Almost Perfect
Almost Perfect is an American sitcom television series created by Ken Levine, David Isaacs, and Robin Schiff that premiered on CBS on September 17, 1995, and ran until October 30, 1996, spanning one full season and part of a second before cancellation.[1][2] The show centers on Kim Cooper, a driven television producer and head writer for the fictional police procedural series Blue Justice, who navigates the challenges of her high-pressure career alongside her budding romance with Bill Dunlop, a dedicated district attorney whose demanding job often conflicts with their relationship.[3][4] Starring Nancy Travis as Kim and Kevin Kilner as Bill, the series explores themes of work-life balance, professional ambition, and romantic compromise through witty dialogue and relatable scenarios in the entertainment and legal worlds of Los Angeles.[5][6] The ensemble cast includes David Clennon as Kim's supportive boss Quentin, along with recurring colleagues like Matthew Letscher, Chip Zien, and Mary Page Keller, who portray the quirky team at her production company and highlight the collaborative chaos of TV scriptwriting.[4] Over its run, Almost Perfect produced 34 episodes, though only 28 were broadcast on CBS, with the second season airing just four installments in fall 1996 before the network pulled the plug due to low ratings; the remaining six episodes aired on Lifetime in late 1997.[1][4] Critically, the series received praise for its sharp romantic chemistry between the leads and intelligent humor, earning an 86% approval rating on Rotten Tomatoes for its first season and positive reviews from outlets like Variety, which noted its effective blend of career satire and heartfelt moments.[7][8] Despite its short lifespan, Almost Perfect has garnered a cult following for its ahead-of-its-time portrayal of empowered women in media and the realities of dual-career couples.[7]Premise
Series concept
Almost Perfect is an American romantic sitcom that centers on the life of Kim Cooper, a driven television executive producer who navigates the challenges of her high-pressure career while developing a romantic relationship with Mike Ryan, an assistant district attorney. The core premise revolves around the tension arising from their equally demanding professions: Kim oversees the fictional cop show Blue Justice, requiring long hours in a fast-paced Hollywood environment, while Mike's role in the legal system often pulls him into unpredictable courtroom duties. This setup creates ongoing conflicts as the couple attempts to synchronize their schedules and priorities, highlighting the difficulties of maintaining a personal connection amid professional ambitions.[8][9] The series is set across two contrasting worlds: the bustling production offices of a Los Angeles television studio, filled with creative chaos and deadline-driven decisions, and the more structured yet intense realm of Los Angeles courtrooms and district attorney's office. These dual settings underscore the narrative's exploration of workplace dynamics in the media industry, where Kim must manage a team of writers and deal with network pressures, juxtaposed against Mike's adherence to real-world legal ethics and procedures. The show draws humorous contrasts between the dramatized, action-oriented fiction of Blue Justice—complete with scripted chases and moral simplifications—and the nuanced, bureaucratic realities of the justice system, often using these differences to fuel comedic misunderstandings in the couple's interactions.[8][9] Thematically, Almost Perfect focuses on the balancing act between career success and romantic fulfillment, portraying how ambitious individuals negotiate compromises without sacrificing their identities. It delves into the interpersonal strains of modern relationships, particularly for women in male-dominated fields like television production, while incorporating ensemble humor from Kim's colleagues to lighten the exploration of these tensions. The tone blends screwball comedy elements—characterized by rapid-fire witty banter reminiscent of classic romantic pairings—with situational humor derived from the couple's overlapping professional spheres, creating a lighthearted yet relatable depiction of love in the 1990s workplace.[8][9]Main characters
