The Game Show Forum
The Game Show Forum => The Big Board => Topic started by: SuperMatch93 on July 29, 2023, 04:14:37 PM
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I attended the first Price is Right taping yesterday with a number of fans from this forum and Golden-Road. While I won't spoil gameplay, here are some details about what the audience processing procedure is like now, courtesy of G-R user gamesurf:
Nearly everything takes place at a Korean church next door to the studio lot. You only actually step onto the studio lot for the last part of the process. All the steps from previous Drew tapings are there sans COVID requirements which have been lifted.
First line queues outside the church. You're handed paperwork and are told to fill it out. You are assigned a number here. They began processing at 7AM even though call time was 8.You enter the church, wait in a hallway. Pull out your identification, and get your name tag. Go up the stairs, get your photo taken. Turn in your paperwork. Affirm that you are eligible (or get an X on your number).Enter a giant Sunday School room with 150-200 chairs set up. You will be broken into groups of 6-12. You'll be taken to the side in a holding area, waiting for your interview with Hannah. Enter a small private room with your group of 6-10 with Hannah. She'll go through all the people in your group and talk to them, with her assistant cryptically taking notes the whole time. This means other groups can't listen in on interviews. Go back and sit down in the group of 150 chairs, staying in numerical order (or as close as reasonable). There are chips and soda and coffee provided on a table nearby. No hot meals though. These were free but depleted quickly. Wonder if they have plans for something bigger and better in the future. Also, this room was kept VERY cold. Sit and wait until everybody has been processed and interviewed. Page takes you out into the hallway again, and the photo station has been converted to a phone check station. Leave your phone, get a ticket number. Led outdoors behind the church to an outdoor area 150 or 200 yards outside, shade tents covering about half of the line, for everybody else to finish the phone check. There are outdoor bathrooms; this is your last chance before showtime .Led through a door in the fence onto the studio lot, into the studio, down the hall, and into the studio.
Also from gamesurf, here's an artist's rendition of Contestants' Row:
(https://i.imgur.com/3EbneyC.jpg)
Of note are the monitors below and flanking the bid displays (which show the same blue background the turntable screens do), and a lack of stairs. Instead of walking up from an audience pit, they now simply walk around the half-walls on the side and onto the stage.
Also, despite the drawings perspective the audience is not on bleachers like the Italian or other foreign versions. Instead there's a multiplex-style stadium seating arrangement with approximately 170 seats by our count. People who had been to 33 commented that there is far more leg room than in the past.
Overall, it was an amazing experience and I look forward to returning on Monday and Tuesday. If anyone has other non-gameplay-related questions about the new season, feel free to ask.
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I guess this means the screen at the back of the audience is gone?
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I guess this means the screen at the back of the audience is gone?
No, the screen is still there. Instead of a raised floor in the middle of the audience, there's now a go-go dancer-esque platform with a couple stairs in the back aisle that the models stand at to show off the trips.
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For reference, the original Italian Contestant's Row
https://ibb.co/MRCvm0w
(https://ibb.co/MRCvm0w)
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I always thought the covid contestants row were nice. I wish they used those podiums
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The only thing I liked about the "no audience season" podiums was the flashing dollar sign on the podiums, it reminded me of how the dollar sign used to flash on the "New Price is Right" sign in the back of the audience. Otherwise I found the no audience season unwatchable.
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Otherwise I found the no audience season unwatchable.
I wouldn't call it unwatchable but it was distracting. TPiR is definitely a show that needs some sort of an audience. With Wheel, J!, or even Millionaire the fake audience didn't bother me because for the first two they could be outta sight outta mind.
But for TPiR it just felt silly to try and emulate an audience when you clearly covered up your seating area. At least Millionaire used its staff and contestants as ambient noise. TPiR really tried to make it seem like there was a full crowd in Studio 33 and it didn't work. And contestants being on 11 don't work in that kind of environment.
I did like "Covidtestants Row", FWIW.
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Otherwise I found the no audience season unwatchable.
I wouldn't call it unwatchable but it was distracting. TPiR is definitely a show that needs some sort of an audience. With Wheel, J!, or even Millionaire the fake audience didn't bother me because for the first two they could be outta sight outta mind.
But for TPiR it just felt silly to try and emulate an audience when you clearly covered up your seating area. At least Millionaire used its staff and contestants as ambient noise. TPiR really tried to make it seem like there was a full crowd in Studio 33 and it didn't work. And contestants being on 11 don't work in that kind of environment.
I did like "Covidtestants Row", FWIW.
Two other things I didn't like for that season... "Come on Down" may as well have been "Make an ENTRANCE!!", because each contestant tried to do something unique upon entering the studio. Also, it seems the contestants were told in advance that if they win in contestant's row, to stop and react, looking directly at the camera before heading to Drew, which made every reaction look the same. (It can be argued also that the contestant running to their prize with each win is also a bit old. Yes, some contestants did this with Bob, but they weren't told to do so. I understand contestants are now told to do it.)
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I understand contestants are now told to do it.
At the shows I saw this past week, George jokingly mentioned that "your impulse will be to run away" (i.e. off stage) and that when in doubt, smile and wave next to Drew. He did mention off-hand that you could run to the prize if you won it unless it was a trip where there's nothing really to run to, but we weren't specifically directed to do so or anything. That said, most people still did; I guess it's a common enough practice now that people just do what they've seen on air.
Also, there was a blackout during show 1 of Tuesday's taping. (https://www.golden-road.net/index.php/topic,34489.0.html) I was there to see show 2, and also ended up being one of the seat-fillers Jacob (the OP) mentions.
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He did mention off-hand that you could run to the prize if you won it unless it was a trip where there's nothing really to run to, but we weren't specifically directed to do so or anything.
I just skimmed the "Farewell to Studio 33" episode. Every single time a contestant won a pricing game for a prize that was inside a door, Drew gestured for them to run to it.
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He did mention off-hand that you could run to the prize if you won it unless it was a trip where there's nothing really to run to, but we weren't specifically directed to do so or anything.
I just skimmed the "Farewell to Studio 33" episode. Every single time a contestant won a pricing game for a prize that was inside a door, Drew gestured for them to run to it.
Considering that Wayne does the same thing when a contestant wins a car, I presume that it's a carryover from the Mike Richards era of both shows.
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I can understand the car, since that dates back to Monty’s run and it makes sense to wanna sit in the car you just won. I could even understand sitting on the new couch you just won. But I’ve seen people run over to their new TV or grill and it just looks goofy and forced.
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I'm assuming they do it because it's easier to do editing in post when the contestant and Drew are in separate locales.
But yes, I love seeing a jubilant player hugging a screen that says "HOUSE CLEANING FOR A YEAR"
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I did always say that if I won a bedroom set, I'd run over and climb into the bed.
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During one of the Barker channel episodes, Bob mentioned that the player could not go through the doors to their prize because S&P was afraid the contestant might see something. The credit roll was an exception for obvious reasons. At some point between that mention and the debut of Easy as 1-2-3 (which required the contestant to go through the doors) S&P relaxed that rule.
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During one of the Barker channel episodes, Bob mentioned that the player could not go through the doors to their prize because S&P was afraid the contestant might see something. The credit roll was an exception for obvious reasons.
...which makes me wonder if Bob wasn't just BSing something that would sound interesting to the audience.
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I attended the first Price is Right taping yesterday with a number of fans from this forum and Golden-Road. While I won't spoil gameplay, here are some details about what the audience processing procedure is like now, courtesy of G-R user gamesurf:
Nearly everything takes place at a Korean church next door to the studio lot. You only actually step onto the studio lot for the last part of the process. All the steps from previous Drew tapings are there sans COVID requirements which have been lifted.
First line queues outside the church. You're handed paperwork and are told to fill it out. You are assigned a number here. They began processing at 7AM even though call time was 8.You enter the church, wait in a hallway. Pull out your identification, and get your name tag. Go up the stairs, get your photo taken. Turn in your paperwork. Affirm that you are eligible (or get an X on your number).Enter a giant Sunday School room with 150-200 chairs set up. You will be broken into groups of 6-12. You'll be taken to the side in a holding area, waiting for your interview with Hannah. Enter a small private room with your group of 6-10 with Hannah. She'll go through all the people in your group and talk to them, with her assistant cryptically taking notes the whole time. This means other groups can't listen in on interviews. Go back and sit down in the group of 150 chairs, staying in numerical order (or as close as reasonable). There are chips and soda and coffee provided on a table nearby. No hot meals though. These were free but depleted quickly. Wonder if they have plans for something bigger and better in the future. Also, this room was kept VERY cold. Sit and wait until everybody has been processed and interviewed. Page takes you out into the hallway again, and the photo station has been converted to a phone check station. Leave your phone, get a ticket number. Led outdoors behind the church to an outdoor area 150 or 200 yards outside, shade tents covering about half of the line, for everybody else to finish the phone check. There are outdoor bathrooms; this is your last chance before showtime .Led through a door in the fence onto the studio lot, into the studio, down the hall, and into the studio.
Also from gamesurf, here's an artist's rendition of Contestants' Row:
(https://i.imgur.com/3EbneyC.jpg)
Of note are the monitors below and flanking the bid displays (which show the same blue background the turntable screens do), and a lack of stairs. Instead of walking up from an audience pit, they now simply walk around the half-walls on the side and onto the stage.
Also, despite the drawings perspective the audience is not on bleachers like the Italian or other foreign versions. Instead there's a multiplex-style stadium seating arrangement with approximately 170 seats by our count. People who had been to 33 commented that there is far more leg room than in the past.
Overall, it was an amazing experience and I look forward to returning on Monday and Tuesday. If anyone has other non-gameplay-related questions about the new season, feel free to ask.
Just out of curiosity...is this "staging area" at the church next door a temporary thing while the Price Is Right studio/accompanying facility is being completed (This *is* new studio facility, correct??).
I know that the initial queue lines for at least some of the old CBS TV City and NBC Burbank shows either started on the sidewalks along the adjoining streets or on the property next door, but waiting in a place of worship just seems so out of place.
