12 Sitcoms That Came Out For Marriage Equality

While TV dramas were a little slower to promote positive LGBT themes, sitcoms paved the way with gay characters and, yes, same-sex weddings. Sure, many TV series relied on gay stereotypes as punchlines — and some still do — but there are several notable examples of comedies that put forward the idea of marriage equality as something admirable and necessary.

It’s also worth noting the gap between the 1996 Ellen episode and the 2005 episode of The Simpsons. One possible explanation: In the early ’90s, same-sex marriage was still something of a novelty. Gay people could partner up and call it whatever they wanted, essentially. But as marriage equality became more and more political, sitcoms shied away from it — until, of course, they realized it was worth coming out in full support.

1. The Golden Girls, “Sister of the Bride”

Touchstone Television

Aired: Jan. 12, 1991
Blanche continues to struggle with her feelings about her brother Clayton’s sexuality. She’s even more shocked when he visits Miami and announces that he’s having a commitment ceremony with his longtime partner. While no one uses the term marriage, Sophia makes an astute point about marriage equality: “Everyone wants someone to grow old with. And shouldn’t everyone have that chance?”

2. Roc, “Can’t Help Loving That Man”

Warner Bros.

Aired: Oct. 20, 1991
Andrew’s younger brother Russell tells the family that he’s marrying his partner, who also happens to be white. While the men adjust to Russell’s announcement, Eleanor offers to hold the wedding at the Emerson home.

3. Roseanne, “December Bride”


Aired: Dec. 12, 1995
Roseanne plans a big gay wedding for Leon and Scott, which includes drag queens and male strippers. Conservative Leon is horrified and tries to leave the ceremony, briefly wondering if he’s even gay. At the end, Roseanne tones it down, and Leon and Scott get married.

4. Friends, “The One With the Lesbian Wedding”


Aired: Jan. 18, 1996
Ross’ ex-wife Carol marries Susan, the woman she left him for. When Carol’s parents disapprove and refuse to attend the wedding, Carol gets cold feet. Awkwardly enough, it’s Ross who has to convince her to go through with the marriage. The episode attracted mild controversy but not as much as had been expected.

5. Ellen, “Two Ring Circus”


Aired: Feb. 28 ,1996
Ellen’s friends Barrett and Peter have a commitment ceremony. This episode actually came before the famous “Puppy Episode,” in which Ellen came out of the closet.

6. The Simpsons, “There’s Something About Marrying”


Aired: Feb. 20, 2005
Homer becomes a minister and starts marrying all the gay couples being turned away by Rev. Lovejoy. Marge’s sister Patty comes out of the closet and tells everyone she’s marrying her girlfriend Veronica, which Marge can’t accept. It’s only after Veronica is revealed to be a man — and the wedding is called off — that Marge embraces Patty’s identity.

7. South Park, “Follow That Egg!”

Comedy Central

Aired: Nov. 2, 2005
Mr. Garrison tries to reconcile with his ex Mr. Slave, but he finds out Mr. Slave is getting married to Big Gay Al, since Colorado has legalized gay marriage. Mr. Garrison begins a campaign against marriage equality, and it’s up to the students to prove the gay marriage should remain legal with a class project.

8. Family Guy, “You May Now Kiss the… Uh… Guy Who Receives”


Aired: April 30, 2006
Brian’s gay cousin Jasper comes to Quahog to marry his boyfriend Ricardo. The two major opponents: Mayor Adam West, who is trying to distract his constituents by banning gay marriage, and Lois, who is against marriage equality. At the time, Family Guy creator Seth MacFarlane spoke out in favor of LGBT rights.

9. Parks and Recreation, “Pawnee Zoo”


Aired: Sept. 17, 2009
Leslie inadvertently stirs up controversy when she marries two male penguins at the Pawnee Zoo. Even though she didn’t intend for it to be a political gesture, Leslie is proclaimed a supporter of marriage equality. She ends up taking the penguins to Iowa, where gay marriage is legal.

