(knob clicking) - Good evening, everyone, "The Scene Tonight" moves- - [Cathy] There was a time when people would stop what they were doing to watch the evening news.

- [Mark] The local news was everything.

- [Don] We were going to be the pinnacle of big J journalism.

- [Cyndy] You were right there at the zeitgeist.

- [Cathy] TV stations with the most viewers made the most money.

- [Marcia] The moral high ground doesn't make them any money unless it makes you number one.

- [Pat] We were reminded of ratings all the time.

- [Chris] We had higher ratings than the other three stations combined.

- [Cyndy] It was stressful, we all felt it.

We knew it even though nobody ever talked to us about it.

- [Paul] I disliked them both so much.

- I wanted to beat 'em every night.

- [Diana] We were number four, we had a long ways to go.

And who will care?

- [Don] No one saw them coming.

- [Paul] We did monstrous, shocking numbers.

- [Ron] A newscast may not win with a good anchor, but you're never gonna win without one.

- I can stop doing this stuff all afternoon, just watch.

- [Cyndy] In one stroke, I was told, "You're not qualified to do this."

- [Don] You're never good enough.

You're never good enough.

- [Pat] I would have panic attacks.

- [Brian] It's just showbiz, anybody that struggled with that wasn't made for the game.

- [Don] Do I even have a future in this business?

- [Lou] What's your problem with Black people?

I'm Black and I'm a reporter, I can be both.

- If you want any help with the big words- - [Pat] I cried and I felt sick to my stomach.

I'm still not over it, I'm still not over it.

- [Cathy] And what happened because of those ratings wars forever changed the television industry and the local TV landscape.

- It was cutthroat, seriously.

- It's too personal to make sense.

- They might not like what they're seeing, but they're watching.

- Well, thank you, you son of a bitch.

(exciting music) (anchors talking indistinctly) (TV clicking) - My name is Michael Rosen for the Archive of American Television, it's my great pleasure to interview Stanley Hubbard.

- Oh, Stanley S. Hubbard.

- Thank you.

- 'Cause there are three Hubbards, Stanley Hubbards.

- Stanley S. Hubbard, in St. Paul, Minnesota.

(dramatic exciting music) - There we go.

- [Michael] And what was your father's name?

- [Stanley] Stanley Eugene Hubbard.

He was born in Red Wing, Minnesota.

- [Cathy] SE Hubbard was a pioneer in broadcasting, and he was largely responsible for the birth of commercial radio in Minnesota.

- He built the first radio station, we believe that was survived from the sale of advertising anywhere in the country.

- KSTP was one of the first NBC radio affiliates.

I mean, the old man wanted a radio station and then turned it into television, he could see the possibilities.

- [Cathy] Hubbard was a smart guy who saw where the industry and the technology was going, and he wanted to be in on the ground floor.

So, about 10 years after KSTP radio went on the air, Mr. Hubbard bought the very first television camera, made by RCA, and started experimenting with it.

- Radio provided the operating cash flow to get the television started.

- [Cathy] The first telecast by KSTP was April 27th, 1948, and with the flip of a switch, KSTP TV became the first commercial television station in the state, with some of the first newscasts.

And sometimes, the news was covered by Hubbard himself.

- We heard a roaring sound, then.

- Yes, my dad and mother were out driving around, following police calls, he loved spot news.

It was great, spot news is brand new, and we were the leader.

- And what did you see, this plane?

- [Cathy] Those early newscasts were once a week, Mondays, on KS.

They went to the first daily 10:00 PM newscast in the early '50s.

- Have time to.

- And we were the first daily television news anywhere in the world.

There was weekly on the network, we were daily, every day.

(bright exciting music) (knob clicking) - Wonder Bread.

- I'm Betty Crocker.

- A new WCCO with Channel Four TV.

Good evening, there's a happy household... - WCCO came out with a very weak newscast, we were still number one.

- [Cathy] KSTP had a year headstart on WCCO, it was the dominant news channel.

Often 40 percent or more of Twin Cities TV viewers were watching KSTP in the 1960s.

Not only did they lead in viewers, but in the use of some of that early technology.

- Hubbard has always been at the forefront of technological change, that was part of their signature, their fingerprint.

- [Cathy] One of the first innovations came from the Hubbards, who loved aviation and were pilots, and they used their company fleet to get aerial shots of news scenes.

