Mary Tyler Moore Show and Its Spin-Offs

[Snarky Oracle!]

Sharp.

The story must be true, because Mary looks surprised herself -- even briefly glancing at the camera.

But then Mary always had the oddest karma.

 

[Sarah Danner]

MTM was on for just the right amount of time. A seven-year hit that never wore out its welcome and didn't jump the shark.
Plus, the series had a definitive ending at a time when most shows going off the air would just fade away with a run of the mill episode.

 

[Snarky Oracle!]

Did we post this before?

 

[Mel O'Drama]

Mary Tyler Moore
Season Seven
Mary Midwife / Mary The Writer / Sue Ann’s Sister / What’s Wrong With Swimming? / Ted’s Change Of Heart / One Producer Too Many / My Son, The Genius / Mary Gets A Lawyer / Lou Proposes


This might make sense only to me, but I’ve found there to be a degree of loudness to the episodes so far this season, and not necessarily in a bad kind of way.

With the end in sight, I thought there might be a slightly subdued air, but it feels like the opposite is true. Everyone seems to be having great fun with it and doesn’t seem ashamed to show it. This translates into a kind of confidence, that mostly works and only occasionally gets distracting. The latter has been caused by the actors seeming a little more aware of the studio audience than I’ve previously noticed, and sometimes playing lines to them. Georgia Engel seems to turn in their direction every time she gets a punchline, and even MTM herself has given a couple of knowing glances outwards. It could be read as a little needy or insecure, but with glass half full these moments have arguably enhanced my viewing since it reinforces that this was a live performance.

There’s no doubt that I’m watching a sitcom as it feels quite broad. While I feel it’s amped up a little is Season Seven, it could equally be because there’s been quite a gap since I last watched, and I’m returning to MTM directly off the back of some particularly gritty episodes of Liverpool soap Brookside.

Continuity is a little rocky, as always. Ted and Georgette don’t seem to be particularly tied down by their newborn daughter who is sometimes named Mary Lou and sometimes nameless (although, in fairness, the indecision around the name was commented upon by Murray), and a number of situations - like Murray’s job offer - have a sense of déjà vu.

Broad and simple as it is, though, there’s still a definite warmth and heart to the series.I would say that in place of the subdued air, there’s a willingness to be a little reflective and explore character in some depth, which gives the series a nice balance. Take the episode in which Ted had a near death experience and went overboard with his love and gratitude. By episode’s end, the entire ensemble was gazing at a sunset and counting their blessings, aware that they may feel differently tomorrow and it was surprisingly touching.

This willingness to explore character has seen traits we’ve come to associate with them challenged. From Mary being rude after reading Murray’s book, to Lou crying after Mary’s Aunt Flo(!) turned down his proposal of marriage. We’ve also seen perfect Mary lie to Mr Grant, as well as making bad decisions, such as employing the sportscaster who refused to speak about any contact sports and would only discuss swimming (said sportscaster, by the way, had a Farrah flick, and this was only broadcast around a month into Charlie’s Angels’ first season. Did this hairdo become hot immediately after the Pilot was broadcast some months earlier, or is it simply a popular style that Farrah happened to adopt and which ended up associated with her). Ted’s adopted son has been through a bratty phase (and the resulting corporal punishment hasn’t dated well), and even Georgette has had some mildly snarky lines.

It seems to me that Murray has borne the brunt of most critical appearance-based lines in the series in previous seasons (usually Sue Ann making fun of his hairline), but there seem to be no sacred cows this year, which has yielded some funny lines, with one of my favourites said by Lou to Mary:

I’ll lose some weight if you lose some teeth.

 

[Crimson]

This might make sense only to me, but I’ve found there to be a degree of loudness to the episodes so far this season

Season Seven is my least favorite of the series and there's a few episodes I often skip; specifically anything related to the Baxter's children. Since I tend to watch the show at a fairly rapid pace, the switch from the series' earlier vibe -- sweet, wistful, sometimes melancholy -- to the later vibe -- brassy and flinty -- is kind of jarring.

But that's a far cry from saying I dislike the season. Even at its relative worst, MTM was head and shoulders above 99% of American sitcoms and there's much greatness in the final season. It's good that they knew, heading in, that this was the final year. They were able to settle in, with some final explorations of characters and relationships including visits from earlier characters.

Continuity is a little rocky, as always.