10. The Cleveland Show, “Terry Unmarried”


Aired: Feb. 20, 2011
Cleveland learns that his best friend Terry is gay and in a relationship — and that Cleveland and his wife were never officially married. The four head to Vermont for a double wedding. While Cleveland is initially homophobic, he ends up being the one to convince Terry that he and Paul are soulmates. AfterElton.com said this episode was a better representation of LGBT people than had been seen on other Seth MacFarlane shows.

11. Happy Endings, “Four Weddings and a Funeral (Minus Three Weddings and One Funeral)”


Aired: April 4, 2012
Derrick (of Drama fame) is getting married to Eric, and Jane is planning the wedding. Meanwhile, she scrambles to find a way to tell Derrick that his expensive wedding is out of his price range.

12. The New Normal, “The Big Day”


Aired: April 2, 2013
In the series finale of The New Normal, Bryan and David tied the knot. They hustled to beat the birth of their child, ultimately failing. But it was still a touching conclusion to a show that, while flawed, was one of the most progressive sitcoms on TV.

Read more: http://buzzfeed.com/louispeitzman/sitcoms-that-came-out-for-marriage-equality

6 Episodes Of “The Simpsons” Inspired By Richard Matheson

1. “Clown Without Pity” (“Treehouse of Horror III”)


While “Clown Without Pity” is largely based on The Twilight Zone episode “Living Doll,” which Matheson did not write, it also owes a huge debt to Matheson’s short story “Prey,” which was adapted into the “Amelia” section of the three-part made-for-TV movie Trilogy of Terror. The Krusty doll’s razor-sharp teeth, the bathtub scene, and Homer trying to dispose of the doll in a suitcase are all lifted from the story and Matheson’s film adaptation.

2. “Dial ‘Z’ for Zombies” (“Treehouse of Horror III”)


In that same episode, The Simpsons did a zombie parody with several nods to George A. Romero’s Night of the Living Dead. But the overall story of a global plague turning humans into monsters has its roots in Matheson’s I Am Legend, which Romero cited as a major inspiration. Some say Romero’s film is also visually inspired by The Last Man on Earth, an adaptation of Matheson’s groundbreaking novel.

3. “Terror at 5 1/2 Feet” (“Treehouse of Horror IV”)


The entire segment, from the title to the plot, is based on Matheson’s classic Twilight Zone episode (and short story of the same name) “Nightmare at 20,000 Feet.” While the design of the gremlin has changed — it was a little silly on The Twilight Zone, if we’re being honest — the overall plot is the same. Like Bob Wilson on the airplane, Bart sees a destructive gremlin on the side of the bus and can’t get anyone to believe him.

4. “Homer3” (“Treehouse of Horror VI”)


You might have been too distracted by the computer animation to realize that Homer’s journey to another dimension is modeled after the Twilight Zone episode “Little Girl Lost,” adapted by Matheson from one of his short stories. The little girl in this case is Homer, but the disappearance through the wall of a room, the scientist’s explanation, and the rescue attempt are all direct references to the Twilight Zone episode.

5. “The Homega Man” (“Treehouse of Horror VIII”)


Here’s another episode where the title makes the parody clear: the ’70s film The Omega Man was the second adaptation of Matheson’s novel I Am Legend. The Simpsons version owes more to the Charlton Heston movie than to the original source material, what with the vampires changed to albino mutants. But again, the story of being the last man on earth and fending off monsters is Matheson’s.

6. “I, (Annoyed Grunt)-Bot”


Surprisingly enough, this non-Halloween Simpsons episode is a fairly direct adaptation of the Matheson story “Steel,” which was also the basis for a Twilight Zone episode and the film Real Steel. In the episode, Homer pretends to be a robot to fight against other robots — and just as in Matheson’s original story, he’s no match for the high-tech killing machines.

