Welcome back to the Deep Dive. Today, we are
turning the clock back to a very specific moment
in television history. Oh, yeah. A really pivotal
moment. Right. We are looking at the years 2003
and 2004. It was, well, it was the end of the
must -see TV era on NBC. The absolute end of
an empire. Exactly. I mean, Friends was wrapping
up Sex and the City, was finishing his run on
HBO, and standing there like a grand opera singer
preparing for one final earth -shattering aurora
was Frasier. It's so true. We are unpacking the
11th and final season of one of the most acclaimed
sitcoms ever made. And for those of you listening
who are fans, you know how huge this was. It
really was. When you look at the television landscape
today, it's just so fractured. But back then,
Frasier wasn't just a show. an institution. Right.
It won 37 Emmys at that point. 37. The writers
and the cast had the monumental task of landing
a plane that had been flying high for 11 years.
And they didn't just want to land it. No. They
wanted to stick the landing in a way that felt
true to these incredibly complex and deeply neurotic
characters. So true. Just to set the stage for
you listening, this season aired from September
23rd, 2003 to May 13th, 2004. Four episodes.
24 episodes closing out an 11 -year run. And
right from the jump, before a single line of
dialogue is spoken in the premiere, there is
this visual cue that tells you this is it. Oh,
you're talking about the title card. I am totally
talking about the title card. Yeah. For 10 seasons,
we had those neon jazzy colors for the Frasier
text over the Seattle skyline. But for season
11, they switched it. To metallic gold. To metallic
gold. Which is such a brilliant, subtle flex,
honestly. It's the golden season. Yeah. It signals
to the audience immediately that this is a victory
lap. Yeah. It's almost a little bit pretentious,
which is perfect for Frasier Crane. Perfectly
on brand. Exactly. It says, we are royalty, we
are bowing out, and we're going to do it with
style. So our mission today for this deep dive
is to explore exactly how they executed that
ball. We're going to look at the specific narrative
arcs for the crane family. You know, Frasier's
frantic search for the One Niles and Daphne's
transition into parenthood and Martin's late
in life renaissance. The whole ensemble. The
whole ensemble. We need to break down the mixture
of highbrow farce and genuine emotional closure.
And of course, we have to talk about the guest
stars because this season was basically a revolving
door of Hollywood royalty. It really was. But
the core question we need to keep in mind. throughout
this deep dive is about growth versus stagnation.
Right. The central conflict of the entire series
has always been, can Frasier Crane, a man who
gives advice for a living, actually take his
own advice? The ultimate irony. Exactly. Can
he move forward or is he destined to be alone
in his impeccably decorated apartment forever?
Season 11 is the answer to that question. Well,
let's start with the man himself. Segment one,
the Crane voice. Specifically, Frasier's romantic
rollercoaster. Because, man, does he go through
the ringer this season. Oh, it's pure desperation.
Ah. That's the vibe. The season opens with a
man, a plan, and a gal, Julia. And we find Frasier
in a relationship with Julia Wilcox, played by
Felicity Huffman. Now, I have to be honest with
you. I have always struggled with this arc. Really?
Yeah, Julia is, well, she's awful. She's abrasive.
She's rude to Roses. She treats the family with
this barely veiled contempt. And yet Frazier
is bending over backwards to make it work. He's
committing to commitment, as our source material
perfectly puts it. That's the key right there.
He isn't in love with Julia. He's in love with
the idea of not being alone. He sees Niles and
Daphne happy. He sees Martin moving on. And he
is. Completely terrified of being the last one
standing, so he forces it. He ignores all the
red flags. Until the hand towel. Until the hand
towel. This is one of those moments that really
divides people who watch the show. Julia mocks
his hand towel. She makes a snide comment about
his aesthetic choices, and that is the moment
Frasier snaps. He breaks up with her right there.
On the surface, it looks incredibly shallow.
You can tolerate her being rude to your friends,
but you can't tolerate her insulting your linen.
See, I actually disagree that it's shallow. Tell
me why. I think it's fundamental to who he is.
You have to look at it through the lens of Frazier's
neuroses. His apartment, his things, his style,
that is his sanctuary. Right, his safe space.
