Showing posts with label Laverne & Shirley. Show all posts
Showing posts with label Laverne & Shirley. Show all posts

Monday, December 19, 2016

The Ten Funniest Situation Comedy Episodes By Decade: the 1970s


The 1970s are still my favorite Comfort TV comfort zone, not because the shows were inherently better but because they were the ones that I watched through my formative years.

It was an era that introduced some of television’s best situation comedies, including several that pushed the envelope on what could be said, shown or implied in prime time. Here are my picks for the decade’s ten funniest episodes.

The Mary Tyler Moore Show
“Chuckles Bites the Dust” (1975)
“A little song, a little dance, a little seltzer down your pants”
I’ve never read the script David Lloyd wrote for this episode, but for the funeral scene I can’t imagine it gave Mary Tyler Moore any more to work with than “Mary tries to suppress her laughter.” And look at the magic she created from such a simple directive. That scene is justifiably famous but the whole episode is brilliant, from Lou and Murray swapping tasteless jokes about Chuckles’ demise to Ted’s on-air obituary: “I'd like to think that somewhere, up there tonight, in his honor, a choir of angels is sitting on whoopee cushions.”




All in the Family
“Sammy’s Visit” (1972)
When high profile stars visit a situation comedy, they tend to pull so much focus that the episode becomes more about them than the show’s regular characters. One of the great achievements of “Sammy’s Visit” is how it brings Sammy Davis. Jr. and the working class Bunkers together in a believable way, and then finds the right balance to distribute the content and the laughs equally. Kirk and Uhura may have shared TV’s first interracial kiss, but the one in this episode is much more memorable.  



The Bob Newhart Show
“Over the River and Through the Woods” (1975)
“More goo to go!”
It’s regrettable that drunk scenes have become yet another casualty of our enlightened age. Once they were to great comic actors what a hanging curve ball was to a .300 batter – a golden opportunity to hit one out of the park. That’s what happened when Bob Newhart, Bill Daily, Jack Riley and Peter Bonerz were handed a scene in which their characters get sloshed over Thanksgiving. They hit their rhythm early and for ten minutes set-ups and punch lines are served and volleyed with perfect timing and precision. When it all comes together like this, there’s nothing better. 



Fawlty Towers
“Gourmet Night” (1975)
I’m not sure if a British show should be eligible, but how can Fawlty Towers be left off any list of the funniest situation comedies? The question then becomes which of its 12 amazing episodes to select. “The Germans” might be the most obvious choice, with Basil’s constant references to the war he’s not supposed to mention, and that unforgettable long-limbed goosestep, but I’ve always been partial to “Gourmet Night.” It’s a classic farce that builds to a feverish climax in which Basil yells at and then beats up his car. The final line is perfect. 



The Odd Couple
“Password” (1972)
“Aristophanes…”
Oscar is invited to be a celebrity guest on Password, and self-proclaimed expert Felix, who owns two copies of the Password home game (one for his car) pleads to be picked as his partner. The results are predictably disastrous (and hilarious), and are made even more memorable by the range of reactions from guest stars Allen Ludden and Betty White. 


 Taxi
“Reverend Jim: A Space Odyssey” (1979)
“What…does…a…yellow…light…mean?”
When an episode is so funny that even the cast can’t contain their laughter, it deserves to be here. During the famous driving test scene, Christopher Lloyd and Jeff Conaway keep repeating the "What does a yellow light mean?" joke and it kills every time. By the third run-through, Marilu Henner and Tony Danza can clearly be seen laughing when their characters are supposed to be frustrated.



Laverne & Shirley
“Guinea Pigs” (1977)
The girls are invited to a fancy cocktail party but can’t afford the $20 admission. To earn the money they volunteer at the Institute for Behavioral Sciences – Shirley is only allowed to eat dirt as part of a nutrition study, while Laverne is deprived of sleep. They make it to the bash, and what follows is more than five minutes of non-stop laughs. Timeless episodes like this and “The Diner” are why, out of all the Garry Marshall ‘70s sitcoms, Laverne & Shirley has aged the most gracefully. 



Rhoda
“Rhoda’s Wedding” (1974)
This two-part episode would be memorable just for the milestone referenced in the title and the Mary Tyler Moore Show crossover cast appearances. But this is also the rare “event” show that is also among the best written of the entire series run. 



Green Acres
“The Case of the Hooterville Refund Fraud” (1970)
Green Acres just kept getting nuttier with each passing season, and yes, that’s a compliment. I could try to summarize the plot of “The Case of the Hooterville Refund Fraud” but it won’t do the episode justice: the town folk receive an unexpected (and undeserved) windfall and Mr. Haney convinces them to invest in monkey racing, in which little monkeys race around a track chasing after a wooden banana. Some things are better experienced than described.

The Mary Tyler Moore Show
“Ted Baxter’s Famous Broadcasters School” (1975)
We started with this series so we’ll end here as well. The idea of Ted lending his name to a school of broadcasting is already funny; the fact it was a scheme floated by a con artist is even funnier, but the best part is when the WJM news team show up for the first class and find only one student in the room. On the short list of things that always make me laugh, there is Ted singing the school’s theme song, and Lou Grant’s Ralph Kramden-like reaction. 