BONUS: Family Guy’s “The Splendid Source”


Insert joke about Family Guy ripping off The Simpsons here. But yes, FOX’s other long-running animated sitcom did a Matheson adaptation with the episode “The Splendid Source,” based on his short story of the same name. The plot is actually identical, with the characters searching for the origin of the world’s dirty jokes.

Read more: http://buzzfeed.com/louispeitzman/6-episodes-of-the-simpsons-inspired-by-richard-matheson

A Mother Caught The Most Amazing Moment Of Love Between A Boy And His Newborn Baby Brother

When this 6-year-old boy was allowed to hold his newborn baby brother for the very first time, he did the most adorable and sweetest thing. Maybe he didn’t know he was being watched… but either way, he didn’t care. This loving little boy started singing a beautiful lullaby to his brother, a lullaby about all the things he likes about his new sibling. From those beautiful baby eyes to those tiny little hands. Watch this video of amazing brotherly love, it will totally melt your heart.

(Source: Westmore Kids) Share this angelic big brother with your friends and family below.

Read more: http://viralnova.com/boy-sings-to-baby/

You Have To Watch This Amazing Sesame Street “Hunger Games” Parody

1. Sesame Street spoofed The Hunger Games: Catching Fire in this fantastic parody.

2. It has everything, from “Effie Trinket.”

Ellie Hall / BuzzFeed / Via youtube.com

3. To Cookie Monster (Cookieness Evereat) volunteering for “The Hungry Games” in order to eat cookies.

Ellie Hall / BuzzFeed / Via youtube.com

4. Peeta is an actual piece of bread, which is amazing.

Ellie Hall / BuzzFeed / Via youtube.com

5. And Finnick is a finicky eater.

Ellie Hall / BuzzFeed / Via youtube.com

6. It’s pretty much amazing and you should watch it.

Ellie Hall / BuzzFeed / Via youtube.com

Read more: http://buzzfeed.com/ellievhall/you-have-to-watch-this-amazing-sesame-street-hunger-games-pa

“The Purge” Is The Least Expensive Summer Movie To Top The Box Office In 25 Years

Ethan Hawke in The Purge. Daniel McFadden / Universal Pictures

The phenomenon of dirt-cheap horror movies doing phenomenally well at the box office has been around for at least a few years now, ever since the “found footage” genre gave rise to micro-budgeted hits like 2009’s Paranormal Activity and 2012’s The Devil Inside. Those films, however, have always been released in the fall or winter, lest the mega-budgeted summer behemoths squash them flat.

Hollywood may want to reconsider that strategy. The Purge — a horror film set in a dystopian near-future where all laws are suspended for 12 hours every year — just racked up an estimated $36.4 million this weekend, displacing Fast & Furious 6 atop the box office. In large part because the movie is set pretty much exclusively inside a single house, it cost just $3 million.

To put that accomplishment in perspective, the last time a summer movie that cost that little was No. 1 at the box office, Ronald Reagan was in the White House. Friday the 13th: Part VII opened on May 13, 1988, grossing $8.2 million (or $15.9 million when adjusting for inflation) — but that accomplishment still has some major caveats. Even if the $2.8 million production budget listed on the movie’s Wikipedia page is accurate — and that is not an insignificant “if” — in 2013 dollars, that is almost twice the money The Purge had to work with. Plus, in the 1980s, the “summer movie season” didn’t really start until Memorial Day anyway.

You get my point: In the modern summer-movie era, films this cheap are not supposed to do this well. Of course, in the modern summer-movie era, man-boy comedies starring A-list actors usually do quite well, but the Vince Vaughn/Owen Wilson vehicle The Internship fizzled out in fourth place with $18.1 million. The Will Smith bomb After Earth, meanwhile, continued to tank, dropping 59% to seventh place in its second weekend. And the crowd-pleasing sci-fi adventure Star Trek Into Darkness has failed to keep pace with J.J. Abrams’ predecessor, pulling in a respectable-but-not-spectacular $200 million in 25 days.