Exactly. That is the armor he wears against the
world. When Julia mocks the towels, she isn't
just mocking a piece of fabric. She is rejecting
the Frazier lifestyle. She is rejecting the very
core of who he thinks he is. So it's a territorial
defense? Precisely. Frazier can handle a difference
of opinion on politics. He can handle an intellectual
fight. But he cannot handle a lack of appreciation
for his taste. That is the one thing he cannot
compromise on. It proves that they are fundamentally
incompatible. And frankly, it's a massive relief
when he kicks her out. That is it. It's a complete
reclamation of his space. And it sets a great
boundary. But that breakup clears the deck for
the real romantic arc of the season. And this
is where the writers pull a bit of a bait and
switch on us. Enter Charlotte. Played by the
incomparable Laura Linney. Yes. Frazier is so
desperate at this point that he pays $10 ,000
to a matchmaking service. Ten grand. Ten grand.
Just hand over the check. Which again speaks
to that sheer panic we mentioned earlier. He
is trying to literally buy a solution to his
loneliness. And the irony is the service is a
sham. Charlotte is the matchmaker, but she has
no clients. She's scamming him. It's a classic
meet cute, but built on total deception. He's
the client. She's the con artist, technically.
But what makes this arc work, unlike the Julia
arc, is the chemistry. It's undeniable. Laura
Linney brings this chaotic, slightly messy energy
that Frasier actually needs. She isn't a polished
socialite. She's struggling. She's eating his
biscuits. She's real. But there's a hurdle, a
very handsome, very rugged hurdle named Frank.
Played by Aaron Eckhart. Right. Frank is Charlotte's
boyfriend. He's a nice guy, but he is totally
wrong for her. He's simple. He's outdoorsy. He
doesn't really get her. No, not at all. And Frasier
ends up in this excruciating position of being
the third wheel, the friend who is secretly in
love with her. The turning point for all of this
is the episode detour. I love this episode because
it forces them out of their comfort zones. It's
basically a bottle episode structure, but out
in an open environment. Yes. Frasier and Charlotte
are driving. Yeah. And Frasier's driving like
a grandmother, so they miss their train not once,
but twice. Then the car breaks down in the middle
of nowhere. And they end up staying with this
bizarre, eccentric, rural family. It's almost
a horror movie setup, but played entirely for
laughs. It is. But narratively, it strips away
all the distractions. There are no fancy dinners.
There's no opera. There is no Frank. Just Frasier
and Charlotte. In a strange house. Forced proximity.
Forced proximity. It forces them to confront
the reality of their connection. They have to
sleep in the same bed, well or near it. The pretense
completely drops. They realize that despite the
scam, despite the boyfriend, there's something
undeniable happening there. But before we get
to the actual resolution of that relationship,
we have to talk about one of the most spectacular
failures Fraser has this entire season. Oh, I
know where you're going. We have to talk about
Nanny Jude. Oh, this is essential viewing. This
is the writers looking at Frazier's past and
deciding to blow it up one last time. For those
who don't know the deep lore, Nanny G is Nanette
Guzman. Frazier's first wife, the one he married
way back in his hippie phase. And now she's an
incredibly famous children's entertainer. And
she's played here by Laurie Metcalf, who is just
an absolute force of nature. The episode caught
in the act is probably the physical comedy peak
of the season for Kelsey Grammer. Frazier goes
backstage to see her. She's unhappily married.
She still clearly has a thing for him. And one
thing leads to another. And by one thing, you
mean Frazier stripping down to his boxers and
hopping into a giant prop bed with a woman dressed
as an overgrown baby. Exactly that. But the mechanism
of the bed. He thinks they are having this intensely
private, illicit moment. And then the curtain
rises. The bed literally lifts up. And suddenly
a half -naked Frasier Crane is being elevated
onto a stage in front of hundreds of screaming
toddlers and their parents. It is the ultimate
nightmare scenario. It is the peak of humiliation
for a man who prides himself on his dignity.
But you have to ask, why do the writers do this?
Why humiliate him this badly right before the
end of the series? To break him down. I think
it's a cleansing ritual. It's one last. chaotic,
libido -driven mistake. It shows us that Frazier
is still capable of being led completely astray
by his ego and his hormones. Yeah, he hasn't
fully evolved yet. Right. He has to get this
out of his system, this need for validation from
his past, before he can actually move forward
with someone real like Charlotte. It's hitting
absolute rock bottom so you can start the climb
back up. Now, while Frasier is being displayed
to toddlers, Niles is dealing with a very different
kind of life change. This is the season where
Niles and Daphne finally become parents. The
pregnancy arc is handled with a lot of grace,
but also a lot of typical crane anxiety. It starts
with the episode, No Sex, Please. We're skittish.