Kim Cooper serves as the protagonist of Almost Perfect, an ambitious television producer and writer for the fictional police procedural Blue Justice, who is recently promoted to executive producer, thrusting her into a high-pressure role overseeing the show's creative direction.[10][8] Her personality is marked by wit, a workaholic drive, and a cynical edge shaped by the cutthroat Hollywood environment, often leading to struggles with work-life balance as she juggles demanding deadlines and personal relationships.[11][4] Kim's role anchors the series' exploration of professional ambition in the television industry, where her leadership fosters both comedic tensions and collaborative dynamics among her team. Mike Ryan, Kim's primary love interest, is an idealistic assistant district attorney specializing in homicide cases, whose principled nature and dry humor provide an ethical counterpoint to Kim's industry cynicism.[11][12] His background in the judicial system highlights the show's theme of clashing professional worlds, as his commitment to justice and long hours mirror Kim's dedication but stem from a more straightforward moral framework.[13] Mike's interactions with Kim drive the central romance, emphasizing mutual respect amid their contrasting lifestyles. The supporting ensemble includes Gary Karp, the neurotic head writer whose anxious demeanor and hypochondriac tendencies add layers of humor to the writers' room, often complicating script development with his overthinking.[5] Rob Paley functions as the young, eager assistant writer, a Midwestern newcomer whose awkward attempts to fit into the sophisticated Los Angeles scene contribute to the group's comedic mishaps and fresh perspectives on story ideas.[5] Neal Luder rounds out the core team as the quirky, spaced-out writer, whose eccentric ideas and laid-back attitude inject unpredictability into the creative process, balancing the more intense personalities around him.[5] Together, these characters form a surrogate family for Kim, enhancing the ensemble dynamics through their interplay in the high-stakes environment of television production. The characters' interrelations revolve around the evolving romance between Kim and Mike, which navigates conflicts such as professional jealousy—where Kim's late nights clash with Mike's court schedules—and personal compromises, like adjusting to each other's demanding careers.[10][14] The writers' room provides a backdrop for these tensions, as Gary's neuroses, Rob's inexperience, and Neal's quirks amplify Kim's challenges, fostering group loyalty while underscoring themes of balance between ambition and intimacy.[4]Cast
Principal cast
Nancy Travis portrayed Kimberly "Kim" Cooper, the ambitious executive producer of the fictional police drama Blue Justice, bringing a strong, sarcastic edge to the role that drew from her prior comedic work in films like Three Men and a Baby (1987) and So I Married an Axe Murderer (1993).[15] Her performance was noted for capturing a brassy, frazzled career woman navigating a male-dominated industry, often highlighted in reviews for its witty intensity.[16][8] Kevin Kilner played Mike Ryan, the level-headed district attorney who becomes Kim's romantic interest, marking a significant career shift for Kilner following his recurring role on the nighttime soap opera Knots Landing.[17] Critics praised his dry, witty delivery and the natural chemistry he shared with Travis, particularly in romantic sparring scenes reminiscent of classic screwball comedy pairings.[8][18] Chip Zien embodied Gary Karp, the neurotic screenwriter on the Blue Justice team, leveraging his comedic timing to infuse the character with nebbish charm and anxious energy.[8] Early reviews commended the ensemble's balance, with the leads' interplay—especially the romantic tension between Travis and Kilner—providing the series' strongest comedic spark, though the show occasionally faltered without their central dynamic.[8][9][11]Supporting cast
Matthew Letscher portrayed Rob Paley, the naive young assistant writer on the TV show Blue Justice, whose Midwestern innocence and idealistic outlook provided youthful comic relief amid the high-pressure Hollywood environment.[19] Paley's character often highlighted the contrasts between small-town values and industry cynicism through his earnest, sometimes dopey reactions to workplace chaos.[5] David Clennon played Neal Luder, an eccentric colleague and co-producer on Blue Justice, whose quirky personality infused business-world satire into the series' depiction of TV production dynamics.[5] Luder's role as a seasoned but offbeat partner allowed for humorous explorations of creative tensions and office absurdities within the ensemble.[4] Notable recurring guests included Lisa Edelstein as Patty Karp, the wife of principal character Gary Karp, who appeared in eight episodes and contributed to subplots involving family intrusions and marital humor.[5] Mary Jo Smith recurred as Denise in nine episodes, often facilitating workplace subplots through her portrayals of various supporting figures like a love interest or colleague.[5] These performers enhanced the ensemble by driving secondary storylines, such as office rivalries among the writing staff and personal entanglements that intersected with the leads' romantic tensions.[20]Production
