The Trouble with Tracy is a Canadian television series produced by CTV for the 1970–1971 television season, with intended distribution by the U.S.-based National General Pictures. It is considered by some to be one of the worst situation comedies ever produced. The series was produced as a daily show, and aired weekday afternoons at 3:30 pm from September 14, 1970. The economic and time pressures of producing 130 episodes in a single season (seven shows were filmed every five days) meant cheap, wobbly sets, no outdoor filming, a laugh track instead of a live studio audience, the use of single takes, the reuse of 25-year-old radio scripts, and other shortcuts that resulted in a poor-quality show. Even flubbed lines and bloopers sometimes ended up airing, because the show could not afford retakes. Premise Shot in Toronto at the studios of CFTO-TV, the show was set in New York City and featured a newlywed couple. Tracy Young (Diane Nyland) was wife to Doug Young (Steve Weston), a young advertising executive and exasperated husband. Other regular characters were Doug's hippie brother-in-law Paul (Franz Russell), who was constantly asking Doug for money, and Tracy's nagging mother, Mrs. Sherwood (Sylvia Lennick). The show was based on scripts written by Goodman Ace for the 1930 to 1945 American radio comedy Easy Aces, though the story was updated by making Tracy's brother a hippie and the addition of other topical references. In addition, the show's pilot was originally titled The Married Youngs, a play on The Young Marrieds, focusing on the Youngs' last name; however, when the show went to series, producer Seymour Berns changed the name to The Trouble with Tracy, after his daughter, Tracy. The show aired Monday to Friday, with 130 episodes produced for its original run. These episodes were repeated in the afternoon time slot until late into the 1970s. Context The Trouble with Tracy is often considered to have been produced solely to meet the demands of the Canadian content regulations. Cultural critics, including Geoff Pevere, have suggested, however, that as unsuccessful as the result was, the show deserves some credit as one of the first truly ambitious attempts to create a scripted television series within the financial constraints that have often plagued Canadian television production. While American television networks have both the financial scale and the diversity of programming to take a loss on an unpopular series by cancelling it