'Frasier' Returns to TV but You Don't Need to Be a Superfan of the Original to Laugh at its Jokes 

This image released by Paramount+ shows Jack Cutmore-Scott as Freddy Crane, left, and Kelsey Grammer as Frasier Crane in a scene from "Frasier." (Paramount+ via AP)
This image released by Paramount+ shows Jack Cutmore-Scott as Freddy Crane, left, and Kelsey Grammer as Frasier Crane in a scene from "Frasier." (Paramount+ via AP)
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'Frasier' Returns to TV but You Don't Need to Be a Superfan of the Original to Laugh at its Jokes 

This image released by Paramount+ shows Jack Cutmore-Scott as Freddy Crane, left, and Kelsey Grammer as Frasier Crane in a scene from "Frasier." (Paramount+ via AP)
This image released by Paramount+ shows Jack Cutmore-Scott as Freddy Crane, left, and Kelsey Grammer as Frasier Crane in a scene from "Frasier." (Paramount+ via AP)

You could say Joe Cristalli tweeted his role as an executive producer and co-showrunner on the new "Frasier" sitcom into existence.

About 10 years ago as a fledgling TV writer and "Frasier" superfan, Cristalli started a Twitter account with "random jokes" about the show and character made famous by Kelsey Grammer in the sitcoms "Cheers" and "Frasier."

"It was stupid and nobody cared about it. I think I had maybe 3,000 followers at its height," he recalled in a recent interview.

At this point, "Frasier" had been off the air for 10 years, but Cristalli used it as "an outlet to practice writing because I was such a superfan and I just loved the style of joke-telling, so I would work on it."

A few years later, Cristalli read that Grammer was interested in reviving the character. He had his agent send a sample script and examples from his "Frasier"-centric Twitter feed to Grammer's team. He was eventually hired alongside "How I Met Your Mother" writer Chris Harris to be co-showrunners of a new "Frasier" series, debuting Oct. 12 on Paramount+.

This "Frasier" stars Grammer in the title role of the high-brow psychiatrist, as he moves back to Boston. His son Freddy is now grown, working as a firefighter, and Frasier realizes he needs to prioritize their relationship (much in the way the character set out to connect with his retired police officer father, played by John Mahoney, in the original). He also begins a new career as a professor at Harvard.

Writing for the character is a fun challenge, said Harris, because "when you think of Frasier Crane speaking, you think of flowery language." Because of time constraints, every line can't be in Frasier-speak. "We save those moments for certain times," said Harris.

They also reference the original series sparingly and smartly — which is an act of restraint that Cristalli said Harris helped him to understand.

"I put in a very specific reference to something in ('Frasier') season four, and I remember Chris very gently saying, 'Do you think maybe we should do jokes that everyone will laugh at?'"

"There are analogies and callbacks to the old show, but we try not to do any of them shamelessly," Cristalli said. "We're not going to just throw a recliner or a Jack Russell in, like we're trying to do them subtly and elegantly. So if you catch them, great, but we're not hanging everything on those jokes. I love (the references) ... but Chris makes a very good point. We want other people to like this show besides me."

The show is a throwback in that it's a multi-cam comedy taped in front of a live audience. Most comedies these days are single-cam and filmed without an audience.

Harris hopes the show is a success and provides a much-needed boost for the multi-cam format.

"I will say that nothing feels as much like showbiz as a tape night," said Harris. "There's a working-without-a-net kind of feeling and you really are putting all your work and all your creativity out there for people to judge. You don't know something works until you get that immediate response, but that immediate response is awesome."

Famed sitcom director James Burrows ("Taxi," "Friends," "Will & Grace"), who worked with Grammer on both "Cheers" and "Frasier," signed on to direct two episodes.

"It's such a comfort because he didn't have to do the show," said Cristalli. "He didn't have to help out. But he read the scripts, he was in the auditioning process, he was pitching jokes and genuinely laughing and enjoying himself. It just made everybody more relaxed because it's a lot of pressure to bring back something this iconic."

Burrows shared his advice to the new actors on "Frasier" (including Jack Cutmore-Scott as Freddy and Anders Keith as David, Frasier's nephew and the son of Niles and Daphne).

