The Comeback - "Valerie Shines Under Stress"

Season 1, Episode 12

Original Airdate: August 28. 2005

Writer: Heather Morgan

Director: David Steinberg

Executive Producers: Michael Patrick King, Lisa Kudrow, Dan Bucatinsky, John P. Melfi

Cast: Lisa Kudrow, Robert Michael Morris, Lance Barber

It had been a few years since I had seen “The Comeback” when I decided to revisit it for this article, and after only a few seconds I found myself dropped back into the world of all things Valerie Cherish. The characters all seemed so familiar and so beloved, and the world that co-creators Michael Patrick King and Lisa Kudrow created was completely three-dimensional and real. This is truly one of the greatest of all television shows.

The premise involves a show within a show within a show, and yet still manages to seem simple and fresh (even today). Valerie Cherish (Kudrow) is a C-list actress who concurrently lands a dowdy supporting role on an unfunny sitcom called “Room and Bored” and a reality show that aims to follow Cherish on her “comeback” to television. The show presents raw, unedited footage of Cherish, her family, her friends, the reality crew and those working on the sitcom. It came out around the same time as the American version of “The Office” and employed that same documentary style that became so prevalent over the past eight years, but because “The Comeback” embraced the meta aspects of the style and used the crew as characters (something “The Office” is just now beginning to do, here in its final season), it created another level of humor to its storytelling.

The world that King and Kudrow created was quite ingenious on many levels. While it poked fun at the three-camera sitcom Valerie worked on (a three-camera sitcom is where the audience watches the show taped live and laughs at all the gags), it employed its own skewed version by having “normal people” watching the reality show taping and reacting to all of Valerie’s gags and pratfalls. And that cast of characters! Dickens would be proud. I’m continually fascinated by the depth that King and Kudrow brought to (at first glance) shallow caricatures. The star of “Room and Bored,” Juna (Malik Akerman), is a none-too-bright blonde actress…and yet the writers continually make a point of humanizing her. She really does consider Valerie (who befriended her in order to seem more hip) to be one of her best friends.

And then there’s Valerie.

On one level, the audience never sees who Valerie Cherish really is (until the finale) because she always has a mask up for the cameras. On another level, the cracks in her “onscreen” persona humanize her and her inability to let any of the many (many!) embarrassments she suffers through bring her down make us cheer for her. We love her, but we also love to see her suffer.

“Valerie Shines Under Stress” presents us with a world where all of Valerie’s comforts and safety nets are taken away from her. With “The Comeback” reality show premiering soon, its in her contract that she must be featured heavily in an episode of “Room and Bored,” something her arch-nemesis (and co-head writer of the sitcom) Paulie G (Lance Barber) is none-too-happy with. The writers devise a diet-pill induced dream for Valerie’s character – her character dressed as a giant cupcake must perform a big pratfall. During all this, Juna begins getting death threats and security is bumped up on set, and after Valerie beeps while walking through a metal detector she reveals that she has scoliosis and, as a result, has a large metal rod in her back.

All during this, writer Heather Morgan begins setting up the dominoes that she will knock down during the episode’s climax. “Room and Bored’s” other head writer, Tom (Robert Bagnell) has an “ulcer situation” and spends the week at home. The sitcom’s director for the week is a non-presence. Valerie insists that her husband doesn’t come to the taping. She goes to get advice from a director she trusts (James Burrows, one of the great comedic television directors of all time playing himself), who tells her that falling backward will be funnier, even though we know that will really hurt her because of the rod in her back. On taping day, the audience leaves early after a technical malfunction…the last safety net for Valerie.

All she has left is Paulie G’s emotionless stare.

In an incredibly uncomfortable sequence (purposely), Valerie falls in the cupcake suit over and over…finally falling backward, fully knowing she will be in incredible pain afterwards. Who would have ever thought a giant cupcake suit would be such a dramatic prop? After all is said and done, Paulie G insults Valerie one too many time, and Valerie punches him in the gut. Causing him to vomit. Which causes her to vomit. And, in that moment, all the tension that has been building for the entire episode comes to a beautiful, hilarious climax. Because, seriously, who doesn’t love (in the words of Jay Leno) “the rare double vomit”?

