Ep. 35 - God Talks to Johnny

May 28, 2016

Writer: Hugh Wilson
Director: Will MacKenzie
Original Air Date: December 31, 1979

The date is New Year's Eve, 1979 and it is less than four hours to the beginning of a whole new decade! A new president is about to take office, who will change the direction of American politics for generations to come. A decade of political turbulence and economic upheaval are coming to a close and the promise of prosperity and computers lay ahead and Hugh Wilson has one question for you...

Do you believe in God?

Why would he ask that, of his characters and of you, in the audience? As Johnny walks around the station asking everyone that same question, you can't help but try to ask it of yourself. It's an odd question because it's not asking for an empirical truth - he doesn't ask "Is there a God?" Wilson, through Johnny, is asking you at home for what is in your heart.

An answer is not provided because the answer is personal to you. Did Johnny hear a voice? Well, he believes he heard something and that belief is enough to effect him. Whether is was an actually voice he heard is irrelevant.

Each character in the station of course has their own opinion of God. Not surprisingly, Bailey takes a philosophical and intellectual approach, name checking theories she has studied in books but when pushed for her own opinion, she literally checks out for lunch. Les believes an authority figure from his childhood would have spoken to God, but not someone like Johnny. Andy is concerned about Johnny's mental state without really examining the spiritual questions.

I'm surprised Hugh Wilson doesn't explore Venus' feelings about God more - if anything, Venus is more of a jerk in this episode than we've ever seen him. He steals Andy's chair, makes loud noises and pretends to be a voice all so he can get something to eat. This does not match with the spiritual, cosmos-embracing guy we know.

It's the Big Guy who turns out to have the most thoughtful response to THE Big Guy. I've read that the religious elements of Mr. Carlson's personality were based on Gordon Jump's real life - that he really did go to church every week and teach Sunday School. Jump had given interviews in which he openly spoke about his faith. He doesn't recoil to Johnny's tale of speaking with God, or openly mock him like Herb does, but he doesn't embrace it either. He simply talks rationally and calmly about what Johnny experienced. It's another touching "Father-Son" moment for Carlson.

As rational as he is in that final scene, it's the scene in Carlson's office in which Jump is at his best. Some tremendous physical comedy, starting with the window blind, the pull, the drawer and finally the window that has Carlson slow-burn his way through a solid two minutes. The audience laugh builds through the entire scene (the way only "live before a studio audience" can sound) and softens what could have been a very hard topic.

Speaking of physical comedy, watch how much mileage Howard Hesseman gets out of a stalk of limp celery. What starts as one simple "nothing in my fridge" joke roles out for nearly three minutes. I wouldn't be surprised if it was created by Hesseman on the spot - it doesn't seem like the sort of thing that would have been in the script.

Wilson may have been saying to audience at the end of the seventies, that we may not know about God, but we know about comedy, and we're going to need as much comedy in the eighties as we can get.

Roy

Ep. 34 - Sparky

April 26, 2016

Writer: Peter Torokvei and Steven Kampmann
Director: Rod Daniel
Original Air Date: December 24, 1979

What follows is my imagined WKRP writers' room meeting upon learning the show was going to have Sparky Anderson as a special guest on this episode:

"Who's Sparky Anderson?"
"He was the manager when the Cincinnati Reds won the world series a few years ago."
"Would our viewers know that? Would our characters?"
"We'll explain it all in the cold opening!"
"Is he funny?"
"No. He's a baseball manager."
"What's he going to do on the show?
"He'll just meet all of our characters. Maybe talk about getting fired out of Cincinnati."
"Wait! He's not even the manager in Cincinnati right now?"
"No. Now he manages in Philidelphia"
"Why is he in Cincinnati then?"
"To be on WKRP!"
"To do what?"
"Maybe he can host a sports talk show!"
"What does anyone in the WKRP universe know about hosting a sports talk show?"
"EXACTLY!!"

Watching the episode, you get the feeling this is about as much thought as went into having Sparky Anderson on the show. Anderson is a pleasant enough fellow and game enough to go through with the script. But there is a tonne of dumb stuff that is out of character for the staff and that we as the audience are suppose to forget in order for this episode to occur.