Sometimes the pilot would get into a time crunch, he'd fly low over the state fairgrounds, which is close to the station, and throw a gunnysack containing film canisters out the window to someone who'd run it back to the newsroom to develop the film.

- [Stanley] We bought a high-speed film processor, whereas our competitor, Channel Four, had to send out their film and get it back the next day.

- We played catch up in those days, technologically.

That was expensive equipment.

- Because you are very important.

- We had more news resources, we had airplanes, we had more people, we had more cameras, and that's how we competed.

It made us number one, 'cause nobody could compete.

(exciting dramatic music) - [Narrator] Until the early '60s, station management looked at local news simply as a public service.

But as more and more people began to watch and depend on it, it became a highly saleable commodity.

- [Announcer] With a Midwest Federal Certificate Account.

- Built for energy and vitality.

- [Announcer 2] Tomorrow's news tonight.

- [Cathy] Those early newscasts were pretty straightforward, it was just a solo anchorman looking into the camera, reading the news for 10 or 15 minutes.

They'd go to break, the weather guy would come on, do the forecast, more ads, and then the sports guy.

End of show.

There was no interaction at all.

(upbeat music) As the local news scene became more competitive, stations started looking for an edge.

- You can be journalistically boring.

- Consultants were hired to do audience research to see what they should be doing on the air.

- McHugh & Hoffman were pioneers in broadcast consultancy.

CCO calls in McHugh & Hoffman and says, "Look, we're getting kicked here, we've been kicked now for quite some time, what can we do about it?"

So, they developed what became "The Scene Tonight".

- [Announcer 3] This is "The Scene Tonight", in color with Dave Moore, Bud Kraehling, Hal Scott, and Skip Loescher with Action News.

- Good evening, everyone, "The Scene Tonight" moves from the Minneapolis Mall to a small Indiana highway, we'll go with federal agents out on a narcotics raid, George Rice talks on the sales tax, Action News solves a pesky safety problem, and Hal Scott takes us golfing already.

But the top news is Lyndon Johnson in his state of the union.

- "The Scene Tonight" debuted on January 8th, 1968, and I'll never forget the night.

I produced the newscast, actually.

It was for the first time in the Twin Cities, a 45-minute newscast at 10 o'clock.

And that format, that length, allowed us to change the news, weather, sports kinda firm formula that everybody was using.

- Freezing rain.

- Wasn't it- - Thanks.

- Well, wasn't it just about this time last year we had freezing rain?

- [Cathy] "The Scene Tonight" was a looser, more chatty format.

Still newsy, but different from the more formal presentation on KSTP.

Dave Moore was the main anchorman, he was a Minneapolis native who was destined to become a Minnesota icon.

- Dave Moore was terrific.

Came across as a wonderful, I'm one of you.

- One student grumbled because it was final week.

- He was good.

- Because he was arrested, he wouldn't have a chance to study.

- Unfortunately.

- That night and then lost the power for five hours on my birthday.

- Didn't get your wife out to dinner?

- Would you believe, no.

- What'd you do last night on your birthday?

- I worked 'til 2:30 in the morning.

- Your time is coming up in just a moment.

We've avoided- - His personality, which was so warm and so welcoming.

- [Dave] Go for the double play.

- [Ron] He was your next door neighbor, and viewers felt that, and it's who Dave Moore was.

That wasn't a Dave Moore on camera, and he was something else in the newsroom, that's who Dave Moore was.

- I loved him, I thought he was great.

Part of my responsibilities was to write news for the 10 o'clock news, and I would write for his voice, I would hear his voice in my head, and I'd say, "How would Dave say the story?"

And that's how I learned to write good TV news copy.

- He read your copy, my copy, our writing, better than anybody I've ever known, and I think the likes of Shelby and anybody else who has worked at WCCO would tell you the same thing.

- I will serve as examples to others.

- Kuralt and Cronkite would talk to me about Dave Moore.

They loved him, they used to have CCO send them big Ampex tapes, and Cronkite and Kuralt would sit in Cronkite's office and watch Dave Moore.

- The talks are top secret, but the word is that if the strike is not- - He was so good, and yet he wasn't a newsman, and he was the first to tell you he wasn't a newsman.

- Orthopedic surgeons.

- Where are you going?

- I have to go to the bathroom.

- [Brian] He was an actor!

- You're pretty sharp.

