TMC
11-03-2021, 04:14 AM
https://jacksonupperco.com/2021/11/03/short-lived-sitcom-potpourri-viii/
ANGIE (https://web.archive.org/web/20061031152812/http://www.jumptheshark.com/a/angie.htm) (February 1979 – September 1980, ABC)
Premise: A middle class waitress marries a wealthy doctor, joining their families.
Cast: Donna Pescow, Robert Hays, Sharon Spelman, Debralee Scott, Doris Roberts, Emory Bass, Diane Robin, Tammy Lauren, Valri Bromfield, Susan Duvall, Nancy Lane, John Randolph, Richard Beauchamp, Tim Thomerson
Creator/Writers: Garry Marshall, Dale McRaven, Alan Eisenstock & Larry Mintz, Sheldon Bull, Emily Marshall, Emily Levine, Thad Mumford, Leonard Ripps, Dan Wilcox, Bob Ellison
Thoughts: This is a rare sitcom from the Miller-Milkis-Boyett bunch that delights in maintaining a sense of quiet realism, thanks to its familiar low-concept premise of star-crossed lovers from different economic classes. Unfortunately, such a design, which seems primed for juicy clashes between characters within two boldly juxtaposed families, requires that the central twosome be emotionally strong enough, and therefore well-defined, to anchor all the sounding drama, and, I’m afraid, as is often the case with these opposing family shows (see: The Mothers-In-Law, Bridget Loves Bernie, etc.), the main couple is both collectively and individually without personality, asking that all comedic character-based drama come from other members of the family, particularly his snobby sister and her earthy mother (the latter played by Doris Roberts, who’s clearly the standout of the cast). Now, sometimes this family angst does cause narrative tension for the two leads, but sadly, not often enough, and after a handful of shows early in Season One that get to exploit the routine, expected developments of a quick courtship and marriage (this pair conjoins even quicker than Rhoda and Joe — again, to their detriment), it soon becomes difficult for scripts to concoct story, not just for the undefined leads, but even for the other members of the family too, as the series shies away from opposing them in ways that would yield heightened comic conflict. It would rather be gentler, milder.
And instead of using these premised relationships for story, which would heighten the characters but allow them to drive both premise-validating laughs and plots, scripts quickly come to rely on formulaic sitcom notions — like ye old game show visit (Family Feud) — and gimmicky guest star appearances, both of which are hacky. Then comes several attempted reformattings, first at the top of the second season, via some changes to the cast (dropping his niece and Angie’s pal at the diner) and then at the end, when Angie’s workplace moves from the diner to a beauty salon that she runs with her mom. But by this point, the show has no idea what it is, for with leads who don’t have definition and aren’t inspiring conflict (even positionally), stories lose all narrative focus. This essentially renders it a bland, amorphous sitcom with thinly defined regulars who aren’t being pushed for comedy, wrapped around a pair whose insubstantiality is very crippling, and apparently contagious, as no one is allowed to take off in character-driven plot. Thus, while one wants to appreciate Miller-Milkis-Boyett for trying a show that isn’t goofy or ridiculous or conceptually hinged on some ostentatious idea-driven notion, it still doesn’t have the characters needed to make a good situation comedy. And, because of this low-concept design that has no adopted hooks like nostalgia or slapstick to divert attention, without strong characters, the series doesn’t have much comedy either.
Episode Count: 36 produced and broadcast over two seasons.
Episodes Seen: All 36.
Key Episodes (of Seen):
Episode #2: “Wedding Wings” (02/15/79)
Episode #3: “The Elopement” (02/22/79)
Episode #13: “Angie’s Old Friends” (09/11/79)
Episode #18: “The Thief” (10/30/79)
Episode #20: “Uncle Cheech” (11/13/79)
Episode #21: “Family Feud” (11/20/79)
Episode #26: “Angie And Brad’s Close Encounter” (01/14/80)
Why: I’m singling out two segments from the first season because they portend the most interesting comic drama between the two families — courtesy of the first meeting of her mom with his dad, and later her mom with his sister. The second season outings I’m largely highlighting for their gimmicks — “The Thief” guest stars the late Peter Scolari, “Uncle Cheech” boasts Danny DeVito, “Family Feud” is self-explanatory (and referenced above), and “Angie And Brad’s Close Encounter” has a young Rhea Perlman. They’re all memorable in large part because of these beyond-the-series hooks. As for “Angie’s Old Friends,” the second season premiere, I appreciate it because its story tries to create an inner dilemma for Angie, as she entertains her old school chums, who say that she’s now a snob — forcing her to examine whether or not she’s changed. Like all of Angie, it’s far too timid to be funny, and while most of her friends recur throughout the second year, the idea itself doesn’t really come up again in a meaningful way. But it’s a step towards a more character-driven style of comedy centered around the leading lady. I’d have liked to see much more of that.