What really impressed me was how well Morgan was able to hide the script’s machinations. Every piece of the puzzle was enjoyable enough on its own that it did not seem like set-up, which is the hallmark of great writing.

The series was, in many ways, lightning in a bottle. On every level, from the writing to the cast to the direction, it worked. And that is some kind of special. Of course, “The Comeback” was never planned as a one-season wonder. Though the finale works perfectly as a series finale, when Kudrow came to speak at AFI she spoke at length about what would have happened had the series come back for a second season. Even on the DVD there are extra scenes shot that I can only imagine would have been used if the show came back. Even though I’m heartbroken HBO didn’t give the show a second chance, part of me thinks that it would be nearly impossible to top the first season. Of course, even as I write that, I know that if anyone could do it, it would be Kudrow and King. The character still remains so indelible that I can’t help but wonder where she would be today. What would Valerie Cherish be doing right now? I do wanna see that.

“Valerie Shines Under Stress” is available at HBO Go, YouTube and on DVD.

Arrested Development - "Meat the Veals"

Season 2, Episode 16

Original Airdate: April 3, 2005

Writers: Richard Rosenstock, Barbie Adler

Director: Joe Russo

Executive Producers: Brian Grazer, Ron Howard, Mitchell Hurwitz, David Nevins

Cast: Jason Bateman, Portia de Rossi, Will Arnett, Tony Hale

Telling a single funny joke is infinitely more difficult than telling a single unfunny one, and filling 22 minutes with funny jokes is nearly impossible, no matter what a laughing studio audience would have you believe. “Meat the Veals” is as close to a perfect comedic episode of television I’ve ever seen. Every single joke is funny, and every time I watch the episode I am as entertained as I was the first time. And yes, I write this fully acknowledging that the title is horrible. For me, it’s the pinnacle of “Arrested Development,” a show with many creative peaks.

Plus, there’s Mrs. Featherbottom.

Plus, we’re introduced to Franklin the puppet.

Though now it seems like everyone knows and loves the show (and likes to boast that they watched it when it was originally on air. As if.), the series was an underground movement from the start…the type of program that four hipsters in Brooklyn watched but were afraid to tell others about because it would mean admitting they had a television. Even I, the guy who watched all three episodes of “The Return of Jezebel James,” didn’t start watching until the beginning of the second season. And, truthfully, it’s easy to see why its many eccentricities turned off new viewers. Instead of self-contained, simple A-and-B stories, any given episode had about ten continuing storylines going on. Instead of giving viewers easy jumping-on points for prospective viewers, it filled its half-hours with dozens of in-jokes new viewers would not understand. This craziness is what makes the show great, of course – and are a huge reason why it has flourished on DVD and Netflix (where viewers can watch from episode one and not miss a beat). But for the show’s original audience, the inside-baseball gags were just another reason we loved it. It was like we were part of an elite club that most of the world was not privy to.

Of course being part of a small, elite club watching a broadcast sitcom doesn’t guarantee it’ll have a long and successful run, but that’s beside the point.

The main story of “Meat the Veals” (let me reiterate how much better the episode is than its name suggests) involves George Michael (Michael Cera), to his father Michael’s (Jason Bateman) chagrin, wanting to get pre-engaged to his girlfriend Anne (Mae Whitman). Meanwhile, Oscar (Jeffrey Tambor) wants to throw an anniversary party for his missing twin brother (Tambor again) and Lucille (Jessica Walter). Meanwhile, Tobias (David Cross) has been thrown out of the house by Lindsay (Portia de Rossi) and, in order to see his daughter Maeby (Alia Shawkat), dons the persona of a British housekeeper named Mrs. Featherbottom. Meanwhile, Maeby tries to keep her dual life as a studio exec hidden from her family. Meanwhile, GOB (Will Arnett) wants to re-introduce the family to Franklin, a racist black puppet that mocks George Michael’s “cracker ass,” among other non-bleeped things. Like I said, it’s a little complex for a half-hour sitcom. But then again, half the fun is watching the multiple storylines crash into one another in ways much cooler than “Crash.”