Development
"Almost Perfect" was created by Robin Schiff, Ken Levine, and David Isaacs, who drew inspiration from their own experiences in the television industry to craft the series' premise of a female TV writer navigating professional challenges and a budding romance.[6][8] The concept was pitched to CBS in early 1995, where it was well-received for its fresh take on romantic comedy within a workplace setting, leading to a direct-to-series order without a pilot episode and a premiere scheduled for the fall season.[21] CBS ordered a full first season of 24 episodes, which aired from September 1995 to May 1996, reflecting the network's confidence in the show's potential.[22] Following its decent ratings performance, the series was renewed for a second season; however, under new network leadership following a regime change at CBS, the premise was altered by removing lead actor Kevin Kilner, leading to only four episodes airing in October 1996, with the remaining six of the ten-episode order produced but unaired.[21][4] The creators aimed to blend the witty romantic tension reminiscent of "Moonlighting" with the ensemble workplace dynamics of shows like "The Mary Tyler Moore Show," while steering clear of clichéd gender tropes to emphasize authentic character-driven humor.[21] Nancy Travis was cast in the lead role of Kim Cooper, the ambitious TV writer, bringing a grounded intensity to the protagonist after her notable performances in prior projects.[8]Filming and crew
The filming of Almost Perfect primarily occurred at Paramount Studios, located at 5555 Melrose Avenue in Hollywood, Los Angeles, California, where studio sets were used for interior scenes including office environments and simulated courtrooms. No exterior on-location shooting was required for the series. Production was overseen by Levine & Isaacs Productions in association with CBS Productions, employing a traditional multi-camera setup typical of 1990s network sitcoms to capture live-audience performances with multiple angles in a single take.[5] The technical crew featured cinematographer Klaus Landsberg; editor Darryl Bates, responsible for post-production assembly; art director Bill Brzeski, overseeing set design; sound mixer Jerry Workman; and composer Bruce Miller, who scored the series' music.[8][23] Directorial duties were shared among several television veterans, with Philip Charles MacKenzie directing the most episodes at seven across both seasons; Ken Levine, one of the creators, helmed four episodes; and Leonard R. Garner Jr. contributing to multiple installments. Additional directors included Andy Ackerman and Alan Myerson (two episodes each), Gail Mancuso (two episodes), and David Clark Lee (one episode).[23] The writing staff was led by co-creators Ken Levine and David Isaacs, both established sitcom scribes from shows like Cheers, alongside Robin Schiff; they served as executive producers and contributed to core scripts, while episode-specific teleplays were penned by writers such as Sue Herring and George McGrath.[6][23]Episodes
Overview
Almost Perfect produced a total of 34 episodes over two seasons. Season 1 comprised 24 episodes that aired weekly on CBS from September 17, 1995, to April 22, 1996. Season 2 consisted of 10 episodes, with the first four airing from October 9 to October 30, 1996; the remaining six were not broadcast during the original run but later aired on Lifetime in December 1997.[1][24] The series episodes adhered to a standard 30-minute sitcom format, featuring mostly self-contained stories while advancing an overarching romantic arc between the lead characters, a television writer and a district attorney.[5] The show achieved a seasonal Nielsen household rating of 9.0 for its first year, equivalent to approximately 8.5 million households, though per-episode viewership figures are not comprehensively documented.[25] Below is a tabular summary of all episodes, listing overall and seasonal episode numbers, titles, and original air dates where applicable. Production codes were not assigned in standard documentation, and detailed per-episode directors, writers, and viewership metrics are unavailable from primary archival sources.| No. overall | No. in season | Title | Original air date |
|---|---|---|---|
| 1 | 1 | I'm Gregory Peck | September 17, 1995 |
| 2 | 2 | Now, Where Were We? | September 24, 1995 |
| 3 | 3 | A Dog Day Afternoon | October 1, 1995 |
| 4 | 4 | My Way | October 8, 1995 |
| 5 | 5 | Your Place or Mine? | October 15, 1995 |
| 6 | 6 | You Like Me, You Really Like Me | October 22, 1995 |
| 7 | 7 | The Ex-Files | November 5, 1995 |
| 8 | 8 | The Lost Weekend (1) | November 19, 1995 |
