For decades, fans of “The Addams Family” believed that one tiny production flaw in the 1965 series went completely unnoticed by the cast and crew. They were wrong. The truth is far stranger than a simple continuity error, and it reveals a great deal about how the original show was actually made. In the episode where two investigators suspect the Addamses are aliens, the disembodied hand known as Thing answers a phone call from the flustered Professor Altshuler before handing Morticia her mail.
In two consecutive shots, the hand is clearly a left hand. Across the entire rest of the series, Thing is always a right hand. The mistake was never corrected, never reshot, and has aired unchanged in every rerun for the past six decades. The real reason behind the switch is something even most devoted fans do not know.
Thing was not merely a prop. Actor Ted Cassidy, best known for playing the towering butler Lurch, was also the man inside the hand. He would lie flat ona moving cart hidden beneath the floorboards and extend his arm through abox on cue. Theonly time he did not perform this duty was lorsare shots requiring both Lurch and Thing toappear simultaneously,in which casea production assistant would slip under the cart while Cassidy stood up as Lurch.
Cassidy was naturally left-handed,and that was the hand Thing used nearly always. But he would deliberately switch to his left hand every now and then. According to people who worked onset, hedid it simply to seewhether anyone was paying close enough attention to notice. Almost no one noticed at the time.
It tookdecades of reruns and frame-by-frame viewingfor this switch to become acknowledged trivia among fans who watched the showahundred times,allowing the joke to remain hiddenin plain sighteven inthe show’s own credits,where Thing was listed as itself rather than by Cassidy’s name,an internal wink that kept the hand’s true identity secret for years
That improvisational spirit defined the production fromthe very beginning. Long beforea script existed, the Addams family had no names at all. Cartoonist Charles Addams had drawn thefamily for over two decades in The New Yorker, recognizable only bysilhouette and always identified simply as“the family. ”Thefirst real push to name them came twoyears before theseries,when a toy company wanted to license aset of dolls based on the cartoonsand needed names for the packaging.
When anetwork finally decided tobuild afullseries around them,someone had to sit down andfinish the job,givingfive people names fromscratch underdeadline pressure. For the daughter,Addams reportedly drew inspiration fromafriend,poet Joan Blake,ata partywhere he mentioned needinganame forthe little girl. She suggested aline froman old nursery rhyme called“Monday’s Child,”which assigns apersonality toeach day oftheweek and dates back toatleast the1830s. Theline saysWednesday’s child is full of woe.
That line became aname,and thenamed became iconic. Herfullname endedupbeingWednesday Friday Addams,asecretivejoke tucked inside thatsame poem,since Friday’s child,mostversions says,is loving and giving. Thepatriarch nearly wentcanotherdirection entirely. Addams offered two choices,Gomez or Repelli,and leftthefinal decision totheactor whowould playhim.
John AstinchoseGomez. Today,imaginingthecharacterunderanyothername isdifficult,butforawhile,itgenuinelycouldhavegoneeitheraway. Thenson cameclosestofalltochange. AddamsoriginallywantedtonamehimPubert,butthestudioimmediatelyrejectedit,fearingthenamewas toosuggestive forfamilytelevisionin the1960s.
They settledonPugsleyinstead. Pubertdidnotdisappearcompletely,however;thename resurgeddecadeslaterasthenewestbabyin the1993filmAddamsFamily Values,a testamentthat evenrejectedjokes eventuallyfindtheirwaybackintothestory. Namingfive strangerswithinweeks turnedouttobetheeasy part,andAddamsdidnotdoitalone. He workedcloselywithDavidLevy,theshow’screatorandformernetworkprogrammingexecutive,tofinalizethelistbeforefilmingbegan.
Theybouncedideasbackandforththatsoundedlikearealfamily,notapersonaljoke fora cartoonist,Levy pitchedtheprojecttothepresswithaspecificpromise:thecharactersweretobefullyroundedandsympathetic,notgrotesquemonsters,adeliberateattempttopreservethespiritofAddams’soriginaldrawingsratherthandiminishit. Makingtheshowactuallyworthwatchingrequiredadifferentkindofgamble,one thatbeganwithacomposerwhomno onewantedtopayproperly. Vic Mizzywrotetheiconicthemetune first,centeringonaharpsichordthatgaveit anantiquated,disturbingqualitybeforeasinglewordwasadded. He haddistilledtherhythmofafingersnapinhishead,apercussivehookthatcostnothingandrequirednomusicians.