Never the show's strong point, but that was hardly unusual in the era. Most shows back then tended to have slipshod continuity. I suspect the writers didn't give it much thought, never imagining that people would still be watching and discussing these shows fifty years later.

Not exactly continuity, but the age gap between Sue Ann and her sister always makes me arch my eyebrow a bit. With a visible 14 year gap between Betty White and Pat Priest*, their sibling rivalry seems odd.

*Possibly obscure to you, but well known to American audiences of the day as Marilyn Munster.

 

[Mel O'Drama]

the switch from the series' earlier vibe -- sweet, wistful, sometimes melancholy -- to the later vibe -- brassy and flinty -- is kind of jarring.

I suppose both capture their eras in a way. It's been mentioned that the broader kind of sitcom was becoming de rigueur, so at leat MTM can be credited with moving with the times.

I agree that it's lost a special something compared with the melancholy and autumnal/wintry early seasons.

Even at its relative worst, MTM was head and shoulders above 99% of American sitcoms and there's much greatness in the final season.

It's all been perfectly watchable for me so far. Granted, some more than others, but I haven't wanted to skip any (not on this first time round, anway).

including visits from earlier characters.

This I'm very much looking forward to. I know Rhoda and Phyllis will be along for the finale, and I've seen Gordy mentioned in an episode as well, so that will be very welcome.

Never the show's strong point, but that was hardly unusual in the era.

With the times and also the genre, I know these things can be a little "fluid". If anything I only notice them drop the ball because there have also been a couple of satisfying references to earlier episodes .

With a visible 14 year gap between Betty White and Pat Priest*, their sibling rivalry seems odd.

Now you mention it, that's very true. At least I had no trouble believing that she could make Sue Ann insecure, though.

*Possibly obscure to you, but well known to American audiences of the day as Marilyn Munster.

Not so obscure. The Munsters was repeated here a fair bit back in the Eighties. I watched on many a wet Saturday afternoon, so I'm familiar. While I didn't place Pat immediately, as soon as I saw her credit at the end I realised how I knew her.

 

[Mel O'Drama]

Mary Tyler Moore
Season Seven
Murray Can’t Lose / Mary’s Insomnia / Ted’s Temptation / Look At Us, We’re Walking / The Critic / Lou’s Army Reunion / The Ted And Georgette Show / Sue Ann Gets The Axe / Hail The Conquering Gordy / Mary And The Sexegenarian / Murray Ghosts For Ted / Mary’s Three Husbands / Mary’s Big Party / Lou Dates Mary


Watchable as Season Seven has been, I do feel ready for the series to end. That could be partly influenced by knowing the series is about to do just that, but there is a sense of repetition that pervades, from the award show where someone is convinced they’re about to win to the one (or is it ones) where Mary threatens to quit yet again.

A couple of the episodes have felt very long as well. I think it was The Ted And Georgette Show where I mistook the mid-episode fadeout for the one that comes a few minutes before the end.

It’s interesting to see the use of a clip show as well, though I can forgive this one quite easily as leaning into the sense of fond reflection that has given this season in particular a very specific sense of history.

Murray’s constant snarkiness towards Ted has been somewhat addressed. In one of the Sue Ann episodes (I think the earlier one with her sister), Murray commented that he missed his banter with her because she’s an intellectual equal, whereas it’s too easy with Ted. It’s a comment that made him seem a little crueller, because he continues to undermine Ted certain that it’s not an equal battle. Then in one of the episodes (possibly the ghostwriter one), Murray told Ted that he respected him.

Gordy’s return was a nice touch. It’s good to see the character doing well and so effectively being given an upbeat ending after just fading from view before.

Helen Hunt is now Murray’s daughter, so that’s been a nice surprise. David Ogden Stiers has made a nice recurring guest as the station manager.

Given the progress within the series and in the real world during the run of the series, it felt a little surprising that Mary has been objectified by her colleagues in a couple of episodes. Mary’s Three Husbands was good fun, and it felt that all the cast were having a ball with acting out these scenarios. I can buy, too, that these three colleagues might have some vague fantasy about being married to Mary, but none of this stopped it feeling retrogressive.

And then this very idea was mocked in the Lou Dates Mary episode which sounded awful on paper, but in execution addressed how weird it would be to try and force a romantic relationship from a platonic one, and turned out quite a sweet episode. Incidentally, when Lou said about the one time he’d thought of Mary “that way”, I thought it was going to be a reference to the first episode where I seem to remember him coming to her home drunk and making a clumsy pass.