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The drawing makes the contestants row podiums look like washing machines
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The drawing makes the contestants row podiums look like washing machines
"DO NOT LEAK"
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The drawing makes the contestants row podiums look like washing machines
Or the contestant lecterns for "Super Jeopardy!"
But seriously, what are those slanted walls for other than to be a tripping hazard?
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I know that the initial queue lines for at least some of the old CBS TV City and NBC Burbank shows either started on the sidewalks along the adjoining streets or on the property next door, but waiting in a place of worship just seems so out of place.
They've finally come up with a way to screen out vampiric contestants.
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The drawing makes the contestants row podiums look like washing machines
"DO NOT LEAK"
ok, but it’s a long weekend…
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I just skimmed the "Farewell to Studio 33" episode. Every single time a contestant won a pricing game for a prize that was inside a door, Drew gestured for them to run to it.
Nothing says joie de vivre like wrapping your arms around your brand new refrigerator. It makes life worth living.
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I don't watch the show any more.
Do they have three doors on stage? Does it look like they brought over the doors from TV City? How about the turntable and the back-of-house sign?
Does anyone know how they store prizes and set pieces and move them on and off stage?
I think when LMAD was at NBC and ABC, they had a flying drop behind where the prizes were staged which concealed the prizes-in-waiting. During commercial the drop is flown out, the old prizes moved out and the new prizes moved into place, then the drop is flown back in.
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Do they have three doors on stage? Does it look like they brought over the doors from TV City? How about the turntable and the back-of-house sign?
Does anyone know how they store prizes and set pieces and move them on and off stage?
Yes to there being three doors, and to the set pieces looking like they brought them over from TV City.
The wheel is brought in through door #1 (they tape both SCSDs after playing all six pricing games in a row) and move set pieces from behind the turntable concealed by a couple sets of blue curtains on wheels.
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During one of the Barker channel episodes, Bob mentioned that the player could not go through the doors to their prize because S&P was afraid the contestant might see something. The credit roll was an exception for obvious reasons.
...which makes me wonder if Bob wasn't just BSing something that would sound interesting to the audience.
I went to 4 tapings with Bob, and neither Rod or anyone else said anything about not running to your prize when it's behind a door. Nor did they tell the contestant to go to their prize. I understand now George tells contestants to do that. One thing Rod and Rich instructed potential contestants about was going to the right when coming on stage. There were also arrows behind the podiums pointing in that direction. Now they don't care. I suspect contestants can go either direction with the current studio too.
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Do they have three doors on stage? Does it look like they brought over the doors from TV City? How about the turntable and the back-of-house sign?
Does anyone know how they store prizes and set pieces and move them on and off stage?
Yes to there being three doors, and to the set pieces looking like they brought them over from TV City.
The wheel is brought in through door #1 (they tape both SCSDs after playing all six pricing games in a row) and move set pieces from behind the turntable concealed by a couple sets of blue curtains on wheels.
So, the SCSD is no longer shot in sequence? Why is this? Does it save time to only bring out the Big Wheel once?
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Do they have three doors on stage? Does it look like they brought over the doors from TV City? How about the turntable and the back-of-house sign?
Does anyone know how they store prizes and set pieces and move them on and off stage?
Yes to there being three doors, and to the set pieces looking like they brought them over from TV City.
The wheel is brought in through door #1 (they tape both SCSDs after playing all six pricing games in a row) and move set pieces from behind the turntable concealed by a couple sets of blue curtains on wheels.
So, the SCSD is no longer shot in sequence? Why is this? Does it save time to only bring out the Big Wheel once?
From what I understand, it does. George said during the break "It only took us 50 years to figure that out!" I believe that started in S49.
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From what I understand, it does. George said during the break "It only took us 50 years to figure that out!" I believe that started in S49.
It did not. They only started doing it sometime early this past season.
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From what I understand, it does. George said during the break "It only took us 50 years to figure that out!" I believe that started in S49.
It did not. They only started doing it sometime early this past season.
Ah, I see. For some reason I thought it coincided with COVID Price.
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From what I understand, it does. George said during the break "It only took us 50 years to figure that out!" I believe that started in S49.
It did not. They only started doing it sometime early this past season.
Well, when you are regularly taking 90 minutes to tape an hour show, every little bit of time savings helps.
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From what I understand, it does. George said during the break "It only took us 50 years to figure that out!"
Fifty years and many advances in recording and editing technology. In an era where you'd prefer to do anything to not have to splice tape, it made total sense to not shoot out of sequence (but I would argue it still makes sense for other reasons).
But come to think of it, why not just play through the six games and then the Showcase Showdowns back-to-back on air? While I cannot suggest changing something that's worked for them for nearly fifty years at this point, the Showcase Showdown is--generally speaking, to put it politely--dull compared to the rest of the show. Sandwich both sets of wheel-spinning into one act or two consecutive ones. I don't think I'd be bothered.
Well, when you are regularly taking 90 minutes to tape an hour show, every little bit of time savings helps.
If that logic was applied (again), then they'd be back to shooting live-to-tape; and given that they believe they need "perfection" in how a contestant reacts to seeing patio furniture or how Drew makes his entrance that they'll reshoot if they didn't like the first take, I would say their efforts to save time are misdirected.
But as much as I truly am neutral on them shooting the first Showcase Showdown out of sequence right before the second, something is eventually going to happen that they won't be able to cover up. Drew gets bonked on the head by a Samoan in game five, but what? In the first Showcase Showdown he's got a gash on his head that wasn't there a segment ago and is gone in the next one! (OK, maybe not quite like that, but you get my point.)
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But come to think of it, why not just play through the six games and then the Showcase Showdowns back-to-back on air? While I cannot suggest changing something that's worked for them for nearly fifty years at this point, the Showcase Showdown is--generally speaking, to put it politely--dull compared to the rest of the show. Sandwich both sets of wheel-spinning into one act or two consecutive ones. I don't think I'd be bothered.
I disagree. I think six straight pricing games would be a slog without something breaking it up at the halfway point.
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I would love to see how much they are spending in editing costs over a single season.
It has to be a huge amount
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But come to think of it, why not just play through the six games and then the Showcase Showdowns back-to-back on air?
This is totally not a knock on your comment but more my own opinion.
People would drop out after the sixth game. I love the showcases (especially the ridiculousness of the 1980s with the time capsule, pirates, and all the wackiness--mainly because I'm a sincere fan of kitsch as a form of catharsis), but the vast majority of people would turn it off if there are no more games and it's just the big wheel and showcases.
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I would love to see how much they are spending in editing costs over a single season.
It has to be a huge amount
This feels like an overblown take. Assuming the editing protocol already chops the recording up into individual segments, dragging one segment to a different part of the timeline takes a trivial amount of time.
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I would love to see how much they are spending in editing costs over a single season.
It has to be a huge amount
This feels like an overblown take. Assuming the editing protocol already chops the recording up into individual segments, dragging one segment to a different part of the timeline takes a trivial amount of time.
I took it as an overall comment on the show, not how much it costs to move Showcase Showdown #1 into an earlier position.
-Jason
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I think this also boils down to the end of the classical broadcaster era, when emcees had the clock in their head. Ludden trying to squeeze in the last password puzzle of the episode, Tomarken talking over whammy animation when there is a high spin count, Barker pacing out each game and dumping out of the Showcase Showdown when a spinoff is won, Clark always aware of the time at his disposal, etc.
Strahan might be the closest to that mold being steeped in live TV after football. The pacing is pretty much set for current Pyramid, so other than the Winner's Circle wrap-up there's no clear example of him doing this. I know from being in the audience in Season 1 that the introductions needed some time editing, and it seems there might still be a reliance on that. (Not counting editing in prize announcements.) Also, we can't evaluate Banks because the length of the bonus round is so variable, and she has to create more material than they might need.
Sure the production company loves the cost savings, but Bob said the added benefit to live-to-tape is that he controls what goes in the show (taking out the executive producer role for a moment). Why hand that control off to an editor to make a decision of what line to cut?
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Also, we can't evaluate Banks because the length of the bonus round is so variable, and she has to create more material than they might need.
To be fair, even the original Press Your Luck needed editing or padding since the spin rounds are also equally variable (editing is most likely to occur with episodes where the question rounds generated the maximum 20 spins, or anomalies like the Cathy/Lori spin battle episode and the Michael Larson episode).
Also, cable game shows tended to tape segments out of order, too. Supermarket Sweep did all of the front game rounds, then all of the Big Sweeps in batches. Also, Legends of the Hidden Temple did all of the Moats, Steps of Knowledges, and Temple Games in batches, with the Temple Runs done at the end of the long taping day, which is likely part of the reason it had such a low win rate.
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Also, cable game shows tended to tape segments out of order, too. Supermarket Sweep did all of the front game rounds, then all of the Big Sweeps in batches. Also, Legends of the Hidden Temple did all of the Moats, Steps of Knowledges, and Temple Games in batches, with the Temple Runs done at the end of the long taping day, which is likely part of the reason it had such a low win rate.
Double Dare did this too, they'd shoot two or three front games before lunch and then the corresponding obstacle courses in the afternoon.
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I disagree. I think six straight pricing games would be a slog without something breaking it up at the halfway point.
Could be, but in an age where people binge watch on shows, would that really matter anymore? Though I suppose the longer commercial breaks that TV (still) has compared to streaming might be a factor.
People would drop out after the sixth game. I love the showcases (especially the ridiculousness of the 1980s with the time capsule, pirates, and all the wackiness--mainly because I'm a sincere fan of kitsch as a form of catharsis), but the vast majority of people would turn it off if there are no more games and it's just the big wheel and showcases.
Fair enough, and I get that's why separating the Showcase Showdowns makes sense, though the Showcases nowadays are hardly the theatrical spectacles of yesteryear.
I would love to see how much they are spending in editing costs over a single season.
It has to be a huge amount
This feels like an overblown take. Assuming the editing protocol already chops the recording up into individual segments, dragging one segment to a different part of the timeline takes a trivial amount of time.
