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.