The episode opens with Andy breaking the "bad news" to Les that the Big Guy has hired Sparky Anderson to host this radio show, with dreams of syndicating it nation wide. Lots of problems there: a rock station is hosting a nationally syndicated sports radio show? It will be hosted by a locally fired coach who now works in another city? What happens to the show when the baseball season starts up again? Since when has Les been show eager to host a sports talk show - he has no interest in sports? Why would Andy think this is bad news - the last few episodes have been about him trying to get back on top? Why does Andy complain that he "hates looking like the bad guy" - we've just seen him recently want to be a tougher manager?

All those logistical problems and the credits haven't even rolled yet!

I understand that cold opening was written to provide a lot of exposition for the non baseball fans watching in 1979, but it may even be more valuable for those of us watching the episode 35 years later

There are many other logic problems.

Jennifer has seasons tickets to all the Reds home games and a computer like memory of baseball statistics that she has never displayed before and will never display again? Venus played three years of double A baseball in Texas? Was that while he was on the run from the US Army for being a deserter or while he was DJing in New Orleans? (Later in the series, we learn he was a teacher in New Orleans, but we never hear about baseball or Texas again). Neither of them showed any real baseball skills in the episode entitled "Baseball."

Staying with Venus for a moment, the shot of him introducing Sparky's new show must be the worst dub we have come across yet in the box set. Shout! Factory obviously didn't get the rights to whatever was playing, but a voice that is clearly not Tim Reid's refers to "The Surf Riders." Surely, a more talented voice actor could have imitated Venus better.

Returning to my complaints rant, I have two more. I don't know which one is worse; I'll let you decide.

Sparky on the Air!

The failure of The Sparky Anderson Show is that they simply rushed him onto the air, with no preparation, no producer handling the phones and no idea who his guest is. Bailey did hand Sparky a list of questions that could be asked. One of them had to be better than "What's your favourite colour?" She gave Sparky out of town scores (to what I don't know. It's not baseball season and the show seems to be on in the afternoon (although it's in the middle of Venus's night time show)) that he doesn't read. What exactly did Mr. Carlson expect Sparky Anderson to do for two hours.

They other is that sports coat! We laugh now at Herb's wardrobe, but really, does Herb dress any worse than Sparky does?

Are these two jackets really so different? One is stylish and the other is a joke

Let's get to some positive stuff now. Johnny's set up of calling Herb a jackass paid off much later for Sparky when he finally meets Herb. It's Sparky's best laugh of the show.

Les' dream about Mr. Carlson seems, to me, to be the writers' rebellion against what they had to know were the problems in a stunt casted show. "I'm a big fat muffin who loooooves to explode!" is ridiculous nonsense in the very best way. It is a great non sequitur in a whole episode that doesn't make much sense.

Other notes: The Cincinnati Kids were a real Indoor Soccer League team that only played in the 1978-79 season. Why use that team? Probably because it was co-owed by Spaky's old buddy Pete Rose. The oil man is played by Hugh Gillin who also played the WPIG reporter at the Linda Taylor press conference in "Love Returns." Regular story editors Torokvei and Kampmann were the writers on this episode.

Roy

Ep. 33 - Jennifer's Home for Christmas

April 14, 2016

Writer: Dan Guntzelman and Steve Marshall

Director: Rod Daniel

Original Air Date: December 17, 1979

Merry Christmas from Cincinnati!

I found this is an episode that didn't get shown as much in syndication. I don't remember it as well as others. That is kind of a shame because the writers take great pains to not trade in the typical Christmas episode tropes (I'm looking at you, ep. 53!) and it makes for a truly touching show - unlike last week's episode which swerved at the end to force in a touching moment.

It's also a rare episode that is both a frame for big set gags AND a fully rounded character study. Written by the show's regular story editors, Dan Guntzelman and Steve Marshall, maybe they were trying to show the other writers how it should be done.

The episode's first half revels in the cynical side of Christmas: Johnny playing syrupy music; Herb's house being infested with in-laws; even Bailey is grouchy about trying to get a flight to Chicago! Christmas can be a stressful, expensive and uncomfortable time. WKRP showed that years before movies like "Christmas Vacation," "A Christmas Story" or "Bad Santa" made complaining about Christmas a trope of its own.

Decking the Hall with Boughs of Holly

Mr. Carlson seems to be reenacting scenes from a Charlie Brown Christmas, especially when it come to Christmas trees. Telling the story to Jennifer about going out every year to find a tree only to have his mother be disappointed sounds to me like Charlie Brown and Lucy's relationship. Another sign of the tight writing here is the call back joke to this story at the end of the episode, in which Carlson takes all the trees to please his mother.

Rather than the Christmas tropes, this episode plays with the trope of the prettiest girl in school not being invited to the prom. Could Jennifer really be alone at Christmas?