- Go ahead, please.

- Showbiz was the first skill set.

- Well, all I'm trying to do is reach Doug Moore upstairs.

If we had a telephone instead of a dog, we might be able to get ahold of him.

- "Watch me, I'll hold your attention, and I'll tell a story."

- The weather and the mumps, when "The Scene Tonight" continues.

- Until "The Scene Tonight", I don't think we had ever really dominated at 10 o'clock.

- [Cathy] As you might expect, the Hubbards were not happy to have been toppled by their upstart competitor.

- I didn't like seeing competition be successful, and it had to do with the personalities.

- [Cathy] To regain their number one status, KSTP pioneered a dual anchor model, pairing their longtime news reader, John MacDougall, with another anchorman, Bob Ryan.

(knob clicking) - [Announcer 4] Got summer sausage at- ♪ Mercury's got it ♪ - Well, I'm having trouble keeping my image as a kindly, smiling, comforting weather forecaster with the worst weather in the history, with 54 inches of snow on the ground- - I think viewers develop as strong a bond with who's presenting the weather as they do with the newscasters.

- [Cathy] Oh, those old time weather guys were fun.

None of 'em were meteorologists, each had their own gimmick at a time when forecast tools were just a magic marker and a map.

KSTP's first weathercaster was P.J.

Hoff.

Hoff was a St. Paul Dispatch newspaper columnist, and a cartoonist.

And on set, he'd have this big sketch pad and a marker and he'd illustrate the forecast with cute cartoon characters.

And then there was Bud Kraehling from WCCO, he had this Shell Oil weather tower, which was notable because it was the first use of weather radar in the market.

Bud would also do his forecasts in front of the WCCO weather window for crowds that would hang around outside the studio to watch.

- Where do you get your weather from, Bud?

- Well, a lot of it comes out of the West.

(crowd laughing) - [Cathy] Then there was Barry ZeVan.

- I like Berry ZeVan the weatherman because he's a real meathead-ologist.

- Jimmy, that's meteorologist.

- That's what I said.

- [Cathy] Barry came to KSTP from Vegas in 1970.

He was called the peekaboo weatherman because he'd looked over his shoulder, kinda like he was peeking at the camera during his forecasts.

And ZeVan said he did that because he felt it wasn't polite to turn his back on viewers.

- Barry ZeVan had come and done a little practice run through for the cameras, and I can hear all of the people and staff saying, "You can't joke about the weather.

Weather is serious stuff in Minnesota, that'll never work."

And of course, he was wildly successful.

- Thank you.

- [Cathy] To add a little sex appeal to their newscasts, WCCO hired a weather girl in the 1960s, Nancy Nelson, to point out the highs and the lows.

But it was the market's third place station, WTCN, that made Minnesota broadcast history in 1969 by hiring Toni Hughes.

- If you think about the time, society was changing, and not only for Black people, but for women.

(upbeat music) - Channel 11 those days, perhaps they were under the radar enough where, you know, they could take risks at things, do things that are not comfortable or people are not used to seeing.

- She was the only person of color on-air talent in this area.

- Now no one would blink, but that had to have been a big deal.

- WTCN promoted that.

So, there were a lot of promotions about the newscast featuring my mom, and it was always mentioned that it was a Black weather caster as well.

- For our five state region, light snow flurries in the- - It was a time of a little bit of sexism.

- Will continue in the Twin Cities.

- There was one newspaper headline that said something about bikini weather caster.

My mom held a couple of jobs, so this was a contract job for about three hours per night.

She would leave the house, and she'd tell my brother and I not to knock each other out while she was gone.

- Moving into the Great Lakes area, as well as- - At first, she was not invited to sit with the newscaster and the sportscaster.

Eventually, she transitioned to being able to sit at the desk, which is a big deal.

- Brenda Banks said her parents, residents of South Minneapolis, said that it was the only channel they wanted to watch weather.

Every time it was time for the weather, they'd say, "Go turn on that channel to the Black girl!"

(upbeat music) Oftentimes, people don't realize what's come before them and made it possible for them to have a seat at the table.

(knob clicking) - Roll in the Democratic Party- - [Announcer 5] And a pair of slacks for- - Farmers are going to have to pay the price.

This is Marcia Fluer, Channel Five Eyewitness News, Meeker County.

- [Cathy] Before she became a reporter in 1972, Marcia Fluer was an English teacher who had a nightclub act with a singing group.

