Ep. 26 - Bad Risk

August 29, 2015

Writer: Gene Fournier and Tom Joachim

Director: Will MacKenzie

Original Air Date: October 22, 1979

How does a sit-com explore the extisential dilemma of peering into the gapping maw of mortality, observing the hardships and injustices of this waking life and overcome the inevitable blackness such questions drape across the fragile human soul?

You get Herb Tarlek to sell life insurance.

Nobody likes the conversation behind buying insurance. You are placing a bet that something is inevitably going to go wrong in your life and you want to be protected for when that day comes. We spend most of our days avoiding the questions of our mortality by doing things like watch TV and write blogs. Everyone in the station isn't running away from Herb because he's going to sell them life insurance; Herb is the worst salesperson in Cincinnati! They are all running and hiding because they don't want to have that conversation: "What happens when...?"

Into this mix, we throw Les Nessman. We have seen him in very depressive states before. In the THIRD EPISODE he was suicidal! In this episode before this one, he was sadly remembering childhood violin lessons. We have watched and laughed at Les' paranoia and standoffishness. But this is the first time WKRP has ever asked "Is Les okay?" "Does Les have depression?"

Mental illness in the 1970's was still a source of tremendous shame in the United States. Les would certainly have known the story of vice-presidential candidate Thomas Eagleton, who was forced to withdraw his candidacy when the word was leaked that he had been treated for depression. Mental illness still wasn't seen as an illness, but a form of weakness; a moral failing. Les imagines himself as the torchbearer of Edward R. Morrow - tough, man's man journalism, facing down the terrors of the world to bring out the news. For Les, there can be no moral failing. So for him, it's "Newsman's Syndrome," seeing so much horror in the news must be what makes him depressed. He doesn't realized that Morrow smoked and drank to deal with the pressures and didn't live to be sixty.

It is a real progressive move for the show to have Andy confront Les about his behaviour and suggest he speak to a "psychiat... ummmm!  or at the very least a therap... ummm!" But the best argument he can come up with is "it's not so bad anymore" which really isn't going to help Les overcome his fears.

Andy has got Les' back

Herb knows what to do. Les needs to take action against his depression and an acceptable action is to buy insurance! Lots of insurance! More insurance than six guys! That'll teach depression who's in control! And if Herb can make a little money along the was, so be it.

Of course, this is "WKRP in Cincinnati" so it's no gamble when Les buys insurance... it's a sure thing!

This is another great episode for Richard Sanders to use the theatre of the mind to describe something that is so much funnier in our imaginations than it would be to show. Of course, the classic example is the turkey bombing. But his slow burn detailing of the mobile news scooter crash is just as good. Frank Bonner sells the storytelling, writhing to hear the final details of the accident Herb's new company just agreed to cover. His reactions to Les' growing tale are delicious, ending with his collapse at the very dry detail the scooter struck "Mr. and Mrs. J. Garrent Hopkins as they were having tea."

This scene works so well it is replayed again almost beat for beat at the end of the episode as Les details the fate of Herb's boat. That end with Herb collapsing at the detail of the boat's "little flag fluttering out behind."

But now let's go back to the hospital scene. Herb is actually very sweet here. He originally went to try and get Les and the station out of trouble with victims but he ends up defending Les just on the basis of being his friend. As much as Herb does take advantage of Les (in this and many other episides), in the end they are each other's best friends.

In the Hopkins, Les finds matching souls, a depressed couple for whom life has been one disappointment after another. Misery loves company as each side hears the other's tales of woe and draw closer together. Watching this strangely becomes very funny, again mainly from watching Herb's reactions.

So in the end, the episode is teaching us that generousity and community can overcome depression. In reality it's a little harder than that, but you can definately be put in a better mood by watching Herb get his upcomance.

Other notes: No Bailey.

Ep. 25 - Baseball

August 20, 2015

Writer: Hugh Wilson

Director: Hugh Wilson

Original Air Date: October 15, 1979

I don't know the first movie, or story or play that used the trope of the lone "nerd" standing out in the middle of a ball field praying for the ball not to come his way. I've seen the scene echo throughout entertainment, in later movies and cartoon episodes. I can't imagine it was originated by Hugh Wilson. If so, that's amazing. But even if not, Nessman is always the nerd I imagine and this is where it feels like that trope began.

If this boxset had director commentaries, this is definitely one of the episode I'd want to hear some background about. It is so different from the rest of the series, I'd love to hear both how it was technically produced as well as if it was any fun to shoot.

The cold opening is unique for several reasons. It is the only scene filmed at the station (so I wonder if they even bothered to shoot it in front of an audience). Also, in three minutes the entire plot and motivation of the episode is laid out. "Okay Herb. What about me?" We usually don't get that much that fast.

As the game begins, Les appoints himself as manager and pitcher, since he is the sports director of WKRP and this feels to me a little bit like Charlie Brown. He's the only person who truly cares about even playing this game, so he gives himself all of the most important roles however he is also the least qualified person do to any of those roles. By the end of the game, it's apparent he's not even qualified to stand alone in right field. I'm surprised nobody calls him "You Blockhead!"

A Nessman Out Standing in his Field

What is it about baseball that brings out the sepia-tone heritage heart tugging in Americans? Les uses this same imagery to convince the station to play in game in the first place. Where this really stands out is in the slow banjo music that plays throughout the game. For a show about a rock and roll station, this is the only music in the episode and it is suppose to remind everyone of those sunny summer days when everyone played ball with their... chief rivals on a $200 bet?

But that's not the music Les hears. He hears the scraping sounds of violin lessons and the bullying voice of his mother. This glimpse into Les' life is one of the main purposes of the episode.

The other purpose is one "WKRP in Cincinnati" loves to pull out every so often and that's to show the individuality of the characters outside of work. Johnny Fever brings a lawn chair while in centre field. Venus wears a scarf and carefully brushes himself off after diving across the field. Herb continues to wear double knit pants and white shoes. Andy is the only person (on either team) to wear a tank top -- gotta show off those guns to the ladies at home!