I took it as an overall comment on the show, not how much it costs to move Showcase Showdown #1 into an earlier position.
I would say that is the most reasonable way to interpret it, and accurate too. I was in the studio years ago when they did a pickup of a contestant's reaction to the reveal of a home gym in the Showcase was deemed too strong. The stage manager said to her, "You gave me a ten (on a scale of excitement). I need a six".
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I'd say how dare the contestants be spontaneous, but I have a feeling the people picking the contestants are picking for tens and people play up to that.
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Also, we can't evaluate Banks because the length of the bonus round is so variable, and she has to create more material than they might need.
To be fair, even the original Press Your Luck needed editing or padding since the spin rounds are also equally variable (editing is most likely to occur with episodes where the question rounds generated the maximum 20 spins, or anomalies like the Cathy/Lori spin battle episode and the Michael Larson episode).
PYL was easy to pad, either with a longer shot of the happenings going into commercial breaks -- including the occasional on-screen poem, or with Peter reading one or more poems at the end of the show. And the Contestant/Ticket Plugs which ISTR were pre-recorded once by Rod and dropped in when needed.
On the flip side, when the gameplay would run long, they had the options of shortening the contestant intros, come out of commercial break with Peter going right into the first question ot the first contestant's spins and going right into a commercial break as soon as Peter says what's coming up next. Plus, as we saw with GSN'S "Behind The Scenes" of the Michael Larson episode(s), some of the banter and decision-making between spins was edited out.
I think what was one of the hardest shows to time out was the nighttime Match Game weeknight (x5) episodes: With "X" amount of 2-game matches that needed to be played AND to end it all nicely at the end of the Friday episode, they had to determine which questions were given the 2-5 second think music treatment and which questions do they leave the celebrity banter in while they write out their answers.
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I would love to see how much they are spending in editing costs over a single season.
It has to be a huge amount
I have to imagine editing nowadays is a lot different than it used to be. It made sense for producers back then to discourage editing because I'm assuming it required cutting and putting together videotape; something that could be a long process and require specific equipment. So, if they could keep that at a minimum, it would be best. I get that too, but it's 2023 and I'll take a hunch they aren't hurting that bad because they have to drop in some pick up shots.
The show still runs smoothly in my eyes, when things don't go wrong (which they have). Having been to the show many times over the past few years, including this past week, I'd say the thing that makes tapings get up to 90 minutes is setting things up for the next act. They do film pickups of prize reveals and sometimes Come On Downs, but those take next to no time whereas they might have to take an extra five minutes to roll a car into position on stage to play Gas Money and also plug in the prop and get its electronics going. Or conversely, removing a car off stage after playing Lucky Seven or Card Game. Maybe it's because I enjoy paying attention to Drew's interactions with the audience during the breaks or I like guessing what the crew is setting up behind curtains, but it's usually a process that doesn't drag often for me. And maybe that's also because the wait to get into the studio takes so long that, after going through that, the taping feels like it goes by much quicker. I was quite pleased to end up getting out as early as I did last week as it allowed for me to do other things I thought I wouldn't have time for.
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I have to imagine editing nowadays is a lot different than it used to be. It made sense for producers back then to discourage editing because I'm assuming it required cutting and putting together videotape; something that could be a long process and require specific equipment.
Up until around the time TPIR debuted, it did. From there, "video editing" pretty much went all-electronic; anything as simple as going from one machine/tape to another with basic cuts-only edits, to multiple machines feeding through an almost control-room-like setup (look up terms such as "linear editing" and "CMX"). Either way, though, it was a rather time-consuming process, with bits of the show having to gradually be laid down in real-time. Nowadays, non-linear editing programs make it a lot easier and quicker to polish things up.
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I don't know how much time is spent editing TPIR, but I do know that the closing credits list one supervising editor and seven editors. I would assume that those eight people don't all work on each episode, but that's still a lot of editing.
Having been to the show many times over the past few years, including this past week, I'd say the thing that makes tapings get up to 90 minutes is setting things up for the next act.
If so, then part of that could be sped up if they were so inclined. In the Barker days, set pieces were often moving around backstage while the show was taking place onstage. For example, for a fee game like Grocery Game or Cliff Hangers, as soon as the plug for the main prize was over, the doors closed and the stagehands went to work striking the prize and setting up for the next act while the contestant played the pricing game. Now, the doors stay open for the entire act so if the contestant wins, they can run over to the prize. (Or to keep the prize on hand so they can shoot any necessary pickups.)
It wouldn't surprise me to learn that tapings are currently taking longer at Haven than they did at Television City, though. Behind the doors, prizes are no longer being loaded in from the same direction, so even if a lot of the crew carried over from Television City, they'd have to work out a new most efficient way to move everything around.
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I don't know how much time is spent editing TPIR, but I do know that the closing credits list one supervising editor and seven editors. I would assume that those eight people don't all work on each episode, but that's still a lot of editing.
Having been to the show many times over the past few years, including this past week, I'd say the thing that makes tapings get up to 90 minutes is setting things up for the next act.
If so, then part of that could be sped up if they were so inclined. In the Barker days, set pieces were often moving around backstage while the show was taking place onstage. For example, for a fee game like Grocery Game or Cliff Hangers, as soon as the plug for the main prize was over, the doors closed and the stagehands went to work striking the prize and setting up for the next act while the contestant played the pricing game. Now, the doors stay open for the entire act so if the contestant wins, they can run over to the prize. (Or to keep the prize on hand so they can shoot any necessary pickups.)
It wouldn't surprise me to learn that tapings are currently taking longer at Haven than they did at Television City, though. Behind the doors, prizes are no longer being loaded in from the same direction, so even if a lot of the crew carried over from Television City, they'd have to work out a new most efficient way to move everything around.
In 33 they had that stage-left alley next to the announcer's podium which was concealed by a curtain. Prizes were lined up there and rolled behind door 3. I wonder if they have a similar arrangement at the new place. I suspect not.
the closing credits list one supervising editor and seven editors.
Jeeminy Christmas!!! CBS/Fremantle are sparing no expense to make Droofus look like the shining star that he is.
Translation: CBS/Fremantle are pissing away a lot of money. Once upon a time the show was done live from New York, as in live live. With a real emcee, no less.
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Jeeminy Christmas!!! CBS/Fremantle are sparing no expense to make Droofus look like the shining star that he is.
Translation: CBS/Fremantle are pissing away a lot of money. Once upon a time the show was done live from New York, as in live live. With a real emcee, no less.
This. And there are those who continue to argue that he has improved much over the years. I've seen his performance in studio. He is the beneficiary of a lot of editing.
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I don't know how much time is spent editing TPIR, but I do know that the closing credits list one supervising editor and seven editors. I would assume that those eight people don't all work on each episode, but that's still a lot of editing.
Having been to the show many times over the past few years, including this past week, I'd say the thing that makes tapings get up to 90 minutes is setting things up for the next act.
If so, then part of that could be sped up if they were so inclined. In the Barker days, set pieces were often moving around backstage while the show was taking place onstage. For example, for a fee game like Grocery Game or Cliff Hangers, as soon as the plug for the main prize was over, the doors closed and the stagehands went to work striking the prize and setting up for the next act while the contestant played the pricing game. Now, the doors stay open for the entire act so if the contestant wins, they can run over to the prize. (Or to keep the prize on hand so they can shoot any necessary pickups.)
It wouldn't surprise me to learn that tapings are currently taking longer at Haven than they did at Television City, though. Behind the doors, prizes are no longer being loaded in from the same direction, so even if a lot of the crew carried over from Television City, they'd have to work out a new most efficient way to move everything around.
In 33 they had that stage-left alley next to the announcer's podium which was concealed by a curtain. Prizes were lined up there and rolled behind door 3. I wonder if they have a similar arrangement at the new place. I suspect not.
the closing credits list one supervising editor and seven editors.
Jeeminy Christmas!!! CBS/Fremantle are sparing no expense to make Droofus look like the shining star that he is.
Translation: CBS/Fremantle are pissing away a lot of money. Once upon a time the show was done live from New York, as in live live. With a real emcee, no less.
The days of real emcees is over its big name stars now thats just there for a pay check.
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I went to 4 tapings with Bob, and neither Rod or anyone else said anything about not running to your prize when it's behind a door. Nor did they tell the contestant to go to their prize. I understand now George tells contestants to do that. One thing Rod and Rich instructed potential contestants about was going to the right when coming on stage. There were also arrows behind the podiums pointing in that direction. Now they don't care. I suspect contestants can go either direction with the current studio too.
George tells you to "STAY WITH DREW!!!" during his warmup, unless of course, Drew tells you to run to the prize. He did mention if you win a trip or something that isn't a physical prize you can't exactly go hug it so just stay with Drew, pick a camera to look at, then wave and smile, and enjoy looking like a television star. As for the arrows, they've been gone for years now, but you're still instructed to run up the "left side" stairs (or as it is now, the ramp) as the cameras are pointed in that direction.
As for the editing issue, the show would need to be edited down to time by now, even if Barker in his prime was hosting. The show is so short on time now there's barely enough time for six games, two big wheel segments, and two showcases. I think it's far better that Drew would actually spend time getting to know every single contestant and if there's time in the show, the segments get left in. How many contestants in the Barker era got called up late, played a quickie game, spun first, and only had a few minutes of interaction with Bob compared to people early in the show who had full conversations with him on-air about where they're from, what they do, what their partner's name is, what their dog's name is, their life's hopes and dreams, their social security number, and anything else Bob wanted to talk about with them. I always felt it was a little unfair to those later in the show contestants that they got shafted of the full experience just because the show played Super Ball!!! and Barker wanted to talk to a contestant in Act 2.
I much prefer the current way of doing things where every contestant gets their time to shine and if there's time in the show we can actually see it. The "@ Night" specials do great at showing off Drew's time spent with the contestants thanks to the extended runtime.
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Ok, Let's try this one more time.
