CBS’ ‘Big Bang Theory’ End Credits Push Gay Marriage

The Big Bang Theory ends each episode, after the credits, with what is called a “vanity card.” They are often a few funny paragraphs that differ with each episode, but this week’s vanity card again pushed gay marriage on the audience.

Chuck Lorre, the creator of the CBS hit comedy, has become famous for creating a new vanity card to end each episode of his sitcoms. Along with Big Bang, Lorre has indulged this practice at the end of such series as Cybil, Mike & Molly, and Two and a Half Men. Often times they are humorous. He’s been doing it since 1995, so with over 400 of them under his belt it was a lock that politics would sneak in among the “funny” ones from time to time.

In the past, Lorre has claimed that his end cards are not to be taken seriously. “The jokes are taken way too seriously and the stories all have to have a secret meaning… Don’t get me wrong. There’s a part of me that loves to exploit this silliness,” he wrote in 2011.

But that isn’t always the case. Take the end card of the April 25 episode of The Big Bang Theory which went political with Lorre pushing gay marriage. It is a partial re-peat, if you will, of a past card. This week’s vanity card reads:

CHUCK LORRE PRODUCTIONS, #413
Dear Chief Justice Roberts,

The vanity card seen below was written a couple of years ago, but I think it deserves another look. It is my hope that you can see past its rimshot pessimism to the fundamental truth imbedded within. Perhaps it might even speed up your deliberations, grease the wheels, if you will. Speaking of which, a wise man once said, “When sitting on the horns of a dilemma, ask the dilemma to use a lubricant.”

Sincerely,

Chuck Lorre

CHUCK LORRE PRODUCTIONS, #231

I believe that inherent within the God-given right to the pursuit of happiness, is the equally God-given right to the pursuit of unhappiness. That is why I support gay marriage.

Ba-dump-bump!

Not much of a joke, indeed.

Of course, don’t get me wrong, I love the show. It is very funny and intelligently written. The characters are just quirky enough to be lovable and distinctive, yet still oddly believable.

Anyway, this is just another example of Hollywoodites pushing their left-wing ideology on the audience.

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