Like I wrote, every single joke lands. Also, this happens, which is my favorite bit of physical television comedy in the past decade. I can’t watch the episode without rewinding Mrs. Featherbottom’s fall multiple times. It’s difficult to pick a favorite bit of dialogue…maybe this one?

Lindsay (re: Mrs. Featherbottom): “You do realize that’s Tobias, right?”Lucille: “If he’s going to get into my closet, he’s going to work for it.”

Or this one?

Mrs. Featherbottom: “Who’s up for a banger in the mouth?”

I’d mention more, but then I’d just start listing, which is only fun if it involves Roger Ebert quotes.

What struck me during this viewing is how varied the actors’ different styles of comedy are. In series like “Fraiser,” and “The Dick Van Dyke Show,” every actor seems to be hitting the same comedic notes in any given episode. Often when a different comedic style is introduced on sitcoms, a’la Urkel on “Family Matters” or Fonzie in “Happy Days,” they tend to take over the show and shift the comedy to their strengths. I don’t write that as a criticism of those shows, just an observation in order to underline how special it is that “Arrested Development” can marry all those brands of humor into one cohesive whole. Cera’s quiet, awkward humor couldn’t be further removed from Cross’ broad slapstick, and yet when they are in the same room together, it feels right.

This leads me to the question of whether this is the best comedic ensemble in television history. Surely the casts of shows like “I Love Lucy,” “Seinfeld” and “The Mary Tyler Moore Show” were, in their own ways, perfect…but this cast is also perfect. And bigger. And while those sitcoms ostensibly had the title star at their center, here there is no true lead. Yes, Michael is our way into the show, but in many ways he’s just as demented as the rest of his family (it’s just not as obvious) – and just because you play the straight man in a comedy sketch does not mean you are central to it. So yeah, as to the question posed above, I’ll call this troupe the once-in-a-lifetime, lightning-in-a-bottle, other-cliché-chesnut, best cast in the history of television.

And I’m so happy that “Arrested Development” has crossed over garnered the popularity it always deserved. I remember being in college when I discovered it, and putting on DVDs of the first season for my friends while we were eating Papa Johns and whipped ice cream. In a way, helping others discover the program and the greatness contained therein was part of the fun – like handing a great novel to someone and whispering “you’ll thank me later.”

“Meat the Veals” is available on DVD, Netflix, Amazon Prime, iTunes and Hulu. And now, seven years after the show was cancelled midseason by Fox, it has been revived by Netflix. The fourth season will be available in May.

Popular - "Two Weddings and a Funeral"

Season 1, Episode 22

Original Airdate: May 18. 2000

Writer: Ryan Murphy

Director: Lev L. Spiro

Executive Producers: Ryan Murphy, Gina Matthews, Michael M. Robin, Greer Shepard

Cast: Leslie Bibb, Carly Pope, Leslie Grossman, Tammy Lynn Michaels

“Popular” was a teen drama on The WB that quickly morphed into a send-up of teen dramas on The WB. At first it seems to present viewers with all the storylines one would expect from such a show (pregnancy, addiction, losing your virginity etc.), but then twisted the telling while consistently winking and nudging the audience that the creators were in on the joke. By the time the show reached its first season finale, “Two Weddings and a Funeral,” the creators didn’t even try to be subtle about it anymore.

The episode opens with a character musing: “I love the merry month of May, except for those ridiculous sweep cliffhanger stunts they always pull on my favorite teen dramas.” She then lists every possible sweep stunt, including the wildly silly ones:

• A Wedding
• Pregnancy
• Death
• Natural Disaster
• Appearance by a Cheesy Boy Band
• Pretty Boy Nudie Shot
• When Pets Attack
• Gratuitous Musical Number

The episode then goes out of its way to include all of the above. The episode’s writer, Ryan Murphy, went out of his way to string together a seriously cuckoo-for-Cocoa-Puffs series of events for his cast to deal with in one episode, not just making the show meta, but then piling meta on top of the meta. For weeks leading up to the finale, The WB was advertising the “Popular Purge,” which was the killing off of a major character on the show. During the finale, viewers could post on the show’s message board and their opinions on who should die and why were blipped across the bottom of the screen. Of course today, with everyone tweeting and twatting their every thought, talk show hosts regularly pretending viewers’ tweets are just as valuable as experts, and networks helpfully putting some variation on “#posthowawesomeweare” at the bottom of their screen at all times, the stunt seems less impressive…but during its initial broadcast I remember giggling (yes, giggling) with delight.