Lou wasn’t Mary’s only (or oldest) older man in this run. There’s also Murray’s dad. I’m not sure what this tells us about Mary (apart from possible daddy issues). Lou Ayres - certainly at this point - was pleasant enough but I didn’t feel the charisma which made for a most unconvincing match. I feel the casting relied on the audience knowing a little about him and his earlier projects in order to sell it.

I’ve enjoyed the ongoing references to Mary’s terrible parties, and Johnny Carson’s cameo is certainly one of the more intriguing. Is there any kind of story behind this (non)-appearance? I assume it was just an audio recording he’d made for this episode, but I’ll be even more impressed - and bewildered - if it turns out he was actually in the darkened studio with the cast.

And here we are in March 1977, with only The Last Show remaining. I don’t mind admitting I’m a little nervous about diving in. Since everything I’ve read about it has been overwhelmingly positive, there’s a lot riding on this.

 

[Snarky Oracle!]

And then this very idea was mocked in the Lou Dates Mary episode which sounded awful on paper, but in execution addressed how weird it would be to try and force a romantic relationship from a platonic one, and turned out quite a sweet episode. Incidentally, when Lou said about the one time he’d thought of Mary “that way”, I thought it was going to be a reference to the first episode where I seem to remember him coming to her home drunk and making a clumsy pass.

What I find uncomfortable about the episode (rumors were rife that Lou and Mary were going to get married) is that during their climactic kiss, one senses that it's Mary who thinks there's no chemistry -- and Lou just goes along with the assessment.

But that's probably just the Mary's-the-girl/Lou's-a-guy sort of thing.

Johnny Carson’s cameo is certainly one of the more intriguing. Is there any kind of story behind this (non)-appearance?

Carson's contract with NBC apparently established that he couldn't "appear" on another network (MTM was CBS) so they pulled a fast one by having Johnny on in the audio. NBC could have potentially gotten mad about this trick, but Carson was so powerful at that time that, given that he'd technically remained within the terms of his contract, there was nothing NBC could -- or would -- do.

Later, Carson would host The Oscars for several years, despite it being on ABC.

And here we are in March 1977, with only The Last Show remaining. I don’t mind admitting I’m a little nervous about diving in. Since everything I’ve read about it has been overwhelmingly positive, there’s a lot riding on this.

It was the only time MARY TYLER MOORE hit #1 for the week. Like Valene getting her babies back.

I, for one, have no problems with Seasons 6 or 7 at all. Like Mary's new apartment, the slightly-edgier tone is just reflective of Mary Richards "growing up" -- the apartment and her mild bitchiness (comparatively) just a jumping-off point for Mary and the future that awaits her that we'll never see.

But we do -- Mary then plays a series of overt bitches on the big screen and small (e.g., ORDINARY PEOPLE, STOLEN BABIES, and several more).


Mary disapproving of something you did or didn't do:

 

[Crimson]

Watchable as Season Seven has been, I do feel ready for the series to end. T

Yes as I've pondered here before, scripted shows rarely have an agreeable life beyond five to seven seasons. After that, it's either stale repetition or changes that make the show unrecognizable. MTM ended on relatively good terms -- the quality and humor were still mostly solid -- but the writers were clearly out of ideas.

I think this is also where it becomes obvious just how hard the loss of Rhoda and Phyllis hit the show. The series was too boxed in on Mary's worklife. If the show had successfully introduced a lasting boyfriend or one of the would-be Rhoda replacements, there could have been more storylines to play with.

Then in one of the episodes (possibly the ghostwriter one), Murray told Ted that he respected him.

I like that the writers used a final episode to have a pleasant and long overdue reconciliation between Murray and Ted. Although there were only a few episodes left anyway, I think the writers even stuck to it -- I don't recall there being as many zingers from Murray to Ted after this. The scene is also great evidence of what a fine actor Ted Knight was, and how he brought such shading to what could have been a one-dimensional buffoon role. I love how intently Ted stares at Murray's mouth, waiting for the compliment to turn into an insult; and how relieved he was at the sincerity.

