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Back in the days of network television, a vanity card in the end credits was a means by which writer-producers could express their creative dominion … - Chuck Lorre
" "Back in the days of network television, a vanity card in the end credits was a means by which writer-producers could express their creative dominion over the just-viewed show. It was dubbed a vanity card because vanity was all it had going for it. The actual producer of the show was the company that financed the show - that took the financial risk. The hierarchy was simple, the writer-producer couldn't fire the company, but the company could fire the writer-producer. I can vouch for this because I've been fired. A couple of times. But here we are now in the world of streaming television. On the plus side, a world where end credits are barely viewed by anyone. The viewer is actually encouraged to skip over them and quickly re-engage with another episode, or a different show or movie. Which brings me back to vanity cards. Why on Earth am I writing vanity cards for Bookie? My friends and family won't bother to read them. They might not even be able to find them. One might say, "If a vanity card is written on Max, and no one reads it, was it amusing?" Fuck if I know.
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About Chuck Lorre
Chuck Lorre (also known as Chuck Levine, born 18 October 1952) is an American television writer, producer and director of series including Cybill (1995–1998), Dharma and Greg (1997–2002), Two and a Half Men (2003–2015), The Big Bang Theory (2007–2019), Mike & Molly (2010–2016), Mom (2013–2021), Disjointed (2017–2018), Young Sheldon (2017–2024), The Kominsky Method (2018–2021), Bob Hearts Abishola (2019–2024), B Positive (2020–2022), United States of Al (2021–2022), Bookie (2023–2025), and Georgie & Mandy's First Marriage (2024–present).
Also Known As
Birth Name:
Charles Michael Levine
Alternative Names:
Charles Michael Lorre
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Additional quotes by Chuck Lorre
I believe that all work and no play makes Chuck a dull boy. I believe that all work and no play makes Chuck a dull boy. I believe that all work and no play makes Chuck a dull boy. I believe that all work and no play makes Chuck a dull boy. I believe that all work and no play makes Chuck a dull boy. I believe that all work and no play makes Chuck a dull boy. I believe that all work and no play makes Chuck a dull boy. I believe that all work and no play makes Chuck a dull boy. I believe that all work and no play makes Chuck a dull boy. I believe that if you've read this far in my vanity plate you are an extraordinary person infused with great love and compassion. I believe that all work and no play makes Chuck a dull boy. I believe that all work and no play makes Chuck a dull boy. (thanks, Jeff) I believe that all work and no play makes Chuck a dull boy. I believe that all work and no play makes Chuck a dull boy. I believe that all work and no play makes Chuck a dull boy.
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Well, once again I'd like to thank you for not only watching, but videotaping "Dharma & Greg." I know you're busy, so this shows a wonderful commitment on your part and I want you to acknowledge that commitment with a big ol' Chuck Lorre vanity card hug. Okay, with that done let's get on with why you're here, to learn more of my personal beliefs. I believe that this episode, which on the surface deals with a funny Valentine's adventure, in fact grapples with the weighty issue of Weltschmerz. Weltschmerz is a German word which loosely means "world suffering deriving from the inevitability of reality to never match up with our expectations." Boy, only the Germans could come up with a word like that. Anyway, in this episode Greg is in Weltschmerz hell as he discovers that life is never quite like the brochure. Dharma, on the other hand, recognizes that life is a flowing river and happiness exists only when one embraces its ever-changing nature. From this dilemma we draw the comedic essence of our story. Finally, I believe that when I retire and teach sitcom writing at a community college, I'll use this theme for one of my classes to impress the kids.
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