The storyline…well…is a clusterfuck, and by that I mean absolutely brilliant. Let’s see if I can keep it straight. On Sophomore Skip Day, wicked chemistry teacher Bobbi Glass (Diane Delano) sends her class’ photos to every hangout in the city so they will be arrested for truancy if they show up. To get her back, they lace her milkshake with e. coli. She doesn’t drink it, but seconds later becomes paralyzed by her twin sister, Nurse Jessie Glass (Delano again), who wants to kill her after making her suffer through being eaten alive by her cats, then frame the kids. All the while, Brooke (Leslie Bibb) and Sam (Carly Pope) frantically try to keep everything under control while they prepare for the wedding of their parents. Oh, and Mary Cherry’s (Leslie Grossman) mother Cherry Cherry (Delta Burke) will be marrying Erik Estrada (not kidding) at the same ceremony. Oh, and because of eating too much dirt, Mae Tuna (Mandy Freund) needs a heart valve transplant or she’ll die. Oh, and there is a voodoo witch doctor. Oh, and Brooke and Josh (Bryce Johnson) might be getting back together. At one point Sam tells Brooke:

“You guys are hilarious. You’re like the typical TV show couple who breaks up, gets back together, breaks up and gets back together one last time on the last show simply for promotional sweets purposes.”

The amazing thing is, during all this madness, Ryan never loses track of his ensemble. More than that, he uses them quite well. In an age when most network shows are populated by interchangeable babes and hunks saying interchangeable dialogue on interchangeable sets, every main character her has a point-of-view. There are several big sequences that involve the almost the entire ensemble arguing and babbling over one another, and I couldn’t help but grin because, in each scene, each character comes to the situation from his or her own perspective. Nicole Julian (Tammy Lynn Michaels) just wants to get out of the situation, even if it means framing Sam. Sweet Lily (Tamara Mello) immediately feels horrible about the group’s actions and turns the murder plot into a moment to preach about teachers being underappreciated in our society. And lunkhead Josh is just thinking about what to write in Brooke’s yearbook.

And then there’s Mary Cherry. Introduced as a popular Southern belle supporting character, Mary Cherry (she’s never called just Mary) proceeded to take over the “Popular,” with Grossman’s incredible humor and comedic timing something Murphy and his writers seemed to love tapping into. She had webbed hands and feet. She had a surprise twin sister named B. Ho. She carries around a vial of e. coli virus in her purse because, “A girl never knows when she’ll have to lose the odd fifty pounds.”

And then there’s the dialogue. This episode has more one-liners that actually land than any given episode of your traditional sitcom. When Nicole Julian arrives at Brooke’s home carrying Ms. Glass’ stray finger, she says:

“Mary Cherry, put the finger in the fridge. Bring me a Diet Coke.”

When Ms. Glass is threatening her students she boasts that:

“After a nuclear apocalypse, I’ll be the only thing standing other than the cockroaches and Cher.”

Though the second season of the show had many sterling episodes (most notably “The Brain Game” and “Baby, Don’t Do It”) it was obvious that The WB heads didn’t like being poked fun at and put pressure on the writers to normalize with traditional teen soap storylines sans the added twists. Harrison got cancer. Lily and Josh got married and cried way too much. The balance felt…off.

And yet “Popular” was still better than almost every other teen drama on television, and certainly better than most of the sitcoms. It remains a touchtone for me and is one of the reasons I wanted to become a television writer. The balance of humanity, humor and meta-commentary on the television industry found in this episode has never been equaled or surpassed by any show before or since. Plus, did I mention Mary Cherry rocks?

“Two Weddings and a Funeral” is available on the first season DVD of “Popular” and on YouTube.

