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Pearl aired from September 1996 until June 1997 on CBS.
Pearl ( Rhea Perlman) was a spunky blue collar working widow in her fourties who wanted to better herself. By day she labored as loading dock manager for University Electronics. She was ecstatic when she was accepted to night classes at prestigious local Swindon University. Not so her doofus-like 20-year-old son Joey ( Dash Mihok), a single dad who depended on his mother as a live-in babysitter for his infant daughter. Nor was Pearl's sister-in-law Annie ( Carol Kane), her best friend and coworker , who feared that Pearl would become " one of them intellectuals" and lose touch with her blue-collar friends. Then there was Professor Stephen Pynchon ( Malcolm McDowell), a pompous , condescending elitist who taught Swindon's most difficult humanities course, " The Meaning of Life." He was convinced that uncultured Pearl had no business being in his class. Almost every week he did or said something to belittle or embarrass her, inevitably resulting, by episode's end , in some form of apology or reconciliation. Three of Pynchon's other students were seen regularly-Frankie ( Kevin Corrigan), likable but socially inept, Ami ( Lucy Alexis Liu), a driven perfectionist from San Francisco who was obsessed with her grades; and Margaret ( Nikki Cox), a bright, sexy girl from Manhattan who had difficulty adjusting to the cultural world when there were, like , clothes to try on.
A Review from The New York Times
Carla Goes to College, but Who'll Educate Whom?
By CARYN JAMES
Published: September 16, 1996
We all want different things from education. But Malcolm McDowell, playing a supremely arrogant humanities professor, makes his class an offer hard for anyone to resist. ''Survive this class, and you'll be able to swim in the shark-infested waters of the corporate world, handle French maitre d's, flummox cab drivers and maybe even hold your own with those awful little men who install telephones,'' he promises. Stephen Pynchon says he can turn a freshmen into an intellectual, ''someone who can listen to the 'William Tell' Overture and not think of 'The Lone Ranger.' ''
Mr. McDowell's surprisingly funny and warm performance is the freshest element of ''Pearl,'' a pleasant, promising, shrewdly made sitcom that seems to come with a built-in safety net. Rhea Pearlman's Pearl, a middle-aged, working-class widow who goes back to college, is a slightly softer, smarter version of her hilariously tough Carla on ''Cheers.'' Pearl dresses almost as garishly. (An orange leather jacket, purple blouse and tiny skirt suggest her idea of school clothes.) Although she yearns for an education, she can turn sharp-tongued in a second.
Pearl is surrounded by some too neat student stereotypes, including a beautiful dumb woman and an obsessively brilliant Asian-American woman. At home she lives with her grown son (definitely a ''Lone Ranger'' type) and his baby daughter. She has a ditsy sister-in-law played by Carol Kane. And of course there is Professor Pynchon.
''I happen to love bowling,'' Pearl defiantly tells him in class.
''What a shock,'' he says, with a world-weary smile.
No fish-out-of-water, home-versus-school, highbrow-meets-lowbrow possibility has been left unexploited.
But Ms. Pearlman and her co-stars expertly turn this predictable premise into an engaging, likable show. Ms. Pearlman knows when to make Pearl sincere and when to make her feisty.
In what could have been a deadly stiff role, Mr. McDowell shows a glint of humanity that suggests Pynchon is capable of being amused by Pearl but will never lose his self-assured pomposity.
And Kevin Corrigan, as a goofy, none-too-bright student named Frankie Spivak, is the funniest among the other co-stars. ''I'm socially inept,'' Frankie matter-of-factly tells Pearl when they meet. When Pynchon calls on Frankie in class, Mr. Corrigan puts his head in his hands with obvious despair and terrific comic timing.
The show works best when it draws on these three characters. It goes flat when it strains to prove how valuable Pearl's life experience is. She has a tortured, supposedly bright explanation of how Ahab in ''Moby-Dick'' is like Charlie the Tuna.
Although ''Pearl'' is not daring, it already seems comfortably at home in every way except its time slot. This week only, a second episode will be shown on Wednesday, where the show will eventually settle in. It will stay on Mondays for another month, until the Ted Danson-Mary Steenburgen comedy ''Ink'' appears. If you can follow this season's presto-chango schedule, maybe you can even flummox cab drivers.
CBS, tonight at 9:30
(Channel 2 in New York)
Written by Don Reo; directed by James Burrows. A Witt-Thomas Production. Don Reo, Rhea Perlman, Paul Junger Witt, Tony Thomas and Gary S. Levine, executive producers.
