeat, odd appeal and occasionally gets it. Like its predecessor, it will not appeal to all; there's no attempt at redeeming social importance, just a screwball, off-the-wall attitude that, if it works, will infuse this make-believe world with a reality of its own.

This horse of a different color turns out to be a zebra; it's painted black and white. Teri Garr and Margaret Whitton star as sisters, one all good, the other all evil. Playing a bit against type, the spacey, likable Garr is the bad girl Denise, while rich-bitch specialist Whitton is Miss Goody Two-Shoes Genny.

In the opening scene we learn -- but Denise doesn't -- that her husband, lost four years ago while climbing Everest, has been preserved in ice and is thawing out. Then we are introduced to the nature of these sibling rivals. Denise, running her mother's cosmetics company, couldn't care less that one of the company's wrinkle-reducing products is causing customers' faces to disappear. Genny, a widowed research scientist, refuses to experiment on animals and tests the new vaccine on herself.

There are of course all sorts of soap-opera complications, including the straight arrow of a doctor -- turns out he has some odd tail feathers in his past -- who chases after Genny but is, in turn, pursued by Denise. Cliffhangers, and a voiceover plot summary, end each episode.

The screen comes alive when the sisters' mother -- wonderfully played as a Gloria Vanderbilt knockoff by Marian Seldes -- shows up with her own off-kilter view of life. Then there's Genny's daughter, who hasn't spoken since her father died two years ago.

And we must not forget the brilliant physical comedy of Mark Blankfield, who seeks out the bounds of acceptable taste, an appropriate mission for a show such as this, as he plays a blind scientist who refuses to admit that he's having trouble getting this cane thing down right.

The ultimate problem is that "Good & Evil" cannot be "Soap." For one, the envelope that Harris and company pushed so inventively in 1977 has been stretched all out of shape in 1991, what with cable and Fox and the country in general turning weirdness into a generic item in the marketplace of ideas. Try to push that envelope nowadays and you're likely to get bogged down in cliches.

And, more importantly, Harris burned out doing "Soap." When she returned to weekly TV a few years later, she became known as a creator-deserter of her shows.

She's done that with "Good & Evil" and it shows. Next week's second episode, with Tom Straw listed as executive producer, is much more conventional. The humor that arises in tonight's pilot from the characters' oddities is absent. Instead, the second half hour searches for its laughs with much more conventional gag writing. When Harris leaves, she takes the edge with her.

So, unlike its premise, "Good & Evil" is neither. It is deserving of praise for taking one of the few real chances evident in the 1991 crop of new shows, but it seems destined to fail because it won't follow through on that chancy mission. Instead of blazing a new trail, "Good & Evil" looks like it's just trying to walk a bit differently down a well-trod path.

A Review From The New York Times

By John J. O'Connor
Published: October 9, 1991

In "Good and Evil," the good sister is Genevieve (Margaret Whitton), an idealistic biochemist, and the bad one is Denise (Teri Garr), an unscrupulous cosmetics executive. Their mother is Charlotte (Marian Seldes), who still runs the cosmetics empire. Retire at 65, as promised? "I said when I looked 65," mother explains with venomous sweetness. Ms. Seldes reveals a superb flair for wacko comedy.

On the periphery are Eric (Lane Davies), a doctor in love with Gen (despite her vomiting episode) but being blackmailed by Denise; Gen's catatonic daughter, Caroline (Brooke Thiess), who hasn't spoken for two years; Denise's illegitimate son, David (Seth Green), who has had to drop his girlfriend because, explains Denise, "her name was Tammy and she wore white after Labor Day." Dropping in periodically is the blind George (Mark Blankfield), whose cane indelicately prods or smashes everything in his vicinity. Brilliantly executed, the routine gets less funny with repetition.

With the plots tumbling over each other, the series brings in Jerry Stiller and Anne Meara for weekly voice-overs sorting out various developments. There's an element of cruelty in Ms. Harris's humor, not only regarding blind George ("I tried a dog but we kept chasing cars") but also extending to Denise herself. Denise to mother: "You always liked Gen better." Mother: "She was cuter, dear, and you had that terrible oozy skin." Or then there's Denise's prissy male assistant, who, smeared with one of her new cosmetic creams, shrieks: "My face! I'll look like Bette Davis at the end."