Friends – “The One With the Embryos”

Season 4, Episode 12

Original Airdate: January 15. 1998

Writers: Jill Condon & Amy Toomin

Director: Kevin S. Bright

Executive Producers: Kevin S. Bright, Marta Kauffman, David Crane

Cast: Jennifer Aniston, Courtney Cox, Lisa Kudrow

Over the decades, the “Game Show” episode has become a touchtone for most long-running comedies. It provides viewers with a chance to see their favorite characters behave surprisingly under immense pressure without there being any real stakes, and often the results are memorable fan favorites. There’s “The Odd Couple” episode entitled “Password,” “The Game Show” on “Maude,” “The Brain Game” on “Popular,” and “Grab That Dough” on “The Golden Girls,” to name a few. But the best version of this chestnut is by far “The One With the Embryos” from “Friends’” fourth season.

After Chandler (Matthew Perry) and Joey (Matt LeBlanc) guess every item in Rachel’s (Jennifer Aniston) shopping bag, Rachel and Monica (Courtney Cox) challenge them to a game of “Who Knows Who Better?” This example of the “Game Show” formula transcends the others for several reasons. First, it keeps the game intimate by having it be, essentially, a variation on “Jeopardy” done by the characters in their home instead of injecting the gloss of an actual game show set. Second, the episode concerns trivia about the characters instead of random facts the viewer has no attachment to. Finally, the storyline blossoms into having legitimate, real stakes (Monica and Rachel must swap apartments with the guys) instead of vague cash prizes that you know they won’t win.

More than that, this episode came at the right moment in the series. The viewers knew the gang enough that the writers, Jill Condon and Amy Toomin, could throw in some sly in-jokes (hey, what is Chandler Bing’s job?) while creating bits of trivia that serve as more than punchlines – they feel like natural extensions of our characters that we just didn’t know about yet.

"Noooo...!"

As with other “Game Show” episodes, watching the characters suffer through immense pressure under the guise of a game is fantastic for the viewer and allowed the actors to do some fascinating things with their characters. Look at the way the group repeatedly becomes exasperated with Ross’ (David Schwimmer) impression of a Game Show host, or Aniston’s awesome reading of the simple line “Ooh, that’s interesting.” However, nothing beats Monica’s completely (purposely) over-the-top shriek of “Nooooo…!” when she loses the game.

Also interesting is how the studio audience feeds off of the energy of the game as if it is a real Game Show. There is applause at the end of every round, and the laughter becomes more gleeful as the game evolves. It’s one of those rare episodes where the audience’s laughter almost morphs into a character – the same way the audience did during “I Love Lucy’s” infamous egg tango.

If all that wasn’t enough, what makes the episode transcendent is the B-story, involving the embryos of the title. Phoebe (Lisa Kudrow) has agreed to be a surrogate for her brother and sister-in-law (Giovanni Ribisi and Debra Jo Rupp), and here we follow the implantation of the eggs and the eventual reveal that Phoebe is, indeed, pregnant. What gives the arc some dramatic weight is that this is the only chance they’ll have at trying surrogacy, because all their savings is tied into those eggs (“They are literally putting all their eggs into my basket,” Phoebe opines). Phoebe was always a close cousin of Katherine Hepburn’s character in “Bringing Up Baby,” and here Kudrow gives us some of the best work of her career. There’s a beautiful scene where she’s speaking to the embryos that are about to be implanted. Her speech is some of the best writing in the history of the show, perfectly balancing the sentimental with the laughs:

“Hello tiny embryos. I’m Phoebe Buffay. Hi. I’m hoping to be your uterus for the next nine months. You should know that we’re doing this for Frank and Alice – who you know. You’ve been there. You know, they want you so much, so when you get in there really grab on. Okay? And I promise that I’ll keep you safe and warm until you’re ready to have them take you home. Oh! Also, next time you see me, if I’m screaming, don’t worry, that’s what is supposed to happen.”

There isn’t a joke in the monologue that feels forced, and nothing feels like a punchline. Kudrow’s delivery gives the awesome writing another level of humor and heart. At this point most viewers have seen the series and know there will be that heartbreaking scene in the one-hundredth episode where Phoebe is holding the triplets after giving birth and must give them away, which gives this entire episode a beautiful, bittersweet quality.

The episode also features one of the very best lines in the history of the series. After Phoebe takes a pregnancy test and it’s positive, her brother proudly screams at the top of his lungs: “My sister's gonna have my baby!”