The completely blotto engineer Buckey Dornster (brought back for the last time in show history in order to fill out a nine man roster) smacking line drives while passing out is a nice call back to episode 21 in which Johnny gets faster reflexes the more he drinks. 

But the stand outs are Arthur "Moose" Carlson, who just wants to have fun but wilts under the pressure of competition, and his loyal friend Jennifer, who helps him out with a smile and her "new red shorts." 

Did you notice Andy is also in this picture?

This episode is like a buffet of WKRP, It's not a great episode itself, but there are a lot of good treats in it. After reading his paper and not caring for four innings, I love that Johnny finally says he's had enough and then explains to Carlson and Jennifer how to turn the game around. It results in five runs in one inning! Add to that Johnny getting himself hit by a pitch and Venus and him acting like he's been shot. Carlson's exclamation of "I should hope so!" when called safe at home after defiantly walking the bases is lovely understatement.

To me, the funniest joke in the episode comes when Les asks Bailey (who looks great even if she's not wearing short shorts) to lead the team in a prayer. Why her? "Because you're the most wholesome," explains Les. What's funny there is 1) how many of her friends at the station think this is funny, as if they know something more about her, 2) that she agrees anyway because she realizes that is her reputation and 3) that Les wouldn't consider himself the most wholesome. What dark secrets is he hiding?

The outcome of the game is never in question to an audience that has ever seen even one sports movie - (spoiler alert!) the picked upon Les wins the game on the very last play and is carried off the field on the shoulders of his team mates. A voice over plays that I don't recall from syndication of Les "recalling" the events of that day, as if in a memoir. It's more of the purple prose he uses at the beginning of the episode but what I found interesting is he says this was an experience most boys and girls have when they are ten or eleven, and here he was experiencing it "27 years later." That puts Les' age at around 37 or 38 years old! With the bow ties, receding hairline and general squareness of the character, I always thought Les was well into his 40's and maybe 50's. (IMDB says Richard Sanders was 39 in 1979, but he seems older, doesn't he?)

Other Notes: WPIG station manager Clark Callahan was played by actor Ross Bickell who was married to Loni Anderson at the time (maybe that why he wasn't distracted by her "playing in tight" at centrefield). Did you know when to laugh throughout the episode? Any laughs you hear are canned; not audience. This episode aired during the middle of the 1979 World Series, which the Pittsburgh Pirates eventually won. Pete Rose really did play third and first base, but the show is now three years past the Cincinnati Reds "Big Red Machine" dynasty which featured Pete Rose.

Ep. 24 - For Love or Money, part 2

August 15, 2015

Writer:  Mary Maguire

Director: Will MacKenzie

Original Air Date: September 24, 1979

One nice thing about a blog is if you want a recap of last week's episode, you just have to go back and read the last posting. Back in the days of episodic television, you needed to spend two minutes letting a narrator remind the audience of what had happened. One nice thing about watching a DVD boxset is you can watch the two episodes back to back and judge how well the narrator did.

He did fine.

It was neat to see how they used a couple of different cuts and camera angles in the recap than what they used in the actual episode. Johnny recap adds the line "She got nice and weird!" and Herb reclines to a full shot of the bull pen rather than a close up.

But that's really nit picking an episode that has some very nice acting and subtle themes. The episode has the same writer and director as the first episode which makes sense since this is really just one long episode cut into two rather than two completely different episode tied together as in the two-parter from season one (Goodbye, Johnny and Johnny Comes Back)

It starts almost exactly the same way as the first episode, with a wordless shot of Bailey alone in the station, and then she comes up behind the DJ (in this case, Venus) in the studio and startles him. Jan Smithers really gives her best performance in the series so far, because she is finally given something to do. With Venus, she is angry and embarrassed. but as she sits at Herb's mirror, primps her hair and goes on her imaginary date with Johnny, she's sweet and (to use the modern term) Adorkable. So when Andy catches her doing it, we can really feel her humiliation being piled onto the humiliation of being stood up.

The audience should be turning against Johnny right about now except we know he's having problems of his own. He's called Venus to come help him because Buffy, the woman he lived with in California for two years, is coming back to sue him for (a new idea in 1980) palimony.

"I put poison in the brandy!" "How very... medieval of you."

Now it's Howard Hesseman's turn to continue the fine acting we saw in the first episode. At first he is distraught and panicy. Maybe Buffy wasn't the only drama queen living in Laurel Canyon back in the day. Johnny swings from dramatically shocked and depressed, to resigned and even level-headed. Then he swings back to dramatic when he discovers he may have been poisoned! He finishes the episode acting as if he's on speed. Don't just listen to the fast talking, but look at the darting eyes and lip licking too. That's a lot of emotions in about ten minutes.

After everything, Bailey still wants Johnny 

Bailey delivers the heart of the episode by saying that some people "aren't cruel. Just thoughtless." She is directing this at Johnny, who at first thinks she means Buffy, and when the realization of what he has done to Bailey hits him, his whole demeanour collapses under the weight of the bad karma he has brought upon himself. If Johnny had only kept his date with Bailey, not only would none of this have happened but he could have been starting a whole new, healthy relationship with someone who isn't crazy. (Relatively speaking that is. This is still WKRP. Everyone is crazy). Another wide emotional swing that Hesseman sells well.

Let's go back a little bit to the scene in the booth when Andy and Carlson come in to discuss the budget numbers with Venus, before they all get routed to Jennifer's apartment. First, I don't remember most of this scene from syndication. The discussion for the price for a new transmitter? That seems new to me, but it doesn't fit with anything else in the episode so I can see why it might have been cut for time. However, it is interesting the show wants to show Venus as some sort of tax expert, or at least knowledgeable about finance. I said in the last post that the producers obviously wanted to develop the characters deeper this season, and the juxtaposition of funky nighttime DJ against jargon spouting accountant give both that depth while keeping the funny.