For all three of those movies, $3 million would likely cover just the catering budget. And while audience reaction to The Purge has been pretty sour — it scored a terrible “C” grade from the audience polling firm CinemaScore — it is already more profitable than those aforementioned summer movies by several orders of magnitude.

Here are the estimated top 10 box office figures for Friday to Sunday, courtesy of Box Office Mojo:

1. The Purge* — $36.4 million
2. Fast & Furious 6 — $19.8 million
3. Now You See Me — $19.5 million
4. The Internship* — $18.1 million
5. Epic — $12.1 million
6. Star Trek Into Darkness — $11.7 million
7. After Earth — $11.2 million
8. The Hangover Part III — $7.4 million
9. Iron Man 3 — $5.8 million
10. The Great Gatsby — $4.2 million

*Opening weekend

Read more: http://buzzfeed.com/adambvary/the-purge-box-office-number-one-with-tiny-budget

NBC’s Ratings Collapse Without “The Voice”

Yes, these are some low ratings post-Voice for Go On. Image courtesy of NBC

NBC has lost its Voice, and therefore is losing, period.

As some of us thought might happen, without the hit singing competition The Voice and Sunday Night Football, NBC’s surprise move into first place this season has screeched to a stop. In December, the network had a clear lead in the important 18-to-49 demographic, but now is only one-tenth of a point ahead of CBS (a 2.9/8 rating for NBC versus a 2.8/8 for CBS). Based on how things are going, CBS will move into first place either next week or after the Super Bowl, which CBS gets to broadcast this year, and every human on Earth watches. (Or something close to that, anyway.)

Fox, meanwhile, which suffered through a terrible first half of the season, is making moves to recover — and will, probably finishing in second place when the season ends in May. Last week, American Idol showed that it’s not dead yet. The Following did well in its premiere this week. And the network announced today that it was pulling the beloved, but essentially unwatched, Ben & Kate; it will be replaced first by a double-shot of Raising Hope, and then Hell’s Kitchen, one of Fox’s 4,000 Gordon Ramsay reality offerings.

The Following did well in its Monday premiere for Fox. Image courtesy of Fox

This move represents a throwing-in-the-towel on the network’s part in its dream to have a night of comedy for this season. But the good news for Fox’s comedies is that New Girl and The Mindy Project are holding steady on Tuesdays, while the NBC competition has basically collapsed without The Voice. Matthew Perry’s Go On, which held onto the Voice audience nicely, has proven that is not — or not yet, anyway — a standalone hit. Last night’s episode sank to a 1.3 among 18-to-49 year-olds: a shocking 50 percent drop from its average while The Voice was on. The weaker New Normal got a 1.2, which is 37 percent below its Voice-y average. Those sorts of ratings are in line with, or even worse, than NBC’s always-on-the-bubble Thursday comedies, like Parks & Recreation. (And let’s see how Community does when it comes back on Feb. 7; those ratings, whatever they are, might end up looking pretty good.)

A bright spot for NBC since the new year began is that The Biggest Loser, having suffered from viewer weariness from its twice-a-year schedule, has bounced back. Its week-to-week numbers are not only holding up, but it’s doing quite well in its new Monday spot.

Then there’s steady CBS. With the Super Bowl, some huge playoff games, and all its hit shows (NCIS especially has been posting huge ratings), the network is poised to finish first in 18-to-49, toppling Fox for the first time since the 2004-5 season. Whether NBC is able to recover when The Voice returns in March is another question — Grimm and The Revolution will also come back then, so the network will again be running at full strength. And we will see what that means.

Note: An earlier version of this story stated incorrectly that Kitchen Nightmares was coming to Fox on Tuesdays. It is Hell’s Kitchen That error occurred because there are so many Gordon Ramsay reality shows on Fox, as noted.