Perhaps the sheer abundance of tooth-aching treacle at one end of the current schedule demands pure outrageousness at the other end. That's reason enough to hope that "Sibs" and "Good and Evil" can stick around and get their acts together with more assurance. . Margaret Colin Good and Evil Produced by Bill Bryan, Valerie Curtin, Gil Junger for Witt-Thomas-Harris Productions in association with Touchstone Television; Bob Underwood, co-executive producer; Paul Witt, Tony Thomas, Susan Harris, Tom Straw, executive producers. At 10:30 tonight on ABC. Denise . . . Teri Garr Genevieve . . . Margaret Whitton George . . . Mark Blankfield Eric . . . Lane Davies Mary . . . Mary Gillis David . . . Seth Green Roger . . . Sherman Howard Charlotte . . . Marian Seldes Caroline . . . Brooke Theiss Ronald . . . Marius Weyers

An Article from The LA Times

ABC Drops 'Good & Evil,' Irks Series Creator

The cancellation of "Good & Evil," which pitted Teri Garr as the evil executive of a cosmetics empire against Margaret Whitton as her good sister, had nothing to do with the controversy over the sitcom's portrayal of a blind character, ABC maintained Thursday.

Network spokesman Jim Brochu cited low ratings--the comedy series ranks 77th out of 101 prime-time series that have aired on the four major commercial networks this season--as the primary reason why production was halted after 11 episodes of a 13-episode order.

Ever since its debut Sept. 25, the series from Witt-Thomas-Harris Productions has been under attack by organizations representing the visually impaired, led by the National Federation of the Blind, for its depiction of a bumbling, blind psychologist played by Mark Blankfield.

The federation's director of governmental affairs, James Gashel, called the cancellation a "definite victory."

"I think ABC officials had become aware of the fact that blind people all over the country found this show totally unacceptable and demeaning," he said Thursday from Maryland. "ABC wouldn't talk about the show (to the press). They were embarrassed by it. They didn't consider its portrayal of blind people from the start, and they took a hit over it."

Series creator and co-executive producer Susan Harris sided with ABC in denying that "Good & Evil," which was in a tough time slot on Wednesdays at 10:30 p.m., was canceled because several major advertisers had pulled out of the show under pressure from advocacy groups.

Beyond that, however, she was miffed.

"We are all upset," she said Thursday from her home in Los Angeles. "It was very sudden. The series aired only five times. Once it was opposite the Country Music Awards. Two other times it was opposite baseball playoff games. And (this week) it aired opposite a pivotal game in the World Series."

"To pull it off the air at this point and not try to move it around is not fair," she said. "It was never given a proper time period. This is too good a show to do this to."

Witt-Thomas-Harris has three other series on NBC--the hits "Empty Nest" and "Golden Girls" and newcomer "Nurses." She said they wouldn't do another for ABC without up-front guarantees of getting a better shot at staying on.

Harris, who was once harassed and later embraced by the gay community for the Billy Crystal character on "Soap," said that the blind character in "Good & Evil" would have evolved in a similar fashion given the chance.

"I'm sorry we offended the blind," she said. "It certainly was not our intent. We've always kind of poked fun at and found humor in everything, the darker sides of life as well."

ABC did not immediately announce how many of the remaining "Good & Evil" episodes will air, or what will replace it.

An Article from People Magazine

Teri Garr

Jim Jerome
October 28, 1991 12:00 PM

LONG BEFORE SHE SIGNED ON TO STAR in ABC’s saucy, controversial new series Good & Evil, comedienne Teri Garr put the word out to agents, writers and producers that she was interested in finding a sitcom. Garr’s three best-known films, Close Encounters, Tootsie and Mr. Mom, grossed half a billion dollars. But since the mid-’80s, despite her reputation as one of the hardest-working—and best-liked—actresses in Hollywood, her eight films (including Firstborn, Miracles and After Hours) have all been rather lackluster.

Garr, who starred in CBS’s 1986 soapy send-up, Fresno, saw the small screen as a larger canvas for her keen and durable comic gifts. Indeed, Washington Post critic Tom Shales, reviewing her 1986 TV movie Intimate Strangers, gushed that Garr was an “infinitely rechargeable source of incandescence.”