WITH: Rhea Perlman (Pearl Caraldo), Malcolm McDowell (Stephen Pynchon), Carol Kane (Annie Carmen), Kevin Corrigan (Frankie Spivak), Dash Mihok (Joey Caraldo) Lucy Alexis Liu (Amy Li) and Nikki Cox (Margret Woodrow).
A Review from The New York Daily News
COLLEGE-SET SITCOM 'PEARL' GOES RIGHT TO HEAD OF CLASS
BY David Bianculli
NEW YORK DAILY NEWS
Monday, September 16, 1996, 12:00 AM
THINK back to that wonderful first encounter in the 1973 movie "The Paper Chase," when John Houseman's Professor Kingsfield verbally shredded the first-year law student played by Timothy Bottoms. Now replace law with humanities, and the student with Rhea Perlman, and the teacher with Malcolm McDowell, and you've got the essence of "Pearl," the new sitcom following "Cosby" tonight at 8:30 on CBS. And simply put, "Pearl" is a gem. Series creator Don Reo, who wrote the pilot, and the show's other executive producers (who include Perlman herself, along with Paul Junger Witt, Tony Thomas and Gary S. Levine) have cast "Pearl" by playing against type and boy, does it work. Perlman, as Carla on "Cheers" was constantly ridiculing degree-laden windbags in general and Diane and Frasier in particular. On "Pearl," she plays Pearl Caraldo a widow who, against the wishes of her adult son, chases her long-secret dream to earn a college degree. The stuff she's most eager to learn, as it turns out, is precisely the sort of thing Diane knew so well. McDowell, on the other hand, made his mark in cinema (and certainly on me) by playing some astoundingly vibrant anti-authority figures: the student rebel in "If . . .," the ultraviolent ruffian in "A Clockwork Orange" and the oft-abused youth in "O Lucky Man!
" In "Pearl," that image of him is turned around completely. As Prof. Stephen Pynchon, McDowell is placed behind the podium in a large lecture hall, and given not only the mantle of authority, but a series of lengthy, imposing, calculatedly intimidating speeches to match. James Burrows, the best comedy director working in TV, directs the pilot masterfully, not only taking advantage of the unusually deep and wide angles of the cavernous classroom setting, but smoothly catching and framing every electric moment between Pearl and the professor. Some of the lines spoken in "Pearl" are good enough to savor. "Like most self-made men," McDowell's Pynchon announces on the first day of class, "I am in awe of my creator.
" When Pynchon throws Pearl out of class, only to have her return and demand a second chance, he gives her a question to answer at the next classroom session. "If Moby Dick, the great white whale, represents evil," he asks her, "what does Ahab represent?
" Her answer, which is both instantly funny and eventually impressive, is worth watching "Pearl" to see. As a bonus, the show also has a very funny supporting cast, from veteran Carol Kane to charming newcomer Kevin Corrigan, playing a bumbling freshman. "Pearl" is so good right out of the blocks, all of the students in Pynchon's class are likely to hang around long enough to get their degrees.
An Article from The New York Times
Leaving a Barroom for a Classroom
By ANDY MEISLER
Published: September 22, 1996
In a town that worships youth and beauty, Rhea Perlman is merely talented. In a profession that rewards egomania and faux family values, she is genuinely self-effacing, and a genuine wife and mother in the generally accepted meaning of those terms.
Yet even if you look hard, it's difficult to find anyone in Hollywood who has cashed in -- both professionally and financially -- as completely and seemingly inevitably as has this 48-year old character actress.
Do you have trouble understanding why? Well, it might help to watch an episode or two of ''Pearl,'' Ms. Perlman's new sitcom, which will run on Monday nights at 8:30 on CBS for at least five weeks, in the time slot eventually to be held by ''Ink,'' a new show that is being retooled.
''Pearl,'' whose basic concept is credited to Ms. Perlman, is centered on a diminutive woman who decides to tackle a complicated, high-pressure world: in this case, academia.
''Am I a big thinker? I'm not a big thinker,'' said Ms. Perlman, sitting in her large airy dressing room a few feet from her sitcom's sound stage. ''I mean I like to think, I like to talk about stuff, I like to read, stuff like that. But I'm not the kind of person who sits around and mulls. I don't like to sit around and agonize and labor over things.''