That scene of Andy, Venus and Carlson together in the booth is reflected nicely at the end of the scene in Jennifer's apartment. Bailey and Johnny finally go on their date and the three men are left alone in Jennifer's apartment. You would think these men wouldn't have much in common outside of work, but Jennifer's apartment is a "nice place." All three of them are curious to take the tour, drink the fine liquor... and check out Jennifer's bedroom. The three men getting caught together by Jennifer only tightens their peculiar bond.

Other notes: If your wondering which snifter Johnny picked up, he DID pick the "poisoned" cup. Carlson checks out the bottom of the same brass bowl Buffy checks out in part one.

Ep. 23 - For Love or Money, part 1

August 9, 2015
(...aaaaand I'm back!)

Writer:  Mary Maguire
Director: Will MacKenzie
Original Air Date: September 17, 1979

So now imagine you are Hugh Wilson and the other writers and producers of WKRP and it is the summer of 1979. Against long odds, your weird and edgy sit-com has just been picked up for another season. At this time, you are looking back on what worked, what didn't work and how improvements can be made. What you you change? What things would you highlight and what things would you move away from?

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.

So, ladies and gentlemen, the minds at WKRP in Cincinnati bring you the two-part season opener "For Love or Money."

The very first character we see, for almost half a minute without speaking, is Bailey. She is going to be the fulcrum of this episode, the pivot point. The next thing we see is ridiculous: Johnny jumping up from under the console. Two ticks off the list and we're not to the opening credits yet.

These are now the opening credits fans will be most familiar with. Gone are the fake radio intros and long panning shots of barges on the Ohio River. A glimpse of Cincinnati and shots of the whole cast are presented, not just the names of Gary Sandy and Gordon Jump.

The theme of both parts of these episodes (but much more in the first) is the relationships and expectations between men and women, but it's heartening to see such a big topic is handled in a gentler way that it would have been in the first season. Those expectations are also about the power structure of men and women at that time.

I don't think the issue of a woman asking a man out on a date carries as much sense of empowerment as it did in 1979. (It might. It's been a long time since I was asked out!) It's strange now to see a college educated woman such as Bailey take so much pride in asking Johnny out to the movies. She worked up her nerve to to it then brags to Jennifer, not about the date, but that she had the courage to ask for a date! Remember, Bailey still has ties to the University... that's where the movie is being shown. Issues and discussions about Women's Liberation would be more prominent there than almost anywhere else in the city.

Johnny obviously doesn't see it with her same import. At first, Johnny thinks it's a group event. He tells Les it's nothing more than a movie. Then, once he agrees to go, he literally blows it off one minute later when another opportunity (with a better chance for sex) comes along.

As much as Andy and Johnny are teasing Herb to provide his "professional advice on women," his "objective" is the same as Johnny's... get her into bed. The River Flowing Past Both Doors is nice, but, the show tells us, we all really know what men want.

Law Suit?!?

In the same way, we know what women want. Enter Buffy! Laurel Canyon Buffy! No Kidding Around Buffy! She's crazy! She's spacey! She's casing the joint! From the minute she walks into Jennifer's apartment, she's figuring out how much everything is worth. It's a story that's been often told... Men want sex and will spend money to get it (Johnny asks everyone in the station for cash to impress Buffy) and women want money and will use their bodies to get it (Buffy drapes herself across Johnny while checking out the value of things).

There is one hero in this story who doesn't fit into this pattern, but we don't see that payoff until part two. So keep reading.

Lots of other things are happening in this episode to reintroduce us to these characters. Herb's whole speech, interrupted by the mere presence of Jennifer, shows both his depth and intelligence, and the sudden limits of those same depth and intelligence. Les displays his frugality and self control, as does Venus, albeit in a less Scroogey sort of way. Carlson shows he doesn't quite know what he sounds like to other people.

As I've said, the best thing about this box set is the inclusion of the original music. The show ends with Bailey walking around a darkened studio listening to Earth, Wind and Fire's "After the Love Is Gone." Not only is it an appropriately melancholy song for the occasion, but it's a song I can easily believe Venus Flytrap would actually play on his show. A different, watered down track wouldn't have worked as well.

Other Notes... Howard Hesseman obviously can not play the piano in real life. His scene at the piano should be a cue for him to play something special to Buffy, but he's really just hitting keys. "Raoul" was famously the fake name Hugh Wilson used when writing "Fish Story"

Bonus Feature - A "Fish Story" Story

April 18, 2015

The reason most people buy DVDs anymore is for the extra bonus features. It's why we don't just download everything... usually.

So it is with the new "WKRP in Cincinnati" DVD box set that, along with all the other joys it provides, there is a disc of bonus features. So since we have come to the end of reviewing Season One, I thought I would look at one of these features.

The featurette "A "Fish Story" Story" first appeared in the Season One WKRP box set that was released in 2007 ("The Black Box") and I want to refer you now to my blog post from Ep. 21 - "Fish Story." At that time I went into detail about the story of writer Raoul Plager, who wrote this episode. I said in that blog: "any interview with Hugh Wilson, or members of the WKRP cast, will touch on the story of Raoul Plager." I realize now that where I had heard the story the most was from this featurette back in 2007.

Is this Raoul Plager?

Cast members Loni Anderson, Frank Bonner and Tim Reid, along with creator Hugh Wilson, tell the story of getting notes from CBS saying the show wasn't funny enough and they want a "Laverne and Shirley" type of script with more sight gags and more jokes. Hugh Wilson is furious and decides to show CBS the error of their ways.

The featurette begin with very somber music, underscoring the seriousness of WKRP's situation. The first sentence spoken has Loni Anderson using the word "bastard!" This is the lowest ebb in WRKP. The show might be cancelled and the solution CBS is offering seems to be a sellout of all the ideals Wilson and the writers are trying to create. What will they do??

As Tim Reid tells it, Wilson called everyone into the writers' room and said "I want everyone to tell me the worst cliche comedy thing they can think of." So they came up with ideas like Herb in a fish suit and Bailey in the men's room.

