Series / The Larry Sanders Show

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Hank, Artie, and Larry.

"Live on tape from Hollywood, it's the Larry Sanders Show!"

Superb late-night talk show satire that aired on HBO 1992-1998, written by and starring Garry Shandling as the titular Larry Sanders, a self-centred and neurotic late-night talk show host à la David Letterman or Jay Leno. Adopting a curious format, the show was split between Larry's talk-show (recorded on videotape) and the back-stage exploits (recorded on film). This effortlessly presented the contrast between the professional showbiz world of the show and the petty, snide backstabbing environment behind the scenes, along with Larry's effortlessly smooth, constantly grinning and in-control stage persona and his insecure, paranoid off-camera personality. The contrast was helped by numerous real-life stars who agreed to play as 'guests' on Larry's show, including Robin Williams, Ellen DeGeneres, Roseanne Barr and David Duchovny, whose man-crush on Larry became a running gag.

Present to help (or hinder) Larry was his ultra-aggressive and tough-as-boots, but loyal, bulldog of a producer, Artie (Rip Torn), and Larry's pompous and egotistical sidekick, "Hey Now!" Hank Kingsley (Jeffrey Tambor), who despite his genial and bumbling stage presence was if anything even more paranoid, insecure and pathetic than Larry himself.

"Live on tape from your internet connection, it's The Larry Sanders Tropes!"