This gracious and somewhat shy woman, still best known to the world as Carla Tortelli, the acerbic and definitively non-shy waitress in the long-running NBC series ''Cheers,'' leaned back into her comfortable couch and took the thought a bit further.
''Am I a dreamer? I mean, I think I am,'' she said. ''I'm a dreamer in the sense that I feel you can do whatever you want to do. And it frustrates me to see people bogged down.''
Dreams -- unfulfilled, but only temporarily -- are what everyone concerned with ''Pearl'' considers its dominant motif.
Ms. Perlman plays Pearl Carraldo, a widowed middle-age electronics store clerk who, thirsting for knowledge, applies to a local university and is accepted.
Opposed vigorously by her divorced, resolutely blue-collar son (played by Dash Mihok), and supported halfheartedly by her best friend, played by Carol Kane (''Taxi''), Pearl nevertheless enrolls in the toughest humanities course in the college, and runs right into Prof. Stephen Pynchon, played by the English actor Malcolm McDowell (''If,'' ''O Lucky Man,'' ''Time After Time'').
Pynchon is a self-infatuated snob and martinet (''Like most self-made men, I am in awe of my creator,'' he announces to his class in the pilot episode), who has an unpleasant penchant for running intimidated students out of his course. Pearl becomes one of his targets, of course, and the conflicts and eventual backhanded bonding between the two will constitute the meat of the series.
What distinguishes this series from most others on the air, however, is that between punch lines Pearl and Pynchon actually discuss philosophy, ethics and literature. ''Pearl'' may be the only sitcom in which names like Herman Melville, Thomas Moore and Abraham Maslow, and the ideas they had, are invoked.
This quality of continuing education was a central point of Ms. Perlman's pitch to the network.
''It's amazing,'' said Don Reo (''Blossom,'' ''The John Larroquette Show''), who is Ms. Perlman's fellow executive producer on ''Pearl.'' ''In the classroom scenes, Pearl and Pynchon have six, seven-minute-long monologues.''
CBS executives also give an unqualified endorsement of the concept, at least when they're speaking publicly. ''It doesn't scare us at all,'' said Billy Campbell, an executive vice president. ''It's a wonderful message: she's there to learn.''
Which is not to say that CBS always looked favorably on ''Pearl.'' Ms. Perlman is one of several established sitcom stars (including Bill Cosby and her fellow ''Cheers'' alumnus Ted Danson) being counted on this season to draw viewers to the network, which now ranks third. The initial drafts of the ''Pearl'' pilot reportedly left CBS's new programming chief, Leslie Moonves, underwhelmed.
In the hope of a better reaction, and of working out some of the kinks, Ms. Perlman and her husband, Danny DeVito, organized a staged reading of the pilot script in their home. They recruited some longtime friends, including Ms. Kane and Mr. McDowell, to help. The move apparently turned the tide with CBS, and Ms. Perlman quickly moved to engage the two actors on a longer-term basis.
''The whole thing went through a lot of drafts and incarnations,'' said Ms. Perlman. '' The only reason for me to do another show was because I had every reason to feel it was good, really good. And I really wanted it to be.''
The successful show to aim for, of course, is ''Cheers.'' Ms. Perlman was a vital component of the ''Cheers'' ensemble cast, one of many actors whose reputations -- and fortunes -- were made by the long-running hit.
A framed cover of Life magazine, with the ''Cheers'' cast assembled for its final episode, has pride of place on Ms. Perlman's dressing room wall.
''I never dreamed this is where I would get to,'' Ms. Perlman said. ''I always figured, if I was going to be an actress, I would just be one of those struggling ones in New York, playing character parts. But, look, I was always sure that 'Cheers' was a hit TV show, even when we were in last place for the first two years.''
When ''Cheers'' had its premiere in 1982, Ms. Perlman's struggling years were over. She was born in Coney Island and was brought up primarily in Bensonhurst. After she graduated from Hunter College, she began taking a number of jobs, including one as a waitress at the Rainbow Room, to support her acting career. She and Mr. DeVito met in 1970 and began living together shortly thereafter. They married in 1982 and have three children: Lucy, 13; Gracie, 11, and Jake, 8.
The couple moved to Los Angeles in 1976. The hit ABC sitcom ''Taxi,'' with Dr. DeVito as irascible dispatcher, began in 1978. Ms. Perlman made several guest appearances on the show. In 1984 she starred with her husband in his first full-length directorial effort, a comedy for Showtime called ''The Ratings Game.''
