Mary Tyler Moore
Season Seven
The Last Show
There were three key things I knew about this episode ahead of time. Firstly, that almost all the characters would be out of a job (I mistakenly thought the station itself would close down, rather than everyone getting sacked as part of an overhaul). Secondly, I knew that Rhoda and Phyllis would return (another error in my mind here. Having seen a still image of their scene with the view from Mary’s apartment in the background, I thought the scene took place on an outside balcony somewhere). And finally I knew there was a group hug which at some point became a group shuffle (for tissues, as it turned out, not to answer the phone as I’d thought).
None of this spoilt my viewing. If anything, being aware of some of the episode’s beats and iconography meant I could relax into it and enjoy seeing those things in context.
Ted remaining was a surprise. It’s characteristic enough, so perhaps it shouldn’t be, but perhaps it’s enough to know that he’ll miss his colleagues and it’s certain he won’t have as much fun in the new regime. One could almost believe this was setting up a Ted-centric spinoff, and I’m glad this isn’t the case.
Rhoda and Phyllis’s return was really nice. I was surprised it was essentially one fairly small scene, but then there’s a lot of story to tell here, and only twenty five minutes to do so. Incidentally, I had wondered if this would be a double-length episode. They may have been less of a thing at this time, but Rhoda’s wedding proves it wasn’t unheard of for special occasions.
The tear-filled goodbye gave some of the actors the chance to flex a dramatic muscle or two, and it was easy in this moment to imagine what a dramatic
Lou Grant series might look like.
I know the point was that Ted had chosen the most random song lyrics imaginable. All the same I found myself wishing there was something series-related in the lyrics to
It’s A Long Way To Tipperary which would make it more meaningful other than everyone singing it. Then I read that there was a parody written during the First World War called…
It’s The Wrong, Wrong Way To Tickle Mary. I like to think this was included with that knowledge and some deliberation.
The final moments were perfection. If I’d subconsciously pictured anything for the last moments, it’s Mary’s poignant last look at the newsroom before she switches off the light. It felt so right that I could almost have sworn I’d seen it before (and I probably have, in later series that were inspired by this very moment).
And just when I thought there was enough closure, along came the curtain call I never knew I needed to see, complete with a good look at the studio audience. It's the perfect way to ease the viewer out of the series and back into the real world, and a really lovely touch.
According to Wikipedia, this is the only episode in which all eight main characters appear (with the curtain call their only appearance all together). This is quite shocking to me, since all were on the series for Season Four, but then Sue Ann, Phyllis and Georgia would have been recurring players then, and probably alternated accordingly.
Another surprise is learning this episode was transmitted in Canada a day before it debuted in the US.
One thing I’ve neglected to mention during Season Seven: I really like this year’s arrangement of the theme. It’s a little softer and less brassy, while still being jazzy enough.
And after eight months’ viewing, that’s it for me and
MTM, but I still have thirty seven episodes of
Rhoda awaiting. And after this I aim to return to the boxset to round things off with some
MTM bonus material.