People like Drew.
He is doing a good job, capable at worst, when you view the show for what it is now- a fun hour of games and prizes.
If you keep looking at the 'way it's supposed to be' under Barker and Roger; you will continue to not like it. There's also some things that were done during their run that was not always perfect, fair or even looked all that great sometimes. It's also becoming crystal clear that the show had to change to meet modern audiences---and that is not a bad thing.
I do not get at all the constant hard on some members have in trashing the show and personalities- and other game shows too- because its not hosted by an emcee- something that, TBH, could easily be interpreted for men of a certain age, weight, "look" and race.
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As for the editing issue, the show would need to be edited down to time by now, even if Barker in his prime was hosting. The show is so short on time now there's barely enough time for six games, two big wheel segments, and two showcases.
This is really the failure of broadcast networks in an era where streaming is the real game (and commercial breaks last for just seconds, with skippable ads too). I get that they don't really care insofar as over-the-air broadcasting is a dying medium, and I get that they don't care because, "Money, dear boy" is the answer to everything, but even then, a half-hour program runs these days without commercials, what, 20 minutes? Price is less than 38 minutes now. They couldn't give them 40 minutes to do a decent show?
How many contestants in the Barker era got called up late, played a quickie game, spun first, and only had a few minutes of interaction with Bob compared to people early in the show who had full conversations with him on-air about where they're from, what they do, what their partner's name is, what their dog's name is, their life's hopes and dreams, their social security number, and anything else Bob wanted to talk about with them. I always felt it was a little unfair to those later in the show contestants that they got shafted of the full experience just because the show played Super Ball!!! and Barker wanted to talk to a contestant in Act 2.
True, "hurry-up offences" were a drag on the show, but this could be said about any game show done in the live-to-tape era where speeding up was necessary to make time, though I say this made for better television because it was natural and not engineered. Watching game shows used to be like watching a theatre performance because they were done in as close to real time as they could be, and this just flows so much better to the viewer. We've lost the appreciation for theatre and have over-engineered performing.
If you keep looking at the 'way it's supposed to be' under Barker and Roger; you will continue to not like it.
It's not really about Barker or Roger but the loss of the live sense of the show for how engineered it is now. It's not satisfying to me, the viewer, for every car win to be engineered with the same presentation of, "Go see your car!" (which the contestant can already see from where he is standing) to wave a vanity licence plate frame. It just screams fake, and it is because it's not a natural reaction. Yes, there were contestants naturally excited that they did run over to see their cars after winning. Great, but that reaction was a genuine one, not forced. It's the same on Wheel where contestants have to pick up that half car piece and wave it at the camera at Pat's instruction. Just let the contestants do what comes naturally to them. At the risk of being labelled old-fashioned, this was one of Roger's "commandments" of producing Price and for darn good reason.
I do not get at all the constant hard on some members have in trashing the show and personalities- and other game shows too- because its not hosted by an emcee- something that, TBH, could easily be interpreted for men of a certain age, weight, "look" and race.
To be an emcee, a master of ceremonies, is a lost art nowadays. With the exception of quizzers that play the game straight (e.g., Jeopardy! or anything else like it that's on these days. I don't even know what's on anymore) and make the game the focus, game shows seem to be treated as "comedy machines" driven by "comedic" personalities who use it as a vehicle to drive their jokes. I suppose this can make for entertainment, but I would say not every game show is built to be driven this way, and Price is not one of those games, as I would say the central feature is the contestants and their stardom in their "fifteen minutes of fame" as part of the party to win cash and prizes. An emcee here is supposed to keep the proceeding going and bring the best out of a contestant, making him the star and not himself. A tall order, for sure, but we can name the names of those who did it well over the decades and and art not being touted by most game show hosts today.
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It's not really about Barker or Roger but the loss of the live sense of the show for how engineered it is now. It's not satisfying to me, the viewer, for every car win to be engineered with the same presentation of, "Go see your car!" (which the contestant can already see from where he is standing) to wave a vanity licence plate frame. It just screams fake, and it is because it's not a natural reaction. Yes, there were contestants naturally excited that they did run over to see their cars after winning. Great, but that reaction was a genuine one, not forced. It's the same on Wheel where contestants have to pick up that half car piece and wave it at the camera at Pat's instruction. Just let the contestants do what comes naturally to them. At the risk of being labelled old-fashioned, this was one of Roger's "commandments" of producing Price and for darn good reason.
Well, to be fair, there's a difference between seeing your car from across the stage surrounded by cameras in front of you and a camera around your car, and seeing it directly in front of you. I think it's cool to be able to see the prize you just won up close and actually touch it, specifically a car. That makes it feel like it's yours. And if it's good enough for the showcase round, I don't mind it following a pricing game. Does it need to be done for other prizes like a trip somewhere or a pilates machine? Probably not, but it's also still nice to have the experience to meet and chat with the models.
An emcee here is supposed to keep the proceeding going and bring the best out of a contestant, making him the star and not himself. A tall order, for sure, but we can name the names of those who did it well over the decades and and art not being touted by most game show hosts today.
Which is funny you say this because it's the reason that Drew Carey isn't referred to as "the star of The Price is Right" but as "the host." Meanwhile from 1980-84, Bob would spend 30 seconds every fourth show to talk about his touring Fun & Games show.
I think Bob is the best to have done it and I think it's an impossible task to ask anyone to get there and match it. And I appreciate the opinions on Dennis, Tom and Doug because they were all excellent in different ways, but Bob found a way to meld with the show. Maybe he had the unfair advantage over Dennis in getting to do the show daily instead of just weekly, but make no mistake there's a reason Bob's version of the show took off and Tom's and Doug's didn't and it wasn't just poor clearances.
But I have come to accept that Drew is what we have and he's not bad at it. One thing that has made a HUGE difference is that he cares. He didn't at first. He had a hard time remembering procedure and the games. But as time wore on, he remembered the games, the hidden rules, the stage positioning. That is something that comes across on camera and in studio and, for me, it makes me enjoy the show knowing he enjoys the show.
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All I ask of Drew is enthusiasm in the right places and to be more consistent. The first playing of To the Penny comes to mind, where he handled a big money win as if it was a washer/dryer. I have the same gripe when he does the big reveal during the Showcase.
He’s a good host - which explains why he’s been there 16 years - but I do think he’s a bit inconsistent at times.
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He’s a good host - which explains why he’s been there 16 years - but I do think he’s a bit inconsistent at times.
When Drew was hired, it was a CBS decision, not Fremantle.
Fremantle hated him and didn’t want him. Whether they still feel that after all these years is unknown.
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I much prefer the current way of doing things where every contestant gets their time to shine and if there's time in the show we can actually see it. The "@ Night" specials do great at showing off Drew's time spent with the contestants thanks to the extended runtime.
This is something I've noticed as well. Those 4-6 minutes afforded the nighttime shows make all the difference in the world. God only knows what the economics of daytime television are nowadays, but you're telling me you can't drop 8 spots and command a higher rate for the remaining to make up the difference?
On Bravo, what they do on a lot of their shows is run the first break and say they'll be "back in 60 seconds." They even but a small countdown timer in the corner of the screen during the ads/ad. And I have to imagine that break commands a higher rate because, along with hitting early, it is far less likely to get fast forwarded or flipped.
I believe we discussed during the 50th special that a lot of those cut/blooper moments should have just stayed in the show. It's to the show's detriment that we get to see so few of those goofs and a host who's very well equipped to play off them actually do so.
Another great example of this was the "Superfan" nighttime show. You had those extra minutes for the show to breathe, and you had games where they very intentionally leaned into the "unwritten rules" fans know over the years ,and Drew demonstrating he was well aware of them as well with some sly oblique references. It was actual fan service and a better show!
Just because modern technology allows you to cheaply and easily cut the show tighter than Bob Stewart's wallet does not mean you should.
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On Bravo, what they do on a lot of their shows is run the first break and say they'll be "back in 60 seconds." They even but a small countdown timer in the corner of the screen during the ads/ad. And I have to imagine that break commands a higher rate because, along with hitting early, it is far less likely to get fast forwarded or flipped.
This is done across all of The Networks of NBC Universal, as far as I know. (That said, I haven't timed it out, but I'm pretty sure all the other commercial breaks are longer to compensate.)
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How many contestants in the Barker era got called up late, played a quickie game, spun first, and only had a few minutes of interaction with Bob compared to people early in the show who had full conversations with him on-air about where they're from, what they do, what their partner's name is, what their dog's name is, their life's hopes and dreams, their social security number, and anything else Bob wanted to talk about with them. I always felt it was a little unfair to those later in the show contestants that they got shafted of the full experience just because the show played Super Ball!!! and Barker wanted to talk to a contestant in Act 2.
There was a specific order of selection for contestants based upon their personalities and how Barker would be able to interact with them. The time constraints of the show were definitely a part of that consideration. Remember, Phil/Roger/Stan/et al. only had a few seconds to make a selection and not every group of 300+ people had firecrackers in them.
If they were selected early (first four), Barker knew those were the ones the producers felt had the best potential for good on screen interaction, and he could easily keep that in mind as the show progressed (“why haven’t you been paying attention to the bids Donald? Who are you listening to?”). He knew this based on the order of selection. While winning the One Bid was uncontrollable, the odds were more in the favor of Barker getting those contestants on stage. The later contestants were the ones who might not have been the cream of the crop, but were still good contenders.
Contestant 5 was often selected as the “highlight” contestant as well; they were the first to get their spotlight as a single call down. Take notice over the years how many memorable contestants were in the five slot and how Barker would try to draw them into a conversation immediately upon call down versus those later in the show. It wasn’t about time constraints; they were selected in that spot and it was a “tell” to Barker as to why. He worked to make the best of those contestants.
Finding 9 people who aren’t robots, fakes, or frozen out of 300 is not an easy task when you have 45 minutes to do the sifting. They got it right 90% of the time.
I was sitting at the producer’s table once when Barker was not pleased with a contestant selection. That was made very clear.