Since 1993, when production of ''Cheers'' ended, Ms. Perlman has had roles in several movies, most notably ''Matilda,'' the recent critically acclaimed Roald Dahl adaptation that Mr. DeVito directed and also stars in.
Now, she says, she has everything and nothing riding on ''Pearl.''
''I'm a pretty positive person,'' Ms. Perlman says. ''I like to watch all kinds of stuff. I like very dark and sick things, too. But I choose to spend -- hopefully -- the next five years of my life being involved in something I'm happy with. I like doing stuff that sort of pushes you forward.''
An Article from the LA Times
It's Like Watching His Own Kids Fight
Television: Sitcom creator Don Reo has the 'really difficult, bizarre phenomenon' of watching two of his shows, 'John Larroquette' and 'Pearl,' go head-to-head.
October 29, 1996|STEVE WEINSTEIN | SPECIAL TO THE TIMES
It's tough enough to get a TV show you created on the air. But then to be forced to watch two of your series go mano a mano in the cutthroat lions' den of Nielsen numbers is a predicament worthy of Job.
Except that the pay is a lot better.
"It's a really difficult, bizarre phenomenon," said Don Reo, who, beginning Wednesday, will watch two of his offspring--NBC's "The John Larroquette Show" and CBS' "Pearl"--square off against each other every Wednesday at 8:30 p.m. "It's like that old joke: It's like watching your mother-in-law drive off a cliff in your new car."
He won't be cheering out loud, but Reo does have a preference on which he'd like to see win. To figure out why, note that he left "Larroquette" two years ago.
"The Larroquette show is in its fourth year and the last thing in the world I want to do is contribute to its demise," he explained. "I'm emotionally tied to it. I created it. I created those characters. I gave birth to them. I can't root against it, but at the same time I want the new show to be a big hit."
The new show is "Pearl," the sitcom that stars former "Cheers" barmaid Rhea Perlman as a blue-collar grandmother who heads back to college. It started off the season airing behind "Cosby" on Monday nights. "The John Larroquette Show" is now run by executive producer Mitchell Hurwitz.
"I've been very, very amused by that show and I've marveled at their inventiveness," Reo said. "It's not my vision of the show any longer, but when you leave, you have to let go of it. It's not what I would be doing, but I don't pull my hair out watching what they're doing over there. I'm pulling my hair out here, on 'Pearl.' "
In a comedy era that places a heavy emphasis on youth, both in front of and behind the camera, Reo, at 50, is unusual. His writing credits date back to "Rowan and Martin's Laugh-In," "All in the Family," "The Mary Tyler Moore Show" and "MASH."
"There certainly is a trend toward younger writers and producers and casts in an effort to capture that 18-to-49 demographic, but I think that is spurious logic," Reo said. "Funny is funny. When I created 'Blossom,' I was not anything near being a 14-year-old girl. Even if you set out to target that audience, there is no magic formula. So few shows succeed. It takes a combination of correct casting, good writing--and I believe when you die and go to heaven, God says, 'It was all time slot.' You have to have every one of those things to have a hit show. You don't get it by hiring writers who are 19, casting people who are in their 20s or making jokes and references only to other TV shows."
So instead of worrying about demographics or generational tastes, Reo sets out solely to create shows that he himself "could watch without wincing." Again and again, he said, he has returned to the themes that interest him: stories about renewal, about people taking risks, starting over, trying something completely different.
In the case of "Larroquette," that was a recovering alcoholic trying to get his life back on track in his 40s. In "Pearl," it's a middle-aged woman tackling college.
"You have to have a premise with enough resonance and characters with enough depth and potential permutations to sustain a series, hopefully for several years," Reo said. "But it's really all about execution. I think 'Johnny the Stick' could be a hit series if it's done well--you know, the story of a stick and how the stick makes it through life. It could work. It has to be cast correctly, written well and it has to get a good time slot. 'Underwater Rabbi' could be a good show if it's done right."
Done right, on a Reo series, probably also means an ending with at least a dash of tenderness. He is not ashamed to admit that his shows often verge on the mushy.
"I'm just a sentimental old guy," he said. "I love 'Seinfeld.' I think it's the funniest show on television, but I couldn't write a 'Seinfeld' with a gun to my head. It's a kind of humor that doesn't come natural to me. My shows tend to be more on the real side. I'm more interested in the people, in the way they act, than in the joke of situation.