Jennifer has made a family for herself in Cincinnati with her co-workers, even if they don't necessarily see themselves that way. She was happy to get them gifts without expecting anything in return. We saw by her apartment that gifts don't have much meaning for her. The office party was meant to be her time to enjoy the holidays rather than having to worry about being perfect in front of the Admiral or the children. She didn't ruin the party for them - they ruined the party for her first.

As much fun as we'e had in the first cynical half, the episode moves quickly to sweetness with Venus' panicky phone call to Johnny. Despite the cynicism, one of their friends is depressed and needs attention now! Rally the troops! Buy the tress! Christmas plans be damned! And eventually everybody comes to the realization Jennifer had originally - they are a family.

We get a chance to examine Jennifer Marlowe from many different sides on this occasion. Giddy Jennifer, planning a party and laughing at Mr. Carlson's corny jokes. Angry Jennifer, disappointed by her co-workers. Reluctant Jennifer, knowing how telling people she's taking orphans to Bethlehem sounds to regular working folks. Poignant Jennifer, touched at the outpouring of love from her friends. This is Loni Anderson's best performance to date.

It's a great character piece, but there are also many funny pieces here, like decorations on a grand tree! (Hmmm, maybe I'm getting a little too Christmas sentimental here myself). First is Venus as Santa; perfectly set up by Carlson trying to imagine what that would look like just before Venus walks in. No one in the audience could have imagined it, but the moment you see it, he couldn't have been anything else - it's what the cover of the Earth Wind & Fire Christmas album should look like!

Santa Cool

Herb has a nice running story about how crowded his house is right now, culminating in the phrase "I took a shower with a bald man this morning!" A great balance is achieved between Herb as sad sack loser and his slimier side, like coming over to give Jennifer a "Christmas Goose." Where the goose Herb, indeed.

The best gag is Andy telling Herb he has to leave Jennifer's place because he didn't bring a Christmas tree and the rest of the gang going along with it. Even Carlson plays along! I wonder what kind of tree Herb would have found, as the parade of firs into Jennifer's apartment continued to get scrawnier and scrawnier. Carlson's tree does look like the famous Charlie Brown tree sprung to life.

"I never thought it was such a bad little tree" said Linus.

These are playful scenes but they don't take away from the main plot. If anything they show the banter and friendliness that Jennifer wants to be a part of for the holidays.

Other notes: For those keeping track, Jennifer has now kissed three of her co-workers, Johnny, Andy (after the tornado) and now Herb. George Gaynes played the French admirer in Jennifer's apartment. He was the real life husband to Allyn Ann McLerie, who played Carmen Carlson in Ep. 30. Writer Steve Marshall plays the second delivery man; the one who says to Andy "Out of the way, Sport"

Roy

Ep. 32 - Bailey's Big Break

April 13, 2016

Writer: Steve Marshall

Director: Will MacKenzie

Original Air Date: December 10, 1979

It is easy to see this episode as a companion piece to last week's episode in which the ratings came out and Andy was upset he had not made more changes to the station. The very first shot is of Andy, sitting in Les' chair while the two of them listen to audition tapes. Les obviously doesn't want the help so it must be Andy driving this change.

We also know this because of Andy's exclamation at the end "I can't get anything DONE around here!" Andy finally wants to get things done!

Have you ever heard of "vocal fry"?

In this age of podcasting, it gets discussed more, but it that growly sound when a speaker doesn't put enough air or strength into the end of a sentence. But if you Google the term, what you will find is female podcasters get called out on this as an annoying trait far, far more often then their male counterparts.

What I mean to say is that in 2016, there are still a lot of people who will find more flaws in a female broadcaster's voice than than in a man's voice. This has made it difficult for women to move into those jobs. This episode shows us that the same excuses have been used for 40 years.

In an historic moment, the most competent is going on the air of WKRP

The voice of a woman not having the authority to present the news is the excuse Les tries to give to Andy and Andy is so determined to get things done at the station, and so ready to fight for Bailey's rights, he believes that is Les' reason for being so upset. Andy profiles that Les will be a sexist in this matter and misses the real cause of Les' distress. We as the audience are led into profiling Les this way as well.

However Les' real concern is that the news is all he has. There is no family at home. There is only his commitment to ten (!) news updates each and every day. News that is presented the Nesman Way - starting with farm reports even though they are in the city and reorting on swim meets that occur in water.

