| Faith Salie | ... | Eleanor (12 episodes, 2004) | |
| Herschel Bleefeld | ... | Ethan (12 episodes, 2004) | |
| Andrea Savage | ... | Chelsea (12 episodes, 2004) | |
| Brian Palermo | ... | James (12 episodes, 2004) | |
| Jane Edith Wilson | ... | Connie (10 episodes, 2004) | |
| Fred Goss | ... | Bill (10 episodes, 2004) | |
| Chris Spencer | ... | Devon (9 episodes, 2004) | |
| Nicole Randall Johnson | ... | Alex (8 episodes, 2004) | |
| Mary Pat Dowhy | ... | Ginny (7 episodes, 2004) |
Series Directed by | |||
| Rob Roy Thomas | (12 episodes, 2004) | ||
Series Writing credits | ||
| Jordana Arkin | (12 episodes, 2004) | |
| Rob Roy Thomas | (12 episodes, 2004) | |
| Peter Tortorici | (12 episodes, 2004) | |
| Kevin Bleyer | (5 episodes, 2004) | |
| Lori Gottlieb | (5 episodes, 2004) | |
Series Produced by | |||
| Jordana Arkin | .... | co-executive producer / co-producer (12 episodes, 2004) | |
| Allison Kingsley | .... | consulting producer (12 episodes, 2004) | |
| Michael Pendell | .... | producer (12 episodes, 2004) | |
| Rob Roy Thomas | .... | executive producer (12 episodes, 2004) | |
| Peter Tortorici | .... | executive producer (12 episodes, 2004) | |
| Bruce Kirschbaum | .... | consulting producer (8 episodes, 2004) | |
| Shari Brooks | .... | segment producer (6 episodes, 2004) | |
| Ian Gelfand | .... | segment producer (6 episodes, 2004) | |
| Lisa M. Simmons | .... | associate producer (6 episodes, 2004) | |
Series Original Music by | |||
| Al Wolovitch | (12 episodes, 2004) | ||
Series Film Editing by | |||
| Jon Bachmann | (8 episodes, 2004) | ||
| Noriko Miyakawa | (8 episodes, 2004) | ||
| Fred Goss | (6 episodes, 2004) | ||
Series Casting by | |||
| Francene Selkirk | (12 episodes, 2004) | ||
Series Art Direction by | |||
| Elisabeth A. Scott | (11 episodes, 2004) | ||
Series Makeup Department | |||
| Elaine Thomas | .... | makeup artist (12 episodes, 2004) | |
| Bridget O'Neill | .... | hair stylist (11 episodes, 2004) | |
| Yesim 'Shimmy' Osman | .... | additional hair stylist (3 episodes, 2004) | |
Series Production Management | |||
| Michael Pendell | .... | unit production manager (5 episodes, 2004) | |
| Cheri Tanimura | .... | post-production supervisor (5 episodes, 2004) | |
| Stuart Black | .... | post-production supervisor (4 episodes, 2004) | |
Series Second Unit Director or Assistant Director | |||
| Marcia L. Lappin | .... | second assistant director (6 episodes, 2004) | |
| Michael Pendell | .... | associate director (6 episodes, 2004) | |
| Louis Race | .... | first assistant director (6 episodes, 2004) | |
Series Art Department | |||
| Liz Goodwin | .... | head props (1 episode, 2004) | |
| Franklin Roach | .... | set dresser (1 episode, 2004) | |
Series Sound Department | |||
| Reggie Bryant | .... | sound mixer (9 episodes, 2004) | |
| Peter Arata | .... | sound re-recording mixer (6 episodes, 2004) | |
| Mike Rodriguez | .... | sound re-recording mixer (6 episodes, 2004) | |
| Reggie Ryant | .... | sound mixer (2 episodes, 2004) | |
Series Camera and Electrical Department | |||
| Steve Ackerman | .... | lighting director (6 episodes, 2004) | |
| Michael Trim | .... | lighting director (5 episodes, 2004) | |
Series Casting Department | |||
| Tracy Mueller | .... | casting associate (12 episodes, 2004) | |
Series Costume and Wardrobe Department | |||
| Mary-Kate Killilea | .... | costume supervisor (6 episodes, 2004) | |
| Gamila Smith | .... | costume supervisor (6 episodes, 2004) | |
Series Editorial Department | |||
| Jon Bachmann | .... | supervising editor (6 episodes, 2004) | |
| Samson Crouppen | .... | post-production coordinator (6 episodes, 2004) | |
| Alison Tusan | .... | assistant editor (5 episodes, 2004) | |
| Noriko Miyakawa | .... | supervising editor (3 episodes, 2004) | |
Series Transportation Department | |||
| Jesse Dutchover | .... | transportation coordinator (12 episodes, 2004) | |
| Jeffery Duke Stevens | .... | transportation captain (8 episodes, 2004) | |
Series Other crew | |||
| Mark Baker | .... | technical advisor (11 episodes, 2004) | |
| Mike Caron | .... | production coordinator / stage manager (11 episodes, 2004) | |
| Curt Ingram | .... | production accountant (8 episodes, 2004) | |
| Andrew Pendell | .... | production assistant / office assistant (8 episodes, 2004) | |
| William Garrett | .... | office assistant (7 episodes, 2004) | |
| Curtis Wilmot | .... | location manager (7 episodes, 2004) | |
| Mary Lou Browne | .... | researcher (6 episodes, 2004) | |
| Joe Hoover | .... | production assistant (6 episodes, 2004) | |
| Chip James | .... | writers assistant (6 episodes, 2004) | |
| Randall Parker | .... | production assistant (6 episodes, 2004) | |
| Anneke Scott | .... | production assistant (6 episodes, 2004) | |
| Lindsay Staloff | .... | production assistant (6 episodes, 2004) | |
| Justine Wu | .... | production assistant (6 episodes, 2004) | |
| Louis Race | .... | stage manager (5 episodes, 2004) | |
| Karen R. Sachs | .... | production coordinator (5 episodes, 2004) | |
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| External reviews | News articles | IMDb TV section |
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The big advertising draw to "Significant Others" is that it's entirely improvised. And it's a sitcom. About relationships. That's three strikes against it already, but the show is hilarious.
The show deals with three couples with dysfunctional relationships, their problems ranging from pregnancy to infidelity to histories of promiscuity. Half the show deals with their everyday lives, and the other half straight-to-the-camera chats in the form of therapy sessions (even *these* are funny. Who would have thought?).
The comedy may be improvised, but it's done with incredible skilland no doubt, hours of rehearsalwith nary a dead spot or muffed joke in the entire thing. Be the couples eating at a restaurant with a parent, inviting friends over for a dinner party, or cheating on one another with in-laws, the show keeps finding the comedy within and milking it mercilessly.
Is it accurate? Kinda. It finds the perfect way to condense realistic situations into minutes without making them thoroughly absurd; everything is just absurd enough to be funny. It would be more than easy for stuff like this to cross the line into ridiculousness in search of a laugh, but so far "Significant Others" hasn't made that mistake. In fact, it hasn't made any.