"I always try to make each episode have a theme of a major emotion. We do episodes about fear or jealousy or anger or love, and then you can be as funny as you want on top of that, but it's always about something. We don't preach. I hate sitcoms with a message because the whole point of a sitcom is simply and solely to be funny, to entertain. But I think that stories that are rooted in human emotion can also be funny, and if you are funny enough, you can get away with some warmth without being arrested by the treacle police."
Fresh out of high school, Reo was working in his father's Rhode Island furniture store when he first thought about making a living being funny. He started writing jokes and then tried to sell them to comedians who came through town. A stand-up named Slappy White liked what he read and asked the 18-year-old Reo to go on the road as his straight man.
"So the next day I woke up and told my parents I was leaving home with a 52-year-old black man named Slappy," Reo said.
He toured the country with White for two years, learning, he said, the true craft of writing jokes, then came to Los Angeles to write for "Laugh-In." When that ended, Redd Foxx, whom he had met during his years on the comedy circuit, hired him to write several episodes of "Sanford & Son."
"It was kind of a big break because there was actually a big division in those day," Reo said. "You were either a joke writer or a sitcom writer. Like writing a sitcom was a higher art."
Now he says he is eager to break out of the sitcom form. He is working on a show about Vietnam, through the eyes of one young soldier, that will be filled with humor, black and otherwise, but won't require a laugh track.
"I would like to do something that is more real than funny. More meaningful to me," he said. "But I still get the biggest kick out of doing this. I still get very nervous before a table reading of an episode that I've written, and on Friday nights when we shoot the show--even worse than it was when I wrote my first one.
"Some days I'd like to be somewhere else, back in the furniture store, but most days it's a terrific way to make a living. I've got a room full of bright, funny people in there [his writing staff] whose job it is to make me laugh all day long. What could be better?"
Well, two different time slots.
* "The John Larroquette Show" and "Pearl" air Wednesdays at 8:30 p.m.--the former on NBC (Channel 4), the latter on CBS (Channel 2).
An Article from Entertainment Weekly
Published on December 6, 1996
PUTTING MALCOLM MCDOWELL TO THE TEST
By Dave Karger
If only every sitcom actor had the class of Malcolm McDowell. Whereas countless other current TV stars can cite only stand-up gigs as their pre-tube oeuvre, the charming 53-year-old British actor has carved himself a place in cinematic history with the landmark films If..., Time After Time, and A Clockwork Orange -- which is why it's sometimes jarring to see him trading yuks with Rhea Perlman as Pearl's stuffy Professor Pynchon. We gave McDowell our own oral exam on fanatic Trekkies, tabloidy royals, and that freaky Stanley Kubrick flick he made nearly half his life ago. -- Dave Karger
-- You've said your late friend, the director Lindsay Anderson (If..., O Lucky Man!), was the inspiration for Pynchon. How are they similar?
There's a lot of Lindsay when [Pynchon] gets very short with [Pearl] and rips off at her. Lindsay didn't suffer fools lightly. He'd go, ''That was absolutely bloody dreadful! What the hell are you doing up there?'' I loved it. Of course, he was right.
-- Pynchon has mostly been confined to his classroom on the show. How would you like to see his milieu expanded?
I think what they're going to do is have an anteroom for him. I want him to have a French bulldog as a pet; he'll be nice to the bulldog and horrible to the human beings.
-- Have death threats from Star Trek fans died down since you killed Captain Kirk in Generations?
Actually, I did wave the red rag at the bull by saying ''For God's sake, all you Trekkies, get a life!'' I've never shown up to one of their conventions. I'd probably get tarred and feathered.
-- Considering you've got two teenagers [with ex-wife Mary Steenburgen], are you concerned about the increasing amounts of sex and violence on television?
What I do disapprove of is gratuitous violence. I'm not so worried about nudity. I think it's worse to see somebody being shot 20 times or butchered than seeing somebody's left tit. I suppose I'm European in that way.
-- Are you a royals watcher?
I think the whole thing is ludicrous. All that newsprint -- what a waste. The sooner it's a republic, the better.
-- How painful was that eye-prying scene in Clockwork?
Very. I scratched my cornea. You don't want to do that, believe me. I had to have a shot of morphine.
-- Has anyone ever told you that there's a porn flick out there called A Clockwork Orgy?
No, but wow -- I'd like to see that. I know there's A Clockwork Banana. It was at the Cannes film festival. I gave it a miss.
