Welcome to a new Sitcom Tuesday and the continuationof our series on the best ofThe Golden Girls(1985-1992, NBC),one of my favorite comediesever produced and perhaps my best known remedy for melancholia. Happily, for those who tire of seeing the series on any of the manycable channels on which it’s syndicated, the entire series has been released on DVD!
A divorcée and three widowsshare a house in Miami.The Golden Girlsstars BEATRICE ARTHUR as Dorothy Zbornak, BETTY WHITE as Rose Nylund, RUE McCLANAHAN as Blanche Devereaux, and ESTELLE GETTY as Sophia Petrillo.
After a third season that undoubtedlyfell short of the high expectations set by the two yearsprior, Season Four finds The Golden Girlsback toa respectable level of quality. This return to form is somewhat unexpected, especially considering that both the third and fourth years boast the same chief architects —Kathy Speer, Terry Grossman, Barry Fanaro and Mort Nathan. They’re rejoined this year byveterans Christopher Lloyd and Winifred Hervey Stallworth, the latter of whom isno longer on staff but does contribute one more script, and the prioryear’spromising new duo of Robert Bruce and Martin Weiss. In fact, the only new additions here are Eric Cohen, a one-season wonder, andpartners Richard Vaczy and Tracy Gamble, who’ll carry on, with Bruce and Weiss, through next year’s “changing of the guard” (to be discussed more next week). Naturally, because of themajor shift in personnelbetween years four and five, many fans use this development to divide the series into two parts for critical discussion — the early seasons and the later seasons — thus regarding Season Four to be the last year in association with the show’s collectively stronger first half, third-year slump aside.
Most of thediscussion about “Golden Girls A” versus “Golden GirlsB”will be savedfor later, but here I’ll note that every season has a life and quality of its own. I can lump the first two together for being the strongestand the last two for being the broadest, but the middle yearsare each wildly different, and it’s a testament to the strength of the characters that we don’t find the aesthetic changes as jarring in casual viewings as we do in study (an important distinction, by the way). For while I personally think that Seasons Three and Four are radically opposedin both quality and temperament, the show itself doesn’t quite reflect such disparity, because the characters have remained solid, with the women themselves bringing consistency to a storytelling that, for a period of time, isn’t. Of course, when I chide the writing for its inconsistency, I’m doing so, once again, based on metrics established in the initial, evidently superior, years; this is alwaysThe Golden Girls and it’s 90% of the time (that’s a personal approximation, folks) going to deliver something — if not aesthetically appreciable, then — feel-good and entertaining. This truism will continue in the weeks ahead — that’s how viewers can conceivably pair Season Three next toFour, Four next toFive, etc. But while thisexplains the average audience member’sability to survive the many qualitative gradations,how could it be that Season Four is muchbetter than the third when, unlike with next week’s palpable issues, there areno major personnelshifts on which we canpinpoint these noticeablechanges? After all, the same group ofwriters is responsible for overseeing both this year and the last.
I think the answer exists specifically in the juxtaposition of these once-glorious, now-perhaps-tired veterans (particularly the core foursome) alongside this liminal “new wave” crew, some members of which (Bruce and Weiss)emerged battle-tested out of last year’s figurative carnage. For while those aforementioned architects bring into Season Four their expertise of both the characters and the show, the fresh voices supply invigoratinglaughs and more creatively commendable (that is, unique but not attached to accompanying desperation) stories. The effect is a healthier flow of inspiration, supported by a foundational base of knowledge, particularly as it pertains to the ensemble. Additionally, this body of workrepresents another raising of the show’s comedic ante, for it is often said that, althoughThe Golden Girlsisa better written show at the beginning of its run, the laughs increase in both size and frequency with each successive year. In terms of results, that’snot completely accurate, but there is truth herewith regard to the show’s impulses — they’re going for more. We see this a lot onsitcoms thatare blessed with substantial runs: the need for new stories and beats yieldsbolder choices, and both the surprise and audaciousness of these maneuverings facilitatethe possibilityof bigger laughs. The key, as always, is to keep the humor from overriding the audience’s common sense and to ensure that said guffaws arealways rooted in established characterizations. This year’sability to do just that is what makes it (particularly in comparison to its seasonal neighbors) a strong showing.
