Menu
Forums
New posts
Search forums
What's new
New posts
Latest activity
Awards
Log in
Register
What's new
Search
Search
Search titles only
By:
New posts
Search forums
Menu
Log in
Register
Forums
Global Telly Talk
Classic US TV
Mary Tyler Moore Show and Its Spin-Offs
JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an
alternative browser
.
Reply to thread
Message
<blockquote data-quote="Mel O&#039;Drama" data-source="post: 413517" data-attributes="member: 23"><p><strong><span style="font-size: 18px">Phyllis</span></strong></p><p><span style="font-size: 18px"><u>Season One</u></span></p><p><span style="font-size: 18px">All Together Now /Audrey Leaves Jonathan / Phyllis Opens Julie’s Heart / So Lonely I Could Cry / Phyllis And The Little People / There’s No Business Like No Business / Paging Dr. Lindstrom / The $17,623,419.53 Man / Honour Thy Mother Dexter / Phyllis In Love / Crazy Mama / A Man, A Woman and Another Woman / Leo’s Suicide / Sonny Boy / Widows, Merry And Otherwise / The Triangle</span></p><p></p><p></p><p>To give an idea of my current enjoyment levels: I’ve reached the end of Season One, and I’m finding the idea of switching back to <em>Rhoda</em> a bit of a wrench. In fact, my main motivations for returning to <em>Rhoda</em> are (a) so things are a little more evenly balanced and (b) so I can enjoy <em>Phyllis</em> for longer.</p><p></p><p>Given my low tolerance threshold for Phyllis in <em>MTM</em>, my enjoyment of this series is quite flabbergasting. As I’ve watched, I’ve tried to work out what it is that makes the character not just tolerable but enjoyable to watch here, and funny with it. And I’m still not sure whether it’s the writing, the changed premise/ensemble or Cloris Leachman playing the character differently (though the latter feels the least likely to me).</p><p></p><p>Something that’s occurred to me as I’ve continued watching is that <em>Phyllis</em> has the home/work life balance of earlier <em>MTM</em> seasons. No, the photography studio doesn’t have the same potential as the newsroom, nor does it have the same wealth of colourful characters, but it does go some way towards giving the series some kind of focus.</p><p></p><p>As for the stories themselves… by today’s standards they’re quite predictable (most punchlines can be seen coming) and sometimes even workaday, but that just adds to the comforting cosiness of the series for me.</p><p></p><p>Considering the earlier discussion about death as a topic in Chuckles’ funeral on <em>MTM</em>, I wonder how Leo’s suicide attempt was received by audiences (both characters, ironically, being portrayed by the same actor). While I give the writers credit for getting a few small laughs, it mostly felt like a misfire for me, and I certainly found it less funny than other episodes. My discomfort came not from the story challenging my thinking towards a subject, but because it ultimately ended up trivialising its own theme. Over on MTM, the death of Chuckles remained a fact, while Leo’s poor mental health came from nowhere, wasn’t addressed and was forgotten as quickly as it came. Even though it wasn’t an overt attempt to “explain” the character, there are echoes of Maude’s bipolar diagnosis: it just doesn’t sit well to laugh at a character whose erratic behaviour possibly stems from a serious health condition.</p><p></p><p>And while I’m discussing that episode, the title is annoyingly misleading. Since Leo didn’t die there was no suicide. it would be like saying someone who survives a gunshot has been murdered.</p><p></p><p>The <em>Little People</em> episode was a more successful example of addressing a potentially thorny subject, firstly because it followed through by actually addressing the subject, but also because it had some genuinely funny moments. And now I see that Blanche Devereaux wasn’t the first person to offer her guest “shrimp”, only to instantly realise her faux pas. This was an example of Phyllis’s neurotic reactions being genuinely funny, such as after Bess took Phyllis aside to explain that they were no longer called midgets but little people. Cloris’s inflections during the choked-but-forceful response “And justifiably” made me laugh heartily (and it didn’t stop there, since the next line was about Bess one day being married and hearing “the pitter patter of little feet. I never realised… they would be your mother and father in law.”</p><p></p><p>It’s pleasing to see that Phyllis dealing with widowhood has been more than just a quickly-forgotten excuse to set up the premise. There has been a recurring underlying theme of Phyllis dating-but-not-being-ready or dating-and-feeling-guilty or seeing-another-new-widow-dating-and-finding-it-inappropriate. Yes, she has had men interested in her - or vice versa - and dated a little, but none of it feels malapropos.</p><p></p><p>Bess, on the other hand, still seems completely unfazed by her father’s death and has a different boyfriend in tow each time we see her. But then you’re only young once, I suppose.</p></blockquote><p></p>
