Ep. 18 - Who is Gordon Sims?

February 22, 2015

Writer: Tom Chehak
Director: Rod Daniel
Original Air Date: April 2, 1979
***VERY IMPORTANT***

WKRP in Cincinnati may be best remembered for dropping turkeys and mascots fights, but if you were to ask the cast and crew, they will tell you that "Who Is Gordon Sims?" is what they want to be remembered for. This is among a handful of the most important episodes the show ever produced. It might be Tim Reid's finest moment as Venus Fly Trap.

In 1979, America is only four years out of the Vietnam War and its is a topic only being touched by dramatic movies of the week, or cloaked in euphemism, say on "M*A*S*H." The term PTSD is brand new and not widely understood. Desertion from the Army is a topic hidden from the world, as Venus does, and a shameful act. as Carlson reacts to it. For a first year sitcom to tackle it head on was crazy, but courageous. It is another reminder why anyone would bother to read a blog about WKRP.

Just broaching the subject was difficult enough, so it's easy to forgive that Gordon Sims's part of the story is pretty mild in retrospect. The war was over for Sims; he didn't go AWOL until he was back in the US. He didn't leave because he killed anyone but because he saw people dying in terrible ways. Also, because we already know this character, we don't want to see him punished or sent to jail. We have already seen that he is a good man.

It's also why the B and C stories are so over the top. Bailey trying to find everyone's address is a ridiculous task for a college graduate in charge of the station's paperwork. But Mr. Carlson, who turns out to be the moral key to the story, inflating a life raft in his office is nothing but a sight gag. It's a good sight gag but it exists to give the audience the laughs they won't be getting for the next ten minutes.

The story Venus tells about his chopper ride to Saigon lasts exactly three minutes - three uninterrupted minutes of Tim Reid delivering this monologue. That my not sound like much, until you remember the entire episode, including opening and closing credits, lasts just 24 minutes. In those three minutes, no one else speaks. There are no laughs. Just Venus talking, painting the picture in your mind's eye of Weird Larry giggling and dying.

The show is depending on the writing and acting to keep the audience interested without laughs. It works.

The writer for this episode was Tom Chehak, He would go on to write and produce for many shows, such as "Scarecrow and Mrs. King" and "Diagnosis: Murder." (Thanks, IMDB) He is also white, and that's important to note. Several times this episode makes reference to a dirty little secret of the Vietnam war (at least to mainstream white America in the late '70's) - that black soldiers were put in more combat positions, more frequently than their white comrades. It is central to Venus' distrust of the Army. This would have been a huge hurdle in getting this episode to air and Chehak was brave to include, and bring light, to this issue.

The other major player in this story is Mr. Carlson, a wealthy, privileged white man who immediately trusts that the Army (and the law) to act fairly with all people including Venus. Gordon Jump really takes Carlson through a range of emotions in helping the person at the station he has the least in common with. He moves from disgust to anger to confidence and finally compassion. When Venus refers to him as his "father," it's funny but Carlson nods and excepts that moniker with defiant pride, He will stand by Venus, and stand up against the Army, to get justice for a friend. At the start of the episode, they may have been to the two characters with the least in common but by the end, they have become a father and son.

That is a lot to say about one episode of a sit-com set in a rock station in Cincinnati. You may believe I'm over thinking things. I'm certain the creators of this episode consider each of these points and more. This episode is worth it.

Other notes: In Ep. 5 "The Hold-Up", one police officer is Hugh Wilson. I've mention that before. The other was the writer of that and this episode, Tom Chehak. You'll see I am correct about his whiteness.

Roy

Ep. 17 - A Commercial Break

February 18, 2015

Writers: Richard Sanders and Michael Fairman
Director: Rod Daniel
Original Air Date: March 26, 1979
^^^FAMOUSLY FUNNY^^^

Maybe I owe Richard Sanders an apology.

I have ranted on here how I felt he often wrote episodes that featured his character, Les Nesman, in a very Les-centric and actor-ly role. But I was very surprised to see he (and his writing partner) wrote this episode, in which Les barely has a line! This episode seems to exist solely to showcase the singing abilities of Loni Anderson and, most notably, Jan Smithers.

Bailey's acapella rendition of "Amazing Grace" is stunning, both for its simplistic beauty, but as the action of such a shy character. Singing alone in front of your co-workers must be nerve-wracking. I wouldn't do it! Also, Bailey has never seemed like the sort of character who would choose a traditional gospel song to express herself. But Sanders must have known she could do it to write the scene especially for her.

Conversely, Jennifer singing "Happy Birthday" to Herb a la Marilyn breathlessly singing to JFK is exactly what you would expect her to do, but that doesn't make the effect any less funny. Her extreme emphasis on "Herbie" will fuel Herb's erotic dreams for weeks.

The unique plot for these showcases to hang on is one that could only appear on a show based on rock radio: the Ferryman Funeral Homes (please note the play on the name: in Greek mythology, the ferry man transported souls of the deceased to the underworld) want to buy the largest advertising block ever on WKRP and have the station create an upbeat jingle for the spots.