But there are tracesof Season Three that still linger. First, this year maintains the last’slaugh-driven mode of storytelling, onlyhere it’s mitigated in intensity and strengthened in outcome throughthe fresh ideas being injected by the new members of the writing staff. In fact, one can see just how imperative these new figures are by looking at the adverse results insome of the misguided outings helmed bymembers of the original quartet. For instance, Fanaro and Nathan’s penchant for gimmicks delivers a ridiculous two-parter involving Sophia’s hasty marriage (an honorable mention for its sheer ability to deliver laughs— at times — in spite of itself; verySeason Three, right?) and a shamelessly thinoffering built around the guest appearance of Bob Hope. Both push hard and don’t have enough to show for it. Meanwhile, Speer and Grossman impart the series’ misguided needfor social relevance — evidenced by the miserably unfunny “Brother, Can You Spare A Jacket?” — onto some of the new members’ efforts (like Bruce and Weiss’ “High Anxiety” and Vaczy and Gamble’s “Sophia’s Choice”), and it’s a notionthat will remain in play next year to inconsistentappeal. This is problematic because in early years the intense focus on character could save us from these (Benson-ish) storytropes and aims, but given the nature of the show’suse of its own humorat this point,Season Four can’t claimasstronga balance ofcomedy and drama that the second year, in particular, could manage so well.Some comedy here is too cheap; some drama here is too steep. No calibration.
As always, we navigate around these textual concerns by focusing on the strength of our performers. By this time,all four women have won Emmys for their work — Arthur and Getty both got theirs before production even started on the season, which, like everything from ’88-’89, was delayed by a lengthy WGAstrike — meaning that the figurative playing field is now leveled: there’s no one on a specific quest to win an award. In this regard, the show is more relaxed in the material it chooses to distribute. However, with Getty proving her worth by anchoring a few episodes last year and coming out with a golden statue in reward,the show finally treats Sophia with as much importance as the other three characters. Having covered this series over the past few weeks, I’d forgotten how carefully the show let us know early on that, while it may have been an ensemble of four, the other three starswere the only ones around whom it was required to craft regular stories. That thinkingchanges here in Season Four, for there’s never before been more opportunities thrown to Getty as a character of equal distinctionto the others. And althoughSophia was always a regular source for boffocomedy — especially at the button (end) of a scene — allowing her regular chances to be funny whiledriving (or in many cases, co-driving)the weekly story is rathernew to this season.
Meanwhile, the bond betweenSophia and Dorothy is allowedto centerwhole episodes, rivaling the friendship that exists between the three “girls” as the show’s most important dynamic. Naturally,this developmentbodes well for Arthur’s Dorothy, who has another strong showing as a result of this deliberate emotional focus on therelationship with her mother. As for Rose and Blanche, the show is in a rut, as the writers have trouble crafting resonantstories for these two comedically consistent, but dimensionally stagnant characters. The attempts to give them material of substance here very seldomstrike thatdesired balance of comedy and drama, meaning that the show often decides just not to try, insteadpairing the duo together (or one of them with Dorothy, if the other is blessed with an A-plot) in inconsequentialstories that don’t reveal anything, but at least deliver a few laughs. Fortunately, they’re both in store for a mini-creative renaissance, but that’s for another season(as always, stay tuned)… In the meantime,I have picked tenepisodes that I think exemplify this season’s strongest installments. For new fans, this list will give you a place to start. For seasoned fans, there mightbe a few surprises.
Here are my picks for the tenbest episodes of Season Four. (They are in AIRING ORDER.) Every episode this seasonis directed by Terry Hughes,save one unhighlightedentry.
01) Episode 77: “Yes, We Have No Havanas” (Aired: 10/08/88)
Sophia and Blanche both fight over the same man.
Written by Mort Nathan & Barry Fanaro
The fourth season opens with one of the funniest episodes of the entire series, in which a typical sitcomstory (andTheGolden Girlshas already done it before as well) about two characters fighting overthe same love interest is made hysterically fresh by the nuances of the script and the delicious character beats, most of them belonging to Sophia and Blanche, who find themselves in competition for the same Cuban cigar heir, a role originally written for Cesar Romero. Nathan and Fanaro load the teleplay with lines of supreme quality, asthe rapidity of high-achieving laughs is unrivaled by any other offering this season andthe story points toward the elevated role Sophia will hold for the rest of the run. Meanwhile, the equally typical, but even less character-rooted, subplot (we’ve seen it before on The Lucy Show,Mama’s Family, and will see it soononMarried… With Children)of Rose taking a class — taught by Dorothy — to get her high school diploma isalmostas rewarding (surprisingly). Despite the logistics (and continuity) one must overlook with regard to thispremise and the simple fact that the stories have no reason being paired,the boisterous laughs and the always gratifying dynamic between Arthur and White cement an entertainment value that can, if nothing else, justifyour ability to derive comparable enjoyment. At a Sitcom Fest (basically a party where we watched sitcoms), I showed this installment to a group of friends who had NEVERseenThe Golden Girlsbefore and they were in stitches. My choice for the season’s best episode — a classic. Absolutely hilarious.