Niles discovers his sperm has low motility. Which
is devastating for a moment. You really see the
genuine fear that they might not get their happy
ending. But the show quickly pivots. It turns
out Daphne is already pregnant. So the tension
completely shifts from can we to... Oh my God,
we actually are. However, we cannot talk about
Niles in season 11 without discussing the most
insane subplot in the history of the show. Oh
boy. The Maris murder arc. We have to pause here
because this is arguably the writers taking the
unseen character trope and stretching it until
it fundamentally snaps. It really feels like
a dare in the writer's room. Like how far can
we push this invisible woman before she breaks
the reality of the show entirely? Precisely.
For 11 years, Maris was a punchline. She was
defined by her extreme frailty. She couldn't
lift a grape. She disappeared behind breadsticks.
She was essentially a ghost. But in season 11,
the writers invert this completely. They turn
this fragile ghost into a violent killer. It
starts with her new boyfriend, right? The Argentine
polo player. Esteban. He's very volatile. Maris
calls Niles for help. Niles being Niles rushes
to her aid and keeps it a secret from Daphne,
which is his fatal flaw. Lying to protect the
people he cares about. But then the news breaks.
Maris has killed Esteban. She straight up murdered
the polo player. And the weapon. Oh, the weapon.
An antique crossbow that belonged to Niles. You
cannot make this stuff up. An antique crossbow.
It's so absurdly specific. It's not just a gun.
It's a pretentious, very crane -esque weapon.
It implicates Niles in the total absurdity of
the crime. It does. And narratively, this was
a very strategic demolition. The writers knew
that as long as Maris was in Seattle or even
in the country, Niles would never be truly free.
A simple divorce wasn't enough. They needed to
make her a literal fugitive. The scene that defines
this whole arc for me is in Murder Most Maris.
Niles is being questioned. The press is hounding
him at his office. The stress is just mounting
and mounting. And he finally breaks. The Café
Nervosa breakdown. Yes. He walks into the café
completely naked and just sits down to read the
newspaper like nothing is happening. It's the
ultimate shedding of dignity, but it's also the
ultimate shedding of Maris. He has nothing left
to hide. He has been stripped bare by her madness
one last time. Wow, that's a great way to look
at it. And then the resolution. Maris flees the
country. She goes to a private island to avoid
prosecution. She is permanently exiled. She becomes
a literal outlaw. Is the only way to close the
book on her. By sending her to a private island
where she can never return. The writers physically
removed her gravitational pull from Niles' life.
She is gone. And that allows the finale to be
purely about Niles Daphne and their new baby.
And speaking of that baby, there is a really
lovely detail in the finale. They name him David.
That is a direct tribute to David Angel. He was
one of the brilliant creators of Frasier and
a huge part of the show's soul. He and his wife
were tragically killed on one of the planes on
September 11, 2001. Such a huge loss. Naming
the baby David was a way for the cast and crew
to say, we haven't forgotten you. You're part
of this ending. That really grounds the absurdity
of the crossbows and the naked breakdowns. It
reminds you that there are real people behind
these characters. Absolutely it does. Okay, let's
pivot to segment two. We've covered the boys.
Now let's look at the patriarch, Martin Crane,
and the woman who keeps the station running,
Roz Doyle. Martin's arc in season 11 is arguably
the most heartwarming of the entire cast. It's
a full -on renaissance. For years, Martin was
the grumpy retired cop sitting in his duct tape
chair. He dated here and there, you know, Sherry
Bonnie, but nothing really stuck. In season 11,
he finds the real deal. Enter Roni Lawrence,
played by Wendy Malick. Who is absolutely perfect
casting. She brings this brassy, fast -talking
energy. She's a lounge singer. She's got grit.
And the connection is classic sitcom gold. She
used to be Frasier and Niall's babysitter. Which
immediately introduces this layer of awkwardness
and Oedipal weirdness that the show just loves
to play with. Frasier actually tries to compete
for her at first. In the episode The Babysitter,
he genuinely thinks she's interested in him.
Because of course he does. Frasier thinks everyone
is interested in him. But she chooses Martin.
