American Gothic (1995) s01e11 – Rebirth

Rebirth’s a swing and a miss for American Gothic, even though it was an episode I’d been looking forward to seeing again, even though it’s directed by James “The Muppet Movie” Frawley. It also features garbage human being Danny Masterson as a teenage bad boy who helps Lucas Black against the normie teens bullying Black for… having had his entire family murdered. I didn’t recognize Masterson at that point (or at all, I needed the credits), but the mid-nineties white boy dreadlocks are a look.

Masterson needs some cash to get out of town, leading to sheriff Gary Cole harassing him. At least until Sarah Paulson figures out how to return from the dead: she needs to borrow someone else’s spirit. In this case, Paige Turco’s visiting pregnant friend, played by Amy Steel, is just what the proverbial doctor ordered.

I remembered the episode as being some complex character arc for Paulson, who only recovered her full faculties after her death, so she’s never gotten to be alive in this way before. Certainly not with all the grown men leering at her, which she doesn’t notice and, thankfully, doesn’t go anywhere. But her Rebirth gives Cole an idea for palling up to Black. All Cole’s got to do is turn Black against Paulson, which isn’t hard because Paulson’s hanging out with Masterson instead of brother Black. Even though she knows he’s super-lonely without her.

It’s also not a good brother-and-sister arc. It’s not immaterial, but it’s close.

Victor Bumbalo and Robert Palm get the writing credit, and it’s similarly nothing notable. Not in any good ways, especially in how lightly Black (and Paulson to some degree) take Cole raping their mother approximately nine months before Black was born—witnessing the event mentally traumatized Paulson for life. They’ve got no time to discuss it, not when Black can mope about Paulson hanging out with Masterson. He’s got a point—remove the real-life stuff, and there are still the dreadlocks and Masterson’s terrible Southern accent—but there’s also a severe lack of character development.

Is it worse than the scene where Turco makes light of Steel’s two previous miscarriages as she worries about her baby? I mean, no? Rebirth passes Bechdel in the worst ways.

Frasier (1993) s07e11 – The Fight Before Christmas

“Frasier” does indeed run into immediate problems with Jane Leeves finding out David Hyde Pierce has a crush on her (and has had one for quite some time). Leeves has her first moment of romantic interest—post finding out—and it’s when Hyde Pierce puts his jacket on her. They’re standing out on the balcony unraveling the plot-driving confusion. Leeves has spent the episode thinking Hyde Pierce is romantically interested in her again because he’s on the outs with girlfriend Jane Adams, while Hyde Pierce just wants to patch things up with Adams.

But they’re out in the cold Christmas air (it’s the Christmas episode), and when Leeves shivers, he offers his suit jacket. Why are they out on the balcony? So he can discretely ask her something (related to Adams), and while it’s awkward, it doesn’t require them to be outside. It’s just to set Leeves to get swept away by gallantry in an absurdly unnecessary situation.

Last episode—the “first part” of this two-parter, quotations because it’s not a real two-parter—neither Adams nor Saul Rubinek showed up. In this episode, Leeves initially thinks Hyde Pierce won’t confess his devotion because Rubinek’s around. Except Leeves has now got the “what ifs,” and it’s derailing the show. Or at least threatening to do it.

The episode begins an indeterminate time after last episode, which was a birthday episode (initially) for Kelsey Grammer. I’m vaguely curious if they do him having a birthday just before Christmas in other seasons, but I’m not willing to do the work. But some time has passed, only Leeves hasn’t seen anyone to tell them about the crush discovery. Anyone meaning Peri Gilpin, who becomes Leeves’s sidekick this episode, which is fine—they’re great together—but it’s strange and forced.

Pamela Fryman directs this episode (she did last episode, too) and does a fantastic job. Grammer’s got a Christmas party at work (Tom McGowan and Edward Hibbert briefly guest), and then he and John Mahoney have Christmas antics fun; Fryman does great with that stuff. And she does all right with Leeves’s, but she can’t make it work. The script—credited to Jon Sherman (who didn’t get the credit last episode)—just isn’t there.

To confuse Leeves, Hyde Pierce has an opening subplot regarding Maris, which means Adams’s most significant contribution is a brief harpy scene. Rubinek does slightly better, at least getting to have fun as Grammer’s Christmas party gofer.

It’s okay, but the problems are immediately showing. Not assuring.

Frasier (1993) s07e10 – Back Talk

This episode is the first entry in a two-parter, but one of those loose sitcom two-parters where it’s just so they keep them together in syndication. Whatever comes after Back Talk will be inevitably different because, after over a hundred and seventy episodes, “Frasier”’s going to deal with one of its longest-running story arcs.