And then this very idea was mocked in the Lou Dates Mary episode which sounded awful on paper

And with that, we can wrap up one of the great recurring (non) themes of MTM: (the lack of) Mary's love life. It's surprising in retrospect that Mary's dating life was never more prominent and this was not an intentional choice to make a statement about working women. The producers wanted Mary to have a recurring beau, but each time a new one was introduced they were disappointed by the results. There was only one candidate the producers thought was "worthy" of Mary: Lou Grant. Burns and Brooks were keen on introducing a romance between the two as far back as S4; possibly why they split Lou from Edie. They saw it was a Tracy-Hepburn match. There was just one problem. Mary Tyler Moore who, though was the star and co-owner of the show, rarely contradicted her producers and writers, on this she was unmovable: she would not allow a romance between Lou and Mary Richards. Only at the end did she relent, and then only to prove out why it would have been a bad idea.

Johnny Carson’s cameo is certainly one of the more intriguing. Is there any kind of story behind this (non)-appearance? I

One of the show's writer's used to work for Carson, and the episode was written as an intentional inversion of the usual celebrity guest appearance -- never actually seeing said guest star. (I must admit every time I watch this episode, I think it's a Johnny Carson impersonator rather than Carson himself.)

Sue Ann Gets The Axe

Although I like the episode itself, this contains my single biggest pet peeve of the entire series. Lou's admission to Mary that he originally hired her out of pity not only contradicts the first episode but undermines it. Lou hired Mary due to her "spunk" (even if he hated it). The show always had some sloppy continuity and gentle revisionisms, but this is a total misunderstanding of early Mary Richards. She was never a pitiable waif in need of saving. In the first episode alone she stood up to Lou, Rhoda and her ex-fiancé -- all with a gentle decency rather than a flinty assertiveness. This seems like the writers making concessions to the feminists of the day, who endlessly groused that Mary was too soft, but it's a shame the show endorsed that silly viewpoint.

 

[Mel O'Drama]

(rumors were rife that Lou and Mary were going to get married)

Oh my.

There was only one candidate the producers thought was "worthy" of Mary: Lou Grant. Burns and Brooks were keen on introducing a romance between the two as far back as S4; possibly why they split Lou from Edie.

This is truly fascinating, and would have made for a very different latter half of the series.

Carson's contract with NBC apparently established that he couldn't "appear" on another network (MTM was CBS) so they pulled a fast one by having Johnny on in the audio.

What a clever and cheeky workaround. I love that even this has a story behind it.

(I must admit every time I watch this episode, I think it's a Johnny Carson impersonator rather than Carson himself.)

I wasn't sure myself until the credits rolled at the end.

Not that I'm overly familiar with Johnny Carson anyway. Certainly not familiar enough to tell an impersonator from the real thing.

It was the only time MARY TYLER MOORE hit #1 for the week. Like Valene getting her babies back.

Gosh. Based on its reputation and popularity I'd been going on the assumption it was regularly #1. But I suppose it was a fairly competitive time in the TV industry.

MTM ended on relatively good terms -- the quality and humor were still mostly solid -- but the writers were clearly out of ideas.

I found myself able to forgive a lot with the final season. Mostly because any repetition felt a little like the series spinning its greatest hits one more time.

Although there were only a few episodes left anyway, I think the writers even stuck to it -- I don't recall there being as many zingers from Murray to Ted after this.

This is impressive. I hadn't noticed, but I think you might be right.

Lou's admission to Mary that he originally hired her out of pity not only contradicts the first episode but undermines it. Lou hired Mary due to her "spunk" (even if he hated it). The show always had some sloppy continuity and gentle revisionisms, but this is a total misunderstanding of early Mary Richards. She was never a pitiable waif in need of saving.

Oh yes. I forgot to mention this one after watching, but I raised my eyebrows at this particular scene.

 

[Snarky Oracle!]

Gosh. Based on its reputation and popularity I'd been going on the assumption it was regularly #1. But I suppose it was a fairly competitive time in the TV industry.

It was indeed. The early-'70s was regarded as the golden age of sitcom, where the genre became socially important. ALL IN THE FAMILY was #1 from 1971 to 1976. MARY was often in the Top Ten, and was the most critically-acclaimed comedy of the decade. Plus, there was an aliveness about the show which stood in contrast to the other series which preceded it of ran concurrently. So everybody was aware of the program even if they didn't always watch it.

But there were some years it wasn't always even in the Top 20, especially after CBS moved AITF away from Saturday nights in 1975.

 

[Crimson]

This is truly fascinating, and would have made for a very different latter half of the series.