And I think it's important to analyze why Roni
works when someone like Sherry didn't. Sherry
was loud and brash, but she often clashed with
the boys in a way that felt genuinely grating.
It was almost too much friction. Exactly. Yeah.
Roni has an edge, but she's also sophisticated
in her own way. She can hold her own against
Frasier's snobbery. She doesn't just annoy them,
she puts them firmly in their place. She's got
that incredibly sharp wit. But their road to
the altar isn't exactly smooth. In fact, it's
paved with a literal near -death experience.
We really have to discuss the episode, Boo. Boo
is a masterclass in escalating a prank until
it stops being funny and starts being totally
life -altering. The setup is that Martin keeps
scaring Frasier, jumping out from behind doors
yelling, Boo, Frasier is sick of it. So he decides
to get revenge. And because he's Frasier, he
doesn't just hide behind a curtain. He's currently
treating a patient with coulrophobia, which is
the fear of clowns. So he happens to have a terrifying
professional grade clown costume. Of course he
does. So he puts on the suit. He holds a meat
cleaver. He waits in the dark in the living room.
Martin walks in. Frazier jumps out. And Martin
clutches his chest and goes down. He gives his
father a heart attack. It's the darkest comedy
imaginable. Frazier is standing there in a terrifying
clown suit holding a cleaver thinking he's literally
killed his dad. It's so morbid but so funny.
But narratively, this is the catalyst. That brush
with death wakes Martin up. He's lying in the
hospital bed and he realizes he doesn't have
forever. He proposes to Renee right there. So
in a weird twisted way, Frazier dressing as a
murderous clown is the reason his father got
married? Indirectly, yes. It forced the issue.
It moved Martin from a state of stagnation to
a state of growth. He chose to grab happiness
while he still could. And the wedding itself,
well, it's typical crane chaos. It takes place
in the finale and everything goes wrong. The
venue is way too hot. Eddie eats the ring. Eddie
eating the ring is a great callback to the pilot,
really. The dog is always the ultimate agent
of chaos. And because of the heat and the dog
swallowing the rings, they end up getting married
in a veterinary clinic. Which is honestly perfect
for Martin. It really is. A fancy cathedral wouldn't
fit him at all. Getting married in a vet clinic
with his dog, his sons, and a woman who truly
loves him. That's Martin Crane's ultimate happy
ending. It's completely unpretentious. Now what
about Roz? She's been the voice in Fraser's ear
for 11 straight years. Roz's arc is subtle. but
very significant. She starts the season trying
to leave. She takes a job at another station,
KPXY, but she quits because it's just a bad fit.
She goes back to KACL. It feels like a step back
initially, like she's stuck in a rut. It does,
but it actually sets up her final promotion.
By the end of the season, Kenny, the current
station manager, decides he wants to go back
to being a DJ. The position of station manager
suddenly opens up. And Roz gets it. She becomes
the boss. And this is the perfect conclusion
for her character. Ross was always the most competent
person in that entire building. She managed Fraser's
massive ego. She managed the daily show. She
managed the constant chaos. She was born to run
that station. Absolutely. She doesn't end the
show with a man necessarily. She ends it with
power. She ends it with total professional actualization.
Which is a very... modern and refreshing ending,
especially for 2004. She didn't need to be saved
by a romantic relationship. Exactly. Her career
was her triumph. Okay, I want to take a moment
for segment three. We've looked at the big overarching
story arcs, but season 11 contains some individual
episodes that are just absolute diamonds. We
mentioned the clown incident, but we have to
go deep on High Holidays. High Holidays. If you
look at any top 10 Frasier episodes list anywhere
on the internet, this one is usually in the top
three. it might genuinely be the funniest episode
of the later seasons. This is the infamous pot
brownie episode. The premise is brilliantly simple.
Niles, realizing he was a goody two shoes his
entire life, decides he finally wants to rebel.
He buys a pot brownie from Roz to experience
getting high for the first time. But the mix
-up is the genius part. Martin unknowingly eats
the actual pot brownie. Niles eats a regular,
completely normal brownie. We really need to
dissect David Hyde Pierce's performance here
because it is an absolute masterclass in comedic
acting. He isn't playing a man who is high. He's
playing a man who thinks he is high based entirely
on what he's read in medical textbooks. It's
the placebo effect on steroids. There's a scene
where he's pairing the brownie with a Chilean
sea bass. He's aggressively intellectualizing
the intoxication. He's shouting, I am stepping
into a dimension of pure flavor. He thinks he's
tripping out of his mind, but he's really just
being peak Niles. And then you cut to Martin.