Thencamethelyrics,&aproblemmuchlarger. Theproductioncompany,Filmways,didnotwanttopayforasingersto recordvocals,soMizzysangthemhimself. Allofthem. He layeredhisvoiceonthreefimes tosimulateseveralsingers tradinglines,atricknooneathomecoulddistinguishfromarealtrio.
Duringthatsamesession,TedCassidyusedhisdeepLurchvoiceandadded thewords“neat,sweet,andpetite” betweenlines,animprovisedtouchthatstayedinthefinalcutpermanently. Theclosingtheme,hadaidenticalcheap-smartapproach,builtfromatrian angle,awoodenblock,analarmsiren,andaduckwhistleinsteadofafulllstudioorchestra. Thesongneverchartedwhenreleasedasasingle,whichdidnotmatteratall. Decadeslater,itbecameoneofthemostrecognizablefoursecondsinthedawnofAmericanTV,stillplayedatbasketballgamesandhummedbypeoplewhohaveneverwatchedasingleepisodeoftheshow.
Themizzy wentonto scoreGreen Acres thenfollowingyear,buttheAddamsfamilytuneremainedhisbest-knownworkfortherestofhislifewhenhepassedaaway. Asameagerbudgetcomposer,heendedupcreatingsomethingnoorchestracouldimproveupon. Thatsameunderdogspiritguidedalmosteverycastingdecisionbehindthescenes,beginingwithanactorwhoarrivedatauditionforachelywrongpart. JohnAstinwasnotauditioningtobethepatriarch.
HehadstudiedatJohnsHopkinsUniversityyearsbefore,wherehefirstencounteredCharlesAddams’soriginalcartoons,longbeforetherewasanyreasontothinkhewouldone dayplayoneofthem. ProducersbroughthiminafterimpressingthemwithafilmwithJamesGarner,TheWheelerDealers. Whenhearrived,hereadfortheroleofLurch,thenearlysilentgiantbutler. Theauditiondidnotgowell.
Producersfelthewaswrongforthepart. TheynearlyimmediatelyrealizedhewasperfectforGomez,andfromthatredirectiontherestofhiscareertookoff. Decadeslater,AstinreturnedtoJohnsHopkinsasaprofessor,andtheuniversitycredithimwithrevivingitsdramaepartment,afullcirclenoonenwouldhavepredictedfromthatfirstaudition. Therol eofLurchinsteadwenttoTedCassidy,aformerTexasradioannouncerstanding6feet9incheswithvirtuallynoactingexperience,ahightathatmadehimanobviouschoiceforunusualcharactersforyearsbeforethisseries.
Thecharacterwasoriginallywrittenascompletelymute,asilentpresencethatopensdoorsandringsbbells. Duringthepilot,themomentcameforLurch’sfirstentrance. Cassidyalibizedtwowordsinhisdeep,hulkingvoice:“You rang? ”Theroomburstintolaughter.
Producersrewrotethecharacterimmediatelytoallowhimtoactuallyspeak,andthatimprovisedlinebecamehistrademarkforhisenrestofhiscareer. Astinlateradmittedheenteredtheentireproductiondubiousabouthisabilitytodojusticetosuchspecificmaterial,fearingCharlesAddams’ssensibilitywastooquirkytotranslatetoaweeklysitcom. Yetsomehowitworked,largelybecausenooneinvolvedtreatedthesourcematerialasajoketorushthrough. Morticiawasdevelopedquitedifferently.
CarolynJoneswasnotastrugglingactresshopingforanyavailablepart. ShealreadyhadanOscarnominationforTheBachelorParty,sharedthescreenwithElvisPresleyinKingCreole,andoneaGoldenGlobe,allbeforetelevisionwasseeninbeseriousoptionbyher. Acceptingaroleinaweeklysitcomwas,theoreticallyatleast,astepdownforanactressofahercaliber. ShewasalreadyadievotionedfanofCharlesAddams’soriginalcartoonsbeforetheshoweveraired.