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How many of you remember the year that CBS aired a 30-minute Pillsbury Bake-Off and then followed it with a 30-minute "Classic Price Is Right"?
That was a perfect example of how much editing had to be done to fit the show into the time permitted to air this classic episode decades after its original airing. I remember the first pricing game was Any Number, and they had to trim the segment to the point where the contestant and Bob were both in rapid fire mode where it was just choice/reveal/choice/reveal/choice/reveal seemingly all in one breath. It really felt awkward, and the edits made a 70's Barker episode feel like a 2010 Drew episode.
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How many of you remember the year that CBS aired a 30-minute Pillsbury Bake-Off and then followed it with a 30-minute "Classic Price Is Right"?
There were several of those years (believe every even year from 1976 to 1992).
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There were several of those years (believe every even year from 1976 to 1992).
Those years had purpose made 30 minute episodes. IIRC 1997 was the year that CBS trotted out a 1974 episode.
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There were several of those years (believe every even year from 1976 to 1992).
Those years had purpose made 30 minute episodes. IIRC 1997 was the year that CBS trotted out a 1974 episode.
1998. Then another early episode in 2000. I probably have the tapes somewhere.
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How many of you remember the year that CBS aired a 30-minute Pillsbury Bake-Off and then followed it with a 30-minute "Classic Price Is Right"?
There were several of those years (believe every even year from 1976 to 1992).
But it wasn't sometime until the 90's that they actually reran a classic 30-minute episode, but they took a machete to the original airing to make it fit in the newer time parameters.
It was liking a Match Game '73 episode and giving it a Match Game '79 treatment (heavily edited).
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They did it three times -- 1998, 2000, and 2002. I distinctly remember the 2000 rerun editing out the beginning of the show -- it started with Johnny calling down the first contestant.
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There was a specific order of selection for contestants based upon their personalities and how Barker would be able to interact with them....
I'd never heard this. It makes sense, but I learned something today. Thank you.
My two cents on Drew: I think I get why CBS wanted him. He was a brand name. They could promote "watch Drew Carey on The Price Is Right." Mark L. Wahlberg? Not so much. Wahlberg would have been great, but he would have had a much harder time escaping Bob's shadow because despite his skill, most people would only have seen him as the replacement Bob. Drew was/is so different, it's folly to compare them that way.
Their decision has borne out and if it hadn't, the show would have been cancelled, so I appreciate Drew for keeping it on the air. I take a charitable view anyway because I like him as a person, although I'm not crazy about his new parolee style and wardrobe.
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I think I get why CBS wanted him. He was a brand name. They could promote "watch Drew Carey on The Price Is Right." Mark L. Wahlberg? Not so much
I suppose such a claim would be consistent with "how showbiz works", but if that really was the case, how the heck did Mikey Richards ever get the hosting job for Jeopardy!? Being producer alone wouldn't have been enough. He was unknown to almost everybody, and there was certainly no shortage of B-list celebrities they could have got as host of the show. The whole "nobody knows this guy" didn't ring here when it seems to ring everywhere else.
Wahlberg would have been great, but he would have had a much harder time escaping Bob's shadow because despite his skill, most people would only have seen him as the replacement Bob. Drew was/is so different, it's folly to compare them that way.
Only insofar as Walberg has done a better job hosting game shows than Drew Carey has. If Roger Dobkowtiz said Mark L. Walberg should have been the next host of The Price Is Right (and he did), then Mark L. Walberg should have been the next host of The Price Is Right. Your producer who's risen through the ranks having been there since day one, who has shown the knack for recognizing a stinker change to your format when he sees it coming to remain on the outside (i.e., Davidson's Price), then his is a judgement you do not just throw aside before you throw said producer under the bus. In my opinion, the only redeeming aspect of Drew's first season was that it came across as "some fat guy hosting Bob's show", and for the number of people who've come out of the woodwork in light of Barker's death to talk about how much the show was "comfort food" to them, being that's the legacy they built with the show, it's a legacy that never should have been shed through the transformation they've done to the show in the last fifteen years.
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Nick, I agree Mark is a smoother and more capable as a host. I don't really applaud CBS' decision or the process of making it, but I can understand it, and again, the show is still running and I'm glad.
I don't think Roger had enough resume to throw weight around the network office. I'd hope they'd have listened and they did keep him as producer, but as far as planning a big transition, he had no currency because the show had famously never made any kind of transition. Saying, "Hey, remember the syndicated version? I told everyone it wouldn't work" wouldn't buy much.
With Mikey, I guess it helps to know the producer. Or be the producer. Also running auditions on the air made that process far different. The year of well-known people trying out gave it Hollywood buzz, and it gave Richards cred as winning the competition for the job.
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My theory, and it is merely a theory, mind you, is that somebody currently or formerly connected with CBS is getting a chunk of Drew's outsized salary.
Drew reportedly used to show up for rehearsal without having learned his lines, so to speak.
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Roger has said that Drew was attentive at rehearsals, at first, but then he would just goof off. Remember, he broke his wrist and hand when he got it stuck while the turntable was turning. I think he thought he could stop it from turning by blocking it off, but instead it smashed his hand. He also had some accident that required him walk with a cane. To make it fairly easy for Drew to learn the games, they played the same 6 games for about a week of shows, then added on more and more as the show progressed. I did read that he completely forgot how to play Bonus Game once, and had to stop tape to ask Roger how it was played.
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Roger has also said that on Drew's first day of rehearsal he showed up not having read the script that was provided to him.
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My theory, and it is merely a theory, mind you, is that somebody currently or formerly connected with CBS is getting a chunk of Drew's outsized salary.
Drew reportedly used to show up for rehearsal without having learned his lines, so to speak.
Didn’t both Barker and Carey negotiate their salaries with CBS but were paid by the production company?
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...when was the last time Roger worked on price again?
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Roger was gone by the end of season 36, however, he had already arranged the pricing game lineups and prizes and showcases for the first two weeks of season 37, so they had to go by his input for the first couple weeks. Also, the "Drewcases" started at that point after the first two weeks.
Some had thought the wheel's color scheme was Roger's decision, but Roger said he only upped the winning amounts, he had nothing to do with the green and purple wheel.
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Matt. Benjamin knows the answer to his question. He’s trying to use a literary device to make a point.
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Didn't recognize the reference. To quote a reference in Peter Marshall's book, the literary reference used was "A man with a hat comes out and explains it." thing for me.
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Roger, is this the first time a rhetorical question was literally answered on this board?
(Roger nods)
This is a historic moment on the Game Show Forum!
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My theory, and it is merely a theory, mind you, is that somebody currently or formerly connected with CBS is getting a chunk of Drew's outsized salary.
Drew reportedly used to show up for rehearsal without having learned his lines, so to speak.
Didn’t both Barker and Carey negotiate their salaries with CBS but were paid by the production company?
I don't know about Drew, but Barker certainly did. I don't know if they were technically employees of CBS or Fremantle.
Are you in touch with Dave Fisher?
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Does anyone know how many stagehands and technicians came with the show from TV City to the new studio?
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There's now an Instragram post (https://www.instagram.com/reel/CxI_XfqRmXq/) that shows the audience and contestant's row. Definitely feels smaller but I don't mind it.
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There's now an Instragram post (https://www.instagram.com/reel/CxI_XfqRmXq/) that shows the audience and contestant's row. Definitely feels smaller but I don't mind it.
The link doesn't work for me.
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The link doesn't work for me.
They took it down for some reason.
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Are you in touch with Dave Fisher?
I haven’t spoken with Dave in about 2 years.
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Try this link (https://www.youtube.com/shorts/i1YbE1dKxjo). I do love the new Contestants Row. Still think homebase (not shown) is a little too busy, but they did a great job with the new studio IMO.
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Try this link (https://www.youtube.com/shorts/i1YbE1dKxjo). I do love the new Contestants Row. Still think homebase (not shown) is a little too busy, but they did a great job with the new studio IMO.
I just get Mad TV vibes looking at this like it’s a spoof of itself.
COVID and the studio move gave them an excuse to downsize which I’m sure they had wanted to do for years
Could they fit 320 in there if they wanted to?
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Could they fit 320 in there if they wanted to?
Doubt it, we counted 170-ish seats in the studio.
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The studio fits 170 exact.
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Try this link (https://www.youtube.com/shorts/i1YbE1dKxjo). I do love the new Contestants Row. Still think homebase (not shown) is a little too busy, but they did a great job with the new studio IMO.
I just get Mad TV vibes looking at this like it’s a spoof of itself.
So when I first heard about the move I had the same thought. But I don't mind the steeper audience setup...it's not a full set of bleachers like the foreign versions.
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But I don't mind the steeper audience setup...it's not a full set of bleachers like the foreign versions.
I'm pretty sure that was intentional -- I think their MO for this project was "make it look as much as possible like we didn't move."
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I hope it's not awful, but I really like the smaller audience. Pre-COVID, 33 was getting more and more of a crazed frat-party vibe. Not that I know anything about crazed frat parties, mind.
I think 170 is *fine,* especially considering how amped up they're gonna be by George and the audience wranglers.
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I really like it! I think it looks great.
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I do love the new Contestants Row. Still think homebase (not shown) is a little too busy,
Then you may want to reserve judgment until September 25. Those big squares beneath the bid readouts will be displaying the same type of video that's in the monitors on home base.
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Are you in touch with Dave Fisher?
I haven’t spoken with Dave in about 2 years.
Probably just as well. I'll tell you my stories next time I see you.
Wonderful people, those CBS folk.
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Who designed the new set?
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We have a commercial for premiere week:
https://www.facebook.com/1408595851/videos/1930369534013038/
(I'm at 0:10 in, orange shirt on the left with the sideburns.)
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I went to a taping on Friday -- my first time at a TPIR taping in around 20 years. I was curious to see the new studio, and it helped that it's much easier for me to get to than Television City is (and has free parking available).
I arrived with a regular "line voucher" ticket at 7:30 for an 8:00 arrival time, and I was one of the last people to get in (I got a number, the family of 6 behind me got numbers, and then they cut it off).