Next: The 1980s

Monday, March 9, 2015

Classic TV Two-Part Episodes: Hits and Misses

 
Theoretically the two-part episode is an option that should be utilized only in conjunction with a major milestone in a series (births, deaths, new character introductions, weddings, big name guest star) or when a writer comes up with an idea that is so good, it deserves a little extra breathing room to be fully explored.

But think back over the hundreds of two-parters presented in the Comfort TV era – how many of them really needed more time to tell their stories?

Having conducted my own informal study, I would say the results are about 50/50. Too often, these shows were a marketing ploy to leverage the built-in ‘event’ status afforded to super-sized episodes. That’s why they were used so often to open or close a season.

When there is legitimate reason for a “continued next week” freeze-frame, the result is often one of the most memorable moments in a series – think “The Menagerie” on Star Trek, “Fearless Fonzarelli” on Happy Days or “Carnival of Thrills” on The Dukes of Hazzard.

And when there is not enough content to justify a second episode, we’re left with a story that might have worked as a single show, padded and stretched to fill out a longer running time.

This is a big topic and one that may be revisited in a future blog, but for now here are five examples of when TV got it right – and five underwhelming misses.

Good: Family Ties: “The Real Thing”
Alex Keaton had no shortage of girlfriends in the first three seasons of Family Ties, but when he meets Ellen Reed early in season four, the show wanted to make sure we knew this was going to be different. Their opposites-attract romance, bolstered by the strains of Billy Vera’s “At This Moment,” was a major turning point for Alex and for Michael J. Fox, who is still married to the girl that played Ellen, Tracy Pollan. 



Bad: Charlie’s Angels: “Terror on Skis”
A typical Angels plot – protect a government agent from foreign radicals – is hampered by scene after scene of monotonous stock footage of people skiing during the day, at night, and in freestyle competitions. I had a little inside information on this one, having interviewed the episode’s writer, Ed Lakso, for my Charlie’s Angels book. He readily confessed to padding out the story to justify a location shoot in Vail, Colorado, because his wife wanted to go skiing. 



Good: The Dick Van Dyke Show: “I Am My Brother’s Keeper/The Sleeping Brother”
These episodes introduced Dick Van Dyke’s brother Jerry, playing Rob Petrie’s brother, Stacy. The bizarre plot has Stacy trying to break into show business but only being able to perform while he’s asleep (due to a rare, advanced form of sleepwalking). Despite that contrivance the shows are smart and funny, particularly during the cast performances at those Bonnie Meadow Rd. house parties that always made the suburbs looks so cool and sophisticated. 

Bad: Eight is Enough: “And Baby Makes Nine”
Flashbacks are a convenient way to stretch a story, but no two episodes abused that privilege more than the Season 5 opener of Eight is Enough. The saga of Susan’s difficult delivery of her baby not only offers numerous looks back at her romance with and marriage to Merle, it also reprises scenes that aired just ten minutes earlier in the same episode. Why not just play the theme song again while you’re at it?

Good: Get Smart: “A Man Called Smart”
The only thing tougher to pull off than a great two-part episode? A great three-part episode. But the laughs never fizzle in “A Man Called Smart,” an adventure originally conceived for theatrical release but re-cut for the series. One physical comedy sequence with a stretcher and a revolving door is as funny as anything that’s ever been on television. 



Bad: Mission: Impossible: “The Contender”
For all its many outstanding qualities, M:I never got a two-part episode right. I chose “The Contender” because the plot was particularly weak – capturing a guy who fixes prize fights seems beneath the IMF – but I also could have gone with “The Slave” or “The Council” or “The Controllers.” Viewers were accustomed to seeing the team solve any problem in an hour, and writers could never dream up any good reason for some missions to take longer.

Good: The Bionic Woman: “Doomsday is Tomorrow”
Where Mission: Impossible struggled with the two-part format, The Bionic Woman flourished. From the irresistible “Fembots in Las Vegas” to “Deadly Ringer,” the shows that earned Lindsay Wagner an Emmy, the series was always at its best with multi-episode storylines. My favorite is “Doomsday is Tomorrow,” in which Jaime must figure out how to shut off a computerized weapon (with a HAL 9000 voice) capable of destroying all life on earth. 



Bad: The Facts of Life: “Teenage Marriage”
So many shows have built two-part episodes around potential crises that cannot possibly come to pass, lest it mean the end of the series. Here, Mrs. Garrett and the Eastland girls try to prevent Jo from marrying her boyfriend. Had Nancy McKeon announced she was leaving the show, we might have bought into the conflict; but this was her first season, and we all knew she wasn’t going anywhere, extra episode or not.

Good: Little House on the Prairie: “I’ll Be Waving as You Drive Away”
The Ingalls family face their darkest hour when Mary loses her sight after a bout with scarlet fever. The scene where Charles must tell his daughter the diagnosis, while barely able to control his own heartbreak, is devastating. Mary attends a school for the blind, where she gradually comes to terms with her fate in a hopeful finale.  



Bad: Laverne & Shirley: “The Festival”
When a two-part episode is inspired by a road trip, it helps if we actually see the characters go somewhere. Here, Laverne, Shirley, Lenny, Squiggy, Frank and Edna all “travel” from Milwaukee to New York, but all they really do is visit a different part of the studio backlot. Not much fun to be had, unless you enjoy watching Penny Marshall climb a greased metal pole.