Mary Tyler Moore Show and Its Spin-Offs

Mel O'Drama

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Georgette's inclusion in the cast originally had an ulterior motive to humanize Ted. Ted Knight had been increasingly resentful about playing the buffoonish Ted Baxter and pushed the producers to add depth to the character.

This makes sense. Thanks for the context. The arc so far has reminded me of Arthur and Vivian over on Maude in that it gives a bit of grounding and purpose to an existing character who might long-term have become aimless, repetitive or predictable (even though Ted's predictability has been perfectly enjoyable for me up to this point, even before Georgette).



I thought Nanette was particularly well cast. She was one of Mary's comedic inspirations and looked like she could have been Mary's mother.

After watching one of her episodes I looked for more information on the actress and found a couple of photos of her taken in the Fifties where the resemblance really jumped out.



Odd that the character ws never seen again.
To have her parents move around the corner, somewhat to Mary's dismay, and to never even have her mention that they moved away, is an unusual fumble for the show.

I was taken aback to discover I'd already seen the last of Mary's parents when really they've just arrived and it felt as though it was setting up some long-term recurring cast members.



RHODA isn't necessarily a bad show, but it's not good either. It never found its identity or its focus. Even Rhoda herself lost much of the spark from MTM.
There was never the clarity that existed on the parent series -- there's a rolling sea of pleasantly lame episodes, one after the other, that just don't entirely work.

Since I'd be unlikely to shell out for the overpriced DVDs, this knowledge helps cushion the blow.




I said earlier in the thread that MTM's handling of 'issues' was more subtle than on Norman Lear's concurrent shows, but I think a better description is matter-of-fact. Rhoda being Jewish, Gordy being Black, Phyllis' brother being gay, Mary being sexually active and on the pill -- these things simply were. On Lear's shows these would have been hot topics for the principals to argue over, but on MTM they just existed.

Since I've been just letting the series wash over me, this fact hadn't actually crystallised with me. But as soon as I read this I realised how true this is.




One of MTM's few message episodes, the previously discussed "Some of My Best Friends are Rhoda", was not well liked by the show's creators. Allan Burns, the co-creator and writer, called the episode "a little preachy" and "not our MO". They would deliberately avoid any further episodes that trod into Norman Lear territory.

I think it was the beginning of the Third Season (shortly after the Some Of My Best Friends... episode) where I feared it might be heading in this direction by getting heavy-handed with the feminism. Two or three of the early episodes this season had Mary treated differently or turned down for something she wanted or singled out in some way on the basis of her gender. It was a relief that they didn't really delve too deeply.
 

Crimson

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Or at least referred to again. To have her parents move around the corner, somewhat to Mary's dismay, and to never even have her mention that they moved away, is an unusual fumble for the show.

Particularly after the loss of Rhoda and Phyllis. With the absence of her two friends, Mary's entire life seemed to revolve around work; even her social life seemed to include only her co-workers. (Sure there was Georgette, but she was tied to Ted.)


It was predictable that when you take a very popular, snarky side-character and give them their own shows, most of the edge will be removed and handed over to a new side-character, Brenda the sister

Right. Basically Rhoda because the Mary and Brenda became the Rhoda, but that was just never going to work out. Seems like David Groh got way too much blame for the relative failure of RHODA for not being 'interesting' enough. Rhoda -- the Rhoda we knew from MTM -- really needed a straightlaced, straight man for the same reason she complimented Mary so well. Joe was fine. The problem is that Rhoda lost most of her color. (Judd Hirsh was the producer's first choice for Rhoda's love interest but he declined.)


I know the '70s feminists weren't all that thrilled with MTM because, basically, Mary Richards was too nice, her feministic discovery too subtle and organic.

Which is funny because I doubt many little girls grew up wanting to be Maude, but an entire generation grew up wanting to be Mary Richards.

Since I'd be unlikely to shell out for the overpriced DVDs, this knowledge helps cushion the blow.

If you decide to skip RHODA , I strongly encourage you to get over your aversion to Youtube videos and watch the two-part wedding episodes (S01E08 & S01E09). You won't have any trouble following along despite skipping the first seven episodes, and the wedding is hilarious. They're also basically episodes of MTM, since Mary, Phyllis, Georgette, Lou and Murray guest star. Toss in Rhoda's parents and it's pretty much the last time you'll see the entire cast together. (Excluding Ted, who had no reason to attend Rhoda's wedding, and Sue Anne, not yet a cast member.) I think you'd be best to watch these in between seasons four and five.
 