Of course, Wilson was so embarrassed by what they came up with, he used the pseudonym Raoul Plager for the writing credit. Frank Bonner says "Psychologically, I've tried to delve into "Raoul Plager" and I can't come up with anything."

But as Loni Anderson puts it, Wilson's idea backfired. "It got huge ratings and everyone was crazy about it." The popularity of this episode, still an audience favourite, helped get WKRP renewed. The dark, troubled tone from the beginning is gone and we are left with a fun antidote.

This piece is only about three minutes long and I would have much preferred to have Hugh Wilson and these cast members actually provide a commentary track to the episode. It's cute, but it's just one story. Also, as I've already pointed out, it's a recycled story from 2007.

So take this one for what it is and get ready for season two!

Roy

Ep. 22 - Preacher

April 9, 2015

Writer: Bill Dial
Director: Michael Zinburg
Original Air Date: June 4, 1979


These last two episodes aired a month after the rest of the series was originally shown, when the producers and even the network weren't sure the show was coming back. These were the episodes the creators of the show felt were their weakest. With the previous episode "Fish Story" they misjudged its quality and eventual popularity. With "Preacher," they did not.

Just as a small indication, check out the credits at the end of the show. They are blue - something we hadn't seen used since "Mama's Review". That means this was 1) produced at the time of the original 9 episodes and 2) thought so lowly of that it wasn't worth updating the credits. I mean, it's not like 35 years later, some guy with a computer will ever see this episode and write about it...

But like pizza, a bad episode of "WKRP in Cincinnati" has some good to it and we get a few nice gags along the way.

The build up to revealing the Reverend Little Ed Pembrook works well. Johnny and Mr. Carlson both know him and are terrified of him, both claiming he's crazy. Venus is the one to tell Andy that he is a 300 lb former wrestler whom he once saw drive Haystacks Calhoun through a soda pop machine.

Finding the Sinners

So when we meet him, it's kind of a disappointment. The actor, Michael Keenan, did a fine and over-the-top job, but he doesn't come across as a gigantic lunatic. He's just a fat loud-mouth. He's shorter than Mr. Carlson even. It leads to a bunch of lame fat jokes, like having his backup choir, the Merciful Sister of Melody each be heavyset, for no particular reason. Pembrook states at one point that the sisters are "waiting for me down in the Honda" which was a notoriously small car for 1979. Four fat people driving in a Honda?!? Har-dee har har!

"Ahem!"

The big joke is the Reverend seems more interested "selling" "religious artifacts" on the air than providing any real spiritual guidance. I can imagine a session in which the writers sat around trying to come up with the most ridiculous items imaginable: John the Baptist shower curtains; The World is Coming to an End lawn furniture; My favourite: the St. Peter and Paul spice racks. But these items never seem like they are anything more than a string of punchlines.

Speaking of punchlines, did you hear the one about the priest, the minister and the rabbi? When the three members of the Greater Cincinnati Inter-Faith Council (there's no such thing. I looked it up) arrive at the station to complain about Little Ed and his "Church of the Mighty Struggle," it again looked like the writers creating stereotypes to joke with, rather than real characters. Why was a Cincinnati priest Irish? Stereotype.

Crisis of Faith

I completely understand that WKRP is not a documentary on the inner workings of the late 70's radio scene, but more than most episode, thing happen in "Preacher" that make even a casual observer say "really?" Of all the characters, VENUS watches wrestling? Why would Mr. Carlson put an exercise cycle in his office, and then ride it in a three-piece suit?

But most importantly, what rock station carries a religious service on Sunday mornings? Why would a religious service want to stay on a rock station? Why bother with the threat of an IRS audit when an Inter-Faith Council is complaining about Little Ed? That should be enough to void any contract the station might have.

The only part that felt genuine is that Bailey is the one who comes up with the idea of an IRS audit. Her shyness is exaggerated, but the enthusiasm she has in delivering her plan to take down Little Ed shows how wild she will be one day.

This ended the first season. Spoiler alert: the show didn't get cancelled.

Other notes: No Herb in this episode. I believe this is the only episode Frank Bonner missed. Haystacks Calhoun was a real wrestler in the 1950's and 1960's. He was one of the first famous Big Men, like Andre the Giant and the Big Show later on. There is no way Little Ed would even have been able to put his head through a pop machine.

Roy

Ep. 21 - Fish Story

March 20, 2015

Writer: Raoul Plager
Director: Asaad Kelada
Original Air Date: May 28, 1979
^^^FAMOUSLY FUNNY^^^

This episode is just funny. No heartfelt monologues, no topical issues. "Fish Story" is just straight up, catch-your-breath funny. Because of this simple fact, it is one of the most beloved episodes in the series; perhaps the second most famous after "Turkey's Away." And it's all thanks to the writer Raoul Plager.

Almost any interview with Hugh Wilson, or members of the WKRP cast, will touch on the story of Raoul Plager. CBS kept demanding this new show be funnier - broader comedy for a larger audience. Wilson resisted, wanting to concentrate on more realistic topics. But CBS continued to insist, and thinking the show was about to be cancelled anyway, Plager was brought in to write a parody of a broad, farcical sit-com just to shut them up.

Raoul Plager is a pseudonym for Hugh Wilson himself. He was so embarrassed by the script, he took his name off of it. So how bad is it?

It starts with Johnny and Venus drinking on air. A fat guy (who is NOT Jonathan Winters) is leering at Jennifer  when Herb walks by in a fish suit. Bailey end up arrested in a men's room. All this while Andy is being interviewed for a magazine. The trick of stew isn't the ingredients - it's how all the ingredients are blended together. Although Plager may have thought the ingredients weren't the best, it's how each grows organically out of the situation that makes this a classic.

Isn't that what a "situation comedy" suppose to be? A simple idea taken to it's most ridiculous conclusion.