She said she then got into real show biz, which was television news.

Marcia was an absolute barrier breaker, becoming one of the first female anchors in the Twin Cities.

(bright dramatic music) - When I walked into KSTP, there was no woman ever in the newsroom who had ever been allowed to anchor, even the early morning show.

There had been no woman in the newsroom who had been able to cover fires, and murders, and certainly not politics.

(bright dramatic music) - She was the woman, and so she was given women's stories, and you know, lightweight stuff.

- I was sitting at my desk for the first time and one of the males in the newsroom, a reporter, came up behind me, reached over and grabbed my left breast.

And I turned around and I went, "Yes?"

And he said, "Well, the woman before you didn't mind."

And I said, "Well, I'm not the woman before me, am I?"

I didn't understand the culture of the newsroom, I didn't understand the culture of men.

And I could have gone to the News Director and complained and been out of a job, but being out of a job was not an option.

I had a husband who was an actor outta work, I had two children, and I wasn't about to be out of a job.

So I just sucked it up, learned the business, learned the culture, put both feet down on the ground, and stayed there for 13 years.

(upbeat music) This is Marcia Fluer Channel Five Eyewitness News.

- She was a hard reporter, I mean, she knew how to write and she knew how to ask hard questions.

I think it took a while before they realized what they had, and how good she was.

- The summer of 1972 was the Watergate summer, and it was coming up on the election, and they thought all of the action was gonna be at the National Education Association, which was being held in Saint Paul.

So they sent their political reporter over there, and they sent me to the VFW Convention in Minneapolis.

I was the only woman on the floor with a camera, and there's 5,000 men, women were not allowed into the VFW Convention.

And it was MC'd by Georgie Jessel, who was dressed like a southern colonel.

He's the one that announced that if Jane Fonda showed up, they would hang her from the rafters.

Everyone cheered.

Spiro Agnew showed up, Julie Nixon Eisenhower showed up, and every day I did a story about these people, and that politics, and sent it off, and it got sent to the network and it was run on KSTP.

And when the week was out, I went back to KSTP and the assignment editor, she said, "You're pretty good at that politics stuff."

And suddenly, I was covering Minneapolis City Hall, the state legislature, Saint Paul City Hall, and whatever was going on nationally.

End to discrimination.

- We're a people- - Marcia and I covered Mondale's run for the Vice Presidency, and she had made the connections with the party.

Marcia and I were gonna go out and spend two days with Mondale.

We got out there and we had such access to Mondale that she called back, and suddenly, that three days turned into two weeks leading up to election.

I think we covered 75 cities in that two weeks.

It was an incredible experience.

- You've been kind to me, you've been understanding.

(knob clicking) - Well, whose spray are you using these days?

- [Announcer 6] Match permanent press tops and bottoms.

- No sign yet of Jimmy Hoffa, in fact, no real.

- This is where the consultants came in.

It became clear from what the consultants said at least, the audience preference was to see a male/female co-anchorship.

- It was unheard of to have a woman--White woman-- anchor with a man.

It was just not even heard of.

- [Ron] So in our case, it was Susan Spencer who had done a remarkable job as a reporter, who was a terrific writer, who had earned that.

- Said it's believed that federal media- - And this was not that long before she went onto CBS, so that co-anchorship was relatively short-lived.

My guess, knowing Dave, that he would be on the surface polite and accepting, and inside fuming.

(Ron laughing) - He did not believe that he needed a woman, especially a young woman, sitting next to him, and he made that very, very crystal clear.

- When "The Scene Tonight" resumes.

(bright dramatic music) WCCO TV News cameraman has just returned to our newsroom with that story on film, and we'll have it for you just as soon as the film is processed.

- [Cathy] The goal is to get the shot, the footage, or interview no one else had and get it on the air.

And back in the day, it was a task that wasn't an easy or a fast process.

- All of the news pictures that you saw on the television news program were film that had been shot with film cameras.

- We were shooting 16 millimeter film, we had what were called Auricon conversions, which were the big news reel cameras.

And you stepped into a brace, you had a amp for the sound here, the battery on your back, and that whole rig probably weighed, oh, I'd say probably 50 pounds total.

We didn't use tripods, 'cause he never took the camera off the tripod, 'cause you were the human tripod 'cause you were in this brace.