[QUOTE="Mel O'Drama, post: 413517, member: 23"] [B][SIZE=5]Phyllis[/SIZE][/B] [SIZE=5][U]Season One[/U] All Together Now /Audrey Leaves Jonathan / Phyllis Opens Julie’s Heart / So Lonely I Could Cry / Phyllis And The Little People / There’s No Business Like No Business / Paging Dr. Lindstrom / The $17,623,419.53 Man / Honour Thy Mother Dexter / Phyllis In Love / Crazy Mama / A Man, A Woman and Another Woman / Leo’s Suicide / Sonny Boy / Widows, Merry And Otherwise / The Triangle[/SIZE] To give an idea of my current enjoyment levels: I’ve reached the end of Season One, and I’m finding the idea of switching back to [I]Rhoda[/I] a bit of a wrench. In fact, my main motivations for returning to [I]Rhoda[/I] are (a) so things are a little more evenly balanced and (b) so I can enjoy [I]Phyllis[/I] for longer. Given my low tolerance threshold for Phyllis in [I]MTM[/I], my enjoyment of this series is quite flabbergasting. As I’ve watched, I’ve tried to work out what it is that makes the character not just tolerable but enjoyable to watch here, and funny with it. And I’m still not sure whether it’s the writing, the changed premise/ensemble or Cloris Leachman playing the character differently (though the latter feels the least likely to me). Something that’s occurred to me as I’ve continued watching is that [I]Phyllis[/I] has the home/work life balance of earlier [I]MTM[/I] seasons. No, the photography studio doesn’t have the same potential as the newsroom, nor does it have the same wealth of colourful characters, but it does go some way towards giving the series some kind of focus. As for the stories themselves… by today’s standards they’re quite predictable (most punchlines can be seen coming) and sometimes even workaday, but that just adds to the comforting cosiness of the series for me. Considering the earlier discussion about death as a topic in Chuckles’ funeral on [I]MTM[/I], I wonder how Leo’s suicide attempt was received by audiences (both characters, ironically, being portrayed by the same actor). While I give the writers credit for getting a few small laughs, it mostly felt like a misfire for me, and I certainly found it less funny than other episodes. My discomfort came not from the story challenging my thinking towards a subject, but because it ultimately ended up trivialising its own theme. Over on MTM, the death of Chuckles remained a fact, while Leo’s poor mental health came from nowhere, wasn’t addressed and was forgotten as quickly as it came. Even though it wasn’t an overt attempt to “explain” the character, there are echoes of Maude’s bipolar diagnosis: it just doesn’t sit well to laugh at a character whose erratic behaviour possibly stems from a serious health condition. And while I’m discussing that episode, the title is annoyingly misleading. Since Leo didn’t die there was no suicide. it would be like saying someone who survives a gunshot has been murdered. The [I]Little People[/I] episode was a more successful example of addressing a potentially thorny subject, firstly because it followed through by actually addressing the subject, but also because it had some genuinely funny moments. And now I see that Blanche Devereaux wasn’t the first person to offer her guest “shrimp”, only to instantly realise her faux pas. This was an example of Phyllis’s neurotic reactions being genuinely funny, such as after Bess took Phyllis aside to explain that they were no longer called midgets but little people. Cloris’s inflections during the choked-but-forceful response “And justifiably” made me laugh heartily (and it didn’t stop there, since the next line was about Bess one day being married and hearing “the pitter patter of little feet. I never realised… they would be your mother and father in law.” It’s pleasing to see that Phyllis dealing with widowhood has been more than just a quickly-forgotten excuse to set up the premise. There has been a recurring underlying theme of Phyllis dating-but-not-being-ready or dating-and-feeling-guilty or seeing-another-new-widow-dating-and-finding-it-inappropriate. Yes, she has had men interested in her - or vice versa - and dated a little, but none of it feels malapropos. Bess, on the other hand, still seems completely unfazed by her father’s death and has a different boyfriend in tow each time we see her. But then you’re only young once, I suppose. [/QUOTE]
Insert quotes…
Verification
6 + 4 =
Post reply
Forums
Global Telly Talk
Classic US TV
Mary Tyler Moore Show and Its Spin-Offs
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
By continuing to use this site, you are consenting to our use of cookies.
Accept
Learn more…
Top