The 'B' story of this episode follows Johnny and Venus on the air together (!) participating in a drunk driving awareness campaign for which they take a drink every 15 minutes then have their reflexes tested by a sheriff. The test is to show even after one drink, a person's reflexes slow down. Except Johnny's keep getting faster, infuriating the Sheriff. Neither Reid nor Hesseman play drunk with any conviction, but Reid's "Drunk Venus" is weirdly over the top. He swings from being uncoordinated to quick witted and back; sometimes within the same sentences!

Of course, everyone who has ever been drunk has imagined they are just Dr. Fever - getting better at life with each drink. If only it worked that way, I could get these blogs out faster! ;)

The 'A' story is another instance of Mr. Carlson coming up with a station promotion. This one is not as stupid as hurling turkeys from a helicopter. Creating a mascot for the station and sending it to the university pep rally is not a bad idea - it's a stolen idea from their biggest competitor WPIG, but it's not bad. Sending Herb out to represent the station is probably a bad ideas.

But just look at this picture below, and tell me how this is not funny? In any language it reads absurd!

And if you watch this episode again, listen for the woman in the audience who is literally SCREAMING with laughter! That really just how the scene begins. Look at these shots:

Even Bailey takes a swing at the pig!

Nesman of Queensberry!

Everything about this is ridiculous!

Add to this that throughout all the craziness, Andy is trying to impress a reporter writing a story about how professionally the station is run.

If you've been keeping an eye on the original air dates, you'll notice this aired about a whole month after the previous episode. CBS was loosing faith in the show and looked to burn off what had been produced. Once episodes like "Fish Story" and "Turkeys Away" were played in repeats over the summer, word started to spread, a fan base grew and WKRP was brought back for at least another season.

Roy

Ep. 20 - Young Master Carlson

March 9, 2015

Writer: Hugh Wilson
Director: Will MacKenzie
Original Air Date: April 30, 1979


Sparky Marcus was not the Omen. That was an English kid named Harvey Stephens. Sparky Marcus was just another 1970's precocious child star who worked a lot playing kids who acted much older than they were.

I bring that up because there is a scene in this episode, when Andy introduces Arthur Carlson jr. (played by Sparky Marcus) to Venus, that Johnny calls the child "the Omen" and the audience reacts with an enormous laugh - a much bigger laugh than that joke deserves. And I don't know why.

Big Guy and Little Arthur

I get that "Little Arthur" has a special gift for doing or saying the one thing that will offend a person the most. I just don't think that qualifies as the spawn of Satan. It might be something even more annoying.

The first time he meets Johnny, Little Arthur immediately moves into the role of an authority figure, telling Johnny to get a haircut and a shave. He doesn't act like that to anyone else but it would be the one thing that Johnny would hate the most - someone acting like a parent or a cop.

For Jennifer, it's digging into her personal things and disrupting her orderly life. For Venus, it's something else.

This is another episode about showing who these characters are, but coming at it from a unique perspective: How would our regular WKRP friends act if they met the person who most annoys them? That it's all the same person, a child, and the boss's kid (someone they clearly shouldn't retaliate against) makes it all the juicier.

Herb's reaction is uniquely Herb-ish. What annoys him is the idea that the Carlson family is talking about him  and he doesn't know what they are saying. Now, this is ridiculous! The Carlson family, especially Mama Carlson, doesn't think enough of Herb to ever mention him "around the dinner table." Only a complete egotist would think otherwise,.. oh yeah, we're talk about Herb here.

Les is bothered by Herb knowing something he doesn't know. Little Arthur is just using all of this to get $10 and amuse himself by watching two idiots fight over which one gets to be "adle-minded." Watching Les read the dictionary to find out what "obtuse" means, only to realize it is an insult, might be the funniest bit in the episode: "Don't tell me to calm down! I just paid $5 to find out I'm 'Rounded at the Free End!'"

The reason we are initially given for this behaviour is that Little Arthur has been away at Prussian Valley Military Academy and has been sheltered by their strict military ways. So much so, he is shocked to see a real, live black man! And in calling Venus "boy," Little Arthur both finds Venus' breaking point and loses all audience sympathy. Now he's not a precocious kid; he's a straight up racist and Venus is first the person who has threatened to kill him who might actually do it.

But the writers are playing with out preconceptions of what life at a military academy would be about. We learn he's flunking out and "just dying for attention." Arthur Carlson didn't learn to offend people from Prussian Academy; he's getting kicked out of Prussian Academy because he offends people.

So what would bother his father, Arthur sr., the most? We've always been lead to think it's the fear that he might not be a good enough son for Mama Carlson. It turns out his afraid he hasn't been a good enough father to his son.

It has only been two episode since Gordon Jump poured real emotion into standing up to, and standing up for Venus when he had to face the Army, going so far to say he was his "father." Now he does it again, giving an impassioned monologue about his guilt as a father. Carlson confesses his failings to his son for almost two minutes straight without a laugh. It's touching. Then it nicely sets us up to end on some warmhearted laughter over the Big Guy's collection of toys.

The lesson is just as strong in today's world. Mama Carlson says her grandson has just suffered "a traumatic career setback" to which Mr. Carlson argues "this is just an eleven year old boy." We see this argument played out today, with parents who push their children into better schools and academies, hoping to advance them in life, rather than just letting them be kids.

Other notes: Why is Bailey so unimportant she doesn't even merit getting annoyed? Her role in the episode just seems to be settling everyone else down. Prussia is the region in Germany around Berlin and is usually referred to for "professionalism, aggressiveness, militarism and conservatism;" Interesting choice for the name of a fictional military academy. 

Roy

Ep. 19 - I Do, I Do... For Now

March 4, 2015

Writer: Tom Chehak
Director: Will MacKenzie
Original Air Date: April 23, 1979

When I started this blog, I didn't expect to use WKRP as an exploration where media and the entertainment industry have gone from 1979 to today. I thought I'd be writing about Johnny Fever quips. Well with this episode, I get to do both.

