Baby Bob aired on CBS from March 2002 until June 2003 on CBS.
Walter ( Adam Arkin), a Santa Monica public relations executive, and his fussy wife, Lizzy ( Joely Fisher), were first-time parents who in the premiere of Baby Bob made a startling discovery-their 6 month old son could talk. Not just baby talk, but talk like a full grown adult-although a lot of things about the adult world mystified him.Lizzy wanted to tell the world but Walter, fearing that their son would be treated like a freak, swore both her and Bob ( who was voiced by Ken Hudson Campbell), to secrecy.Unfortunately Bob sometimes spoke when others could hear him, making it difficult to keep the secret. Walter's contankerous widowed father, Sam ( Elliott Gould), was a dotting Grandparent, while Lizzy's divorced mother , Madeline ( Holland Taylor)was forever bragging about her other Grandchildren. In the 4th episode, after Bob slipped and talked in front of both of them, it was hard for Walter to convince them to keep the secret. Although none of the adults knew it, Bob had been chatting for some time with his baby-sitter Teala( Marissa Tait).
A Review From The Michigan Daily
CBS? ?Baby Bob? marks an all-time low in the sitcom world
By Ryan Blay, Daily TV/New Media Editor
3/18/02
Newton's first law states that for every action, there is an equal and opposite reaction. This may explain why, after Fox's brilliant new show, "24," viewers are treated to the horrendous waste of time that is CBS' "Baby Bob." Bob is that little talking baby from a series of commercials that ran last year. Imagine the shock when his parents find out this six-month-old can talk. On second thought, don't. They're shocked. End of story.
Besides his parents and Bob's babysitter, nobody can ever know about Bob's unique nature. Otherwise, Bob might be exploited (how, by making an awful show out of him?) Bob is shocked to find that other babies don't share his skill. This no doubt will provide numerous chances for wacky comedy in future episodes.
Why this formulaic concept merits a television series is anyone's guess. It's already been done with "Look Who's Talking" and "Baby Talk." The idea behind it is so bad, that even with the finest cast and writers, the show would be mediocre at best. But the execution makes this series easily the worst of the new year. The dialogue is awful, it has no redeeming value, and while it doesn't offend on a personal level, it should offend any viewer on an artistic level.
The actor voicing the baby may still have a shot at a career, so he shall only be referred to as Ken Hudson C., or K.H. Campbell, either way. Joely Fisher ("Ellen") and Adam Arkin ("Chicago Hope") portray Bob's wowed parents. She's a stay-at-home mom who wants to work. He's a public relations man. This is as deep as they can get. Holland Taylor ("Legally Blonde") and Elliott Gould ("M.A.S.H.," Ocean's 11"), after recently making some excellent career moves, effectively kill their careers by opting to round out this support cast as Bob's crotchety grandparents.
If you watch the show and don't feel the urge to cry "make it stop" or drink lots of alcohol, then it would be a great surprise. "Bob" is depressing in the sense that even seeing promos for the show will bring back painful memories of sitting through the pilot episode.
After CBS' recent success with "Everyone Loves Raymond," "CSI" and other breakthrough programs, the network has definitely taken more than a baby step backward with this show.
For another Review
The Wrath Of Baby Bob
By Dave Conklin
CBS has always been, to me, the proudest of the broadcast networks. "The Tiffany network" has a strong tradition of news, from Edward R. Murrow to Dan Rather. David Letterman, Carson's chosen successor, offers late night viewers a peculiar, at times daring, alternative to the bland motions of Jay Leno. CBS broadcast the harrowing "9/11" documentary without exploitative commercial interruption. The same network that kept me away in my younger years with "Murder She Wrote" and "Diagnosis Murder" — elderly dramas with violent titles — won me over with Letterman, Raymond, Rather and "The King of Queens." Keep your "Friends." If I want to watch Ross fawn over Rachel, I can watch first season repeats.
This season, however, most of the shows I watch are on Fox. "Bernie Mac" is the best sitcom father since Al Bundy. "The Simpsons" has traveled into wonderfully strange territory, mining comedy from absurdity rather than rehashing old plots. The rest of Fox's Sunday night comedy lineup is just as strong and, fates be darned, I am thoroughly enjoying "King of the Hill" again. CBS still rules Monday nights in both the ratings and my television habits, though. I could forgive them for "Yes, Dear" because I never watched it. It was that half-hour you use to grab a beer or five, use the bathroom or memorize Kenny Loggins lyrics. This is a perfectly normal activity that has gone on since the dawn of time. "Suddenly Susan," "Veronica's Closet," "Boston Common" and all three variations of Ellen DeGeneres's sitcom have given all American viewers the opportunity to sit back and relax in another room without a television.
Little did I know the real purpose of these half-hours of vapid dialogue, cookie cutter characters and dull circumstances. Every single such show has paved the way for the most recent signal of the endtimes, "Baby Bob." While some people think the devil is alive, well, and British on MTV's "The Osbournes," Beelzebob is sitting right in your living room, on CBS. And a child shall pick up the mantle of mediocrity ...
"Baby Bob" is the newest CBS sitcom about how two parents (Adam Arkin and Joely Fisher) handle a talking six-month old. If it were on Fox, the kid would be sold to the circus and we would have an interesting study on the life and times of a circus freak. Alas, the show is on CBS, so instead we get Elliot Gould as a bumbling, unfunny grandfather. I am mystified why he is called "Sam," because that sure sounds like Elliot Gould to me. More important than Gould's inclusion is the talking baby. CBS, being an intelligent company, realized the cost of a talking baby would set the show above its apparent $200 budget and opted instead for a superimposed mouth. This effect has been featured in a Jordan's furniture commercial.
"Baby Bob," then, features all of the production value of a commercial, with less comedy. It's a rip-off of an early '90s show called "Baby Talk," which itself was a television version of the "Look Who's Talking" movie franchise, only here the parents know the kid can talk. And boy does it make a difference. Now little Bob can share trifling exchanges with his parents, who have all og the personality of vegetative mimes.
On the surface, "Baby Bob" is just another talking baby sitcom with "Halloween: H20" star, Adam Arkin. Looking deeper, however, a conspiracy begins to take form, and I see how the evil of Bob came to pass. The show is based on an idea presented in Look Who's Talking, which starred Kirstie Allie who was in the aforementioned space filler, "Veronica's Closet." It takes the place of "Yes, Dear," a show that could count "Boston Common" annoyance Anthony Clark. Joely Fisher, a cast member of "These Friends of Mine," plays Bob's mom. "These Friends of Mine" would later undergo a name change to "Ellen." While that show was on ABC, the latest incarnation of DeGeneres was "The Ellen Show" on CBS. While there are many players in this push for poor quality, there does not seem to be any one person I can single out for the presence of "Baby Bob." That a show about a talking baby precedes the number one network's number one sitcom is an aberration of logic and common sense. Please, CBS, take this debacle off the air, before Elliot Gould gets another pre-recorded laugh
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