There were two extended stopdowns due to issues with two of the pricing games, but even aside from that, things seemed a bit lackadaisical, for lack of a better word, compared to the way things were run 20 years ago. The taping started at around 11:15 and didn't end until around 1:35. (And then they were going to tape two more shows after lunch -- seemed like it was going to be a long day for everyone.)
During one of the stopdowns, Drew and George got to talking about horror movies. George mentioned Svengoolie, so Drew of course brought up Cleveland's Ghoulardi and pointed out that the guy who played Ghoulardi was also the ABC network announcer -- neither Drew nor George could remember his name, so I got to yell out "Ernie Anderson."
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I am aware that he gets national circulation now, but it's still wild to see a mention of Svengoolie outside the Chicago area. You'd think there would be a tourism boom for Berwyn by now.
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I am aware that he gets national circulation now, but it's still wild to see a mention of Svengoolie outside the Chicago area. You'd think there would be a tourism boom for Berwyn by now.
BERWYN!?
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Seeing the premiere, outside of the new Contestant's Row there's not a lot that felt different. There were brief moments where I subconsciously felt something looked different (usually with staging and spacing) but I don't think that's going to be a persistent issue and definitely not an issue for most of the audience.
I do worry that the wings of the new CR are a little too long to be practical.
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I do worry that the wings of the new CR are a little too long to be practical.
Watching the 1st S52 episode as I type this - I agree with this thought. I keep thinking someone's going to get too excited to get on stage, shortcut the turn just a little too much, & trip over one of the ends.
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Watching the premiere today, it just feels like a MAD TV parody
The show also feels like it just exists. Stagnant and just there.
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The taping started at around 11:15 and didn't end until around 1:35.
2 hours and 20 minutes for one show? What was the nature of the stopdowns and how long do you estimate they took?
I wonder if they're being more lackadaisical because they are no longer paying CBS by the minute for facilities.
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Watching the premiere today, it just feels like a MAD TV parody
The show also feels like it just exists. Stagnant and just there.
I kinda see what you mean, but I think it’s just the steepness of the audience.
Haven’t watched the show in a minute, except on mute at the gym. The new studio takes some getting used to, but I’m enjoying the show. I’d be interested to see how long tapings take after they get adjusted to the studio.
My only real gripe is the audio makes it seem like the audience is far from the stage.
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I thought they mostly shot Contestants’ Row to make it look fairly familiar. I presume they added the wings on either side to separate it and get a little more out of the trip on stage. I don’t mind it, and, as long as it’s not an elderly person breaking a bone, if someone trips over it, heck, they’ve got a new blooper.
I do wish they’d pep up the Showcases once in a while, though.
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Watching the premiere today, it just feels like a MAD TV parody
The show also feels like it just exists. Stagnant and just there.
I kinda see what you mean, but I think it’s just the steepness of the audience.
The parody feeling comes across since they moved. The stagnant feeling I have felt for years, which has nothing to do with the studio move
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Watching the premiere today, it just feels like a MAD TV parody
The show also feels like it just exists. Stagnant and just there.
So i have held this back for a LONG time.
WHY do you continue to comment on the show when you know that 1, you are already pre-disposed to dislike most changes to the show, and 2, nothing they do will meet a standard for production that doesnt exist and honestly cant?
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The parody feeling comes across since they moved. The stagnant feeling I have felt for years, which has nothing to do with the studio move
Okay…the only thing I saw that looked a little like an SNL sketch was an awkward transition after the first pricing game, and the next contestant was called. It seemed like there was some confusion. Other than that, it was an enjoyable episode.
As for the stagnant feeling, that word perfectly sums up the last 7 or so years of Bob’s era. I do wish Drew would work on his delivery and selling a win but it’s been 16 years. If he wasn’t doing a good job he would’ve been gone by now. I don’t watch the show often and this isn’t directed towards anyone in general, but I find it weird that the superfans hate this show so much that they watch every single day, then go back to Roger’s page.
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As for the stagnant feeling, that word perfectly sums up the last 7 or so years of Bob’s era. I do wish Drew would work on his delivery and selling a win but it’s been 16 years. If he wasn’t doing a good job he would’ve been gone by now.
Broadcast television is a dying breed, and daytime was dying first. Also, shrinking your studio audience size along with lengthening your episode recording times is not what, I think, would be considered the most desirable for an audience-participation show, but do CBS and Fremantle really care that much if the show is turning a profit?
I don’t watch the show often and this isn’t directed towards anyone in general, but I find it weird that the superfans hate this show so much that they watch every single day, then go back to Roger’s page.
Misery loves company, and they seem to like the fact that Roger agrees with them (but I would like to state for the record I haven't watched the show in years and do not have Facebook). I guess my curiosity was peaked with the studio change to come around and see how it turned out. In the 30 second or so of videoclip of Monday's show I've been able to find, the most disorienting part I find is the camera seems to be shooting the audience too low, which I guess is what happens when your cameras are not on a runway or stage above an audience pit. I guess bleacher-style seating is out because you don't want people running down stairs to get to Contestants' Row (and you probably can't get much steeper with a ramp). If there was a location they could have gone to with an audience pit, then I guess they would have done that. Putting the cameras on platforms doesn't work since you need them on the floor level for the "stage", so... is there any way they could shoot from a higher angle when they're shooting the audience (jib shots aside)?
I have to think they're going to do something eventually to shorten the path to the "stage". The floor rail of lights really doesn't make sense now that there's no longer an audience pit. I get they're trying to have some of that "coming up the stairs" feeling with the extensions at the end of the Row to run around to get to the "stage", but I shan't think it will be too long before some frat house boy tries to jump the Row.
The parody vibes are completely understandable given that a floor-level audience was only ever seen in such presentations until now, and after having it been a certain way for so many decades, there's a part of there being no stairs to climb to the stage that's just going to look off to someone so familiar with seeing it another way.
\Why do people use "superfans" for Price now? It's supposed to be "a loyal friend and true".
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I've never implied, or meant to imply that I watch every day. I will catch the show from time to time but for only noteworthy events (season premiere,milestone/anniversary shows,set changes or game overhauls). And in almost all of those cases, 95% of the show I won't watch.
Going from no audience to pods to 174 seems like an increase, but I see it as a decrease from 320 to 174. But I totally get that's what they've got to work with and I suspect there have been significant cost savings as part of this move.
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\Why do people use "superfans" for Price now? It's supposed to be "a loyal friend and true".
Put it this way: if you don't know the difference, you're a superfan.
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As for the stagnant feeling, that word perfectly sums up the last 7 or so years of Bob’s era. I do wish Drew would work on his delivery and selling a win but it’s been 16 years. If he wasn’t doing a good job he would’ve been gone by now.
Broadcast television is a dying breed, and daytime was dying first. Also, shrinking your studio audience size along with lengthening your episode recording times is not what, I think, would be considered the most desirable for an audience-participation show, but do CBS and Fremantle really care that much if the show is turning a profit?
Pesky little thing called Covid made a studio audience an immediate no-go, just like all the other game shows. No show could control that, and as more Americans got their vaccines, the audience size increased. The steepness of the seating is distracting but people will get used to it and outside of the announcements made yesterday, I imagine most people wouldn't even realize it's a new studio.
Also, it's the first taping in a new studio. Different camera configuration, different layout and therefore different blocking. Different audio setup, which explains why everything sounded a little low. And honestly, I wouldn't mind the subdued audience...it felt intimate. But I imagine they'll have the kinks worked out in a month.
Misery loves company, and they seem to like the fact that Roger agrees with them (but I would like to state for the record I haven't watched the show in years and do not have Facebook).
Trust me...we know. :P Roger agrees with them because none of them - yourself included - are able to accept change. He's been gone 15 years and still bashes everything about Drew and the show, in spite of the fact that many of the changes were for the better. I understand being bitter about being fired (been there before, 0/10, don't recommend), but you gotta move on and enjoy life. You can do both.
The parody vibes are completely understandable given that a floor-level audience was only ever seen in such presentations until now, and after having it been a certain way for so many decades, there's a part of there being no stairs to climb to the stage that's just going to look off to someone so familiar with seeing it another way.
I'll bet my next month's worth of paychecks the average viewer won't think about it longer than :10. I understand Studio 33 is iconic but Bob himself wasn't gonna prevent that move from happening. It's business at the end of the day.
\Why do people use "superfans" for Price now? It's supposed to be "a loyal friend and true".
They're all interchangeable but I'm not using that phrase. People say whatever because you all have been complaining since October 15, 2007 and it's like beating a dead horse. We get it. You think the show sucks. Millions of Americans disagree. But not liking a show because it's not produced the same way it was in 1978 is not a personality trait. I think today's Wheel is too dull and stagnant. If I want the nostalgia I'll watch a shopping episode on Pluto.
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The steepness of the seating is distracting but people will get used to it and outside of the announcements made yesterday, I imagine most people wouldn't even realize it's a new studio.
Also, it's the first taping in a new studio. Different camera configuration, different layout and therefore different blocking. Different audio setup, which explains why everything sounded a little low. And honestly, I wouldn't mind the subdued audience...it felt intimate. But I imagine they'll have the kinks worked out in a month.
Watching today's episode it looked like the shots of the bidders were angled such that the contestants looked higher than the audience, which I thought was neat. Aside from the Showcase podiums looking like they had blue-light filtering on there was nothing else that stood out. I agree that there's going to be growing pains (the flapping of the Plinko curtain as it was being raised comes to mind) but it's all part of the process and I thought we wanted raw and unpolished anyway.
My one actual set critique is that the audience backdrop looks even busier (as opposed to LMAD whose backdrop looks naked now without the video walls). Going down to 170 seats is a non-issue, and if they were actually needing seat-fillers in the before times then it's a solution rather than a problem.
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I agree that there's going to be growing pains (the flapping of the Plinko curtain as it was being raised comes to mind)
That's actually going to be interesting to watch (for certain values of "interesting," anyway). Apparently, that prop is two pieces now, so I'm not sure it's even something that can be considered broken.