02) Episode 78: “The Days And Nights Of Sophia Petrillo” (Aired: 10/22/88)
Sophia has a busy day out while the girls lounge around.
Written by Kathy Speer & Terry Grossman
After a season in which the stories were so ostentatious that they often got in the way of our enjoyment,this low-concept episode is a treat. Of course, as one who believes the best multi-cams embrace their theatrical origins of intimacy, I’m always drawn to shows in which the premise is slight, for that puts all the focus on quiet charactermoments — for better or worse. Here, of course, it’s for the better, as Dorothy, Blanche, and Rose sit around all day not doing anything but talking, and as all Golden Girlsfans know, these conversations, many of which are tangential to the weekly story, serve as the show’s comedic nucleus. True to form, none of their stuff disappoints here. Also, in evidence ofSophia’s growing prominence (as with the above), she gets a whole story to herself, and although some moments with her are too saccharine (don’t get me started on the little kid), the juxtaposition of her material with the others’ is excellent.
03) Episode 79: “The One That Got Away” (Aired: 10/29/88)
Blanche sets her sights on an old flame while Rose thinks she’s seen a UFO.
Written by Christopher Lloyd
A typical complaint I have with contemporary sitcoms is that they don’t justify why two disparate stories occur within the same episode, and that’s an issue I could raise here, which may be the most surprising addition to today’s list. I could try and find some convoluted reason as to why the quitefunny story about Blanche trying to seduce the only man who’s ever rejected her (despite the fact that he’s, ahem, let himself go) is combined with an incredibly ridiculous story about Rose and Dorothy seeing what the formerthinks is a UFO, but the truth of the matter is there’s no good reason. However, because both stories delight on their own terms, the final results arenevertheless rewarding. The Blanche stuff is easily great, andthe Dorothy/Rose moments are surprisingly stellar, forthey illustrate exactly how the pairing of strong characters — witha notable script (among Lloyd’s funniest) — can elevate such an absurd plot.
04) Episode 85: “ScaredStraight” (Aired: 12/10/88)
Blanche’s visiting brother hides his sexual orientation from her.
Written by Christopher Lloyd
One of the interestingthings about thisyear that I mentioned only briefly above in my seasonal introduction is that the series continues to derive self-importance from discussing topical issues — like homelessness, drug addiction, or in this case, sexual orientation. I often find that lofty ambitions can becounterintuitive to laughs and entertainment, but as was the case with the similarly themed “Isn’t It Romantic?”, when these offerings can remain true to their established characters, they become more easily justified. For instance, I think it’s wonderful that sexually liberated Blanche is not very accepting of her brother’s orientation — for while that may be ironic, it makes sense given her conservativeupbringing. Additionally, Lloyd injects enough comedy to make the scripta favorite, particularly in the final scene withBlanche and Clayton.
05) Episode 90: “Love Me Tender” (Aired: 02/06/89)
Dorothy’s new relationship is strictly physical.
Written by Richard Vaczy & Tracy Gamble
Here I’ll plug Jim Colucci’s new bookGolden GirlsForever, which features many fascinating tidbits about the series, including the fact that this episode was one of Bea Arthur’s least favorites, mostly because ofjokes about Dorothy’s physical appearance (a sensitive subject for Arthur) and the casting of John Fiedler, not a hunk, as Dorothy’s hunk. Of course, while we can understand Arthur’s sensitivity, I hope she came to understand that Fiedler’s casting is precisely what makes this episode work as well as it does, for the whole joke is that this tiny unassuming man is capable of making all these grown women quiver. It’s veryfunny. Meanwhile, there’s anamusing B-plot for Blanche and Rose, though itreminds of a story fromThe Mary Tyler Moore Show. Also, note that this is the first script by Vaczy and Gamble, a strong duo who’ll stay till the end.
06) Episode 91: “Valentine’s Day” (Aired: 02/11/89)
The womenrecall past Valentine’s Days.
Written by Kathy Speer & Terry Grossman and Barry Fanaro & Mort Nathan
Of all the “anthology episodes,” this offering is both the funniest and most successful; every single vignette is outstanding. There’sthe requisite flashback to Sophia as a newlywed (with Sid Melton as Sal and Bill Dana as her dad) andBlanche’s sweet story about (unknowingly) helping a man propose to his beau, both of which are memorably enjoyable. And then there’s two of the funniest scenes in the entire series, as Dorothy, Blanche, and Rose end up at a nudist colony by accident — it’s a story we’ve seen on bothThe Bob Newhart ShowandGood Morning, World, but this show does it best — and, my personal favorite, when the ladies’ plan to nonchalantly buy condoms from the drug store goes awry. Filled with classic moments, this was the last script (in production order) by these four great writers, and it’s a fitting swansong. A favorite.