Addamshimselfwantedherforthepart,andthetwobecamegenuinefriendsduringproduction,withsomeofherownideasaboutMorticia’sdryhumorwindingupdirectlyinthescripts,includingtherecurringjokeaboutwhichsideofthefamilyCousinItbelongsonturnedup. AstinlaterpushedtomakeGomezandMorticia’smarriagelooklikeagenuinephysicalromance,unliketheemotionlesscouplesaudienceswerethenusedto,includingtangodancingandGomez’shabitofkissingherarmwhenevershespokeFrench. Networkexecutivesobjectedmorethanonce,uncomfortablewithmarriedcharactersshowingthatmuchaffectiononafamilyshow,asituationuniqueintelevisionatinhatagetimeperiod. JonesandAstinprevailedanyway,andtheironscreenchemistrybecameoneofthemostdiscussedaspectsoftheshow,withfansneverbeforehavingseena marriedcoupleexpresssuchopeninfatuationonTV.
Thechildrencamefromfarmoreinexperiencedbackgrounds. KenWeatherwaxhadappearedonscreenyearsbeforeasachildmodelinaGlendentaahpastecommercial,castatagefiveor sixbeforeeversettingfootonasetwithlines. HewasalsothenephewofRubyKeeler,afamous1930sdancingstar,andfromthefamilythattrainedtheoriginalLassiedog,meaningperformanceartraninhisbloodfrombothsidesbeforeheeverhadaudition. LisaLoring,whoplayedWednesday,hadbeenworkingasamodelsinceshewasthreeandwaschosenpartlybecauseherfeaturesresembledCarolynJones’senoughforhertolooklikeherrealdaughter.
Shewasfiveandcouldnotyetread,soatem audition,shememorizedeverylineaftershearingittwiceandthenrepeateditwordforword,askillshereliedonthroughouttheshow’srun. Then therewasCousinIt,playedbyaperformer namedFelixSilla,whowalkedintoanopenauditionandgottherol eon thespot. No callbacks,no dialogue toread—nothingtoprovebuthavingtherightsizeforasuitthathadn’tbeenbuilt yet
Allof them,professionalsandnovicesalike,endedupsustainingashowthatwasracingagainstacompetitormostpeoplecanhardlyrememberasathreatinthefirstplace. ThatrivalseriesdebutedjustsixdaysafterAddamsFamilyinSeptember1964.
TheMunsters,astaleoftwo verydifferentunconventionalfamilies,sairedoncompetingnetworkswithinthesameweek. Bothwereblack-and-White comediesaboutoddfamilies,bothbuiltaroundthesamebasicgimmick:afamilythatlooksterrifyingonpaper,buthandlesitselfwithwarmth. TVhistorianswhohavestudiedbothshowsbelievehetimingwasnoaccidentattwo studiosindependentlyarrivedatnearlyidenticalconceptsinhesamedevelopmentseason,neitherbackingdown. Bothshowsmovedtodifferentiatethemselvesonce realizinghetcompetition.
Theyavoidedbookingthesamegueststarswheneverpossible. JohnAstinarguedininterviewsthattheconceptswerehardlyeventhesame,insistingTheMunsterslookedlikemonstersbutbehavedlikearegularfamily,whileerickAddamslookedcompletelynormalbutbehavedcompletelyotherwise. Thepubliclargelyignoredthedistinction. TheMunstersactuallypostedslightlyhigherratingsduringthedirectcompetition,whileAddamsFamilyonlycrackedthetop30ratingsitsfirstseasonbeforefallingoutentirelyitssecond.
Togeneral audiences,thetwoshowsbleedtogetheranyway,remembereddecadeslaterasnear-mirrorimagesratherthancompetingproductionsmakingrealattemptsatavoidancesemblance. Bothranforexactlysame forgone seasonsexactlytwo seasonsbeforebothwerecancelled,eachlosingitsviewerstohesametrend:theflashynewsuperheroshowBatman,whichdrewawayhesamemadcapdemographicthetwoghoulishcomedieshadbeenfightingover. BehindthescenesofAddamsFamily,budgetaryconstraintsmanifestedinstillstrangerwaysthanitscastingchoices. Buildingafullgothicmanorfromscratchwouldhavecostmorethantheshowcouldjustify,soMGMStudio reusedleftoverinteriorsetsfromafilmthathadwrappedjustmonthsbefore,The UnsinkableMollyBrown.