Okay, all you Bailey lovers - here are her legs

It's been a while since we've had Richard Sanders really chewing up the screen like he did so much in the first season but hear he is at his mood swinging best. Whether swinging wildly from mocking Bailey, pouting to Mr. Carlson or crying in his office, it looks like the return of our worst Les Nesman. It takes an episode about gender parity in the work place and turns Les into a sympathetic saint just for doing the thing he should have been doing since the beginning of the episode.


Other notes: This is the second episode in a row in which Andy's hair gets mussed. One day on the job and Bailey has a phone interview with Ted Kennedy? Someone please create the meme (or better yet, the T-shirt)  of Herb Tarlek saying "I do everything on the basis of sex"

Roy

Ep. 31 - Baby, If You Ever Wondered

April 2, 2016

Writer: Bill Dial

Director: Rod Daniel

Original Air Date: December 3, 1979
***VERY IMPORTANT***

I have been waiting for this episode to rant about one of my long held theories concerning "WKRP in Cincinnati." Here it is: Andy Travis is not very good at his job!

He doesn't program the music; he let's the DJs program their own stuff even though by this point in American radio, nobody followed that practice. He doesn't help Herb generate leads or close sales; when he wants more money for the station, Andy sends Carlson off to see his mother. He doesn't advise Les on what direction the news reports should take. Mostly what he does is roll his eyes and complain when things don't go the way he wants them to.

It always amazed me that Andy doesn't take advantage of any of the situations that have been presented to him, the way a seasoned radio professional who has travelled "up and down the dial" ought to.

Let's go through the list of complaints Andy shares with Venus: 1) what radio station relies on one sales person? Years ago, I worked for my university radio station (ie community, back funded) and they had THREE sales people, plus the station manager. If you don't like what Herb is doing, hire someone else to work with him. 2) nobody is listening to a rock radio station for its hard hitting journalism, but they would definitely listen to someone who says things like "Chai Chai Rod-ra-queeze." Why WKRP doesn't have billboards up touting "More Rock and Les Nessman" is beyond me. 3) If Jennifer is the highest paid employee at the station, then get her to do more. Have JENNIFER generate sales leads for Herb. We seen men throw money at her just for looking at them 4) You're a rock station! You WANT your DJ's saying on they air that they would rather throw themselves in front of Donna Summers tour bus than play disco music. Andy would know that if he PROGRAMMED THE MUSIC!!!

Clean Up! Bailey's coming in!

Andy is absolutely right - everything worthwhile he accomplished at WKRP he did within his first week. The rest of the time, he just seems to stroke egos. Les believes if his ratings are bad in Cincinnati, his "next stop" will be the Washington Post? Herb believes he deserves a new car with "rich Corenthian leather." Mr. Carlson wants to build a new station !?!? Who has spent a year convincing everyone that this is where he is leading them? Andy Travis. What has he done to get them there? Nothing but made friends with them.

Okay. My rant about Andy is done. Now I'm going to rant about Venus' lecture at the end of the episode.

"You can't fire the little guys if you can't fire the Big Guy." What does that mean?? Carlson is Andy's boss - Andy can't fire him. Carlson's mother clearly knows what kind of station manager he is and has never fired him. She's not going to do it on Andy's word. Carlson would happily let Andy be the heavy and fire Herb or Les or Johnny. I don't know where you work, but anywhere I've worked, employees don't fire their bosses - especially in a family owed company.

Venus' advise breaks down into "Don't worry about not being perfect at your job anymore. Now you're a screw up like the rest of the people who work here... except for me." That's not really inspirational.

It's impossible not to watch this episode about radio ratings and not believe it reflects the thoughts of the cast and crew towards their own CBS ratings issues. On one hand, everyone is obviously nervous about the ratings, while some still put up the front of ratings no mattering. Johnny says he doesn't care about the ratings before swigging from a coffee carafe. Bailey says there is too much emphasis on ratings but hasn't had the experience Herb has of trying to sell a station with poor ratings. I can easily imagine young, creative writers in the WKRP writers room fighting for artistic quality being more important than ratings while producers and network executives complain about selling ads on "WKRP" when its ratings are poor.

Herb and Johnny are closer than we think

This episode revolves around each characters reactions to the ratings. I found it interesting how similarly the characters worried about what the numbers meant for them instead of remaining in their "dungarees vs suits" camps. Both Herb and Johnny press their ears up to Mr. Carlson's door for a hint of what the book reveals. (In real life, Hesseman is only two years older than Bonner, whereas we tend to consider Herb significantly older). Both Les and Venus exclaim loudly at their positive ratings when we don't see them reacting similarly to many other things.