  • Adam Westing/As Himself: All the guests.
  • Adolf Hitlarious: Jon Stewart attempts this trope when he's Larry's guest host. A skit features Hank as "Adolf Hankler", host of a German version of Jeopardy! in which the answer to every question is "the Jews". Guest Jason Alexander is so offended that he leaves before Stewart can interview him, and the network (which had warned Stewart about the sketch) immediately stops production on the episode and airs a rerun instead.
  • Adored by the Network: In-Universe, the unnamed network grooms Jon Stewart to replace Larry, believing he can get the same or better ratings at a fraction of Larry's salary. It doesn't work due to the aforementioned Adolf Hitlarious sketch.
  • Brutal Honesty: Artie zigzags this trope. He usually pulls this trope with the rest of the staff, since his job as producer is to keep things running smoothly and kick ass when necessary to make sure it does. However, as his job is also to keep Larry on even keel so he's able to perform, he tends to blow smoke up Larry's ass so as to avoid making him worry or letting his neuroses get out of control. However, he's not just a simple Yes-Man and is capable of giving Larry the blunt truth whenever he needs to hear it.
  • Butt-Monkey: Hank Kingsley, both on the Show Within a Show (where his role is to be Larry's bumbling sidekick) and backstage (where his combined preening egotism and pathetic insecure desperation results in him being the butt of the joke more often than not).
  • Catch Phrase: Several are associated with the Show Within a Show:
    • Larry ends each of his monologues with "No flipping!" as he mimes clicking on a remote, as a mock warning not to change the channel during the first commercial break. In the series finale, he ends his finale show by telling the audience that they may now flip.
    • Hank Kingsley uses his "Hey, now!" catch phrase during the show... and at pretty much all other times. He even gets fired from a invoked Stunt Casting gig as a plumber on Caroline in the City because he insists on repeatedly ad-libbing his catch phrase.
  • Celebrity Paradox: Averted on more than one occasion:
    • Garry Shandling does have a separate existence from Larry Sanders. On Larry's final show, Sean Penn complains to Sanders about what a terrible and insecure actor Shandling (his co-star on a Real Life movie) is.
    • Likewise, Paul Mooney plays Beverly's brother in one episode and is mentioned as a potential booking on the Show Within a Show in another.
  • Cringe Comedy: Hank tends to provoke this through his egotism and ineptitude. Such as the time he met the Wu-Tang Clan.
  • Dirty Coward: Larry. He hates confrontation and, when faced with a tricky situation, inevitably tries to foist it off on someone else (usually Artie or Beverly) for them to deal with instead.
  • Door Closes Ending: One episode combines this with Brick Joke: midway through, a character can be seen drawing something on the office door. The last thing that happens is people walk out the door, and as they close it behind them, we're treated to a drawing of a giant middle finger.
  • The Eponymous Show
  • Executive Meddling: In-Universe. Apparently averted in Real Life, but a constant on the Show Within a Show.
  • Flanderization: Over several seasons, the head writer, Phil, became more obnoxious and less talented.
  • Ho Yay: Invoked, between Larry and David Duchovny. No, really. Even better, it was based on Truth in Television, as Duchovny and Garry Shandling were reportedly pretty much Heterosexual Life-Partners.
  • Horrible Hollywood: The smooth, witty nature of the Show Within a Show effectively contrasts with the ego-ridden, neurotic and backbiting world behind the scenes. Although it is nevertheless rather affectionate towards the main characters, who are typically portrayed as weak and neurotic but not necessarily malevolent.
  • I Never Said It Was Denny's: A Montana woman claims Larry has gotten her pregnant, and when Larry's lawyer arrives to let him know it's all been cleared up but that she now claims that she gave him a hand job in a parking lot, Larry's amused reaction gives just a little bit too much away.
  • Inferiority Superiority Complex: Hank. For all his egotism and bluster, deep down he knows that he's neither particularly talented nor intelligent and that his fame and success is built on the very shaky and unstable foundation of being a sidekick to Larry, and consequently is riddled with insecurities and self-loathing.
  • Instrumental Theme Tune: The Show Within a Show has one, but technically, the actual show does not (though it used that of the Show Within a Show to represent it in Real Life, such as at awards shows).
  • Kitschy Local Commercial: Not exactly a local commercial since it's broadcast on a major television show, but the in-show advert for the Garden Weasel that Larry is forced to do by the network in the first episode is otherwise one of these. After trying to wriggle out of it and then making snarky comments about the product on air as a way of making it bearable, Larry eventually gets out of it by just outright pointing out that not only is the commercial and product not very good, he just plain sucks at doing it so shouldn't be advertising the damn thing anyway.
  • The Man Behind the Man: Artie, to Larry.
  • Nice to the Waiter: Played with; for all his flaws, ego, neuroses and insecurities, Larry generally treats his assistant and the rest of the staff well (albeit mainly out of a desire to be liked rather than fundamental niceness), and while he frequently can be condescending, thoughtless and dismissive he's not really cruel or malicious either. Hank's a bit worse in this regard, and more prone to throwing his weight around, but generally gets away with it due to the fact that he's more pathetic than malevolent and so is easily ignored.
  • No Social Skills: Downplayed (since he's a successful comedian and talk-show host after all) but Larry's smooth and witty stage persona is used to contrast his socially awkward, uncomfortable and neurotic nature when the cameras are away from him.
  • Noodle Incident: The time Hank somehow managed to chip a back tooth on a urinal. This is both lampshaded, as the other characters are mystified as to how he did it, and a case of Never Live It Down, since they make fun of him every time it comes up.
  • Product Placement:
    • The Garden Weasel was used in an episode where the in-universe network insisted that Larry perform live commercials on stage in order to promote the company's sponsors. Larry got back at the network by joking that he could see Jimmy Hoffa's remains after using the product during the sketch.
    • Hank is driven in large part by this; outside of his role as sidekick, his main source of income (and self-respect) is his role as pitchman to a large variety of products, and he'll frequently try and find some way of squeezing more commercial plugs onto the show.
  • Professional Butt-Kisser: Hank's usual method of trying to increase his role and public profile on the show is to shamelessly suck up to whoever he thinks will best help him accomplish his goals.
  • Retraux: Larry's show, for the most part, mimics the style of Johnny Carson's The Tonight Show, even as contemporaneous late night shows moved away from Johnny's template in various ways (with the sole exception of the Theme Tune, which practically screams early nineties). Lampshaded in one episode which ends with David Letterman watching a show and muttering about how Larry is making them all look bad. And made a plot point in the final seasons, when Larry's ratings gradually begin to decline and the network try to manipulate him out in favour of the younger, hipper Jon Stewart.
  • Running Gag:
    • Every time Bruno Kirby showed up, he got bumped from the show, and was increasingly angry about it. This particular example even extends to the DVD boxset, where Kirby shows up at the end of the making-of retrospective featurette eager to provide the narration, only to have to be informed by a sheepish Garry Shandling that he's been bumped so that Greg Kinnear can do it instead.
    • The show also frequently had Jeff Cesarionote  on as a guest, but he was hardly ever seen.
    • Whenever Hank wanted to talk to Larry in his office, he had a really passive-aggressive/cowardly way of doing so whereby he'd send his assistant in first to ask whether Larry was available, and then would saunter in as if Larry had summoned him or as if he was just casually dropping by.
  • Single-Target Sexuality: Duchovny's interest in Larry.
  • Screwed by the Network: In-Universe. The network sabotages Larry's show as they maneuver Jon Stewart to replace him.
  • Show Within a Show: Also named The Larry Sanders Show.
  • Sidekick: "Hey Now!" Hank Kingsley!
  • Sliding Scale of Idealism vs. Cynicism: Wildly cynical from beginning to end. At least, about show business; the show is nevertheless rather affectionate towards its characters, who are typically portrayed as weak and insecure but never really malevolent.
  • Small Name, Big Ego: Hank. What fame and success he has is based around basically being a sidekick to a far more talented and charismatic entertainer and what commercial endorsements he can find, and yet he throws his weight around constantly. Deconstructed, however, since it's heavily implied more than once that deep down he's aware of all this and is full of self-loathing and insecurity as a result.
  • Spiritual Successor: Like It's Garry Shandling's Show, Shandling used a familiar TV format to parody that format. The more obvious predecessor for Larry Sanders, though, was the 1985 Showtime special The Garry Shandling Show: 25th Anniversary Special, where Shandling starred As Himself, but as a neurotic veteran late night host with a pathetic sidekick.
  • Stalker with a Crush: Not entirely villainous, but Duchovny's interest in Larry made Larry more than a little uncomfortable.
  • Studio Audience
  • Stunt Casting: The producers got an awful lot of big names to appear on the show playing themselves. In-Universe, this is pretty much the only reason Hank Kingsley ever gets offered outside acting gigs - e.g., a guest spot as the janitor on Caroline in the City and a voice role in Disney's Hercules movie.
  • Stylistic Suck: Downplayed. We only caught glimpses of the Show Within a Show overall (usually Larry's opening monologue and the celebrity interviews), but what we did see was at least competently produced for the most part, if a bit Lowest Common Denominator. Many of the sketches that we saw glimpses of (often in rehearsal) appeared to be rather cheesy and hacky, however. However, it also shows lots of scenes of the staff working hard to try to bring it together, suggesting that even entertainment which is not that good often has a lot of effort and hard work put into it.
  • Suspiciously Similar Substitute: Brian, who replaced Darlene as Hank's PA early on in season 4, after Linda Doucett quit the show due to discord with Garry Shandling. He's more-or-less the exact same character (very loyal to Hank, possibly to his detriment), with his homosexuality being the only genuine departure.
  • Tone Shift: The sixth season is notably more serious and melancholy than the previous five. This is partly because of it deals with the arc of Larry's show coming to an end, but there were also behind the scenes issues (lots of writers leaving, legal issues between Shandling and his former manager) that affected the tone.
  • 2-for-1 Show: It's both a late-night talk show and an fly-on-the-wall behind-the-scenes sitcom about the late-night talk show.
  • Ugly Guy, Hot Wife: Below average in appearance Larry is married to the gorgeous Jeannie in the first season and dates many beautiful actresses throughout (Mimi Rogers, Sharon Stone etc). Balding Hank also has a much younger and attractive wife. Of course, these guys are both wealthy and in show-business, which might explain matters.
  • Unintentional Period Piece: Many of the celebrity guests (along with the projects they're plugging) ensure this. Even if they hadn't, the characters constantly engaged in discussions of current events (e.g. The L.A. Riots, O.J. Simpson, David Letterman's stalker), which is highly unusual for TV shows of any era due to the delay between a show's production and broadcast.
  • Writers Suck: Phil, the head writer, is usually characterised as a lazy, obnoxious jerk and a bit of a bully, particularly towards Hank. He's also a bit of a hack with an inflated opinion of himself.
  • Writing Around Trademarks: When Hank was hosting lottery drawings during Larry's sabbatical, he was forced to change his catchphrase to "Say Now!" because the network claimed "Hey Now!" as its intellectual property (satirizing NBC's similar tussle with David Letterman when he moved to CBS).

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