Read more: http://buzzfeed.com/kateaurthur/nbcs-ratings-collapse-without-the-voice

13 Times Chris Hardwick Called Me Out At #TCA

I wasn’t at the Television Critics Association Press Tour today. But apparently, “@midnight” host Chris Hardwick read a bunch of my tweets and asked which ones were real. (They all were.)

Kevin Winter / Getty Images

Chris Hardwick.

Here’s what he said:

“Which of the following is a real tweet by Kate Aurthur? You should follow on Twitter, by the way. Is it, A, “Will not read the AMA by the man with two penises. Not on January 1st, I won’t.” Is it B? “Reading ‘Flowers in the Attic’ at a playground is the creepiest thing I’ve done in years,” or is it, C, “I’m not going to Google this, but does Kate Winslet have 18,000 children? I feel like she’s named 18,000 babies weird shit.” The correct answer is all of the above. Those are all things that Kate Aurthur said. Well done, Kate Aurthur.”

Second update: Victory is mine!

Read more: http://buzzfeed.com/kateaurthur/13-times-chris-hardwick-called-me-out-at-tca

“Frances Ha”: An Ode To The Young And Confused

Robin Marchant / Getty Images

Here’s another awkward moment, in case Greta Gerwig is taking notes for a sequel: When a sliver of downtime presents itself on a recent Thursday afternoon at the W Hotel in downtown Manhattan, her lunch waiting in the hall, she decides to stand at the food cart, eating a chicken breast and side of fries half-concealed by a room-service tray.

Gerwig doesn’t yet notice that I’m sitting alone in the hallway, suddenly the audience to the meal. When the interview starts several minutes later and she realizes what happened, the 29-year-old blonde film veteran is apologetic, explaining, “You just never know when you’re going to get a chance to eat during these things” — like an actress getting caught tucking into a meal is a serious offense.

Shot in black and white, Gerwig’s new film Frances Ha follows her as a flailing 27-year-old dance apprentice navigating the financial and personal struggles of the first half-dozen post-college years, those growing pains that seem simple and charming in retrospect years later. But of course, reality creeps in and discomfort soon abounds.

And yet, Gerwig is self-conscious where Frances is not, carefully choosing her words and trying her best to hide her chewing (Frances goes to town on fried egg bagels like a starved refugee). The actress and character share an earnestness and optimism, but the Sacramento native has a talent and work ethic that far exceeds anything her screen persona could ever even fake. Gerwig began the process of writing the movie upon invitation from Noah Baumbach, which came in an email he sent shortly after they worked together on 2010’s dramedy Greenberg.

Writing Frances Ha, says Gerwig, took about a year. “It was a long process. It was hard too; I’d never really worked that intensely on a piece of writing,” she says. “I’d written things in college, and then plays after college, but I’d never really gotten farther than two drafts in, and so I’d never learned how to take something apart and put it back together. The curse of a little bit of talent is that you’re a lot lazy.”

Following her graduation from Barnard, Gerwig spent most of the last half-decade as part of the mumblecore movement, a loosely defined genre of digitally shot, minimally budgeted and well-reviewed movies that often went unseen by the public at large. Working alongside Mark and Jay Duplass and Joe Swanberg, among others, she says she grew as an actress, but has also grown out of that creative phase. Many of the films (iincluding Swanberg’s LOL and Hannah Takes the Stairs) were semi-improvised — “I can feel it now, when [improv] happens in movies, and I can feel myself resisting it,” she says — creating a certain set of habits that had to be broken.

“I don’t mean this to be arrogant, but I can write dialogue all day. That’s my comfort zone,” Gerwig explains. “Making the dialogue count toward the story — I always resist it, but then I love it when it’s in place, because I feel resistant, it almost feels like I’m forcing a structure on something that doesn’t want to have a structure. But then I love structure, and I love it when I see it in other people’s work. I just have to implement it and I let it sit for long enough that I get comfortable with it.”