| 9 | 9 | The Lost Weekend (2) | November 26, 1995 |
| 10 | 10 | Presumed Impotent | December 3, 1995 |
| 11 | 11 | Love Hurts | December 10, 1995 |
| 12 | 12 | Risky Christmas | December 11, 1995 |
| 13 | 13 | Mind Games | January 14, 1996 |
| 14 | 14 | Overly Meditated | February 4, 1996 |
| 15 | 15 | El Pollo Loco | February 11, 1996 |
| 16 | 16 | Auto Neurotic | February 18, 1996 |
| 17 | 17 | A Midseason Night's Sex Comedy | March 3, 1996 |
| 18 | 18 | Suites for the Sweet | March 4, 1996 |
| 19 | 19 | Being Fired Means Never Having to Say You're Sorry | March 11, 1996 |
| 20 | 20 | Lights, Camera, Mike?! | March 18, 1996 |
| 21 | 21 | The Hunted House | April 1, 1996 |
| 22 | 22 | Moving In (1) | April 8, 1996 |
| 23 | 23 | Moving In (2) | April 15, 1996 |
| 24 | 24 | It's a Wrap! | April 22, 1996 |
| 25 | 1 | The Break-Up | October 9, 1996 |
| 26 | 2 | Shelf Doubt | October 16, 1996 |
| 27 | 3 | Good Grief | October 23, 1996 |
| 28 | 4 | Heaven's Helper | October 30, 1996 |
| 29 | 5 | Dating for Ratings | December 20, 1997 |
| 30 | 6 | Where No Woman Has Gone Before | December 20, 1997 |
| 31 | 7 | K.I.S.S. | December 24, 1997 |
| 32 | 8 | Gimme Shelter | December 29, 1997 |
| 33 | 9 | The Laws | December 30, 1997 |
| 34 | 10 | This Is What Happens When You Don't Watch PBS | December 31, 1997 |
Season 1 (1995–96)
The first season of Almost Perfect aired on CBS from September 17, 1995, to April 22, 1996, comprising 24 episodes that lay the foundation for the series' central romance between ambitious TV producer Kim Cooper and principled district attorney Mike Ryan. The narrative arc traces their relationship from an initial flirtation sparked by a case of mistaken identity to deeper commitment, while balancing the demands of their high-pressure careers with comedic workplace dynamics among Kim's writing team on the fictional police procedural Blue Justice. Subplots highlight the tensions and joys of blending personal and professional worlds, culminating in milestones like cohabitation discussions.[1][27] The principal cast remained stable throughout, with no significant changes to the ensemble of Nancy Travis, Kevin Kilner, David Clennon, Matthew Letscher, and Chip Zien.[28] Viewership for the season demonstrated consistent appeal, maintaining solid Nielsen household ratings that positioned it competitively among freshman sitcoms and prompted CBS to renew the series for a second season in early 1996.[29][8]Episode list
| No. | Title | Air date | Brief synopsis |
|---|---|---|---|
| 1 | I'm Gregory Peck | September 17, 1995 | Kim mistakes Mike for her blind date during a night out, igniting an unexpected flirtation that challenges her controlled life as a TV producer.[27] |
| 2 | Now, Where Were We? | September 24, 1995 | Kim and Mike attempt to build on their promising first encounter but struggle to coordinate amid their demanding schedules.[30] |
| 3 | A Dog Day Afternoon | October 1, 1995 | The pair's budding romance faces early tests when a chaotic day at work forces them to prioritize professional obligations over personal time. |
| 4 | My Way | October 8, 1995 | Kim asserts her independence in both her career and relationship, leading to humorous clashes with Mike's more structured approach. |
| 5 | Your Place or Mine? | October 15, 1995 | As their flirtation intensifies, Kim and Mike navigate the logistics of spending more time together while juggling separate living situations. |
| 6 | You Like Me, You Really Like Me | October 22, 1995 | Mike's affection for Kim becomes evident during a workplace event, prompting her to confront her feelings amid team banter. |
| 7 | The Ex-Files | November 5, 1995 | Lingering ex-partner issues surface, testing the early stages of Kim and Mike's connection with workplace interference.[31] |
| 8 | The Lost Weekend: Part 1 | November 19, 1995 | A weekend getaway meant to strengthen their bond turns complicated due to unexpected professional interruptions. |
| 9 | The Lost Weekend: Part 2 | November 26, 1995 | Kim and Mike work through the fallout from their getaway, deepening their understanding of each other's priorities. |
| 10 | Presumed Impotent | December 3, 1995 | Miscommunications in their relationship lead to awkward assumptions, intertwined with a high-stakes script deadline at work. |
| 11 | Love Hurts | December 10, 1995 | The pain of vulnerability emerges as Kim and Mike confront emotional barriers in their evolving romance. |
| 12 | Risky Christmas | December 11, 1995 | Holiday pressures amplify the excitement and risks of their relationship during a festive team gathering. |
| 13 | Mind Games | January 14, 1996 | Psychological tactics in both the courtroom and writers' room mirror the strategic maneuvering in Kim and Mike's courtship. |