And likely not for the better. Superficial elements of its era aside, MTM has aged very well since it focused on universal elements of friends and colleagues. An office romance, circa the mid-70s, is unlikely to have aged as well. I recently started rewatching NEWSRADIO (1995-1999), a very funny show, but its recurring stories about a romance between a boss and a subordinate, even entirely consensual, is kind of icky.

Not that I'm overly familiar with Johnny Carson anyway. Certainly not familiar enough to tell an impersonator from the real thing.

Come to think of it, I'm in the same boat. I don't recall ever watching THE TONIGHT SHOW unless Joan Rivers was the guest host. I'm not sure I'd be able to pick out an audio of Carson versus Rich Little as Carson.

 

[Mel O'Drama]

Mary Tyler Moore
Season Seven
The Last Show


There were three key things I knew about this episode ahead of time. Firstly, that almost all the characters would be out of a job (I mistakenly thought the station itself would close down, rather than everyone getting sacked as part of an overhaul). Secondly, I knew that Rhoda and Phyllis would return (another error in my mind here. Having seen a still image of their scene with the view from Mary’s apartment in the background, I thought the scene took place on an outside balcony somewhere). And finally I knew there was a group hug which at some point became a group shuffle (for tissues, as it turned out, not to answer the phone as I’d thought).

None of this spoilt my viewing. If anything, being aware of some of the episode’s beats and iconography meant I could relax into it and enjoy seeing those things in context.

Ted remaining was a surprise. It’s characteristic enough, so perhaps it shouldn’t be, but perhaps it’s enough to know that he’ll miss his colleagues and it’s certain he won’t have as much fun in the new regime. One could almost believe this was setting up a Ted-centric spinoff, and I’m glad this isn’t the case.

Rhoda and Phyllis’s return was really nice. I was surprised it was essentially one fairly small scene, but then there’s a lot of story to tell here, and only twenty five minutes to do so. Incidentally, I had wondered if this would be a double-length episode. They may have been less of a thing at this time, but Rhoda’s wedding proves it wasn’t unheard of for special occasions.

The tear-filled goodbye gave some of the actors the chance to flex a dramatic muscle or two, and it was easy in this moment to imagine what a dramatic Lou Grant series might look like.

I know the point was that Ted had chosen the most random song lyrics imaginable. All the same I found myself wishing there was something series-related in the lyrics to It’s A Long Way To Tipperary which would make it more meaningful other than everyone singing it. Then I read that there was a parody written during the First World War called… It’s The Wrong, Wrong Way To Tickle Mary. I like to think this was included with that knowledge and some deliberation.

The final moments were perfection. If I’d subconsciously pictured anything for the last moments, it’s Mary’s poignant last look at the newsroom before she switches off the light. It felt so right that I could almost have sworn I’d seen it before (and I probably have, in later series that were inspired by this very moment).

And just when I thought there was enough closure, along came the curtain call I never knew I needed to see, complete with a good look at the studio audience. It's the perfect way to ease the viewer out of the series and back into the real world, and a really lovely touch.

According to Wikipedia, this is the only episode in which all eight main characters appear (with the curtain call their only appearance all together). This is quite shocking to me, since all were on the series for Season Four, but then Sue Ann, Phyllis and Georgia would have been recurring players then, and probably alternated accordingly.

Another surprise is learning this episode was transmitted in Canada a day before it debuted in the US.

One thing I’ve neglected to mention during Season Seven: I really like this year’s arrangement of the theme. It’s a little softer and less brassy, while still being jazzy enough.

And after eight months’ viewing, that’s it for me and MTM, but I still have thirty seven episodes of Rhoda awaiting. And after this I aim to return to the boxset to round things off with some MTM bonus material.

 

[Snarky Oracle!]

Another surprise is learning this episode was transmitted in Canada a day before it debuted in the US.

Oh, I didn't know that either!

 

[Crimson]

The Last Show

While I look forward to your thoughts on the last of RHODA and, possibly one day circling back to LOU GRANT, this brings us full circle. I think this all kicked off in the MAUDE thread and specifically the final episode of that series. There, I noted I am not necessarily a fan of shows that wrap things up. I generally prefer shows that just end. (Since I often quit shows long before their conclusions, this is a gift I give myself.) I like to think that Lucy & Ricky or Rob & Laurie just went about their misadventures and we, the audience, were just no longer privy to them.