John Mahoney's performance is the exact polar
opposite. He does almost nothing. He's just staring
blankly at the fridge handle. Yeah. completely
zonked out. There's that moment where he has
to replace Eddie in a commercial for the Seattle
Tourist Board. He's sitting in an armchair high
as a kite, just waving vaguely at the camera.
It's the contrast that kills me every time. Niles
is incredibly manic trying to perform drug use
while Martin is actually experiencing the chemical
reality and just having a great time. It deconstructs
their personas so perfectly. Niles creates a
mental construct of rebellion while Martin just
lives in the moment. Another massive highlight
is the doctor is out. We teased the guest stars
earlier, but Patrick Stewart as Alistair Burke
is on another level completely. Alistair Burke
is a high profile, incredibly wealthy, gay opera
director. Yeah. And through a series of classic
sitcom misunderstandings, the entire city of
Seattle and Alistair himself thinks Frazier is
gay. And Frazier, instead of correcting him,
which would be the normal thing to do, just leans
into it. This is a really profound look at Frazier's
vanity. Alistair is wealthy. He's cultured. He
knows absolutely everyone. He takes Frazier to
the best parties, the best boxes at the opera.
They become this elite power couple. Frazier
loves the status way more than he cares about
the reality of his sexual orientation. There's
a brilliant line where he says, I am one half
of a power couple. He is so seduced by the adoration
and the access that he genuinely considers. briefly
just living a total lie. And Patrick Stewart
plays it with such incredible charm. You get
why Frazier is tempted. Alistair is magnetic.
It's also a really great subversion of the gay
panic trope that was so common in sitcoms back
then. Frazier isn't panicked about being thought
of as gay. He's absolutely thrilled because it
makes him popular. It attacks his social climbing,
not his masculinity. One more structural oddity
from this season to mention is Croc Tales. This
is a weird one. It's the penultimate episode
right before the finale. It uses a broken crock
pot as a framing device to flash back to previous
years. But they aren't clip show clips. They
filmed entirely new scenes set in 2003, 1990,
1996, and so on. Which means we get the cast
in some truly terrible wigs. The wigs are highly
questionable, yes. But the intent behind the
episode is really touching. It's a retrospective.
It allows us to see the evolution of their relationships
one last time. We see Niles miserable with Maris.
We see the early friction between Frazier and
Martin. Wait, it shows the growth. It contextualizes
how far they've come right before we have to
say goodbye to them. It's a love letter to the
history of the show. OK, this brings us to the
big one. Segment four, the finale. Good night,
Seattle. This is a massive television event.
May 13th, 2004. 25 .25 million people watch this
broadcast. The setup involves a major career
crossroads for Frazier. He is offered a huge
job in San Francisco. A TV host. It's the next
level for him. It's what he always wanted, national
fame. His agent, Bebby Glazer, played by Harriet
Sansom Harris, who is another incredible recurring
character. She sets the whole thing up. But the
family, they don't get the message straight away.
No, they don't. And this is the final farce of
the series. There is a massive communication
breakdown involving a doctor's appointment and
Frazier giving away his stuff for the move. The
family becomes completely convinced that Frazier
is dying. That is so dark for a sitcom finale.
It is remarkably dark. But it serves a very specific
purpose. It forces the family to treat him with
this incredible tenderness. They are crying.
They are hugging him. They are forgiving him
for absolutely everything. And Frazier just thinks
they are sad he's moving to San Francisco. It
heightens the emotion so much. But once that
is finally cleared up, we get to the actual farewells,
the scene in the vet clinic, the scene in the
empty apartment. It's all about dismantling the
set literally and metaphorically. And then the
final broadcast. Frazier is in the studio at
KACL one last time. His family is watching through
the glass. And he recites a poem. Tennyson's
Ulysses. To strive, to seek, to find, and not
to yield. It is the perfect choice for him. Frazier
is fundamentally an explorer. He's an explorer
of the human condition of romance of his own
incredibly complicated psyche. And then his sign
-off. He says, for 11 years you have heard me
say I'm listening. Well, you were listening too.