FamousthesetofTheAddamsFamilylivingroomwas,inreality,notdarkatall;itwaspaintedinbrightpinkandtealwithgoldtrimmingandpaleellowcurtains,colorsselectedspecificallybecausetheblack-and-whitefilmwouldrenderhemas convincingshadesofgray. Thetrickdidnotstopatthewalls. To gettheperfectshadeofgrayin frontofthecamera,makeupartistssometimespaidsedtheactors’faces straightin bizarre,unconventionalcolorsnoonewouldeverseeaccuratelyoutsideofmonochromebroadcasting. A stuffedgiantturtleanda mountedswordfishheadcomplementedthedecor,huledfromwhateverwasavailableinMGM’spropsroomandlooking appropriatelysinisterfromadistance.
Eventheexteriorcamefromanunexpectedsource:arealLosAngelesmansionstoodinforTheAddamsFamilyhome,untilitwasdemolishedin1967,disappearingforeverlessthanayearaftertheshowitselfended. ThatmansionalsoaccidentallymadeTVhistory,boastingthefirsthomecomputerappearingonanACAmericanwrittenseries,calledtheUnivac,arestingsinprominentviewinthelivingroomasifeverymiddle-classhouseholdmightone dayownone,aforeshadowingofrealtechnologybyabudget-consciousproduction. Thatprogram,assembledfromrecycledsetpiecesandtight-financetrickery,managedtopredictpartofthefutureoftelevision;asmallwitness,torealtalenthidingbehindthecost-cuttingculture. Thatscrappyattitudeappearedamongtheactorsaswell,sometimesinwaysgenuinelyuncomfortable
Let’sreturn to thathandforasecond.
Theswitchfromrighttoleftmid-scenewasnotanerrorthatthrewanyoneintourmoil;noinerushedtoreshootit,andnoonedeleteditinpost-production. Itsimplyaired,weekafterweek,inrerunsforsixdecades,hidinginplainsightuntilviewerswithremotecontrolsand pausebuttonsbegantonoticeit. That,truetostoryofthisshowinsummary:arecycledmansorpaintedwrongcolorsonpurpose,athemetunefakedbyonemanto soundlikethree,abutlerwhowasn’tsupposedtospeakuntilistenedtoproducersgetabutlersilence,andtheaudiencecringedatthemiserablelifeofastagename. Noneofitwasdesignedtobeperfect.
Yetallofitworkedsomehowsincerewatching. Itbecameasortofcultclassic,acknowledgedasourceofjoy,eraofbizarrelybeautifultelevisionproduction. Theyear1977broughtmostoftheoriginalcastbacktogetherforareuniontelefilm,asheddlight. Afterthat,timeandillnesstooktheoriginalactorsonebyone.
Thethemetunealonekeptthefamilyculturallypresent betweenreunionsandrevivals. Itwassampledfora1991filmreunion,relicensedforateacommercial,evensatirizedonBritishsketchshowdecadesafteritsrecordinginastudiопoorlyfundedtoaffordprofessionalvocalists. ThefamilyevenreachedBroadwayin2010asafulllengthmusical,allbuiltuponcharactersawriteronceuponatimerefusedtoname. Thefamily’sinfluencakeptexpandinglongaftertheoriginal1966cancellation.
In1972,mostoftheoriginalcastreunitedtovoiceahalf-houranimatedScooby-Doocross-overepisodeentitledWednesdayisMissing,featuringayoungJodieFosterprovidingthevoiceofPugsley. FostercamethefollowingyearwhentheAddamsFamilyanimatedseriesdebutedasastandaloneproject,givingthefamilytheirfirstfulllifeoutsidelive-actionsitcoms. Decadeslater,anewgenerationmetthefamilyagainthroughamoodyteenageversionofWednesdayherself,aversionwhichevenincorporatedadanceLisaLoringhadimprovisedontheoriginalsetwhenshewasfiveyearsold,asmall,low-budget1960sdetailthatstillshapeshowthecharactermovesscreenstoday. After60years,noonerememberstheshowforitsbudgetoritsratingsorhecompetingseriesthatbrieflyoutperformed.
Theyrememberitforthoseimperfect,humanmomentsalarger,cleanerproductionwouldhavesilentlycut. NowthatyouknowThingwasdeliberatelyswitchinghands,whatotherdetailsdoyouthinkmightslippedpast60yearsofaudiences? Noneedtohavebeenperfectbecauseactorsoftwarefocused,thisgoesbeyondmerelyaproductionswith 1965;sharedthismomentinshowstyletech,eventhoughitsrunwasshort