Snarky Oracle!

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Particularly after the loss of Rhoda and Phyllis. With the absence of her two friends, Mary's entire life seemed to revolve around work; even her social life seemed to include only her co-workers. (Sure there was Georgette, but she was tied to Ted.)

Of course, once she moved to her new apartment, we had the brief appearances of Mary Kay Place and Penny Marshall as Mary's "whacky" new neighbors.

I actually think they could've worked, but I'm not really sorry, either, when they were quickly whisked away to MARY HARTMAN, MARY HARTMAN and LAVERNE & SHIRLEY midway through the 1975/76 season..

Right. Basically Rhoda because the Mary and Brenda became the Rhoda, but that was just never going to work out. Seems like David Groh got way too much blame for the relative failure of RHODA for not being 'interesting' enough. Rhoda -- the Rhoda we knew from MTM -- really needed a straightlaced, straight man for the same reason she complimented Mary so well. Joe was fine. The problem is that Rhoda lost most of her color. (Judd Hirsh was the producer's first choice for Rhoda's love interest but he declined.)

Yes, Groh wasn't the problem. And once he was dumped, RHODA becomes the swinging single -- only, a reluctant one -- the producers had originally intended for the spin-off, only Fred Silverman and CBS pressed for an early wedding for November sweeps to achieve a ratings bonanza... Which they got. But now they'd already written themselves into a corner.

Who knows what might've happened had Rhoda stayed single for longer on her own spin-off. But by the time they divorced her from Joe, and surrounded her with lounge lizard disco kings perpetually on the make, RHODA's identity just became even more muddled... I'm not sure if the late-'70s time capsule motif of cheesy guys with gold chains and low-buttoned acetate shirts (I had them myself, although I swear I was much younger) was an error, or if they should've leaned into even more than they did.

Harper was a decent dancer, so maybe having her haunt the clubs with her breezy moves by night, and staked by a pervy serial killer she'd met there by day, could have been the right place to go creatively. I dunno. It could be a season-long story arc, full of homicidal chuckles, in the pre-DALLAS days.. After all, Rhoda Morgenstern had always portrayed herself as the perennial loser -- so maybe being stalked by a groovy sex killer was a natural development for her future and that of the series.

And I'm not sure I'm kidding.

I didn't know that about Judd Hirsch. I'm a bit meh on Hirsch -- liked him in ORDINARY PEOPLE but not always in a lot of other things. He was okay in TAXI, but perhaps he thought a co-starring role in RHODA might have derailed him from all his DELVECCHIO glory... I wonder how a Hirsch version of Joe might have changed the series' dynamic... We're supposed to believe Joe was an incredibly sexy New York guy, and David Groh almost captured that, while Hirsch would have likely struck an un-sexy, uptight, self-righteous, vulnerable-for-the-wrong-reasons fellow.

So his saying "no" was probably a good choice.

Speaking of Hirsch, I always think he's too old and perhaps miscast in RUNNING ON EMPTY. I always want to see a Jon Voight, with dark hair, but I don't think nordic Voight was jewish (which was slightly important to the story).

Which is funny because I doubt many little girls grew up wanting to be Maude, but an entire generation grew up wanting to be Mary Richards.

Did the next generation want to be Murphy Brown? I actually don't know, but somehow I doubt it.

If you decide to skip RHODA , I strongly encourage you to get over your aversion to Youtube videos and watch the two-part wedding episodes (S01E08 & S01E09). You won't have any trouble following along despite skipping the first seven episodes, and the wedding is hilarious. They're also basically episodes of MTM, since Mary, Phyllis, Georgette, Lou and Murray guest star. Toss in Rhoda's parents and it's pretty much the last time you'll see the entire cast together. (Excluding Ted, who had no reason to attend Rhoda's wedding, and Sue Anne, not yet a cast member.) I think you'd be best to watch these in between seasons four and five.

Yes, yes. Watch the two-part wedding episode -- for the reasons you describe.
 