This episode also revolves around one of the great equations in life: happiness equals reality divided by expectations. (Feel free to use that in an inspirational poster in your office). The same reality that makes Andy trash his office has Carlson popping his champagne cork!

Roy

Other notes: For decades, the Arbitron company was the ratings book of record in American radio, until purchased by Neilson in 2013. We see the widest shots of the set that we will ever see on the show, from the long panning shot of the lobby after the theme song to the edge Carlson's office when he clicks his heels. Remember when Andy introduced the idea of changing the format by unfurling a KISS poster behind his desk? Now, it's a Chuck Mangione poster.  Regular producer Rod Daniel directed this episode and must have wanted to show where all the set money has gone. (Extra Note: a couple of weeks after this posting, Rod Daniel passed away at age 73. My condolences to his loved ones)

Ep. 30 - Patter of Little Feet

March 28, 2016

Writer: Blake Hunter

Director: Will MacKenzie

Original Air Date: November 26, 1979

The most important thing to Arthur Carlson is to be a good father. Not just to be SEEN as a good father, but to actually make an impact into the lives of his children. We saw this in the episode "Young Master Carlson," when Arthur jr. visits the station. The episode ends with Arthur senior admitting he had not been a great father and vowing to change.

Carlson sees himself as the father figure of WKRP. He defended Venus against the Army in "Who Is Gordon Sims?", with Venus even identifying Carlson as his father. Herb says "I'm like a son to him!" in "Turkeys Away." It probably has something to do with having such a remote, demanding mother that Carlson himself values being a loving, present father. (Not to psychoanalyze this character too much. Far be it for me to over analyze this show).

In this episode, we also get to see him striving to be a good husband. We had only seen brief glimpses into his marriage before this, in telephone conversations or one-off "ball and chain" type jokes. But the insinuation had always been of Arthur Carlson: respected community member; caring business leader; husband and father. He would probably think of himself as the Average Ohioan.

Now according to Bailey, average means 2.96. That is the number of times a married couple has sexual relations - no matter what Herb thinks about it. For Johnny's sake, let's round that up to three. What has "being average" gotten the Carlsons?

A chance for Arthur to be a father all over again!

The New Superman?

We know the character of Mr. Carlson so we know that he wants to seize this opportunity. It's what his life is all about. But we are finally introduced to Carmen Carlson (played by character actress Allyn Ann McLerie) and we are introduced to a peculiar element of their relationship - they never want to hurt the other's feelings. It's a delightful quirk that comes up whenever Carmen is in a future episode too.

The funniest piece of this entire episode (it's so good, it might be the whole reason for the episode) is the wonderful backwards fight to two characters have in which each blames the other for only thinking about each other and never being selfish. "Just once, why don't you think about yourself!?!"

Hubba Hubba!

If you've read my other posts, you might be wondering why I didn't start this one by discussing the major cultural taboo that contributes the conflict of the episode: Abortion! Should it be considered, given Carmen's age, and the question of if she really wants another baby? I didn't start with the issue of abortion because, at no point, did I feel it was seriously being considered by anyone other than Mama Carlson. We know Arthur wants the baby. We think Carmen wants the baby. Mama is always the evil to be fought off. It might have been edgy saying the word, but the Carlsons were always going to have this baby.

I was more impressed with the conversation Arthur and his mother had about the possible risks of an older woman having a child. Mama says the child could have problems and Arthur says "It's called Down's Syndrome, mother! We know all about it." Even today, issues like Down's Syndrome, and the question of having an abortion rather than risking having a child with Down's Syndrome are rarely discussed on television. It comes across as more daring than the abortion discussion.

You might not realize from what I just wrote, but this is a very funny episode! Beyond the backward argument I mentioned, Herb's misery over what is "average" sex just gets dragged out to its most embarrassing ends. Even Les takes a jab at Herb's sexuality! Jennifer and Bailey describing the physical attractiveness of the Big Guy must have been a lot of fun for Gordon Jump during the first table read. Carlson discussing boys and girls with Venus, who hasn't heard about the pregnancy, lets Tim Reid's comic timing shine. This episode is full of long pieces allowed to roll out with as much time as they need to be their funniest.