Yet none of the projects recently submitted to Garrr lit up her feverishly active comic spirit. And she wasn’t about to go the ditz-and-ass route. “They go, ‘Okay, true story, a woman on welfare with five kids,’ or ‘True story, a woman lawyer who lives in downtown L.A.,’ ” says Garr, vamping on the pitch ritual. “I heard ’em all: people who live in trailers, circus people, marriage counselors who are married but maybe not really. Then I had this big deal at Disney, with writers, agents and lawyers going, ‘Sign here, sign here,’ but there was no script. I said, ‘What’s the idea?’ And they said, ‘Well, it will just lie you. It will be what you do—you know how funny things happen to you when you go to the store.’ And I went, ‘That scares me. I’m not making a deal on this.’ ”

The comedy dons at Disney were clearly on to something. But it’s not that funny things happen to Garr: Wherever she is, it’s Garr that happens to mundane, fleeting moments, transforming them with humor. Good & Evil, in which Garr plays wicked sister Denise Sandler, who battles good sister Genny (Margaret Whitton) for control of the family’s cosmetics firm, is struggling for its prime-time survival. But the real-life Teri Garr variety show—a tireless, amazingly quick-witted one-woman showcase of absurd survivalist humor—is not a time slot but a way of life. As close friend Connie Frieberg, a talent manager, says: “Teri gives off this very spirited energy, grace and humor. She’s very young in her ability to stay open, react freshly to things. We were once in this market and Teri found the only funny thing in the place. She made me read a label and I laughed. It’s a very specific, a God-given sort of genius.”

On a Wednesday night Garr is inching her new, shiny black BMW 750 along Sunset Strip to Orso, a favorite pasta palace. Sitting in traffic, her face is a kaleidoscope of comedic takes—lip-biting scowls, cynical smirks, self-mocking clueless frowns, mean corner-of-the-eye squints, goofy shrugs, sneers and leers. “Driving,” she says, “is one of my specialities. Maybe I’m just going to flip out, have no values, start buying cars.”

The next day on the G&E set, a visitor referring to notations on Garr’s script asks, “What about these markers?” Garr whirls around. “My knockers?!” she asks, mock-defensive. “They’re mine. Why? Do they look fake?” As costar Lane Davies says: “There’s nothing of the prima donna there.”

Garr is also secure and honest enough to admit she turned down a chance to play against type, replacing Kathleen Turner in the Broadway production of Cat on a Hot Tin Roof last summer. Partly it was because she would have been “second fiddle” to Turner, but she also declined because, she says, “I had a boyfriend in L.A. and, well, I really wanted a man.” Unfortunately, she adds, he turned out to be a “horrible big-mistake guy.”

So after a string of lower-budget films, she is ready for a television show. “I do certain kinds of films,” she says. “I go away for eight weeks to Tacoma or somewhere, and they spend 3 million, and the movies die even if they’re good. Sixteen people come to see me. I’m exaggerating, of course, but careers go in waves. I’m sure I’ll do more movies. But right now I’m in this. I’d love to make a big, fat damn good living so I don’t have to sweat it. But I have always had a weird attitude about my career. When I started out as a dancer, it was good enough for me just to be maybe in the front a little bit. So I’m not frustrated. I love this work. I never thought I’d get this far. I’m so amazed that I’m this far.”

Susan Harris and husband Paul Witt, the sitcom supercouple (Soap, Golden Girls, Empty Nest), aggressively pursued Garr for G&E. “Her readings are never head-on,” says Witt, “you never hear a line exactly as you expected it.” They also expected Teri to play the good sister, Genny. But Garr immediately saw a career opportunity—and demanded she play evil Denise instead. “That was the obvious choice,” she says. “The evil one is smarter and cutting. It’s really out there, very weird, irreverent. It’s a chancy show.”

Garr was born into comedy. Her father, Edward, was a vaudevillian and her mother, Phyllis, an original Rockette. Teri grew up, with older brothers Ed and Phillip, in New Jersey. “I always heard stories about New York life,” says Garr. “To me this was Utopia, this was fabulous.”

