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Larry, no longer hiding behind his onscreen alter ego George Costanza, is put off by Ted’s pervasive sunniness—Danson proclaims everything major or minor to be “heaven”—and complains to Cheryl, “I could kind of take him or leave him.” In the third season of “Curb,” Danson reappears, his hair gone white, for an extended story line in which he and Larry invest in a restaurant together, and quickly settles into the role that he continues to play—competitor, foil, agitator of Larry.
Over the seasons, they’ve squabbled over shirts, birthday gifts, naming rights to sandwiches, and the length of Larry’s running shorts.
And there was something vulnerable about him, too, a compelling undercurrent to his machismo that gave the show its sense of realism and pathos.
Sam was charming, rakish, alluring, but, though he slept with scores of women, he never got the girl.
In their exchanges, Ted comes off, at least when compared to Larry, as the calm, reasonable one, the cheerful and lovable goy—which only makes Larry angrier.
He looked less like a former ballplayer than he did a dancer, prowling behind the bar, a towel thrown jauntily over his shoulder in between polishing glasses.When I saw that Ted would be pursuing Cheryl this season, I quickly Googled it and was relieved to see that Danson and Steenburgen remain, by all appearances, one of Hollywood’s most gushingly in love married couples.Similarly, it should be noted that there is no real animus between David and Danson.A year earlier, Danson, as part of his own contract negotiations with NBC, had reportedly demanded half a million dollars an episode to continue playing Sam Malone on “Cheers,” which was the highest-rated comedy on television (and, in 1992, aired on Thursdays, the big draw right before “Seinfeld”).The joke was made funnier by the obvious discrepancy between David’s fictional stand-in, George—slovenly, pathetic, and anonymous—and Danson, who was handsome, charming, and, at that time, the biggest TV star in the country.