Meet Hoyt Axton. He is a successful singer-songwriter most famous for writing Three Dog Night's "Joy to the World" and right now he is playing guitar in the lobby of a fictional Cincinnati rock radio station. The only reason for him to do this would be to promote his upcoming album. But it seems to me that his being there is a huge missed opportunity.

Hoyt Axton is... T.J. Watkins

Remember, this show exists only three years after "Star Wars" taught the entertainment industry that kids will buy toys based on their favourite movies - something we all now take for granted. At the time of this writing is three years after the cast of "Glee" has had a dozen Top 40 hits releasing songs they sang on their show. Other shows like "Nashville" release musical tie-in albums. So I look back and wonder how did CBS or MTM Productions not think to release an album of songs showcased on "WKRP in Cincinnati:" the Linda Taylor ballad, the Ferryman Funeral Home jingle... and "Della and the Dealer."

To be fair, "Della and the Dealer" was released on a 1979 Hoyt Axton album called "Rusty Old Halo." It went to number 17 on the US country chart. But the producers obviously have some rights to the song because it has always been part of the show in syndication. If you bought this box set of DVDs, wouldn't you also be likely to buy a compilation album of songs from the show? Shout! Factory? Get on this! This could be the break Detective (the real band from "Hoodlum Rock") have been waiting for for 30 years.

With the previous episode we learned a bit about Venus' background; this time we learn about Jennifer's. Jennifer seems so worldly and beautiful, why would she be in Cincinnati? But when you think of her a little Jennifer Elizabeth from Rock Throw West Virginia, a big city like Cincinnati must have seemed like going to the moon! Loni Anderson even plays up a West Virginian accent when talking with T.J. (I looked it up - Anderson is from St. Paul, Minnesota. See? Acting!)

Now she lives such a fairy tale life, even her doorbell chimes "Fly Me to the Moon" (which is a wonderful recurring joke). Her apartment is massive, even by TV standards, and we've already seen the relatively modest apartments for Andy and Johnny. It's stuffed with a "warehouse" worth of gifts from her many "friends." So the thought of her losing all of this to marry T.J. Watkins and go back to West Virginia must have been so terrifying Jennifer understandably would do anything to keep her life.

Very Happy!

Cue Johnny's entrance. Kissing Johnny and lying that they are married seems a pretty simple solution that just gets away from her. As much as this is Jennifer's episode, Howard Hesseman performs some great physical comedy, starting with his delayed over-reaction to that kiss. I particular like how he continues to miss steps in Jennifer's apartment. He doesn't telegraph it coming, so the straight-legged fall is as jarring to the audience as it is to Johnny.

Tom Chehak, who just wrote the very serious Venus Fly Trap episode last week, now writes this very funny, very tight episode with a lot of nice lines for Johnny, like "Wait... I'm the chips!" followed later by the frightened "Chips are falling!"

In an episode full of great performances, I also want to mention Frank Bonner, whose Herb claims "squatter's rights" on Jennifer over Johnny. What a perfect phrase! Follow that with Herb's clear discomfort of having to listen to T.J. play, or obliviousness that it would be rude to drink two of the six beers you brought as a present to a party. That may only be topped by the loungey preparation he takes in entering Jennifer's bedroom for the first time.

I don't want to finish without talking about the scene at the elevator where Jennifer and T.J. come clean to each other. The very simple inclusion of one guy standing there waiting for them to be through with their argument injects all the humour in what could have been a very flat reading of exposition. That guy is Buzz Sapien, who was the stage manager of the show.

Other notes - um, this is a show about a ROCK radio station and this is clearly a COUNTRY artist singing a COUNTRY song? Why is Les so excited about Johnny and Jennifer being married? He sees conspiracy in everything, but this he doesn't question?

If you've liked these blog posts, or you have anything to say about them, please feel free to leave a comment. Let me know you're out there!

Roy

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

Ep. 15 - Never Leave Me, Lucille

January 24, 2015

Writer: Bill Dial
Director: Asaad Kelada
Original Air Date: March 5, 1979

Here is a script that doesn't get written today. Herb and Lucille have a fight and he leaves her (or, more likely, she kicked him out. But he said he left so who am I to argue). There's no discussion of counselling or child custody or lawyers. All Herb can see is his chance to do all the things he thinks everybody else is doing - namely picking up ladies in singles clubs and eating dip without chips!

Maybe it's because divorce is more prevalent in our world today or, I think more likely, more TV shows have tackled the topic of separation and divorce in the past 30 years, that this take seems superficial. In the previous episode, WKRP tackled payola because it was the only show on TV that could. But LOTS of shows involve families and so many have tackled separation better.

Let's be real though. Separation is just a frame used to set up a few very funny bits. Starting right off with the image of Les coming into the office early to strip? do calisthenics while singing like Elvis, leading into a "Three's Company"-like misunderstanding of Bailey thinking Les and Herb are having a lovers quarrel. (I know he's not the writer of record, but that scene seems like it would have been Richard Sanders's idea)

Personally, I love the scene of Venus and Johnny in the control room when Les comes in and double-talks Johnny into taking Herb in for a few days. The scene runs like architecture to get to the payoff line "You're Dummy sign is on crooked." (Bill Engvall... you're welcome)

There are two big set pieces in this episode. The first is in Johnny's apartment and we have never seen it before. It looks like the apartment of a college student which is pretty much how Johnny has described his life in past shows. All the single and newly single guys at the station gather to take Herb out for a night on the town. Of course, all the guys really want to do is demonstrate to Herb how hard it is to be single in the 70's. Even Les tells him "One night stands gets old after a while." It seems too simple that just looking at a few pictures of his family is enough to convince Herb he has made a mistake.

You kids today (the blogger yelled, shaking his fist) will never know the panic that is visiting someone's house to see they have set up a slide projector and a screen. You know how on Facebook someone will post 350 vacation pictures? You have a choice whether you want to view any, some of all of those pics. But a personal slide show? You would have been in for the entire run, complete with narration. Herb having slides of his car mixed in with ONE picture from Disneyland is a pure slice of seventies. (It also gives us the classic WKRP line "The other guy is Goofy.")