When Terri was 11, her father died. Phyllis moved back to the San Fernando Valley and gamely supported her kids as a Hollywood wardrobe mistress. She never remarried and, says Teri, was a strong model of independence and resilience. “She lived her life through us and worked her fingers to the bone to give us what we wanted,” says Garr. “But she’d say if we ever needed piano and dance lessons, we had to rake leaves, work, get a scholarship. That made us want stuff even more.”

Garr wanted a dance career and showed promise in after-school classes. By the time she got to North Hollywood High she had already toured with a San Francisco ballet company. She studied speech and drama at Cal State-Northridge, then frugged and shimmied on Shindig and in a bunch of Elvis musicals. Her early TV credits included a Star Trek episode and a long stint on The Sonny and Cher Comedy Hour in the early ’70s. “Cher always said I could never find my look,” says Garr. “Here’s a woman who didn’t want to rehearse because she was shopping on her lunch hour and buying everything in every color—and she’s telling me I don’t know my look?”

Ad agencies knew her look and used it in TV spots for Crest, Joy, Folger’s coffee, Tide and Cheer. By 1974 Garr graduated to film work and showed an impressive range in earl) roles: The Conversation, Young Frankenstein and Close Encounters. But it was her Oscar-nominated performance as Dustin Hoffman’s girlfriend in Tootsie, in 1982, that confirmed her as one of film’s finest comediennes.

Says Garr: “That was a lucky fluke, I guess. I also say I was good, too. I had just finished One from the Heart when Tootsie came up and of course I was like, ‘Please, darling, I just starred in a movie for Coppola,’ which is the greatest thing in the world. Who knew it was going right into the dumper? That was my lesson in humble pie. Then Tootsie becomes this incredibly popular movie. I was in dreamland.”

With the sitcom this year and a new man in her life—California contractor John O’Neill—Garr seems closer to getting back there than she has in a while. She admits, candidly and with more than a little poignancy, that her love life has taken a toll over the years. “I’ve had my heart broken,” she says. “I’ve been involved in some really sick relationships—when someone is being abusive, lying, cheating—that were not good for me and, like everybody else, I cling to them.”

A recent painful breakup left her wounded and wary. “Yeah, terrified,” she says, “It’s not easy for me to open myself up to people. It will be like that for a while. Honey, I’ve been nuked. But I learned. I think I’m less desperate in my relationships now. I want a companion, someone who is smart, funny, can talk and who is honest.”

She reluctantly allowed herself to be fixed up with O’Neill, 40, whom she found to be a “sweet teddy bear with a heart.” He lives in canyon country near Valencia, Calif., where he and Garr fly in his single-engine plane on weekends.

Garr keeps her creative head together by gardening, collecting art, racing through crosswords, reading papers, magazines, biographies and novels such as Anne Tyler’s St. Maybe. Her daily workouts at a Hollywood gym keep her Fruit of the Loom fit for the underwear print ads.

Friend Frieberg says Garr, once harder on herself, has grown “more metaphysical” and positive recently. “One reason people like her so much and like working with her is that it’s not this nightmare end-of-the-world thing,” says Frieberg. “She’s not defined by the success or lack of success.” She says Garr is always there when her friends are sick or down. “She’ll bring you the aspirin, the OJ, the chicken soup. She very much knows what’s going on in her friends’ lives—which is why they adore her.”

Happiness manifests itself to Garr at mysterious moments that she is better at seizing these days. “Maybe it’s a chemical thing,” she says at lunch, between mouthfuls of pasta primavera. “Like when I’m working now, and I go to the gym, and then I have lunch at this place on Larchmont, and I’m sitting there, and I’m eating a tuna sandwich and reading a book, and I look up and I go, ‘You know, I’m pretty happy. I got a nice car. Nice job. Tuna sandwich. This is all right.’ And right now I feel that way too. This is great spaghetti. Life is okay. I guess I could get a dog. But I don’t think it gets any better than this.”

To read some articles about Good & Evil go to and

To watch some clips from Good & Evil go to

For more about Good & Evil go to

For more about the fight against Good & Evil go to

For an article about the controversy go to

For the Teri Garr photo Gallery go to

For the Official Seth Green Website go to
Date: Sun April 17, 2016 � Filesize: 36.2kb, 112.5kbDimensions: 941 x 1390 �
Keywords: Margaret Whitton & Teri Garr (Links Updated 7/29/18)


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