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I imagine most people wouldn't even realize it's a new studio.
They've been hyping it up quite a bit, and I'm surprised to see how many newsreels it's made. Sure, I suppose many won't notice, but gee, it got a lot of publicity nonetheless.
Trust me...we know. :P Roger agrees with them because none of them - yourself included - are able to accept change. He's been gone 15 years and still bashes everything about Drew and the show, in spite of the fact that many of the changes were for the better. I understand being bitter about being fired (been there before, 0/10, don't recommend), but you gotta move on and enjoy life. You can do both.
Accepting is one thing (and I wouldn't even go so far as to say I "accept" any changes that have happened to the show because it really doesn't affect me one way or another). Agreeing with them is another. I can't speak for Roger, but for having devoted much of his working life to the show and caring about it for more reasons than just to collect a paycheque, I don't think bitterness from getting canned from your dream job is going to go away easily.
I'll bet my next month's worth of paychecks the average viewer won't think about it longer than :10. I understand Studio 33 is iconic but Bob himself wasn't gonna prevent that move from happening. It's business at the end of the day.
Sure, I get that, and I get that most viewers won't notice a difference. I was speaking from my perspective.
not liking a show because it's not produced the same way it was in 1978 is not a personality trait.
Agreed. It's an opinion, one perfectly respectable and one's choice to hold. Though there are some things about the post-Barker era with which I do agree. Offering foreign cars again was a big one. Hiring Rich DiPirro as director (however briefly that did last) was another.
Going down to 170 seats is a non-issue, and if they were actually needing seat-fillers in the before times then it's a solution rather than a problem.
And while I'll probably be criticized for mentioning it, there's no way to look at this as a good thing. In the Barker era, they were turning people away at the gate almost everyday. If people were no longer coming to the gate in droves as they used to that they needed to pay seat fillers, that shows every sign of a problem somewhere, one that I don't think offering luxury goods and having a set that's colourless unless the electricity's turned on were the right steps to fixing.
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...having a set that's colourless unless the electricity's turned on were the right steps to fixing.
Isn't everything colorless when the electricity's off in a room without windows? ;)
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They've been hyping it up quite a bit, and I'm surprised to see how many newsreels it's made. Sure, I suppose many won't notice, but gee, it got a lot of publicity nonetheless.
Its a wisely played PR hype, its the first time the show has had a tradional audience in over 3 years. Its a pretty big deal.
Accepting is one thing (and I wouldn't even go so far as to say I "accept" any changes that have happened to the show because it really doesn't affect me one way or another). Agreeing with them is another. I can't speak for Roger, but for having devoted much of his working life to the show and caring about it for more reasons than just to collect a paycheque, I don't think bitterness from getting canned from your dream job is going to go away easily.
Here's the thing...it was over fifteen years ago. He wasnt left penniless and retired with a pretty good package. He also refused to make the show fit for modern sensibilities. Its not healthy for him to keep discussing and bashing the show like he was fired last week.
And while I'll probably be criticized for mentioning it, there's no way to look at this as a good thing. In the Barker era, they were turning people away at the gate almost everyday. If people were no longer coming to the gate in droves as they used to that they needed to pay seat fillers, that shows every sign of a problem somewhere, one that I don't think offering luxury goods and having a set that's colourless unless the electricity's turned on were the right steps to fixing.
I do not understand how you are not getting this...the audiences have changed. people have changed. Its still a novelty for some to go to the show, but for many- not so much. The live audience, much like the watching audience and ratings, are down but still up at the top because things have changed. The show adjusted accordingly. Its not really a bad thing.
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I'll chime in and say that in some recent tapings, they have in fact needed to turn people away. Some special show tapings can and will fill up. They're also limiting the tickets as best as they can because they don't want to have to turn people away. If I traveled 3000 miles across the country with what I thought were tickets to the show only to get turned away because I showed up at the time on the ticket and not 17 hours beforehand, I think I'd be a little more than disappointed. On the first day of taping this season the show staff was actually telling people to not get in line stupid early because it made things harder to manage.
As for the whole seat filler talk, the show hasn't purchased seat fillers in years, outside of a few "slow" tapings at the normal slow times like the holidays. Perhaps they needed them back in 2007 or 2008, but they certainly do not need them anymore and have not needed them in a long time. There was also a very noticeable difference in how we were treated as Price audience members compared to PYL's audience, which was almost entirely paid audience members.
\Why do people use "superfans" for Price now? It's supposed to be "a loyal friend and true".
The show hasn't acknowledged the old-timey and super outdated specific phrasing that Barker used in many years. They did however do a primetime special in February where they invited 20 "superfans" including yours truly. Superfan is now the show sanctioned title. It's also a phrase that makes sense at first glance and doesn't need to be explained every time it gets abbreviated.
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I can't speak for Roger, but for having devoted much of his working life to the show and caring about it for more reasons than just to collect a paycheque, I don't think bitterness from getting canned from your dream job is going to go away easily.
I guarantee Roger is neither the first nor the last person to get canned from a dream job, or one held for decades. I can't deny what happened to him sucks, especially as he neared retirement age. I've been in a similar boat (again 0/10, do not recommend), although I was in my 20s and 30s. And while I thought it was the end of the world, it ended up being the best thing that could've happened to me.
None of us know the man's finances, but I'll cosign what Ben said. You nurse your wounds and make the best out of a bad situation. Nothing wrong with holding on to some (read: under 5%) resentment, but you gotta draw the line somewhere.
Quick story and then I'm done: I once vented to a girl I dated, about someone from college who I still held a grudge towards years later. She asked why I was still holding on to a memory of a person who probably doesn't even remember me. Sure enough, I ran into that person at Homecoming and bygones were bygones. My point is that 15 years is way too long to let that firing live rent free in his head.
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2 hours and 20 minutes for one show? What was the nature of the stopdowns and how long do you estimate they took?
Issues with the pricing games -- one had a monitor that wasn't working (Card Game), and on another one, they'd forgotten to attach the sign with the game's logo (Rat Race). I don't have a good estimate for how long the stopdowns took, because I didn't have my Apple Watch.
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I have to think they're going to do something eventually to shorten the path to the "stage". The floor rail of lights really doesn't make sense now that there's no longer an audience pit. I get they're trying to have some of that "coming up the stairs" feeling with the extensions at the end of the Row to run around to get to the "stage", but I shan't think it will be too long before some frat house boy tries to jump the Row.
It also allows Drew to get to either the doors or turntable to set up for the pricing game without having somebody right behind him.
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They're also limiting the tickets as best as they can because they don't want to have to turn people away. If I traveled 3000 miles across the country with what I thought were tickets to the show only to get turned away because I showed up at the time on the ticket and not 17 hours beforehand, I think I'd be a little more than disappointed.
<raised hand>
That was me when I saw the show for the first time in 2004. I flew to Los Angeles, alone, at great expense to myself as a poor college student just to see the show, a lifelong dream. I knew I would have to arrive early and got there at 4:30AM - there were already 250-ish people in line. Unbeknownst to me, it was a taping for a MDS. Because of the way the show accommodated groups at the time (I.e. they got priority over people in line), I was bumped and didn't get in the studio that day. I did get a preprinted signed photo of Rod, though. >:(
Luckily, I didn't have much to do, so I got tickets from somebody else in line for the next day's show, camped out on the sidewalk for 24 hours, and managed to get in the next day. But for a lot of people, I'm sure they were inanely disappointed that day.
My one Drew experience - where I was selected as a contestant - was so much easier and better. Got there at a reasonable time, guaranteed entry, and didn't waste my entire day.
So yes, the way the show does ticketing now is much, much better.
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Isn't everything colorless when the electricity's off in a room without windows? ;)
Not when your colours come from paint instead of lights.
I do not understand how you are not getting this...the audiences have changed. people have changed. Its still a novelty for some to go to the show, but for many- not so much. The live audience, much like the watching audience and ratings, are down but still up at the top because things have changed. The show adjusted accordingly. Its not really a bad thing.
And I do not understand why me having an opinion to the contrary about how I would like to see the show produced (not speaking of which way to produce the show makes the most sense financially) is such a problem for you. I get that things have changed, and I get that the production company and the network are going to cater to audience trends. They have their preferences, and I have mine. Theirs is the one that ultimately gets on the air.
They're also limiting the tickets as best as they can because they don't want to have to turn people away. If I traveled 3000 miles across the country with what I thought were tickets to the show only to get turned away because I showed up at the time on the ticket and not 17 hours beforehand, I think I'd be a little more than disappointed.
I agree that going to the taping with a ticket that guarantees admission is probably something preferred by everybody, but my point was that historically demand for tickets always outstripped supply of available seats by a huge margin. It says to me that if they believe 170 seats is now sufficient, then not too many people are being turned away in the sense that they wanted to get tickets but couldn't (for I guess if they were, they would be snapped up in seconds upon becoming available). A quick check of the website as I write this shows plenty of tickets available for upcoming tapings in 2.5 weeks and beyond, so if you're not getting even 170 people clamouring for tickets each day anymore, then it's a sad reality that people have lost interest in attending the show in person (a trend that started before they reduced the audience size). I suppose you could surmise various reasons reasons for that (I'd like to know how much of it is the compressed taping schedule where they're trying to fit in three shows a day and the simple fact there are fewer calendar days now on which you can attend a taping).
The show hasn't acknowledged the old-timey and super outdated specific phrasing that Barker used in many years. They did however do a primetime special in February where they invited 20 "superfans" including yours truly. Superfan is now the show sanctioned title. It's also a phrase that makes sense at first glance and doesn't need to be explained every time it gets abbreviated.
No offense, but this seems unreasonably harsh towards a term that was organically developed as a result of the show's longevity, and really, it surprises me a bit that the new regime never attempted to capitalize on this in official merchandise such as t-shirts and the like. Superfan is pretty generic, but "loyal friend and true" was a term unique to Price.