Of her contributions to the script, Baumbach — now also Gerwig’s boyfriend — says, “There’s no way to quantify it. I think why we work well together is it felt very much of one voice, so when she would work on a scene and send it to me, it always fit with whatever I was doing.” The pair were in sync even over the internet, assembling the screenplay by passing it back and forth through digital edits.

“We weren’t in the same place a lot of the time just because of work and life,” Baumbach says, “and so a lot of it was done by email, but that was just more by necessity. Because the movie was broken into chapters, in some cases it was easier to divvy up sequences. She would work on something and I would work on something and then we’d switch.”

Baumbach and Gerwig bring together two generations of New York filmmakers who have erred toward the personal and specific, eschewing the big and bombastic for small, poignant domestic stories. Gerwig’s mumblecore movies often painted portraits of listless twentysomethings in lo-fi, studying the banal for a glimpse at human nature. Baumbach — since starting his career with 1995’s Kicking and Screaming, a movie about post-grads from Vassar who delay their entry into adulthood with heady conversation and angst — has done much of the same, with a heady and intellectual dressing.

Just as he did with 2005’s The Squid and the Whale, Baumbach in Frances Ha zeroes in on the particulars of the anxieties and struggles of the white and fairly well-to-do. The subject matter is a staple of the indie film world, both celebrated and derided for its insular focus, hailed as insightful or dismissed for being self-involved. The Squid and the Whale was loosely based on Baumbach’s adolescent struggles with his parents’ divorce; Frances, while not explicitly about Gerwig, is very much an examination of millennial malaise, a generation trying to extend childhood while embracing the trappings of adulthood.

It’s a point that is brought up by an angry audience member several days later at a special sneak screening and Q&A on a rooftop in the Lower East Side, who accuses the movie of having no “social value.” Baumbach mostly dismisses the remark in the public forum, but it’s a perception of which he is not unaware.

“They’re basically psychological and emotional struggles that can be true under pretty much any circumstances,” he says of Frances’ subject matter, with an obvious subtextual reference to all of his movies. “All of us kind of are squaring our ideas of ourselves and what we think our lives are going to be, versus how our lives are actually turning out. I think that not only does pretty much everyone have to deal with in their lives, it’s something they deal with over and over again throughout their lives. For me, it’s because it is coming from a psychological and emotional place, and so the story or the milieu is what I’m trying to do, is match one with the other. And I tend to write about people, or kind of, who I feel I know or understand.”

Greta Gerwig and Ben Stiller in Greenberg. vividlife.me

It’s a style that took him a long time to develop from his roots as a cinema-obsessed kid growing up in Brooklyn.

“I think there’s that kind of thing where you’re young and because you like all movies, once you start thinking about, if I ever did this, you kind of imagine yourself making all movies. You’re like, I’ll make Raiders, I’ll make 48 Hours, I’ll make Road Warrior, I’ll make Hannah and Her Sisters, I’ll make She’s Gotta Have It,” he says. “You think you’re going to make everything, and I still like everything. But I think the concept of understanding yourself and who you are and what you are drawn to and want to do, I make the movies I want to make, and then I write the things that mean something to me. But I also grew up in the wake of the auteurist ’70s directors, and Woody Allen was such a kind of figure in my life as a filmmaker, and that notion of that career as I got older always seemed to me as the career that I should try to emulate.”

As both an of-the-moment story and classic love letter to New York, Frances Ha seems in some ways like a modern descendant of Allen’s Manhattan; with its focus on a young woman trying to find her way into adulthood and surrounded by aspiring artists with paternal benefactors, Frances Ha has inevitably been compared to HBO’s Girls.

