TMC
05-10-2024, 05:39 AM
https://raritania.blogspot.com/2023/02/remembering-unhappily-ever-after.html
Not very long ago the Guardian caught up with Bobcat Goldthwait, and discussed with him what he's been up to lately (https://www.theguardian.com/film/2021/oct/25/bobcat-goldthwait-interview-police-academy-joy-ride). Apparently he's back doing stand-up, with the fan base coming out for his shows significantly a carry-over from earlier, and his part as Zed in the Police Academy films (seen in movies two through four) apparently important here.
I noticed that unmentioned was the sitcom Unhappily Ever After, in which Mr. Goldthwait voiced "Mr. Floppy," the stuffed bunny that the show's protagonist, now living in the basement of the house out of which his wife kicked him out, believes talks to him and with whom he has conversations.
The show in question would seem to have a number of claims to a place in pop cultural history (apart from its odd premise, of course, of which Mr. Floppy was just a part). Created by Married . . . With Children (MWC) co-creator Ron Leavitt with fellow MWC veteran Arthur Silver (who wrote and produced for the show over a long stretch of its run) it was an obvious variant on the theme and complement to the original pop cultural phenomenon. It was (like The Wayans Bros.) part of the "starting line-up" of Wednesday night sitcoms with which Warner Brothers launched its broadcast network, "The WB," in 1994 (now defunct, but not going before it made its mark on pop culture). It was also a significant early credit for a number of its cast members, who went on to other, bigger things--like Kevin Connolly (Entourage (https://raritania.blogspot.com/2015/07/the-american-box-office-first-half-of.html)), Justin Berfield (Malcolm in the Middle) and Nikki Cox (Las Vegas), while the same might be said of Kristanna Loken (who appeared in nine episodes as the nemesis of Nikki Cox's character). And it lasted the hundred episodes that were then the target for show-runners, because that was the magic number that opened up the possibility of syndication, where the really big money was.
I found the show worth a watch, and stuck with it down to the finale. Of course, few others did so, the show never acquiring the cachet of the original. (The story goes that when John Milius cast Ed O'Neill as a Navy JAG (https://www.latimes.com/archives/la-xpm-1990-09-16-ca-1024-story.html) in the film version of The Flight of the Intruder (https://raritania.blogspot.com/2023/03/an-anomalous-founding-work-stephen.html) test audiences laughed so much just seeing O'Neill that they decided to cut out the bit and reshoot it with Fred Thompson--a problem that Unhappily's Geoff Pierson does not seem to have had.)
One may chalk up the show's weaker impression to MWC's having got there first, and more easily shocked audiences in the more staid '80s than the "extreme" '90s. Alternatively one can attribute to the show having got too extreme, been a little too dark and weird to really find a strong echo with a wide audience. If one is inclined to think the failing had nothing to do with the premise or other content and everything to do with its promotion by the network. (The WB definitely made its mark with shows like Buffy the Vampire Slayer and other young adult-oriented contemporary fantasy, as well as young adult soap operas like Dawson's Creek--but I cannot think of a single WB sitcom that achieved much popular recognition.) And afterward there was not much of a chance for Unhappily to find, for example, a "cult" audience or anything else of the sort after finishing its original run. (Wikipedia (https://en.wikipedia.org/wiki/Unhappily_Ever_After) reports that due to poor ratings in its mere two years in syndication the show has not been on the air in North America since 2001, was never released "on physical media," and is unavailable from any streaming service in the U.S., though it seems to have done better abroad, perhaps particularly in Germany.)
In any event, it's all but forgotten now--another show of yesteryear dropped down the memory hole, living on nowhere but in the memories of those of us old enough to personally recollect its first crack at the airwaves.
Not very long ago the Guardian caught up with Bobcat Goldthwait, and discussed with him what he's been up to lately (https://www.theguardian.com/film/2021/oct/25/bobcat-goldthwait-interview-police-academy-joy-ride). Apparently he's back doing stand-up, with the fan base coming out for his shows significantly a carry-over from earlier, and his part as Zed in the Police Academy films (seen in movies two through four) apparently important here.
I noticed that unmentioned was the sitcom Unhappily Ever After, in which Mr. Goldthwait voiced "Mr. Floppy," the stuffed bunny that the show's protagonist, now living in the basement of the house out of which his wife kicked him out, believes talks to him and with whom he has conversations.
The show in question would seem to have a number of claims to a place in pop cultural history (apart from its odd premise, of course, of which Mr. Floppy was just a part). Created by Married . . . With Children (MWC) co-creator Ron Leavitt with fellow MWC veteran Arthur Silver (who wrote and produced for the show over a long stretch of its run) it was an obvious variant on the theme and complement to the original pop cultural phenomenon. It was (like The Wayans Bros.) part of the "starting line-up" of Wednesday night sitcoms with which Warner Brothers launched its broadcast network, "The WB," in 1994 (now defunct, but not going before it made its mark on pop culture). It was also a significant early credit for a number of its cast members, who went on to other, bigger things--like Kevin Connolly (Entourage (https://raritania.blogspot.com/2015/07/the-american-box-office-first-half-of.html)), Justin Berfield (Malcolm in the Middle) and Nikki Cox (Las Vegas), while the same might be said of Kristanna Loken (who appeared in nine episodes as the nemesis of Nikki Cox's character). And it lasted the hundred episodes that were then the target for show-runners, because that was the magic number that opened up the possibility of syndication, where the really big money was.
I found the show worth a watch, and stuck with it down to the finale. Of course, few others did so, the show never acquiring the cachet of the original. (The story goes that when John Milius cast Ed O'Neill as a Navy JAG (https://www.latimes.com/archives/la-xpm-1990-09-16-ca-1024-story.html) in the film version of The Flight of the Intruder (https://raritania.blogspot.com/2023/03/an-anomalous-founding-work-stephen.html) test audiences laughed so much just seeing O'Neill that they decided to cut out the bit and reshoot it with Fred Thompson--a problem that Unhappily's Geoff Pierson does not seem to have had.)
One may chalk up the show's weaker impression to MWC's having got there first, and more easily shocked audiences in the more staid '80s than the "extreme" '90s. Alternatively one can attribute to the show having got too extreme, been a little too dark and weird to really find a strong echo with a wide audience. If one is inclined to think the failing had nothing to do with the premise or other content and everything to do with its promotion by the network. (The WB definitely made its mark with shows like Buffy the Vampire Slayer and other young adult-oriented contemporary fantasy, as well as young adult soap operas like Dawson's Creek--but I cannot think of a single WB sitcom that achieved much popular recognition.) And afterward there was not much of a chance for Unhappily to find, for example, a "cult" audience or anything else of the sort after finishing its original run. (Wikipedia (https://en.wikipedia.org/wiki/Unhappily_Ever_After) reports that due to poor ratings in its mere two years in syndication the show has not been on the air in North America since 2001, was never released "on physical media," and is unavailable from any streaming service in the U.S., though it seems to have done better abroad, perhaps particularly in Germany.)
In any event, it's all but forgotten now--another show of yesteryear dropped down the memory hole, living on nowhere but in the memories of those of us old enough to personally recollect its first crack at the airwaves.