But outside that preference, the ending to MTM is about as perfect as can be. Things wrap up, but not too tidily. Too many shows end with wish fulfillment, whereas every character improbably has their dreams fulfilled in the last 30 minutes; an artificial and contrived end cap. The finale of MTM is conclusive but relatable and, despite the sadness, ends on a note of bittersweet optimism: Mary Richards is off to the next chapter in her life, circling back to the premise of the very first episode.

One could almost believe this was setting up a Ted-centric spinoff, and I’m glad this isn’t the case.

Ted Knight had been dissatisfied playing Ted Baxter for ages, even as the character was given some additional depth. I doubt he even considered continuing playing Ted. He went on to a self-named sitcom, not made by MTM Productions, about being a pimp; yeah, seriously. No surprise, it didn't last long.

MTM Productions did build a new show around Betty White (and Georgia Engel) but it was not about Sue Ann; the producers had learned from RHODA and PHYLLIS that it wasn't particularly easy to build a show around a fan-favorite supporting character. This show too didn't last long.

And after this I aim to return to the boxset to round things off with some MTM bonus material.

It may be included but, if not, I suggest you track down on Youtube the Oprah Winfrey interview with the entire cast (sans Knight who had passed). It's the closest to a reunion you will find. And, if it's included, I again suggest skipping the TV movie MARY & RHODA which is a disappointing bit of apocrypha that you're better off without.

And should you have any particular interest in the actress herself, BEING MARY TYLER MOORE (2023) was a very good documentary on her life.

 

[Mel O'Drama]

Oh, I didn't know that either!

Every day's a school day on Telly Talk.

this brings us full circle. I think this all kicked off in the MAUDE thread and specifically the final episode of that series.

And back then I wasn't planning to stay in US sitcom territory beyond Maude, yet here I am a short time later with MTM, Phyllis and most of Rhoda under my belt.

The finale of MTM is conclusive but relatable and, despite the sadness, ends on a note of bittersweet optimism: Mary Richards is off to the next chapter in her life, circling back to the premise of the very first episode.

Oh yes. Until I read this I hadn't drawn the parallels between Mary's situation in the first and last episodes. That's just boosted* the finale even more for me.



* I wrote "elevated" then couldn't bring myself to use it. Meghan Markle has killed that one for me.

He went on to a self-named sitcom, not made by MTM Productions, about being a pimp; yeah, seriously. No surprise, it didn't last long.

The mind boggles. And it looks like Wonder Woman's Joe Atkinson played Ted's relative (brother, I'm assuming).

MTM Productions did build a new show around Betty White (and Georgia Engel) but it was not about Sue Ann;

Well this thread is certainly keeping me busy on IMDb. The cast has certainly piqued my interest. Sheriff Brackett and Higgins.

It mentions Sue Ann's roommate is a ditzy blonde, which I assume is Georgia Engel recycling the same act. Was Betty's character in the same mold as Sue Ann, or did they go in a different direction?

t may be included but, if not, I suggest you track down on Youtube the Oprah Winfrey interview with the entire cast (sans Knight who had passed). It's the closest to a reunion you will find.

Thanks. The DVD cover doesn't mention it (unless it's covered by "And more!" ), but I can seek it out.

And, if it's included, I again suggest skipping the TV movie MARY & RHODA which is a disappointing bit of apocrypha that you're better off without.

Oh, I remember this getting mentioned before, and I have a mental note to skip that one.

And should you have any particular interest in the actress herself, BEING MARY TYLER MOORE (2023) was a very good documentary on her life.

And this is perfectly-timed because I ended up watching the trailer for this one just this morning. I'll keep an eye out for it streaming on a British station.

 

[Mel O'Drama]

Oh - and while I was looking for Being MTM earlier, I stumbled on this really nice behind-the-scenes b-roll of the filming of the iconic title sequence (beginning and end):

 

[Crimson]

And back then I wasn't planning to stay in US sitcom territory beyond Maude, yet here I am a short time later with MTM, Phyllis and most of Rhoda under my belt.

I'm sure you never expected your venture into MAUDE to launch into another 326 episodes of unrelated American sitcoms. I've enjoyed your time with American comedies. I'm sure you have other shows you're eager to get to, but I hope you circle back to USA sitcoms again at some point.

It mentions Sue Ann's roommate is a ditzy blonde, which I assume is Georgia Engel recycling the same act. Was Betty's character in the same mold as Sue Ann, or did they go in a different direction?