And for that, I'm eternally grateful. Good night,
Seattle. It breaks the fourth wall just enough.
It's Kelsey Grammer thanking the actual audience
at home. But then the twist happens. And this
is what we really need to chew on. Right. Throughout
the entire finale, we are told he is going to
San Francisco. He takes the job. He says goodbye.
We see him on the plane. He sits down next to
a woman named Anne, played by Jennifer Beals.
He starts chatting. And then the pilot makes
an announcement. Welcome to Chicago. He is not
in San Francisco. He didn't take the job, or
at least he's not going there yet. He's chasing
Charlotte. Charlotte had moved back to Chicago
earlier in the season to manage her family's
cheese business. Frazier has thrown away the
TV job, or at least put it on a massive hole
to fly across the country for a woman he has
dated for maybe a month. So he chose the girl.
He chose the heart over the head. He did. After
11 years of prioritizing his career, his status,
his massive intellect, he made an impulsive,
purely romantic choice. And his final line isn't
a grand speech. He just looks at Anne and says,
wish me luck. That's it. Cut to black. Now I
have to ask you, looking at this as a whole,
is this a happy ending? Or is this Frasier making
a huge... Terrible mistake. That is the eternal
debate among fans. If you look at it romantically,
it's absolutely beautiful. He finally took a
real risk. But if you look at it cynically, he's
chasing a woman who scammed him out of 10 grand,
who lives in a completely different city, and
he's giving up a massive career opportunity to
do it. It could be a total disaster. He could
land in Chicago and she could say, what are you
doing here? But maybe that's the entire point.
I think it is the point. The point isn't that
he gets the girl. The point is that he tried.
He broke his own toxic pattern of overanalyzing
everything to death. He took a genuine leap of
faith. Saying, wish me luck, implies that he
knows he might fail, but he's doing it anyway.
Yeah. That right there is real growth. That's
a fantastic way to put it. Before we wrap up
this deep dive, we have to acknowledge the sheer
volume of star power in Segment 5. The guest
star gallery. It was absolutely the place to
be in Hollywood. The source material lists a
special guest category that is just completely
stacked. We already mentioned Patrick Stewart,
Laura Linney, Aaron Eckhart, Laurie Metcalf.
But there's so many others. Jennifer Tilly appeared
as Kim in Miss Right right now. Rosie Perez played
Lisbeth. And the guest callers. We can't forget
the callers. Even the final season, they kept
that iconic tradition alive. Benjamin Bratt called
in Stanley Tucci. Helen Mirren. Yes, Helen Mirren
called in as Bebette. And even the younger generation
got involved. Hilary Duff called in as Brittany.
It really shows the massive cultural reach of
the show at that time. From Helen Mirren to Hilary
Duff, everyone wanted to be a part of the history
of Frasier before it ended. So bringing it all
home for the outro. What is the true legacy of
Season 11? Season 11 was about moving on. If
you look at the arcs, everyone finally grew up.
Martin found a partner and faced his own mortality.
Niles became a father and completely shed his
neuroses about Maris. Roz became the boss. And
Frazier, well, Frazier finally left the building.
He really did. He left the safety of his meticulously
designed apartment and his isolated radio booth.
He entered the real world with all its messiness
and risk. The ratings reflect just how much people
cared about these characters. The source says
the finale drew 25 .25 million viewers. That
is a number you just don't see anymore in television.
It was a true monocultural moment. It was arguably
the last time we all sat down together to say
goodbye to a group of friends like that. So here's
my final thought for you listening to Maul over
today. Frazier ends the show on a plane to Chicago.
He chose love over his career. But let's play
the tape forward and think about his past. Okay.
When his marriage to Lilith fell apart, he moved
from Boston to Seattle for a fresh start. Now
his Seattle life is wrapping up and he's moving
to Chicago. Actually choosing love or is Frasier
Crane just addicted to the geographic reset?
Oh, wow. Does he require a completely new city
every decade just to feel like he's making progress?
That is a brilliant question. Right. I like to
think he stayed in Chicago and found a way to
be happy without needing a radio audience. But
knowing Frasier Crane, he probably at least complained
about the towels in his Chicago hotel room. Almost
certainly. Thank you for taking this deep dive
into Frasier season 11 with us. Good night, Seattle.
We'll see you next time.