You nurse your wounds and make the best out of a bad situation... My point is that 15 years is way too long to let that firing live rent free in his head.
Agreed, but I what I surmise could be part of the reason for the strong resentment all these years later is that nothing more has come along, and likely nothing ever would for a producer near retirement age. One might say he should never have expected anything to "come along" (whether he actually did or not, I don't know) and to be more enterprising, and I agree. If you want a job, you do what you can do get one; but if nobody wants anymore what you're selling, then you either sell something else or give up. He doesn't appear to be starving by having taken the latter, but it was an ending without closure. His career did not end on a positive note, and I think that's what's bothering him more than anything else.
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A quick check of the website as I write this shows plenty of tickets available for upcoming tapings in 2.5 weeks and beyond, so if you're not getting even 170 people clamouring for tickets each day anymore, then it's a sad reality that people have lost interest in attending the show in person (a trend that started before they reduced the audience size). I suppose you could surmise various reasons reasons for that (I'd like to know how much of it is the compressed taping schedule where they're trying to fit in three shows a day and the simple fact there are fewer calendar days now on which you can attend a taping).
Just as a singular data point/anecdote, there were at least 50 people with "line voucher" tickets who didn't make it into the first taping on Friday, September 22nd. (There did seem to be a good number of people who got to use the "priority" line, but I didn't count the number of people ahead of me in the "line voucher" line.) They were being promised "priority" tickets for future tapings, including the ones later that day, but I obviously have no idea how many of them took advantage of that.
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No offense, but this seems unreasonably harsh towards a term that was organically developed as a result of the show's longevity, and really, it surprises me a bit that the new regime never attempted to capitalize on this in official merchandise such as t-shirts and the like. Superfan is pretty generic, but "loyal friend and true" was a term unique to Price.
No offense taken, I probably was being a little harsh to the term. I never cared for it, even way back when. I know some people latched on to it, but I just never got it. LFaT never read well to me. Saying "I'm a Superfan of The Price is Right" is a lot clearer for someone not in the fandom than "I'm a Loyal Friend and True" especially now since the show hasn't used it in years. They have however used Superfan earlier this year, and will be using it again for a Jr. Superfan primetime episode later this season.
Just as a singular data point/anecdote, there were at least 50 people with "line voucher" tickets who didn't make it into the first taping on Friday, September 22nd. (There did seem to be a good number of people who got to use the "priority" line, but I didn't count the number of people ahead of me in the "line voucher" line.) They were being promised "priority" tickets for future tapings, including the ones later that day, but I obviously have no idea how many of them took advantage of that.
This matches a lot with what I've heard. There are probably 50 or so "priority" tickets given out that will guarantee entry and then another 250 or so "line vouchers" that won't guarantee entry, but if you get turned away they will work as hard as possible to either get you in to the next show taping that day or the next day. So even if you can snag a ticket online now that doesn't mean the taping isn't full and you should still get there early (around 5:45am for the 8am arrival time) to get in, but you don't have to show up at 6pm the night before anymore.
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A quick check of the website as I write this shows plenty of tickets available for upcoming tapings in 2.5 weeks and beyond, so if you're not getting even 170 people clamouring for tickets each day anymore, then it's a sad reality that people have lost interest in attending the show in person (a trend that started before they reduced the audience size). I suppose you could surmise various reasons reasons for that (I'd like to know how much of it is the compressed taping schedule where they're trying to fit in three shows a day and the simple fact there are fewer calendar days now on which you can attend a taping).
Bob Barker was a legend and I surmise that turnout to the show would be low no matter who had taken over the show, either in the host role or the producer role. You also have to take into account that a pandemic just happened and while there is certainly interest in getting back out there, I’d guess it would still take time to see numbers return to pre-pandemic levels. And having just moved, they don’t have time to wait for that to happen. Speaking of moving, unfortunately they had to move from their iconic location located at bustling intersection. Any place they’d move to would be a downgrade, but where they are is definitely a significant departure from where they were and could be a turnoff. They certainly won’t be getting many people walking in off the street. There’s just so many stacked up factors that the days of waiting on the street for two days won’t be coming back. It is a little sad, but I’m happy that there’s the energy of a crowd of people sitting side by side back, even if it’s not 300 people.
No offense, but this seems unreasonably harsh towards a term that was organically developed as a result of the show's longevity, and really, it surprises me a bit that the new regime never attempted to capitalize on this in official merchandise such as t-shirts and the like. Superfan is pretty generic, but "loyal friend and true" was a term unique to Price.
No offense taken, I probably was being a little harsh to the term. I never cared for it, even way back when. I know some people latched on to it, but I just never got it. LFaT never read well to me. Saying "I'm a Superfan of The Price is Right" is a lot clearer for someone not in the fandom than "I'm a Loyal Friend and True" especially now since the show hasn't used it in years. They have however used Superfan earlier this year, and will be using it again for a Jr. Superfan primetime episode later this season.
It doesn’t read well because it’s old timey phrasing, which makes sense since it was coined by someone who almost turned 100. Kinda like saying “he’s a good man, through and through.” I think what was nice about it was that it was a unique way to refer to the fan base. If Star Trek can have Trekkies, Gaga can have Monsters, and Wheel can have Wheel Watchers, then it was a nice term to have specifically for Price fans. Superfans is easier to say, but it’s generic. I liked just having it be shortened to its initials and saying it that way (“L-Fat”).
For the record though, I have no problem with the show using Superfans and not using LFAT. It didn’t pass over when Bob left and that’s okay. It would be nice to come up something unique at some point, but these things rarely catch on if you try to force them. Plinkoheads, the “Tee-Purs” (TPIR), Double Pricers?
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It doesn’t read well because it’s old timey phrasing, which makes sense since it was coined by someone who almost turned 100. Kinda like saying “he’s a good man, through and through.”
For the longest time I couldn't figure out why the phrase bugged me, and I kept wondering what the hell the "and true" part meant. This is the most logical explanation.
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It doesn’t read well because it’s old timey phrasing, which makes sense since it was coined by someone who almost turned 100. Kinda like saying “he’s a good man, through and through.”
For the longest time I couldn't figure out why the phrase bugged me, and I kept wondering what the hell the "and true" part meant. This is the most logical explanation.
"Loyal Friend And True" sounds like a line from some high school's Alma Mater...
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It doesn’t read well because it’s old timey phrasing, which makes sense since it was coined by someone who almost turned 100. Kinda like saying “he’s a good man, through and through.”
For the longest time I couldn't figure out why the phrase bugged me, and I kept wondering what the hell the "and true" part meant. This is the most logical explanation.
"Loyal Friend And True" sounds like a line from some high school's Alma Mater...
From the year 1949. :P
/I totally hear it
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"Loyal Friend And True" sounds like a line from some high school's Alma Mater...
Considering that the opening lyrics of mine were "always faithful, always true" this is very much on point.
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For the longest time I couldn't figure out why the phrase bugged me, and I kept wondering what the hell the "and true" part meant. This is the most logical explanation.
For years I thought he was saying "a loyal friend in true," as if to say "in truth, he is a loyal friend." When I finally saw it written, I thought it was even clunkier sounding.
Incidentally, his use of the phrase goes back to Truth or Consequences:
https://www.youtube.com/watch?v=eaXlS0JUAq8&t=109s
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While talking about the new studio and new season, I wanted to ask fellows opinions about the Grocery Game.
I have mixed feelings about the old-fashioned rotary NCR brand cash register, still being used after 50+ years. Should they retain it, or maybe use a more modern day register, maybe even just have a video screen simulating the look of current day registers?
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I have mixed feelings about the old-fashioned rotary NCR brand cash register, still being used after 50+ years. Should they retain it, or maybe use a more modern day register, maybe even just have a video screen simulating the look of current day registers?
I can't see the show replacing it anytime soon unless it just becomes impossible to repair. Numerous staffers on the show, including Roger, had a superstition that the show would be cancelled if they got rid of the damn thing. I would imagine that belief probably still rings true among people that are still with the show.
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Should they retain it, or maybe use a more modern day register
So the contestant would have to operate it?
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Should they retain it, or maybe use a more modern day register
So the contestant would have to operate it?
<win>
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Should they retain it, or maybe use a more modern day register
So the contestant would have to operate it?
The show would never have a budget issue again.
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A quick check of the website as I write this shows plenty of tickets available for upcoming tapings in 2.5 weeks and beyond, so if you're not getting even 170 people clamouring for tickets each day anymore, then it's a sad reality that people have lost interest in attending the show in person (a trend that started before they reduced the audience size). I suppose you could surmise various reasons reasons for that (I'd like to know how much of it is the compressed taping schedule where they're trying to fit in three shows a day and the simple fact there are fewer calendar days now on which you can attend a taping).
Bob Barker was a legend and I surmise that turnout to the show would be low no matter who had taken over the show, either in the host role or the producer role. You also have to take into account that a pandemic just happened and while there is certainly interest in getting back out there, I’d guess it would still take time to see numbers return to pre-pandemic levels. And having just moved, they don’t have time to wait for that to happen. Speaking of moving, unfortunately they had to move from their iconic location located at bustling intersection. Any place they’d move to would be a downgrade, but where they are is definitely a significant departure from where they were and could be a turnoff. They certainly won’t be getting many people walking in off the street. There’s just so many stacked up factors that the days of waiting on the street for two days won’t be coming back. It is a little sad, but I’m happy that there’s the energy of a crowd of people sitting side by side back, even if it’s not 300 people.
There are a few other elements too:
1. Being on TV doesn't have the same kind of hold it used to.
2. Fittingly, prices of everyday items have gone up. Many people just don't have the disposable income to take a trip like this like they once did.
3. I'd argue that without the Happy Gilmore role, Price has a different energy by 2005.
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Should they retain it, or maybe use a more modern day register
So the contestant would have to operate it?
The show would never have a budget issue again.
"CBS shuts down 'The Price Is Right' after more than fifty years on-air, citing budgetary constraints due to rise in Grocery Game shoplifting."