| 14 | Overly Meditated | February 4, 1996 | Attempts at relaxation highlight the contrasts in their personalities, strengthening their bond through shared humor. |
| 15 | El Pollo Loco | February 11, 1996 | A casual outing spirals into a lesson on compromise, blending romance with lighthearted cultural clashes. |
| 16 | Auto Neurotic | February 18, 1996 | Car troubles symbolize broader relationship anxieties, resolved through teamwork at work and home.[31] |
| 17 | A Midseason Night's Sex Comedy | March 3, 1996 | Mid-season fatigue brings comedic intimacy issues to the forefront for the couple. |
| 18 | Suites for the Sweet | March 4, 1996 | A luxurious hotel stay tests their compatibility, weaving in workplace rewards and rivalries. |
| 19 | Being Fired Means Never Having to Say You're Sorry | March 11, 1996 | Job insecurity subplot forces Kim and Mike to support each other, solidifying their partnership. |
| 20 | Lights, Camera, Mike?! | March 18, 1996 | Mike's involvement in Kim's show blurs professional lines, enhancing their romantic synergy. |
| 21 | The Hunted House | April 1, 1996 | House-hunting adventures reveal future-oriented thoughts in their relationship. |
| 22 | Moving In: Part 1 | April 8, 1996 | The decision to move in together begins, stirring excitement and logistical challenges. |
| 23 | Moving In: Part 2 | April 15, 1996 | Cohabitation realities test their commitment, balanced by supportive friends. |
| 24 | It's a Wrap! | April 22, 1996 | As the season concludes, Kim and Mike reflect on their journey toward a shared future.[31] |
Season 2 (1996)
The second season of Almost Perfect marked a significant shift following the show's renewal, as CBS suggested the removal of Kevin Kilner's character, Mike, which led to the breakup of the central romantic pairing between Mike and Kim in the premiere episode.[32] This change, intended to refocus on Kim's single life and workplace dynamics, built briefly on the ongoing character relationships established in season 1 but ultimately weakened the series' emotional core. The season consisted of 10 produced episodes, though only the first four aired on CBS from October 9 to October 30, 1996, in a Wednesday 8:00 p.m. ET time slot opposite strong competitors like Grace Under Fire on ABC.[32][33] The remaining six episodes went unaired during the original run but were later broadcast in syndication, including on Lifetime Television.[5][34] The season's narrative arc emphasized Kim's adjustment to post-breakup life amid escalating career demands at the TV production company, introducing external threats such as ratings pressures and professional temptations that complicated her personal growth. Episodes explored themes of grief, matchmaking mishaps, and workplace absurdities, with Kim navigating blind dates, psychic predictions, and corporate takeovers that teased potential new romances and conflicts. However, the abrupt end curtailed deeper exploration, leaving scripted plots like a mistaken invitation to a porn star at the Emmys and a bet involving relationship advice unresolved in the broadcast run.[35][36]| Episode | Title | Original Air Date | Summary |
|---|---|---|---|
| 25 (2x01) | The Break-Up | October 9, 1996 | Gary's relationship theory triggers a breakup between Kim and Mike, forcing Kim to confront the end of her romance amid work pressures.[33][37] |
| 26 (2x02) | Shelf Doubt | October 16, 1996 | Kim plays matchmaker for Rob but ends up disliking his new interest, highlighting tensions in her post-breakup social circle.[33] |
| 27 (2x03) | Good Grief | October 23, 1996 | Kim struggles to process her breakup while her male colleagues grow impatient with her emotional state.[33] |
| 28 (2x04) | Heaven's Helper | October 30, 1996 | Marie Osmond attempts to recruit Kim for a project, while Gary faces production challenges with her show.[33] |
| 29 (2x05) | Dating for Ratings | December 20, 1997 | Kim dates a member of a Nielsen family to artificially boost ratings for Blue Justice.[33] |
| 30 (2x06) | Where No Woman Has Gone Before | December 20, 1997 | Kim consults a psychic who foretells an unusual encounter at a women's banquet.[33] |
| 31 (2x07) | K.I.S.S. | December 24, 1997 | Kim confronts her past when former flame Jack Chenault acquires the production company.[33][38] |
| 32 (2x08) | Gimme Shelter | December 29, 1997 | Kim must choose between volunteering at a soup kitchen and attending Jack's Hollywood party.[33] |
| 33 (2x09) | The Laws | December 30, 1997 | Gary challenges Kim to adhere strictly to a relationship advice book's rules.[33] |
| 34 (2x10) | This Is What Happens When You Don’t Watch PBS | December 31, 1997 | Kim accidentally invites a porn star to the Emmys, leading to comedic chaos (intended season finale).[33][39] |