- [Roy] And then brought back to the station to be developed at the station.

(exciting music) - You couldn't stay out very late on a story because you got back, you had a, depending on how much film you'd shot, 15, 20 minute, 30 minute, get it through the processor.

- [Ron] The film processor with all of the fumes was in the same room as the newsroom.

- Can't tell you how many stories I ruined because I didn't know how to process the film correctly.

Ugh, it was wild, it was like the wild west of TV.

(exciting music) - [Roy] And edited at the station.

- [Chris] When you made an edit on film, you were literally cutting the film.

So if you made a mistake, you had to glue it back together.

- [Lou] And we had all this editing goop that was like a super drug high, you know, it was just this really strong glue that you used to edit the story physically.

- [Roy] And finally put on the air.

- We gotta get it on the air, it doesn't matter how good it is if it doesn't get on the air.

Our studio used to be four floors down and people were running up back stairs and stuff to try to get it there.

- Our newsroom was in the basement, the old building.

The studio was on the fourth floor, the control room was on the fifth floor, the elevator could not have been slower, there had to be the slowest elevator in the Twin Cities.

So I would often sprint up four or five flights of stairs, you know, stayed in shape that way, I guess.

(Mark laughing) - When I was an editor at Five, and I've got the two reels of film, you know, and I'm running up the stairs, two flights of stairs into that hallway, which was waxed.

And the AM radio station was right there, and I'm rounding this corner, I had this technique where I could bounce off the wall to keep my footing, all of The Beach Boys are coming out- - Oh!

- No.

- Coming out into the hallway, 'cause they'd just done an interview on 1500 when it was a rocker, and they're all standing there, blocking the hallway, you know.

So either I'm gonna collide with The Beach Boys, or I'm gonna get the film down to the projectionist.

- Hi.

(anchor laughing) How are you, good tonight?

Good, join us at 10:00.

- The reception he's going to see, receive, when he (beep).

Dr. McGraw will bid farewell to his Binghamton campus, (beep).

Not about the new climate in Minnesota, not about the new job, but about the reception he's going to receive when he tells Twins fans that he's a long time, (beep).

- [Cathy] There was a lot of pressure to get the news first and get it right, as these top two stations battled for ratings supremacy, and it wasn't exactly glamorous.

- [Narrator 2] WCCO News Director, Ron Handberg, says some- - Everybody smoked in those days.

So, this low ceilinged place was almost impossible to work in.

- The smoke in the basement was so thick, you actually had to squint to see who was sitting at the desk.

Everybody smoked, everybody.

We chain smoked.

We didn't just smoke, we chain smoked.

There was no ventilation.

- The interview, you can do anything you want with it.

- At one point in that little dingy, smoky basement, it was a "Field of Dreams" newsroom.

- Among those who don't agree with the President's Vietnam- - You got Dave Moore, and Skip Loescher, and Bud Kraehling, and Hal Scott, arguably the best local newsroom that's ever been assembled, and I would argue with anyone to say, "Top this."

You can't, because it's, there's nothing to argue about.

(gentle jazzy music) - It was a very convivial atmosphere, there was great respect among the people who worked there.

- We had a dozen reporters who went on to be correspondents on national broadcast news.

Bob McNamara, Susan Spencer, who's still on the air, Sam Ford, Don Kladstrup.

I mean, all these people were in the newsroom at the same time.

- It happens a lot: I hire a reporter for WCCO Television News, and before long, one of the networks calls and hires that reporter away from me.

It's happened about 15 times in the past 10 years.

(gentle jazzy music) - People at CBS really have a incredible respect for WCCO, they joke about it and they call it the farm team.

The time that I was at 'CCO was the best.

- They weren't taking people from Los Angeles, they weren't taking people from other markets, they were taking from Minneapolis-Saint Paul.

They were trained here, and they went out to the big markets outta DC, New York, and they were doing fantastic journalism, because they learned it here.

- Hold the elevator.

- [Ron] For them, like for me, it was a learning place.

You were expected to grow, you were expected to improve as a writer and as a reporter and as a newscast producer.

But in the process of learning, you had lots of support.

- Bob McNamara in Action News with Twin tubes trouble, and Hal Scott with some big baseball news.

Hal, how about the trade of Bob Allison and a draft choice to Oakland on Monday, and I can't keep a strange face.

(Hal laughing) - [Mark] Hal Scott was a brusque individual, but my guardian angel.