Not the face of listening to the Carpenters

Unfortunately, we don't get the pay off we deserve on the Venus piece because of probably the most egregious music substitution we've had in the box set so far. When Carlson asks Venus to play a song for a "girl" he has in his office, we are suppose to hear "Thank Heaven for Little Girls" sung by Maurice Chavalier from the musical Gigi.  But what actually plays is "We'e Only Just Begun" by the Carpenters which makes no sense at all! Venus is even clearly seen clutching the Gigi album cover! You may or may not like the Carpenters, but even Johnny wouldn't believe this song would send Venus into a catatonic state.

Other Notes: Allyn Ann McLerie was married to George Gaynes, from Police Academy and Punky Brewster fame.

Ep. 29 - Mike Fright

March 13, 2016

Writer: HughWilson

Director: Will MacKenzie

Original Air Date: November 12, 1979

Okay all you passionate Bailey fans, who fill up forums and Tumblr pages with your love for Jan Smithers. This is a big win episode for you!

I was going to write about how this episode is all about facing your fears, with Johnny's fear of talking on the air being centre stage. As well, you had glimpses of 1) Carlson's fear of causing any trouble 2) Andy's fears of both dealing with a panicky Carlson and a large pinball player 3) Les' fear of civil and social breakdown and 4) Venus' discomfort, if not fear, of being in a bar like Snooky's.

But this is one of those episodes that's not really about the plot so much has the plot is a frame in which to hang some visual gags and jokes. And one of the greatest lines in 'KRP history.

Back in my blog for Ep. 23 - For Love or Money, I imagined what the writers must have wanted to do in season two:

Given what we see, here is the list I think that team came up with:
1) More character development. The audience is loving these eight people. Let's see more about their lives - where they came from and how they interact with each other.
2) Love (today, we would call it "shipping") Maybe some sparks could fly between our characters
3) We can be ridiculous with these characters and still not lose their humanity. Let's do more of that! But still keep current to issues of the day.
4) We need to do more with that Bailey Quarters character. Jan Smithers is a far more confident actress than we're showing now.

Check. Check. Check aaaaaand check!

So what drives Johnny? It's obviously not the money ("Once a week, whether you need it or not, someone gives you a cheque for $38"). It's not the fame or power because when he realized people we actually listening to him, he froze up. Is it that he doesn't want to end up NOT on the radio like "Boogie Down" Towne (or worse, spinning disco?) because that seems to be what is upsetting him the most. That's some character development.

For anyone who had wondered if Bailey's crush on Johnny only went one way, all doubts were gone when Johnny, in a moment of great vulnerability, smiles at Bailey and says the fantastic line "I sure would like to take you home and kiss you all over in the dark." Shippers rejoice! Of course, he also just said that into an open microphone to the population of Cincinnati.

Quite a bit of ridiculousness in this episode, starting with Herb's client, the Merchant of Venice Pawn Brokers wanting the Star Spangled Banner played after each of their commercials. Then the startling sight of a little person, hard ball lawyer in a three piece suit gets even zanier when he speaks directly to Jennifer (at chest level) rather than to his client.

But the most ridiculous gag is in Snooky's Bar, with the pinball player wanting to bet two-bits. "I think you're old enough to know this. In this bar, two-bits is $25; four-bits is $50 and so on." It leads to two great gags. First, Venus, in a serious moment of intervention with Johnny asks, "So how good are you at pinball?" The best though is Andy being shaken like a rag doll for trying to pay the guy off with fifty cents. Gary Sandy doesn't get to do enough physical comedy and he's pretty good at it. Hey, Andy! You're safe at the station! You can throw away that ripped shirt sleeve that hangs around your wrist like a bracelet in the third act!

But where this episode shines is in showing the value of Bailey in the eyes of the other characters. In the cold opening, she's the shy character we've come to know, who can't imagine how Johnny speaks to thousands of people every day. She's also the student we know, learning from Johnny a secret to public speaking. But at the end of an episode in which no one has asked HER how to find Johnny, the student becomes the teacher. Andy, Venus, Jennifer and Les watch through the glass as she blossoms into the one person who can get through to Johnny. Bailey gives Johnny the confidence he needs, in a full reversal of roles. She also becomes an object of lust for someone for the first time on the show. No one looking through that window ever sees her quite the same way again.


Other Notes: The real life mayor of Cincinnati at the time of this episode (and for most of WKRP's run), onto whom's lawn Johnny says citizens should throw their garbage, is "talk" show host Jerry Springer.

Ep.28 - Carlson for President

March 7, 2016

Writer: Jim Paddock (according to IMDB, this is is only credit for anything!)