ANGIE (https://web.archive.org/web/20061031152812/http://www.jumptheshark.com/a/angie.htm) (February 1979 – September 1980, ABC)
Premise: A middle class waitress marries a wealthy doctor, joining their families.
Cast: Donna Pescow, Robert Hays, Sharon Spelman, Debralee Scott, Doris Roberts, Emory Bass, Diane Robin, Tammy Lauren, Valri Bromfield, Susan Duvall, Nancy Lane, John Randolph, Richard Beauchamp, Tim Thomerson
Creator/Writers: Garry Marshall, Dale McRaven, Alan Eisenstock & Larry Mintz, Sheldon Bull, Emily Marshall, Emily Levine, Thad Mumford, Leonard Ripps, Dan Wilcox, Bob Ellison
Thoughts: This is a rare sitcom from the Miller-Milkis-Boyett bunch that delights in maintaining a sense of quiet realism, thanks to its familiar low-concept premise of star-crossed lovers from different economic classes. Unfortunately, such a design, which seems primed for juicy clashes between characters within two boldly juxtaposed families, requires that the central twosome be emotionally strong enough, and therefore well-defined, to anchor all the sounding drama, and, I’m afraid, as is often the case with these opposing family shows (see: The Mothers-In-Law, Bridget Loves Bernie, etc.), the main couple is both collectively and individually without personality, asking that all comedic character-based drama come from other members of the family, particularly his snobby sister and her earthy mother (the latter played by Doris Roberts, who’s clearly the standout of the cast). Now, sometimes this family angst does cause narrative tension for the two leads, but sadly, not often enough, and after a handful of shows early in Season One that get to exploit the routine, expected developments of a quick courtship and marriage (this pair conjoins even quicker than Rhoda and Joe — again, to their detriment), it soon becomes difficult for scripts to concoct story, not just for the undefined leads, but even for the other members of the family too, as the series shies away from opposing them in ways that would yield heightened comic conflict. It would rather be gentler, milder.
And instead of using these premised relationships for story, which would heighten the characters but allow them to drive both premise-validating laughs and plots, scripts quickly come to rely on formulaic sitcom notions — like ye old game show visit (Family Feud) — and gimmicky guest star appearances, both of which are hacky. Then comes several attempted reformattings, first at the top of the second season, via some changes to the cast (dropping his niece and Angie’s pal at the diner) and then at the end, when Angie’s workplace moves from the diner to a beauty salon that she runs with her mom. But by this point, the show has no idea what it is, for with leads who don’t have definition and aren’t inspiring conflict (even positionally), stories lose all narrative focus. This essentially renders it a bland, amorphous sitcom with thinly defined regulars who aren’t being pushed for comedy, wrapped around a pair whose insubstantiality is very crippling, and apparently contagious, as no one is allowed to take off in character-driven plot. Thus, while one wants to appreciate Miller-Milkis-Boyett for trying a show that isn’t goofy or ridiculous or conceptually hinged on some ostentatious idea-driven notion, it still doesn’t have the characters needed to make a good situation comedy. And, because of this low-concept design that has no adopted hooks like nostalgia or slapstick to divert attention, without strong characters, the series doesn’t have much comedy either.
Episode Count: 36 produced and broadcast over two seasons.
Episodes Seen: All 36.
Key Episodes (of Seen):
Episode #2: “Wedding Wings” (02/15/79)
Episode #3: “The Elopement” (02/22/79)
Episode #13: “Angie’s Old Friends” (09/11/79)
Episode #18: “The Thief” (10/30/79)
Episode #20: “Uncle Cheech” (11/13/79)
Episode #21: “Family Feud” (11/20/79)
Episode #26: “Angie And Brad’s Close Encounter” (01/14/80)
Why: I’m singling out two segments from the first season because they portend the most interesting comic drama between the two families — courtesy of the first meeting of her mom with his dad, and later her mom with his sister. The second season outings I’m largely highlighting for their gimmicks — “The Thief” guest stars the late Peter Scolari, “Uncle Cheech” boasts Danny DeVito, “Family Feud” is self-explanatory (and referenced above), and “Angie And Brad’s Close Encounter” has a young Rhea Perlman. They’re all memorable in large part because of these beyond-the-series hooks. As for “Angie’s Old Friends,” the second season premiere, I appreciate it because its story tries to create an inner dilemma for Angie, as she entertains her old school chums, who say that she’s now a snob — forcing her to examine whether or not she’s changed. Like all of Angie, it’s far too timid to be funny, and while most of her friends recur throughout the second year, the idea itself doesn’t really come up again in a meaningful way. But it’s a step towards a more character-driven style of comedy centered around the leading lady. I’d have liked to see much more of that.