Mel O'Drama

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If you decide to skip RHODA , I strongly encourage you to get over your aversion to Youtube videos and watch the two-part wedding episodes (S01E08 & S01E09). You won't have any trouble following along despite skipping the first seven episodes, and the wedding is hilarious. They're also basically episodes of MTM, since Mary, Phyllis, Georgette, Lou and Murray guest star. Toss in Rhoda's parents and it's pretty much the last time you'll see the entire cast together. (Excluding Ted, who had no reason to attend Rhoda's wedding, and Sue Anne, not yet a cast member.) I think you'd be best to watch these in between seasons four and five.

Yes, yes. Watch the two-part wedding episode -- for the reasons you describe.


Well you've persuaded me, so I'll RSVP in the affirmative to ensure I attend.
 

Snarky Oracle!

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Well you've persuaded me, so I'll RSVP in the affirmative to ensure I attend.

Rhoda's nuptials was/were the highest rated TV wedding of all time (up until that point) overriding the record set by Tiny Tim's wedding on THE TONIGHT SHOW in 1969. I think Rhoda's record was surpassed by the dire wedding of Mitch & Lucy on DALLAS in 1981.

I assume Charles & Diana's wedding a few months later trounced them all, but I can't remember the figures.
 

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Snarky Oracle!

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That was a different sister - Debbie according to IMDb - but it is odd that they never mentioned her again on either show.

Well, then I have had another brutal false memory syndrome episode, because I was convinced they called her "Brenda."

But it's indeed Debbie............ so weird..... because I've seen the episode multiple times over the last 50 years.


Okay, this is now getting too strange -- the actress playing Debbie Morgenstern, Louise "Liberty" Williams, is actually 40 here when she's supposed to be only 21??

Louise Williams - IMDb

EDIT: I'm composing an elaborate conspiracy here, one that traverses both space and time, and it probably involves Ed Ledding.
 
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Crimson

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Based on comments made on MTM, Rhoda appears to have at least four siblings. In one of Ida's early appearances, there's reference to a brother, Albert, and an unnamed sister. Rhoda later tells Mary how she overslept and missed her sister's wedding, a sister who was marrying Rhoda's fiancé. This was clearly not Debbie or Brenda, but could be the previously unnamed sister. We saw Debbie once. And, of course, Brenda.

So we're just left wondering why Brenda wasn't at Debbie's wedding and why none of the others were at Rhoda's. My best head canon is they all went "no contact" with Ida because she was such a pain in the ass.
 

Jock Ewing Fan

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I thought Valerie Harper was good as a supporting actress on the MTM show as Rhoda.
I thought "Rhoda" was a mediocre show, at best.
Valerie Harper's limitations as a lead surfaced again when she had another show.
I don't blame the showrunners for replacing her.
I found Sandy Duncan far more likeable.
Furthermore, actors/actresses forget that this is Show Business with a capital B
If taking a show in another direction increases ratings and therefore becomes more profitable,
that is reality.
IE "Happy Days", "Melrose Place" ,"Mom" and...both "Dallas" and "Knots Landing", which evolved significantly since their
first seasons.
 

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How does apply to the VALERIE situation.?

She won the suit with Lorimar-Telepictures and she should have. They were disregarding er contract.
It applies because it is an example of a supporting character who does not work well as a lead, and a good supporting actress who does not work well as a lead.
VH was resistant to a change in the show that would have benefited everyone.
So what, she won her claim, the show went on without her, and was probably better IMHO
Other people have commented on MTM actor/actresses other work as well, on this thread
 
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Jock Ewing Fan

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You didn't answer the question: what changes to VALERIE did Harper resist?
The focus of the show changed, a la Happy Days, Good Times,Family Ties, Dallas, Knots Landing, Mom, Melrose Place, Family Matters etc.
VH was no longer the major solo focus. Ratings had sunk. The ratings improved significantly after she left.
 

Daniel Avery

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I recall Nanette Fabray also played Ann Romano's meddlesome mother on One Day At A Time in the mid-late 1970s, so I guess she had developed a niche characterization by that time.
 

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Nanette recounting Mary telling her that she had "no idea" why she wasn't asked back, which Nanette may have taken as evasion on the part of Mary's answer, tracks with Mary's involvement with her own show. Mary was no Lucille Ball, who commanded her set and was technically proficient with everything from lighting to cameras to editing. Despite being the star of the show and co-owner of the production company, Mary had little involvement beyond acting. There's a real good chance Mary really had no idea why Nanette wasn't asked back.
 
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