Director: Will MacKenzie

Original Air Date: November 5, 1979
^^^FAMOUSLY FUNNY^^^

The title of this episode is not "Carlson for City Council" because that's not what it is really about. The only elections people really care about are the big ones for president (or prime minister. Shout out to Canada!) so those are the mechanisms and issues people know about. I loved the show "Parks and Recreation," but the actual issues of media management and wide scale political interest were always way above what they would be for the Park and Rec department of a small Indiana town. It was really a mirror of the larger national issues.

So is this episode of WKRP.

But let's look at a couple of other things first.

Mr. Carlson doesn't know, when he is in the booth to record a promo, that when the producer points to him, that's his cue to start talking? Or even what a "level" is? I haven't worked at a radio station my whole life like Carlson has and even I know that! Maybe Tillman is right to mock the way he runs his "broken down radio station."

Also, for this fairly progressive show, there are a strangely high number of homophobic jokes in this episode. The worst example of dirt that Herb can think of to ask Bailey about is if Tillman has "ever been seen in the company of men... just hanging out." That's something that would have no bearing on his ability to do the job, whereas drinking and missing meetings definitely would. Les is going too far suggesting Carlson lounges around in a dress but insulting overweight women is okay? It's out of character for this show.

But I'm just being picky because this episode is really suppose to be a comment on elections in the late 70's and it's amazing to see how so many of these issues are still in elections today.

Is there any campaign today, at any level of government, that wouldn't use the alcoholism of their opponent against them; especially if it can be proven that it has poorly effected their performance in the past? I don't think so. Even the most liberal of campaigns would not hesitate to use that information to win an election. And why wouldn't they? Because to do so would be in poor taste? Yet that is the entire crux of Bailey and Andy's argument.

In the 35 years since this originally aired, political campaigning and we as the electorate have become more cynical. Negative advertising has simply become another tool. So we end up watching this either wistfully remembering when this really would have been an argument, or agog at the naiveté of the "young generation" on the show. Unfortunately, I fall into the latter camp.

What is really sweet is then considering Carlson would probably make the best councilman out of all the candidates. He does really love Cincinnati! His answer to the busing issue, when he finally gave it, was actually thoughtful.  However, as the writers are trying to point out, being the best candidate means nothing in this new, fast-paced world of television campaigning.

You need to wear makeup! Look straight into the camera! Don't sweat! The highlight of this episode is the cringe-inducing television debate in which Carlson looks like a beet-faced marathon runner. The incumbent Chuck Tillman looks practically presidential next to a Commie-hunting conspiracy theorist (hello! Simpson from "Gimme a Break"), a woman hawking her self-help book (more on her later) and a very uncomfortable Arthur Carlson. The moderator, Barry, is comfortably friendly with Mr. Tillman ("call me Chuck, Barry") and reasonably polite to the others which just makes them seem even crazier. Carlson spills coffee, pleads the fifth on every question, uses the wrong hand gestures when he does answer and generally looks like a buffoon!

Only when WKRP itself is attacked does Carlson come to life, standing and delivering the only valuable point of the debate: calling out Tillman as a drunk. Tillman is so stunned someone would dare to bring that up, he doesn't even defend himself.

Back in campaign headquarters (and there has to be some law against using your place of work as a campaign office, but whatever) Team Carlson has now switched gears. Johnny and Venus watch in amazement has everyone works to lose the election in anyway possible: Les playing "Deep Throat" to feed lies to the press, ridiculous posters are printed, even Arthur himself insulting a women's group. For him, losing this way is better than beating someone dishonourably.

The episode ends sweetly, as Arthur imagines what might have been and addresses the audience directly with "My Fellow Americans." In today's political world, we can all agreed we could use a few more candidates like Arthur "Big Guy" Carlson!

Roy

Other Notes: Candidate Mitzi Monahan, who is hawking a book about how women should accept that men are the natural bosses of the world, is a lot funnier when you know she is being performed by Lillian Garrett-Bonner, who was married to Frank Bonner at the time. Venus is quoting lyrics from the song "Summertime" from Porgy and Bess when describing the Black Community to Carlson. Carlson asking Herb to pray with him is a nod to the story of Nixon asking Kissenger to do the same the night before he resigned the presidency. Jennifer getting an $800 campaign contribution elicits a gasp from the audience.