Finally, we have the scene in the bar between Jennifer and Lucille (Welcome back, Edie McClug!). As much as Herb is looking for a chance to get out on the town, Lucille also wants to go even more. She is so excited someone would ever send a drink over to her, she is immediately ready to go say hi. Jennifer is of course a little more experienced with this, as the ridiculous number of drinks coming to the table shows us. I think, if Lucille learns anything from Jennifer here, it's that maybe she doesn't have to jump at the first offer. Eventually, Lucile even makes Herb squirm a bit before agreeing to take him back.

As hard as I've been on how blithely the issue of separation has been dealt with on this episode, the genuine fondness you feel between Herb and Lucille is well acted and very sweet. They are a couple who should be together - neither is too bright (one doesn't know you serve chips with dip; the other doesn't realized that "primitive" isn't a compliment in pottery class); both dress in colourful suits and both just want to have fun with each other.

The waiter droning "Short man in bow tie. Tall black man. Cowboy and Longshoreman" is funny enough; then you see the four men he's talking about, it's even better. The episode ends with each of the guys giving their opening lines to Jennifer. This is the last piece of our '70's flashback - only Les's pick up line would still work today. Ladies, would you turn your head for a guy asking "What's your sign?" or "Looking for a little action, sugar?" But who wouldn't look at the guy who sits down, lifts his drink and states:

"Hi! I'm incredibly wealthy!"

Roy

Ep, 14 - Welcome Home Johnny

January 23, 2015

Writer: Blake Hunter
Director: Asaad Kelada
Original Air Date: February 26, 1979

This is a strange episode to be the second part of "Goodbye Johnny" as it is VERY different in tone and story from the first part. WKRP goes back to "very special episode" territory with this episode about both cocaine and payola. What do either of these topics have to do with last week's topic of friendship? Not too much.

The seventies were a time of tremendous corruption in the music industry, as organized crime had gotten its claws into many corners of the industry. Lots of fast cash could be made that wasn't being closely monitored. Although payola had been illegal since the '50's, many DJs and program directors were used to receiving "gifts" of backstage passes, drugs, women or cash in return for increased airplay or promotion of certain acts. With the passing of the RICO act, organized crime was targeted by law enforcement and the payola scandals of the '70s were brought to light.

"WKRP in Cincinnati" was a show in the unique position to handle this topic directly. What other show in the seventies was about the business of rock and roll? Going back to the third episode about the stigma of homosexuality, WKRP liked to work on topics no other show even attempted to touch.

At one point, Venus says he doesn't like the new morning man because there was something about him that was "too white." Could they have found a whiter name than "Doug Winter"? Brought to Andy by Murray Glessler the sleezy promoter of fictional Onslaught Records, Doug blatantly sucks up to Les and Herb, which is a signal to the audience he is not to be trusted. It's not surprising Herb likes Doug; Herb would love to be a record company promoter and work in a world of free stuff, drugs, women and cash.

To beat the point home, Doug seems to only play one song every time he is on the air. "Nowhere Band" by the Soundtastics is a fictional song by a fictional band, which means it never had any rights issues in syndication or other releases. I actually find it kind of catchy. I don't know why Andy wouldn't want to promote it.

Johnny comes back to Cincinnati after getting fired in LA and nothing more is made of his time in California. This, to me, is another indication that the "Johnny leaving" plot of the last episode was shoehorned into this episode, perhaps to make the controversial topics in this episode more palatable. He goes back on the air as "Heavy Early" the midnight to 6 am DJ. My question is, why is Johnny just as sleep deprived as when he worked morning drive time? He's sleeping all around the station the same way he always does. What time wouldn't be so "Heavy" for Johnny?

My other question is why it takes so long for Andy to look into Doug's background? I know he was anxious to hire someone, but didn't Doug provide three references, like I have had to for every job I've ever had? Was Murray, a guy Andy doesn't even want to talk to, reference enough?

A very nice touch at the end is a joyous Dr. Fever returning to the air after Winter has been fired. He's skipping and singing along to the Red Wigglers commercial that was driving him crazy a few shifts ago. Johnny is rarely this exuberant and it's fun to see him playing along with the worm song!

Other note: Welcome Sam Anderson! Anderson might now be best known for his recurring role on "Lost" but he is legend in the WKRP universe. He will have a number of guest shots throughout the shows run and NEVER as the same character. I don't know if we were never meant to notice or if it was an intentional running joke but it will now definitely be a checklist item for this blog.

Roy

Ep. 13 - Goodbye Johnny

January 20, 2015

Writer: Blake Hunter
Director: Asaad Kelada
Original Air Date: February 19, 1979

As I write this blog, the weather is pretty close to what Johnny describes in the cold open (get it? COLD open? Ha!). "A blistery 14 degrees (-10 C) with winds from the north at about a thousand miles an hour." I want to move to LA right now too.

That is probably my biggest issue with this episode: there is no good reason for Johnny to stay in the 24th ranked station in Cincinnati when he has a chance to go back to the second largest market in the country, that has 12 months of beach weather, to join the competition of the station that fired him for saying "Booger" on the air. Why shouldn't he? Because he has friends? Because Jennifer may, might, possible, someday sleep with him maybe?

Perhaps part of what makes "WKRP in Cincinnati" important to anyone reading a blog about it, is that the characters considered that station and the people in it so important to their own lives, that they continuously chose WKRP over what are objectively better offers from life. I'll keep that idea in mind as I watch future episodes.

I also noticed Venus' recurring roll now, as the guy who comes to Andy's rescue. In "The Contest Nobody Could Win" Venus thinks up the idea to splice the songs together too closely to be guessed. Here, when Andy is in jeopardy of losing his top DJ, it's Venus who comes up with the plan of shaming him into staying.

This whole episode is just building up to the banquet scene; a chance to see how each character dresses and acts outside of the station environment.