I've never seen the show but, not surprisingly, every episode is on Youtube. I do believe both Betty and Georgia played relatively similar characters -- bitchy and ditzy, respectively. Betty would coast on the Sue Ann image for a few more years, until she reset her career playing Rose Nylund. Georgia was a pretty one-trick pony but she made a decent career out of it.

 

[Mel O'Drama]

I'm sure you never expected your venture into MAUDE to launch into another 326 episodes of unrelated American sitcoms.

Ye gods. Is that how many episodes the Maryverse comprises? That's a little mind-blowing.

It's probably good news that it hasn't felt anywhere near that many.

I've enjoyed your time with American comedies. I'm sure you have other shows you're eager to get to, but I hope you circle back to USA sitcoms again at some point.

Thanks. It's been fun for me and I'm sure I will find my way back to American sitcom land, whether it's discovering series I've missed or revisiting old favourites.

not surprisingly, every episode is on Youtube.

Oh crikey. I don't know if I even dare peek...

Betty would coast on the Sue Ann image for a few more years, until she reset her career playing Rose Nylund.

Much like Rue McClanahan, it's been fun for me to kind of discover her different screen personae in reverse.

 

[Mel O'Drama]

Rhoda
Season Four
The Return Of Ida / The Job / Lady’s Choice



Usually I’d get a few more episodes under my belt before commenting, but yet again the new season has begun with changes, and based on my difficult re-engaging with the series I can’t help feeling this is the point at which the rot has really set in.

An actor or actress’s appearance isn’t usually I comment upon, but in this particular case the change is done with such intent and purpose that it calls attention to itself.

From Wikipedia:

For the fourth season, Rhoda re-emerged with a new, slimmer look. (Before the season started, Valerie Harper went on a liquid protein diet, which was quite controversial at the time, and dropped 40 pounds.)

It has to be said: Valerie Harper looks awful. It’s evident from the still photos which appear at the very top of the first two episodes’ opening titles (I don’t know who chose these, but it’s baffling they were used. Perhaps this mistake was evident almost immediately, since a different set of pictures is used for the third episode).

The first episode saw her wearing a top which appears to have been deliberately chosen because it’s almost thigh-length and so makes her appear even thinner. Throughout the episode she keeps rucking it down self-consciously. The unflattering shade of green draws attention to how grey her face is, and I found myself thinking this must be the makeup department attempting to conceal how unwell she looks. And things do look worse in the cold light of day, as evidenced by the new opening and closing titles.

It’s even more striking not only because she looked fine in the last MTM which I watched just 24 hours earlier, but also because of how gorgeous Valerie looked in the B-roll film which I suppose would have been perhaps three or four years earlier.

It was addressed en passant in dialogue, with Ida complaining that she could feel Rhoda's backbone sticking out, but that felt a little too meta to be comfortable. Ultimately, the new "look" remained so very distracting and unsettling I barely noticed anything else that was going on.

This would all be less bothersome if the series at this point was firing on all cylinders, but these initial episodes have seen the format reworked a little and not for the better.

In the first episode, Rhoda’s divorce was finalised, and it’s sad to see Joe cut out of the series for good (I might be misremembering, but I don’t think Joe’s name was even mentioned) in the episode. With glass half full, at least this does bring some closure for viewers (the prolonged separation even became an in-joke over on MTM’s final season where Mary casually mentioned receiving a letter from Rhoda who was “still waiting for Joe to come back”, to gales of laughter from the audience).

Balancing things out, Ida has returned. At risk of sounding like a line from the series itself, it does at least provide some small consolation (one of the best-delivered lines of the season so far, was Ida saying she was “up to here” with jokes about her height, as she raised her hand just above head height).

Then, in the second episode, Rhoda suddenly decided that window dressing was boring and decided to find a new job. And the place she decides to give the hard sell is a grungy little costume shop, run by a man who already has an assistant (which he doesn’t appear to need given the size of the operation). I just can’t buy it. It seems to have been randomly shoehorned in for no other reason than someone, somewhere thought they could get some cheap gags out of people dressed in “funny” costumes. This isn’t a place I want to spend time as a viewer, and Jack Doyle hasn’t exactly set the screen alight so far. It doesn’t bode well.

As before, Gary has become a character I enjoy as a supporting player, but I’m not sure about the sudden love triangle that’s sprung up with Gary and Benny vying for Brenda’s attention.