Once again I am struck by seeing how something that was "deeply weird" and in poor taste back in 1979 is hardly a consideration in 2015. Funeral homes are constantly trying to sell pre-planning packages to younger people nowadays. Most use uplifting music (if not a "swingin'" pop tune) to emphasis how natural end of life planning can be. On the weekend I'm writing this blog post, "Fifty Shades of Grey" just opened to a $81 million weekend so it would be difficult to argue now how a funeral home ad could be in poor taste.

I find it more "deeply weird" that we are suppose to believe Venus wrote this song. Venus listens to romantic '70's R&B all night for a living. We are told he came from New Orleans. We have seen him bang gongs, tinkle wind chimes and spin Bob Marley, yet he would choose to write "Hey! You're young and swingin'!" ?!?

The theme is really how far the station is willing to go to make a lot of money. Andy doesn't like the idea of a funeral home account from the very beginning. He is suspicious of it. It's Mr. Carlson who tells Andy "there's nothing wrong with a funeral home account." It's Carlson and his mother who are always concerned with how much money the station is making. Of course, in the end it's Carlson who resigns the account, finding their ads to be "in poor taste."

Maybe it's because I've grown up in a time of "morning zoo" type radio shows, in which the DJs don't take themselves very seriously, but I've often felt if the station had played up some of its "weaknesses" they would have had more success. Wouldn't you listen to a station where the newscaster mispronounces names regularly? Or run catchy, goofy ads for bait worms and funeral homes?

One last thought on money... from the first time the ad runs, everyone on staff wants to know when they are getting their raises. That's not how raises work - one big sales doesn't make everyone rich (except Herb who gets commissions). Or that is how raises work and I've been lied to my entire life by everyone I've ever worked for.

Fred Stuthman as Mr. Ferryman

Other notes: a weird shift in the air date shows this was the first episode in a time slot change to another day, something that plagued WKRP throughout it's entire run. Why would Andy want to create a "cheapo" ad for what would be his largest client? Fred Stuthman, who played Mr. Ferryman, is on a short list of the most memorable guests ever on the show. Perfectly cast.  Personal note: whenever this song pops into my head, I hear the Morrison Tire version of the song Herb sings at the end.

Roy

Ep. 16 - I Want to Keep My Baby

February 6, 2015

Writer: Hugh Wilson
Director: Asaad Kelada
Original Air Date: March 12, 1979


This episode does something unusual for a TV show - it plays with your perception of good and bad by showing you how TV manipulates your perception of good and bad.

The most obvious example of this is the two representatives from Family and Children's Services. When we first see them, her with her tight bun and pinched features and he with his thick glasses and weird name ("Chick"), they are Cincinnati's version of Miss Hannigan. They are the threat, that will steal a baby away from a helpless young girl. But by the end of the episode, they are sweet like a pair of Sunday School teachers who are going to take that child to her own private paradise.

Next we have Peggy, the unseen mother. At first, we think she must be crazy to abandon her child (and with all people, the wholly irresponsible Johnny Fever). Then we hear Johnny sympathize with her story of being alone and confused and we hope the mother and child can be reunited. Finally, once the Family and Children's Services people are shown to be friendly, we believe Peggy has made the right decision after all. But honestly, we don't know anything about Peggy or her circumstances to be able make an informed decision - it's all about what's presented to us in the moment. That is something worth remembering in a world of 24 hour news and reality television.

WKRP teaches us all not to judge a book by its cover.

This is an episode full of teaching moments. First we learn not to call the fire department when someone abandons a baby. We also learn that people will believe a black man carrying a bassinet shaped sheet is "da laundry man" and not a guy trying to smuggle a baby out of an office.

The audience greatly benefits from using the original music in this boxset. Much of the commentary that Johnny makes - first in getting the mother to call him back after she leaves her baby on the station's doorstep; then in thanking her for this gift in the end - is made through his choice of songs. We don't see it focused this clearly all the time, but this love in the communicative powers of music is why Johnny goes through all that he has gone through to remain a DJ all these years. Music is how Johnny talks. Music is how Johnny shares his feelings. Everything else is sarcasm.

Many ideas that pay off in future episodes are introduced in "I Want To Keep My Baby." This is the first reference we've had to Jennifer dating wealthy older men. Mr. Carlson tells us he has a son in military school. Even the idea that Johnny might have some experience caring for a baby girl - each idea will be the focus of a future episode.

Other Notes: Good budgeting on the part of the producers by using the Johnny's Apartment set in the second episode in a row. The crying sounds of this baby are terribly fake! It sounds that a full grown adult of to the side making that noise (I have no idea how it was done, but that's what it sounds like) Nice pay-off of the "baby crying when Herb's around" running joke at the end. Venus in the morning! with one of the best lines in WKRP lore "Get the funk out your face Cin-cin-nati!"

Roy