Before I get into that, may I just point out that this scene would never be filmed this way today? All the characters are sitting on one side of a long table like a recreation of "The Last Supper." Today, in a single-camera universe, one steadicam would be constantly circling the table, darting in and out of conversations.

Let's go down the table. Look where Johnny is: the very end of the table with practically one foot out the door, separated from the regular cast by a character we've never met before. This is a party to show Johnny how much he is loved and he couldn't be further away from his friends

Next is Herb and his wife Lucille (played by the incredible Edie McClurg. For a certain generation, this is probably the first thing you remember seeing her in, but just go to IMDB and see how many amazing supporting roles she has had; my favourite being in "Planes, Trains and Automobiles."). Herb is embarrassed to have brought his wife and that's because she's acting embarrassingly. Herb, who is so concerned about appearances, is embarrassed to have a wife who is eating like a prisoner released from solitary. The question is not why wasn't Herb's wife invited but why was Herb invited. He obviously doesn't like Johnny, Johnny doesn't like him and he couldn't care less if Johnny stayed.

Frank Bonner and the great Edie McClurg

Andy is wearing the child of a suit and a leather couch. He's the one who needs Johnny to stay the most, but he's the one who can't go two sentences without telling Johnny the banquet is a scam. For all his smooth talking ways, Andy just can't be disingenuous. The funny thing is, he's NOT going to be disingenuous in his speech - he really DOES want Johnny to stay and really DOES feel they are friends. Way to go, Cowboy!

Master of Ceremonies Venus is next wearing the opposite of the traditional tux Mr. Carlson is wearing. The aspect of his personality we see hear is his ability to smile and push forward when everything is collapsing around him.

Next is Jennifer, and I wonder if Andy and Venus came to her and asked her to literally seduce Johnny into staying or if she just naturally knows that is her role. The reveal of that dress, the speech and her arm gestures as she speaks are all calculated. I also wonder what she would have done if Johnny had stayed. If Johnny came to work the next day and said "Jennifer, I really thought about everything you said and I really want to give us a try" would she have gone for that? I don't think it's likely and I think Johnny would know that too.

The funniest character is seeing Mr. Carlson drunk, although Gordon Jump doesn't really play drunk that well. It's funny to see that when drunk, Mr. Carlson is really just a loud version of himself - talking about fishing and distracted from what's really going on around him. Also that the only person who puts up listening to him at those times is Jennifer.

Bailey is no different at all. She is wearing the sort of flowing, belted outfits she almost always wears to work. She starts out painfully shy and then builds up her courage to give the most poignant speech of the night - like she always does, Honestly, Andy could have sent Johnny and Bailey out to lunch to get the same results.

Finally, Les is at his cockiest, which is nearly as funny as his most confused. Past president of the speech-makers club, this night has nothing to do about Johnny for him, but is a chance to impress his co-workers with his speech making abilities. What does stand out is, as things don't go well for him, how quickly he his ready to blame those around him, like Bailey and the waitress.

But Johnny does leave for LA. What will happen next?

"To Be Continued"

Also a note. The insert picture of the banquet hall is the Cricket Restaurant. This is a classic old restaurant in the grand Cincinnati Hotel. It was remodeled in 1987 and renamed the Cricket Lounge.

Roy

Ep. 12 - Tornado

January 12, 2015

Writer: Blake Hunter
Director: Will Mackenzie
Original Air Date:  February 5, 1979

"I'm in charge here now."

With those words at about the halfway mark, this episode takes a 90 degree turn from wacky slapstick to a deeper character study of Arthur Carlson. And my thought was "Aren't you always in charge? You're the station manager!"

But sometimes he has to remind everyone of that, including himself. I enjoy Mr. Carlson when he takes charge and leads the way. His humanity and goodness of spirit come to the fore and we can see why people would want to stay at this crazy radio station to work for him.

As we watched with the "Turkey Drop" episode, this one relies in the theatre of the mind elements of radio. If anything, the most unbelievable shot is the obvious stock footage insert of some generic tornado. However, when Mr. Carlson is talking a little seven year old girls into going down to her basement to hide from the storm, we completely believe she is there although we only ever see his side of the conversation.

Carlson shows some of that Marine leadership training in this moment (Does it seem odd that Carlson is a former Marine? Is this how you imagine most Marines are treated by their mothers?) , much better than the Marine training he uses early, when he demanded the Japanese businessmen to surrender.

The whole scene involving the arrival of the Japanese businessmen plays very favourably for "WKRP" in regards to a surprisingly positive treatment of minorities. This is 1979 and a lot of shows at this time would have gone for the easy racial stereotypes for the source of their humour. But "WKRP" goes for something different here. The mix-ups of a Spanish translator (actor Rene Enriquez, who later achieved fame on "Hill Street Blues") translating mid-west English to the Japanese is ridiculous without being insulting to either of those cultures. About the worst it gets is the stereotype of the Japanese being camera happy.

The mockery is saved for the dumbest characters: Herb calling his maid a "Kraut" and Les' obsession with a "godless Russian" attack.

Every so often, one of these episodes is a time capsule of the late 70's or early 80's and this is very much one of those time capsules. Look a technology! From the very first shot of Les pecking away on a manual typewriter to Les' teletype machine, with an actual bell attached, this does not look like any newsroom you would walk into today. No computers on any desks. Digging through paper filing cabinets for important documents. Even some of that basic translation we discussed earlier could have been fixed with an iPhone translation app today!

What makes it stand out is how much of what happens in this episode is dependent on that technology.

Other notes: No Bailey or Venus. They were wise enough to stay home in the storm I guess. I don't think Venus misses anymore shows after this one.
Johnny's speech about being trapped in a tornado with his mother is sweet but it gets left behind with so much else going on in this episode.
Herb might be on to something... it does seem like Andy and Jennifer have had that kiss before...
If you've been waiting for the WKRP episode with all the special effects, this is the one that has one! Enjoy that window!!

Roy