An Article from The New York Times
Malcolm McDowell Mellows (Sort Of)
By ILENE ROSENZWEIG
Published: December 8, 1996
THERE IS A WELL-WORN teddy bear on the sofa in Malcolm McDowell's dressing room near the set of ''Pearl,'' the new CBS series in which he stars with Rhea Perlman. Given any other sitcom principal, this would be a charming detail, but it is almost chilling when connected to Mr. McDowell, the British actor whose name is associated with some of the most sinister performances in film. It makes you wonder what happened to the kid.
The fact that the bear turns out to be Mr. McDowell's most beloved childhood toy is no more unexpected than the actor's presence in an American sitcom in the first place. ''I've always thought of myself as a comic actor, and thought of my performances as rather comic,'' the 53-year-old Mr. McDowell says, though he realizes this point has long eluded casting directors.
''They can't see the wood for the trees,'' he continues, ''but I, because I know the material so well, think the choices I made were often hilariously funny.''
As an example, he points to perhaps the most disturbing scene in ''A Clockwork Orange,'' Stanley Kubrick's acclaimed, controversial 1971 movie, which featured Mr. McDowell as the playful psychopath Alex. ''It was admittedly a very black-humorous way to go,'' he says, referring to Alex's crooning ''Singin' in the Rain'' and tap-dancing as he beat a man whose wife he was about to rape. ''But it's even more scary and more terrifying because it was funny. It showed a total lack of empathy. There was no caring at all, no guilt.''
Looking back over Mr. McDowell's film career is a bit like re-experiencing a series of unsettling dreams. Three years before ''A Clockwork Orange,'' he grabbed the attention of film critics with his portrayal of the anarchic schoolboy Mick in Lindsay Anderson's ''If . . .'' (The two other films that Mr. McDowell made with Anderson, ''O Lucky Man!'' and ''Britannia Hospital,'' complete a surreal trilogy on the disintegration of British culture.) In 1980, he was the degenerate emperor in Bob Guccione's widely condemned ''Caligula.'' He has also appeared as a demonic werecat in ''Cat People,'' a sadistic army officer in ''Blue Thunder'' and a post-apocalypse tyrant in ''Star Trek Generations,'' among many other villainous roles.
His talent for evoking gleeful malevolence may have earned him a place beside Jack Nicholson, Dennis Hopper and Christopher Walken, but those names rarely come up at casting calls for sitcoms. Don Reo, the creator and an executive producer of ''Pearl,'' says he wasn't optimistic when Mr. McDowell was suggested to read for the part of Stephen Pynchon, the pompous professor in ''Pearl.''
''We said: 'Malcolm McDowell? He's a villain!' '' Mr. Reo recalls. ''But Malcolm came in and killed. It was so funny. Then there was never any other choice. Luckily, it came at a point when Malcolm was more interested in staying at home rather than running around the universe blasting Captain Kirk.''
Mr. McDowell says, simply: ''You're born to play certain parts, and Pynchon is one I'm born to play. It's like putting on a pair of gloves.''
''Pearl,'' which is on at 8:30 on Wednesday evenings, has earned good ratings and good reviews, with Mr. McDowell receiving particular praise for his comic skills.
He plays Pynchon as a kind of British Don Rickles with a Ph.D., quoting Goethe, Milton and Joyce in between heckling his students because of their ignorance. ''Miss Boswell, if I were to shake your head and look in your eyes, would I see snow falling on a plastic village?'' he asks.
He also epitomizes British snobbery about American culture. ''Class, take 15 minutes,'' he says. ''That's two sticks of chewing gum and a Stephen King novel.''
His favorite target is Pearl Caraldo, the working-class mom turned student played by Ms. Perlman. When she offers Pynchon some trail mix on a car trip, he replies drily, ''Did you know the Donner party had bags of trail mix and yet chose to eat each other?''
Mr. McDowell didn't really watch sitcoms before he starred in one, but now he speaks of them with the utmost reverence. ''Once you're inside it, it's very different from being on the outside sneering at it,'' he says. ''Make no mistake about it, the best writing in America right now is in television.''
To watch clips of Pearl go to https://www.youtube.com/results?search_query=pearl+rhea+perlman
For more on Pearl go to http://en.wikipedia.org/wiki/Pearl_(TV_series)
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Keywords: Rhea Perlman & Malcolm McDowell (Links Updated 8/2/18)