There isn’t a wasted moment in “The One With the Embryos,” and the writers ensure that the aftermath of the game is just as enjoyable as the build-up. At once heartfelt and genuinely funny, this episode underlined what set “Friends” apart from the hundreds of sitcoms that have tried to rip off its formula and characters in the years since its broadcast. Instead of being happy with just taking classic sitcom scenarios and doing a good version of them, the “Friends” writers twisted and toyed with the clichés until they were new and innovative again. It’s also a show that never shied away from taking storytelling risks that could have alienated the core fanbase (pairing Monica and Chandler, turning Ross and Rachel into a triangle with Joey), but because the writers stayed true to their characters (quirks, issues, faults and everything in between) they not only made it work, but made it work wonderfully.

“The One With the Embryos” is available on iTunes, on DVD, on Amazon Instant Video and is probably showing on some channel on your television right now.

30 Rock : "Believe in the Stars"

Season 3, Episode 2

Original Airdate: November 6, 2008

Writer: Robert Carlock

Director: Don Scardino

Executive Producers: Tina Fey, Lorne Michaels, Robert Carlock, Marci Klein

Cast: Tina Fey, Alec Baldwin, Tracy Morgan, Jane Krakowski

Every television show can land a guest star, but only a few know how to use them. “Believe in the Stars” was produced at the zenith of “30 Rock’s” popularity (this is a relative term since, though it was always a critical and pop culture darling, it never lit up many Nielsen boxes) when some of the best popular and character actors out there were regularly appearing on the show. Oprah Winfrey was the special guest star here, and the next few episodes would feature Jennifer Aniston, Steve Martin, Elaine Strich and Salma Hayek in roles just as engaging and memorable as anything they could have found on film or stage.

Winfrey appears as herself in the episode, sort of. Liz Lemon (Tina Fey) must fly quickly to Chicago to get out of jury duty (by pretending she is Princess Leia) before “TGS” implodes for the umpteenth time. Turns out she is seated next to Oprah Winfrrrrrrrrrrrrrey (and yes, her classic vowel elongation is poked fun of early and often) on the flight back, which of course triggers immediate and complete overshare, made all the funnier because I’m pretty sure everyone would do just about the same thing in the situation.

Though it got off to a rocky start, “30 Rock” quickly became one of the most consistently great comedies on television, and has remained that way since (its seventh and final season begins in the fall). The show is certainly an odd, eccentric duck even considering what other modern comedies have hit the air in the past decade. Part of this is because it carefully toes the line between screwball, emotionless humor and more grounded, heartfelt storytelling. The Jenna (Jane Krakowski) and Tracy (Tracy Jordan) stories and subplots often fly off into space tonally (Jenna decides to marry a prince so disfigured he has ivory hands, Tracy decides he wants to go into space…right now), but the friendship between Liz and Jack (Alec Baldwin) gives the show its heart, pulling us back and making us care no matter how crazy the shenanigans get. 

This episode is one of the funniest in the show’s history, with writer Robert Carlock supplying viewers with a steady stream of quotable quotes. Like this one:

Tracy: “I watched ‘Boston Legal’ nine times before I realized it wasn’t a new ‘Star Trek’.”

Or this one:

Jack: “Did you know President Bush’s approval rating was almost as high as 15 percent following the Olympics?”

Shut up! Okay, one more:

Jenna: “How can you defame someone who was arrested in three Chucky Cheeses?”

The Winfrey scenes in particular merit multiple viewings to even begin to even get all the gags. In the entire 21 minutes, there is only one (one!) joke that doesn’t quite land (a late one involving Kenneth that doesn’t merit being written here because the rest are so good). More than that, Carlock was brilliant in the way he bled Winfrey’s presence into the subplot involving Jenna and Tracy bickering over who has it harder in America, women or black men.

Both call Liz while she is on the runway to talk about how they are right. Tracy screams into the phone:

“It’s about race! It’s about being a woman! It’s about money! And being on TV! No one understands all that!”

At that exact moment, Oprah sits down next to Liz. Perfection. This being “30 Rock,” Carlock takes the battle to the extreme, putting Jenna in black-face and Tracy in white-ish face (with a hand-claw because they ran out of make-up).