He worked seven days a week, he was really good at what he did, he worked hard and he played hard.

And he wore these loud sport coats all the time.

- I said of all the must games we've been involved in- - This is the most.

- This is the mustest.

(anchor laughing) Of all of 'em.

- And I would type a story, he'd hand the script to Hal and I'd see him take out his pen, and he'd scratch out this word or that word and the next word, and I'm going.

And he wouldn't say anything to me, but I could tell by looking at it, like, I overwrote the script.

And one of the proudest days of my early life at WCCO was when I wrote a script and I gave it to Hal and he didn't take his pen out.

I knew I had made it in his eyes.

This is Mark Rosen reporting from Boulder, Colorado.

(knob clicking) - All those days in the country when we had free broadcasting, no government interference, no radio commission, no FCC or nothing.

(everyone laughing) Good days, believe me.

(everyone laughing and clapping) - SE Hubbard Senior.

- The old man.

- The old man.

- I did not know the old man very well, he scared me.

- Oh, he scares the crap out of anybody.

- There were people, if they heard him coming down the hall, they would duck in the nearest door.

I would know one lady went in the men's room just to not confront him.

- They were terrified of him.

He was so quixotic.

- I can see why people thought the old man was formidable, because he was, I mean, he was kinda gruff and kinda crusty.

Very smart man, very smart guy.

- He would come to the newsroom, big cigar, and it was lit, and he'd see me anchoring the morning newscast at 7:30, and he would say, "Young man, young man, when you say good morning, say good morning, good morning!

Don't just say good morning.

There you go, then just say good morning, and you'll be good, you'll be good."

And then he'd walk out.

- And he said, "You're a villain with a mustache."

And I thought that was a great title.

I liked him.

- For some reason, he kinda liked me because I was sassy, and he would invite me up to his office and talk to me about, "We oughta reinstitute the organ in the studio and have organ recitals."

And what did I think of that?

- [Announcer 7] The mighty Wurlitzer pipe organ from KSTP studio.

- I'm not sure the public is ready for the rebirth of the organ recital.

And then I would say, "You know, Mr. Hubbard, you know, it's getting kinda late and I'm supposed to go down and be on the five o'clock news."

So I would get up to leave, and he said, "Well, you could go back to the newsroom and tell them that you just left the Chairman of the bored."

So I would sit back down and listen to the next story.

And when he was ready, I could leave.

(Marcia laughing) I really, really liked him.

(dramatic exciting music) - [Announcer 8] From WCCO Television News, this is "The Scene Tonight".

- In broadcast, one action touches off a reaction, right?

So if one station does something and is a success, the other stations are gonna look at that and probably try to follow suit, right?

(exciting music) - [Announcer 9] This is "Total News".

- [Cathy] Making these changes in order to maneuver themselves into number one.

- [Announcer 10] This is "News Watch".

- [Cathy] That's where the money is.

(bright exciting music) - [Anchor] President Nixon.

- [Cathy] The Hubbards are very competitive, and with WCCO winning in the late '60s and early '70s, at times by a two to one margin, becoming number one again was the goal for KSTP.

- For Stanley Hubbard, being number two was being number four, and whatever it took, he wanted to win.

- When they were having trouble after "The Scene Tonight" came to prominence and they brought in John MacDougall and Bob Ryan, that failed miserably, so they got rid of them.

They decided to bring in a very young person, Ted O'Brien.

Ryther, ZeVan, and Ted O'Brien became- - [Announcer 11] "The World Today".

- Which was another attempt to answer the number one prominence of CCO.

That didn't work either.

(dramatic music) (knob clicking) - It was an extremely tense and interesting time, and the rivalry with WCCO was all that really mattered.

I was part of a new idea, I didn't know it at the time.

They'd fired Ted O'Brien.

(dramatic music) The next man through the door was Stanley Hubbard who said, "We are going to work our way up to number one."

(dramatic music) - A newscast may not win with a good anchor, but you're never gonna win without one.

- Consultants saved the industry.

- It ruined news, it ruined everything.

- That's the second most racist market in the country.

- All had to do with sex, it had to do with illicit sex.

- And I looked over at the monitor and I said, "What the hell is this?"

- We made him a star and he double-crossed us.

- You couldn't put the genie back in the bottle, it just wasn't gonna work.

(dramatic music)