"What I tell them is, 'When we rehearse, Kelsey is at 50%. When he's in front of an audience, he's at 100% and you better be on that level otherwise you'll get blown away.' That's what I used to tell guest stars on 'Cheers.' ... 'They're marking time in rehearsal. When they get on a stage and the laughter comes, if you don't play up on their level, you're going to disappear.'"

Cristalli said Grammer slowly morphs into the character.

"In the first rehearsal day, he'll be in like, a T-shirt and shorts and it's like, 'Hold on. That's not. Who's that? That's not Frasier.' The next day he's got, you know, longer pants and the next day it's a blazer. and then all of a sudden it's like, 'Oh, wait a second, I see him now,'" Cristalli said. "There's a very clear distinction between Frasier and Kelsey Grammer, but he slips into those shoes real comfortably and it's very seamless."

For the show's theme, composers and father-son duo Bruce and Jason Miller were brought in to update the original "Tossed Salads & Scrambled Eggs" song. Bruce Miller composed the original "Frasier" theme. Grammer also sings this version.

The composers first did a "hipper" version "that had movement to it, and energy," Bruce Miller said. Grammer listened and suggested the sound reflect how the character is older now, and looking for calmness at this stage in his life. They went back and used a small band, which is the version that viewers will hear.



‘I’m Still Here’: Joan Chen Plays Thwarted Immigrant Mom in ‘Didi'

Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)
Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)
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‘I’m Still Here’: Joan Chen Plays Thwarted Immigrant Mom in ‘Didi'

Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)
Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)

Long before Joan Chen charmed Western audiences with seductive turns in "The Last Emperor" and "Twin Peaks" she was a child star in China, hand-picked for her debut movie role by Mao Zedong's wife.

That remarkable personal journey, from Red Army propaganda movies to glamorous Hollywood roles directed by Bernardo Bertolucci and David Lynch, could not appear more different to Chen's character in new coming-of-age film "Didi."

Chen plays Chungsing, a Taiwanese single mom and frustrated artist in California, whose 13-year-old is too busy trying to impress his skater friends and navigate adolescent crushes to be nice to his family.

Yet the role -- which is already earning Oscars buzz -- "poured out of me, because that's the life I've lived," Chen told AFP.

"I am, like Chungsing, an immigrant mother, who raised two American children -- with such an intimate, loving relationship, but also fraught with cultural chasm, misunderstanding, unmet expectations," she said.

It all started for Chen, aged 14, when she was spotted by a film director who worked for Chairman Mao's wife Jiang Qing.

"The director picked me out of school, then sent my dossier and my pictures for her to approve," recalls Chen.

"I was so happy that I happened to be the type that they needed. It wasn't my dream. I never thought about it, when they picked me to be an actress. And then slowly, I learned to love it."

She quickly became a beloved movie star in 1970s China -- a job that spared her from being sent to work in rural provinces during the devastating Cultural Revolution.

Chen moved to the US at age 20, studying film but skeptical about her prospects as an Asian woman in Hollywood.

She landed a lead role in Bertolucci's "The Last Emperor," as the wife of China's final dynastic ruler. The film won nine Oscars, including best picture.

Yet Chen, now 63, recalls: "Back then, there just weren't any Asian filmmakers or scriptwriters who could create a part for me."

"I could have been this ingenue, this breakout new lead (actress)... So that was a shame. Nothing could really follow up."

- 'Still here' -

In "Didi," out in theaters on August 16, Chen's character is a talented artist who had to forsake her ambitions for her family, in their new country.

Chungsing is stoic, quietly bearing her disappointment while devoting herself to her frequently oblivious, Americanized children.

Unlike her character, Chen continued to work prolifically through parenthood, acting and directing in both the US and Asian film industries.

Chen's part as femme fatale Josie Packard in "Twin Peaks" remains popular with fans of the cult TV series to this day.

But her Western roles have failed to match the success of her early career.

And she still reflects on the "night and day" difference between her daughters' experience growing up in the West, and her own arrival in the United States as an immigrant, with "that uncertainty of the ground you're standing on."

"The pains and joys we see in the film is a lived experience for myself as well," said Chen.

With "Didi" winning awards at the Sundance film festival, there are hints of a late-career comeback. Chen and director Sean Wang are earning mentions as dark horses for the next Academy Awards.

"I am so thrilled that young filmmakers like Sean exist... when there are enough scriptwriters, directors, then you create more parts for people who look like them," she said.

"It's wonderful. And I'm so happy that I'm still here."