Not the chair, though it gets mentioned.

No, this episode is where Daphne (Jane Leeves) finds out about Niles (David Hyde Pierce) having a crush on her. Possibly. It depends on how drowsy Kelsey Grammer’s painkillers make him, but Leeves is on a collision course with the reveal.

But it doesn’t start about the seven-year crush; it begins with Grammer’s birthday breakfast and a bad back. And some good jokes with dad John Mahoney giving him gruff. The episode’s script credit goes to Lori Kirkland; Pamela Fryman directs. It’s a near exemplar “Frasier,” from the structure to unexpectedly giving Leeves a big acting task, except it’s too functional. There’s no going back if Leeves finally finds out… you can just see the TV teasers.

When Grammer tells Peri Gilpin about his bad back, she suggests he list his current complaints about the human condition aloud. He finally gives in to the idea—with Hyde Pierce and Gilpin nicely teaming up against him—only when he confesses (to an unlikely recipient) how much he will miss Leeves when she leaves (no pun; to get married), she overhears and thinks he’s got romantic feelings.

Something Mahoney reinforces (without elaborating on). So Leeves thinks Grammer’s got the hots for her and gets really uncomfortable—another great sequence from Leeves. This episode gives her a lot more to do than usual.

Excellent performances from Grammer and Leeves, with some solid scenes for Mahoney too. Gilpin and Hyde Pierce are all support; they’re good and funny, but they’re all support.

There’s a great subplot about Grammer discovering the best salve for his bad back, which comes back in the credits scene just right.

It’s a really good episode. But it’s also a really good episode related to the show’s Achilles heel (or so we’ll soon learn). From here, however, it seems like they’ve got smooth sailing ahead.

Frasier (1993) s07e07 – A Tsar Is Born

This episode’s a great example of how a long-running show (probably specifically sitcom) can benefit from that longevity. There are new things in the culture relevant to the show, which it can now comment on. In this case, “Antiques Roadshow,” or whatever they call it on Tsar. “Roadshow” started in 1997, “Frasier” started in 1993. This 1999 episode offers a wonderful integration.

Both Kelsey Grammer and David Hyde Pierce are big fans of the program, making an evening out of watching an episode. They’ve got Grammer’s apartment to themselves because dad John Mahoney’s going out for a boozer. Only then Mahoney’s pal cancels, and the boys think they’re out of luck; Mahoney promises they can have the TV after his program’s finished.

Of course, his program is “Antiques Roadshow” too. For the first time in seasons upon seasons of episodes, Grammer, Hyde Pierce, and Mahoney find something they all enjoy. They even come up with a drinking game for whenever someone says “veneer.” It’s a fantastic bonding sequence, in some ways more touching than when they have their occasional heartfelt moments in episodes because it gets to be comedic. And let them all play to their characters’ eccentricities without anyone being the butt of a joke.

At the end of “Roadshow,” they find out the show’s coming to town, so they’re going to go and bring some of Mahoney’s family relics. It kicks off a hilarious plot about the Romanov dynasty, scullery maids, and Winnebagos. I’m not sure if A Tsar Is Born is an exemplar “Frasier” going back to the start of the series, but it’s definitely a mid-run exemplar. The episode goes all out, too, with a scene set at the touring “Roadshow,” where Grammer and Hyde Pierce can be appropriately snobby.

The script’s credited to Charlie Hauck, whose name seemed familiar but not from this show (Tsar is his first of two “Frasier” episodes). It’s a really good script. Especially since it gives Peri Gilpin and Jane Leeves a little more to do than usual.

Still lovelorn, Gilpin checks out a laptop from the station to get on the World Wide Web. Presumably firing up Netscape Navigator, she’s met a nice guy online, and Grammer tries to convince Gilpin she’s being catfished. The subplot only gets a couple scenes, but there’s a nice moment for Gilpin and Mahoney, who haven’t gotten to hang out lately. Then the punchline is absolutely hilarious and provides an excellent showcase for Gilpin.

Leeves gets showcased, too… though dressed as a go-go dancer. She and (off-screen) fiancé Saul Rubinek have different ideas of appropriate wedding attire, but Hyde Pierce gets some great reactions to Leeves in scanty sixties wedding dress. She also gets to make some good rejoinders to Grammer during his peak snobbery. It’s also nice to see Hyde Pierce have some—albeit highly inappropriate—passion. It’s been a while.

Good direction from Pamela Fryman, great resolution for the A-plot–A Tsar is Born is an excellent sitcom episode.