The twist that comes later is that Liz was in a drug-induced haze and hallucinated that Oprah was a feisty tween (if only my hallucinations were half as fun), which gives the entire sequence on the plane another layer of humor. At first, it just seems as if Oprah is mocking herself (and, of course, she is), but the twist gives Carlock the opportunity for even more gags later when Liz remembers all the things she really Really REALLY should not have done (like showing her boobs or forcing wine on the girl). Because I love you, dear reader, I’m going to provide you with the genius word vomit Liz unleashes on “Oprah” the moment she sits down. 

“I’m trying to adopt a baby but my job is making it impossible because my work-self is suffocating my life-me. I’m Liz Lemon and I lost my virginity at 25. I saw the show about ‘Following Fear’ and it inspired me to wear shorts to work. It didn’t go great. Do you know Tracy Jordan? Meh, I took a pill earlier. I didn’t get my September issue of ‘O Magazine’ do you have the number for subscriptions? Haha, why would you? Blah! I eat emotionally. One time at summer camp I kissed a girl on a dare but then she drowned! Aaaand here comes some more stuff. I hate my feet, and one time I had a sex dream about Nate Berkus but then halfway through he turned into Doctor Oz. Has that ever happened to you?”

Tired from her monologue.

Any one of these lines would have been enough to make the show memorable, but schmushed all together into one fantastic monologue is enough to make the episode a masterpiece. But then there’s another yet to come, where Oprah sends up her “Favorite Things”:

“Here, try this. It’s salt water taffy from Rhode Island. I have so many wonderful favorite things this year. Sweater capes, calypso music, paisley tops, Chinese checkers, high heeled flip flops that lift your butt and give you a workout.”

The list is funny already, but later becomes even funnier when we see Liz and other “TGS” employees wearing the high-heeled flip-flops (which, apparently, do exist outside the episode). Carlock has written some of the best episodes of the series “Apollo, Apollo” and “Today, You Are a Man” come to mind), and seems to approach the series with a “no amount of jokes is too many” mentality, which suits “30 Rock” and its fast-talking cast wonderfully. At times it can feel like “Bringing Up Baby,” in the best possible way.

When I watch an episode of “30 Rock,” I never feel like I’m being talked down to. The dialogue is fast and furious, but it’s also smart. The plotlines are interesting even if you are over the age of ten, and it’s not afraid to throw in archaic references that you may or may not understand…because if you do it’s still damn funny. It’s the little show that could, and has already earned its place on the shelf next to other classic workplace comedies like “Cheers” and “The Mary Tyler Moore Show.” All that and Oprah Winfrey? What more could you ask for in a show? 

“Believe in the Stars” is available on the third season DVD of “30 Rock,” on Amazon Instant Video, iTunes and is probably being re-run on Comedy Central right now-ish.

The Mary Tyler Moore Show : “Chuckles Bites The Dust”

Season 6, Episode 7

Original Airdate: October 25, 1975

Writer: David Lloyd

Director: Joan Darling

Executive Producers: James L. Brooks, Allan Burns

Cast: Mary Tyler Moore, Edward Asner, Ted Knight

“Chuckles Bites the Dust” is a joke where everyone knows the punch line. However, in this case that doesn’t make it any less funny. In fact, knowing exactly what will climax the episode makes the first two acts that much funnier. The show’s writer, David Lloyd (who also coincidentally wrote the “Frasier” episode in my last entry), has pulled a hat-trick by making an episode of television funnier with every subsequent viewing, which is a near-impossibility.

“The Mary Tyler Moore Show” was in its sixth season, but while earlier seasons (beautifully) balanced the work and home life of Mary Richards (Moore), after the departures of her neighbor characters from the show (both to their own lucrative spin-offs) the series tipped its balance into a full workplace comedy. Oddly enough, this reinvigorated the show creatively instead of seeming like it was past its peak. Many of the very best episodes, leading up to one of the greatest series finales in history, came in these later years, and this installment is no exception.

