A talented young TV producer arrives in Miami to revamp the lowest-rated morning show in the country.
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2004   2003   2002  
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Cast

Complete series cast summary:
...
 Penny Barnes Barrington (40 episodes, 2002-2004)
...
 Jake Silver (40 episodes, 2002-2004)
...
 Dylan Messinger (40 episodes, 2002-2004)
...
 Frank Alfano (34 episodes, 2002-2004)
...
 Gavin Stone (33 episodes, 2002-2004)
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Storyline

Jake Silver, a television producer, arrives in Miami to work on the morning show, GOOD MORNING MIAMI. What he sees is a utter mess; for instance, the anchorman, Gavin Stone, is a recovering alcoholic who is pompous and arrogant, as is the anchorwoman Lucia, and the weather girl is a nun. Frank, the man who brings Jake there, is extremely neurotic. And his assistant Penny is obstinate. Jake is about to leave when he meets Dylan, the station's hairdresser, and decides to stick around to court her; the only problem is, she's already involved with Stone. But on the advice of his grandmother Clair, he decides to stay and see if he has a chance. Written by rcs0411@yahoo.com

Plot Summary | Add Synopsis

Plot Keywords:

miami florida | sitcom | See All (2) »

Taglines:

He had every reason to go... until came the one reason to stay...

Genres:

Comedy

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Details

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Release Date:

26 September 2002 (USA)  »

Also Known As:

Buenos días, Miami  »

Company Credits

Show detailed on  »

Technical Specs

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

The "Good Morning, Miami" morning news-show format itself was inspired by Max and David Kohan's personal experience producing a morning talk-show called "Mike & Matty". See more »

Goofs

In the first season finale, the yellow clipboard Dylan holds in the first few minutes jumps from her hands to her bag during her talk with Jake. See more »

Quotes

Frank: Wanna feel my arm-muscle? It's freakishly over-developed.
Penny: What is this? Hand me a lawsuit day?
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Connections

Referenced in Nobody's Watching (2006) See more »

Soundtracks

Once in a Lifetime
(Theme song)
by Johnny Rzeznik (as John Rzeznik)
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User Reviews

One-note sitcom has nowhere to go
1 November 2002 | by See all my reviews

Sitcoms need a workable, believable premise. Ensembles need characters with some depth to play against the premise and each other. The combination of elements leads to comedic combustibility. Well structured, well thought out sitcoms are like fireworks. They have a limited life, but as they explode, they reveal layers of light, color and magic.

"Good Morning, Miami" is a firecracker. Pop, it's gone. In the first episode, a new producer arrives at a failing TV morning show as a candidate to turn it around. (Actually, he just wanted the free ride to Miami to visit his grandmother. He's taking another job.) He meets the show's hairdresser and falls in love. She doesn't know. She's with the male anchor, a recovered substance abuser who credits their relationship with turning around his life.

Okay, a good setup. A great comedic triangle. Except: there's no chemistry between the producer and the hairdresser. At all. His attempts to get her attention generate sympathy for the anchor, who is drawn as the villain vis-a-vis his dismissive attitude toward the producer. Sadly, there's not much more chemistry between the hairdresser and the anchor. (There is unexplored chemistry between the producer and the anchor, but that would be another show.)

The weakest link in the triangle is the hairdresser. There is no character there. She's nice. She's pretty. She's...? Now weeks into the series, we still know nothing substantive about her.

Other characters are broad caricatures of religious people (the weather nun), and Hispanic women (the female anchor). There are also two workers whose functions on the show-within-the-show are as unclear as their functions on the show proper.

The grandmother works, but then, she's been road tested. She's an aged version of Karen Walker from "Will & Grace". We don't see much of her except in some repartee with the grandson-producer. She's like a Greek chorus, commenting on the action but removed from it. Too bad.

Sometimes a show can turn around a few episodes past the pilot. This one has not. It has no idea what it wants to be past getting the designated romantic leads together (which is what every episode is about). It's a lesson that should have been learned from the one-note sitcom "Cursed", or the child who asks at the end of a fairy tale, "and then what happens."


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