Perhaps the best way to draw the distinction is that Girls’ creator/star, Lena Dunham, is like a young female Woody Allen, all nerves and quips and Jewish sensibility amounting to a particular brilliance; Gerwig is like the non-Jewish women Allen has cast as leads in his movies (Diane Keaton, Mia Farrow), smart and independent and (at least on screen) seemingly more carefree than he could ever imagine being himself.

It is incumbent upon any actress to speak positively about the project that she’s currently promoting, whether she likes it or not, but Gerwig is genuinely glowing about Frances Ha, which is understandable given the number of ways its production changed her life.

“I might in five years feel like, What a useful effort and feel like I’ve moved beyond it, but I really love the way this movie feels and the way Noah directed it,” she says. “The script that we wrote, it’s the closest I’ve ever seen — acting- and writing-wise — that I’ve come to what I love about movies.”

Read more: http://buzzfeed.com/jordanzakarin/frances-ha-greta-gerwig-noah-baumbach-interview

How Spencer Pratt And Heidi Montag Fooled Everyone With Their Latest Reality Show

Ethan Miller / Getty Images

The most famous famewhores of all time, Spencer Pratt and Heidi Montag, are launching their comeback. The reality TV supervillains, best known from their turns as Lauren Conrad’s archrivals on The Hills, have remained pretty quiet after their short stint on Big Brother in the U.K. earlier this year. But now, they’re trying to relaunch their careers with another foray into the reality genre, this time with a self-produced web series called SpeidiShow.

Each episode has the couple trying out a different reality show format, i.e. living in Europe on $0 a day and helping out with a wedding.

It’s a rebranding strategy perfect for a full-scale return to popularity. The only problem is that it’s not real and they’ve never shot a single scene.

Although the show’s website posts previews and recaps for each episode, there’s no actual production of a web series. It’s part of something called a netprov (network improve narrative), which is equal parts elaborate internet hoax, improvisational comedy, and performance art. Writers Mark C. Marino and Rob Wittig are the masterminds behind the project.

Marino confirmed to BuzzFeed in a phone interview that SpeidiShow is indeed a part of netprov and that there is no actual show being produced here. As their site says, “SpeidiShow is Twitter buzz about an imaginary TV Show.”

“Netprov basically extends what ‘reality stars’ do all the time — only it allows the fans to help tell the story,” Pratt told BuzzFeed via email.

Marino said the goal with SpeidiShow is to involve fans in on the shaping of the series. Simply put, what people tweet will determine what happens on the show.

But it doesn’t seem that many people have caught on to the experiment yet. The fact that there’s no show to cover didn’t stop MTV’s Remote Control blog from posting a review of the series, including details of what happened in its nonexistent third episode. (MTV did not return BuzzFeed’s request for comment.) Pratt has posted several retweets from fans saying that they love the new show, including a message from his sister and former Hills co-star Stephanie.

It’s an interesting commentary on the live-tweeting experience. If everyone is talking about the same show at the same time on their second screens, does the audience actually need a show to talk about in the first place?

“People are used to watching things together and tweeting about where an imaginary ball goes. With this, you’ve got to pay attention to where the ball is and be ready to catch it,” Marino said.

Pratt took it one step further: “No one seems to know what to do with Twitter other than make fools of themselves. Why not play with it?”

This isn’t the first time Pratt has worked with Marino and Wittig, whom he met during an advanced writing seminar at the University of Southern California. They teamed up earlier this year when the recurring reality star gave the netprov creators control of his Twitter account, filling Pratt’s timeline with witty turns of phrase and impressive insights on English poetry. That time, fans realized what was going on and played along with the character they named Tempspence, some even made Twitter poetry of their own.

Pratt wrote to BuzzFeed that he and Montag believe netprov is the “future of entertainment.”

“If people want a SpeidiShow that badly, they’ll see it,” Pratt noted. “It’s like Snuffleupagus or Shangri La. We can see it, can’t you?”

Read more: http://buzzfeed.com/mylestanzer/how-spencer-pratt-and-heidi-montag-fooled-everyone-with-thei