07) Episode 92: “Two RodeTogether” (Aired: 02/18/89)
Dorothywants to spend quality time with Sophia.
Written by Robert Bruce & Martin Weiss
This is one of two episodes on today’s list that I like specifically because of the exploration of the mother-daughter bond between Dorothy and Sophia, and more than any other offering, this is the one that comes to mind when I think of their sublimedynamic, likely because it is explored inalow-concept premise that’s utterly relatable. The A-storybasically is that Dorothy wants to spend time with Sophia, fearing that they might not have many years left together. It’s sweet, it’s human, and because this is Sophia we’re talking about, invites opportunities for comedy (and, to Buena Vista’s delight, Disney references). Their scenes are easy but special, and while this isn’t one of the funniest episodes, it’s one of the most important. Also,there are the anticipated laughs in the subplot of Blanche and Rose working on a children’s book.
08) Episode 95: “Till Death Do We Volley” (Aired: 03/18/89)
Dorothy gets a visit from a friend with whom she’s always in competition.
Written by Richard Vaczy & Tracy Gamble
Another candidate for one of the season’s most humorous offerings, this Dorothy-heavy outingconcerns the rivalry she shares with an old high school friend, Trudy. Their practical joke oneupmanship culminates in a prank of epic proportions, as Trudy (SPOILER ALERT) fakes her death during a tennis match just before Dorothy, now riddled with guilt, is hosting their high school reunion. It’s a very funny idea, yet while it may be a surprise to those who’ve never seen it before, I don’t think the story deservesany credit for being surprising or unpredictable. (I mean, didanyone really think that Dorothy slept with Trudy’s husband right after her teary breakdown? Come on.) Instead, this outing islaudable for the Vaczy and Gamble script, probably the most amusingly potent contribution from their tenure on the series. A fourth season classic!
09) Episode 99: “Rites Of Spring” (Aired: 04/29/89)
The women recall previous attempts to improve their looks.
Written by Eric Cohen
This is Eric Cohen’s only yearand he seems to fade into the background in favor of other new writers (not to mention the still wonderful old writers). Of course, he only made two credited contributions,so we don’t get a lot of chances to sample his work — or, at least, the work credited to him. If this episode is any indication, he has funny ideas, but doesn’t yet have the ability to connect them to character. Frankly, of all the episodes here, this one’s inclusion was least certain, for while I really enjoy the workout sequence (and for all its bizarre charm, the hairdressing scenewith Lloyd Bochner), I don’t think ithas a lot to do with the characters. The most interesting element of this whole offering comes from the debate about who is Dorothy’s best friend. It’s not so funny, but it’spertinent to our understanding of these gals.
10) Episode 100: “Foreign Exchange” (Aired: 05/06/89)
A couple from Italy believes that their daughter was switched at birth with Dorothy.
Written by Harriet B. Helberg & Sandy Helberg
The series’ 100th episode is actually written by a pair of freelancers. Like several entires on today’s list, we have two stories which don’t connect, but because both of them are so individuallyenjoyable, the entire episode is able to work as a whole. You’ll notice elements common to the season — while Dorothy and Sophia getan earnest A-plotall about their relationship, Blanche and Rose get a greatlyamusing subplot that serves the episode broad comedy. The dirty dancing scene is yet another highlight of the season, while the interaction between Dorothy and Sophia continues to strengthen the latter’s position on the series. There are plenty of laughs in their story too (thank goodness), andeven with the forced tension (which we know will be resolved by episode’s end), the story is feel-good; here, that’s enough.
Other notable episodes that narrowly missed thislist include: both parts of“Sophia’s Wedding,”which feature an ostentatiousand NOT character-driven premise, but nevertheless has some decentlaughs, including those involving a catty caterer and a group of Elvis impersonators (one of which is Quentin Tarantino),“Stan Takes A Wife,”which has a trite premise but some fantastic moments for Bea Arthur,“High Anxiety,”which is hilariously funny in spite of a rotten primary story that feels too Very Special Episode-esque; nevertheless, it most deserves to make the above list (shockingly), and“Sophia’s Choice,”which benefits from a funny Blanche subplot and a strong Vaczy/Gamble script, both of which almost counteractthe similarly too weighty A-story (a trend we’ll see continued next week…)
*** The MVE Award for the Best Episode from Season FourofThe Golden Girlsgoes to…..
“Yes, We Have No Havanas”
Come back next Tuesday for the best from the fifthseason! And tune in tomorrow for a new Wildcard Wednesday post!