Ep. 27 - Jennifer Falls in Love

February 10, 2016

(sorry for the delays. Thank you for your patience)

Writer: Paul Hunter

Director: Will MacKenzie

Original Air Date: October 22, 1979 (second episode of the night!)

This episode has very little to do with Jennifer falling in love and a lot more to do with Jennifer's effect on men. As well, strangely, we've never seen Jennifer acting so shallow before now - an episode in which she has to deal with her shallowness. But most of all, this is an episode you need to WATCH because so much of the comedy is visual.

I've written before about how much the show is like a radio play, where voices and readings are funnier than what you actually see. Take Les' description of the scooter crash in the last episode as an example. In this episode, so much of the comedy is visual. It is the best directed episode of WKRP so far and Will MacKenzie must be called out for spotlighting this element of the show. Watch Howard Hesseman act out all of the descriptions Jennifer tells Bailey about the new love in her life. Thinking it might be him, he flashes his smile, strikes his model pose and even tightens up his "cute little derriere" behind the women. We barely notice the exposition being delivered over the roaring laughter of the audience.

What would get Johnny to act this way, even to later (gasp!) wear a tie? The idea Jennifer might be in love with him.

The real visual heart of this episode is seeing Jennifer together with her new love, Steel Hawthorn (played by frequent 70's and 80's TV guest actor Thomas Callaway). With flowing blonde hair and sparkling white teeth, they could be twins. Even Les, later in the episode, says he'd love to get a picture of the two of them together. To the doorbell chime of "Fly Me to the Moon" the two of them sweep around Jennifer's apartment, gazing lovingly into each other's eyes when they're not gazing into a mirror. Both are confident, strong and beautiful, but this "love" is obviously as shallow as that mirror.

Here's your picture, Les

Contrast this to the other major arc of the episode, Les, who is insecure, weak and not as beautiful. He doesn't feel confident enough to ask Mr. Carlson for a raise after he finds out he is the lowest paid radio journalist in Cincinnati. Les believes he is still at WKRP after seven years out of loyalty; that he could have gone to the NY Times or "On the Road" with Charles Kuralt (that was the name of a news show at the time) at any time. Little does he understand that his perceived weakness has kept him where he is. Les even goes first to Jennifer, and then to Venus, for them to petition Mr. Carlson for a raise on his behalf because he is not strong enough to do it himself.

This is the backdrop to the best joke of the episode: When Les meets Steel, he says "Steel, is it? That's a nice name." Steel says "Thanks. I like to think that a person's name says a lot about the type of person he is. What was your name again?" The joke is in the expression on Les' face as he weighs his name against Steel's before answering.

This starts of something of a cockfight between these two men, each wanting to appear the most manly in front of Jennifer. Les discusses how handy he is around the house "until (he) blew out the back of the garage" when he sees Steel is a handyman. Les jumps to Jennifer's defense when he thinks Steel is getting too friendly. Les chugs a martini before leaving. Of course, he is horribly outmatched by Steel, but he feels he needs to strut what manliness he has in front of Jennifer.

The final sequence plays out in Mr. Carlson's office, where Jennifer and Steel have their fight about his asking her for money, now that he knows she has money. Mr. Carlson comes to her defense, first against Steel and then more importantly against herself, when she starts to feel ashamed about how she has acted in the past. Jennifer starts to think of herself as a "gold digger" which is really what most people think of her. Earlier, even Bailey questioned her about this. Jennifer thinks she feels as bad as she does in breaking up with Steel because she "gotten a taste of her own medicine." Mr. Carlson assures her she is nothing like Steel, and Jennifer runs into his big, strong, comforting arms.

The joke again is entirely visual because we now see Carlson is a little aroused and thinks this might be HIS chance with Jennifer. When she describes him with "you are sooooooo.... decent!" we SEE Carlson literally deflate. Jennifer continues to lay the "compliments", talking about his family and his church and we see Carlson's expression being more and more ashamed. It is all done with gestures and expressions.

You are sooooo...

Other notes: The other big visual gag comes from Venus is wearing a keffiyeh and calling himself a sheik (pronounced "shake" don't you know), leading to a lot of dramatic scarf tossing. The scene between he and Les (and Venus getting Les' raise) was a small nod to the issue of Affirmative Action. I wonder if in earlier drafts, it was going to play a larger role than it did. When Andy says to himself "I've gotta get outta here" at the end of the episode, he closes Les' "office door" although no one else is around to see him. It shows the insanity he's "gotta" get away from even more. Bailey like derrieres! Who know?

Roy