Of course, as the title suggests, “Chuckles Bites the Dust” concerns the death of the barely-seen network clown after he was waylaid by a rogue elephant at the circus after dressing up like a peanut. Seriously. But this revelation doesn’t come until about eight minutes in. Before that, most of the humor is surprisingly flat. Sue-Ann Nivens (Betty White) “gifts” Mary a hanging mobile of food and Ted is thinking of quitting the show because Lou won’t let him go to the circus. It’s all funny-ish, but the show has had much better gags, and there’s only one genuinely laugh-out-loud moment…when Sue-Ann tells Mary what she should do with the food mobile:

“Why don’t you put it in the bedroom? You need something to relieve the tedium.”

An actress at her peak of comedic powers.

But the moment Lou (Edward Asner) walks into the office to deliver the news of Chuckles death, the episode transforms into something great. I have absolutely no idea how Asner could have delivered the lines with a straight face, especially considering the audience reaction, but his delivery is priceless. Lou races onto set during a commercial and tells Ted (Ted Knight) that he has to improv the story…and we watch as Ted comes to terms with death live on the air, stumbling his way through half-memories of a man he barely knew. Watching his spiel is like watching a slow-motion car crash, only funnier and without the brains on the asphalt. It went a little something like this:

"Ladies and gentlemen, sad news. One of our most beloved entertainers, and close personal friend of mine, is dead. Chuckles the Clown died today from…from…he died a broken man. Chuckles leaves a wife. At least I assume he was married, he didn't seem like the other kind. I don't know his age, but I guess he was probably in his early sixties; it's kind of hard to judge a guy's face especially when he's wearing big lips and a light bulb for a nose. But he had his whole life in front of him, except for the sixty some odd years he already lived. I remember, Chuckles used to recite a poem at the end of each program. It was called ‘The Credo of the Clown,’ and I'd like to offer it now in his memory – ‘A little song, a little dance, a little seltzer down your pants.’ That's what it's all about, folks, that's what he stood for, that's what gave his life meaning. Chuckles liked to make people laugh. You know what I'd like to think, I'd like to think that somewhere, up there tonight, in his honor, a choir of angels is sitting on whoopee cushions.”

The fact that the producers were comfortable enough and trusting enough to just put the camera on Knight (with a few cutaways to the cast in the newsroom) and let him ramble the monologue shows how much confidence they had in Lloyd as a writer and Knight’s charisma, and the scene alone would make the episode noteworthy. But there is still so much more to come…

Of course the ludicrousness of everything about the situation begins to creep into conversation. Murray (Gavin MacLeod) makes the first off-color joke, and Lou finally gives in and laughs. Lloyd gave Lou a very interesting, reflective, human moment as he considers gallows humor just before the jokes begin to fly full force.

“It’s a release. A defense mechanism, like whistling in a graveyard. You laugh at death, because you know death will have the last laugh on us.”

The episode didn’t “need” that beat, but it’s a release for the characters, making their laughter okay. Of course Mary is infuriated by all this, telling them how horrible they are being with their relentless laughter.

And then the funeral happens.

"That bitch is NOT laughing right now."

It’s fascinating to watch the funeral again. I wonder if audiences originally had a sense of what was coming, or if Mary’s inadvertent laughter took them completely by surprise. The gag has been reused so many times since (on lesser shows) that it’s hard to look at it with fresh eyes…and yet it’s still one of the greatest moments of television comedy. It’s all about Mary’s face and the range of emotions that hits as she begins to giggle. She’s furious with herself, then horrified, then angry – but the giggles keep coming. It’s a master class in comedic timing, and I have to wonder if it was done in front of a studio audience or if they used a laugh track for the day. The audience laughter is more muted and short than the situation deserves, making me think her facial expressions weren’t as visible or that a PA had his finger on a dial making sure Mary’s laughs didn’t bleed into the audience’s.

The reverend makes Mary stand and tells Mary that Chuckles would have wanted her to laugh. That his life was about laughter, and he would have been happy to make someone smile, even in consideration of his death. This is, of course, completely true and makes Marie start bawling. And the viewer is crying too, because at this point the laughter has begun to hurt. And you know that’s the sign of a masterpiece.

“Chuckles Bites the Dust” is available on Hulu Plus (ugh), the sixth season DVD of “The Mary Tyler Moore Show,” on iTunes and on Youtube for free. You’re welcome.