Frasier (1993) s07e05 – The Dog That Rocks the Cradle

This episode’s a sequel to the previous season finale, a two-parter where one of the subplots had Peri Gilpin sad about dating and ending up in bed with Dan Butler. The story resolves with Butler leaving the radio station—fired for bad ratings—saving Gilpin from having to address her seemingly growing but decidedly unwanted feelings for him.

Months later, Butler delivers a pizza to Gilpin and Kesley Grammer. They’re working late, she doesn’t have a babysitter, her love life hasn’t improved, but she’s finally got a date. Butler’s not doing well but tries to play it off, so Gilpin hires him to be her babysitter.

And Butler’s great babysitter, he’s just also sabotaging all of Gilpin’s dates.

It’s story editor Bob Daily’s first writing credit, and it often feels overly “Frasier”-y. Grammer and David Hyde Pierce have really funny snob moments; John Mahoney gets to be gruff and put the boys in an awkward spot; Jane Leeves gets mostly reaction shots but good ones.

But the Gilpin storyline—which started last season finale about her loneliness—gets kicked down the road once again. The show emphasizes it and ends on it, but seemingly just making it part of Gilpin’s ground situation, not an active plot in her life. Instead of dealing with her, it centers the story on Butler and his motivations. Again, there’s some hilarious stuff because Butler and Gilpin are great, but it’s a little too slight. Especially taking it being a follow-up episode into account.

Matt Roth shows up for a couple quick scenes as one of Gilpin’s potential love interests, which is nice. Always nice not to see him being an asshole.

Grammer doesn’t really get an arc outside the family one—he and Hyde Pierce want Mahoney to make arrangements for his departure from this mortal plane, which Mahoney finds morbid, but then realizes might not be best left in their hands.

Good direction from Pamela Fryman throughout. The resolution for Butler and Gilpin’s arc gets a little draggy, but the two punchlines—comedy and emotional—pay off. Unfortunately, they just don’t have any idea what to do with Gilpin once those bits’re done.

Frasier (1993) s07e04 – Everyone’s a Critic

It’s as though “Frasier” heard me across time and made some immediate adjustments—it’s another radio station episode, but unlike last episode, it features a bunch of scenes for Kelsey Grammer and Peri Gilpin at work. It’s also got regular station guest cast (Edward Hibbert), and then station manager Tom McGowan’s practically a regular.

There are some caveats, of course, but for the episode overall, not the station stuff.

Or if there are station-related caveats, they’re part of the bigger caveat, which is guest star Katie Finneran. Finneran plays the station owner’s daughter, a ditzy, dull rich girl testing out Mom’s properties to decide her future career.

The episode introduces Finneran as the B-plot but then brings her back up to the A-plot. It’s good plotting—Joe Keenan gets the script credit, which is full of laughs—but it’s entirely based on everyone thinking Finneran is terrible. While she’s tedious and annoying, so’s everyone else at the station in one way or another, at least the radio personalities. It’s McGowan’s bit—he’s managing all these Seattle talk radio prima donnas–but Finneran’s a bridge too far, apparently.

The opening has Grammer foisting Finneran off on Gilpin (who doesn’t know she’s a bore yet), then going home to find out David Hyde Pierce has gotten a job as a culture critic. The episode has many Grammer and Hyde Pierce rivalry hallmarks, but the Finneran subplot takes some of the space from them, so the episode doesn’t feel rote. It just feels awkwardly mean and a little misogynist. Would everyone give Finneran the same kind of shit if she were a wealthy, dippy son?

Also, since Finneran’s never mean-spirited or even as snooty as Grammer or Hyde Pierce, the hostility is off-putting. Finnegan’s character isn’t tiring in her scenes as much as everyone’s reaction to her, like when Jane Leeves sits and glowers at her. Though Grammer’s sucking up to her at that point, so Leeves is also glowering at Grammer. That sequence, which has six seasons of history—Leeves regularly seeing Grammer playing sycophant to some rich jackass or another—is the most inaccessible I think “Frasier”’s ever been. Outside “Cheers” references.

Leeves is great at glowering, don’t get me wrong, and it’s an appropriate response, but it requires a lot of show knowledge.

There’s some good material for John Mahoney, who gets the C-plot about Eddie the dog hunting down a kid’s missing hamster, as well as reacting to Hyde Pierce and Grammer’s competitive bickering. Maybe it’d be more of a rivalry episode if Hyde Pierce were in it more, but the episode doesn’t follow him at all.

There’s also a weird continuity gaffe where Mahoney and maybe Hyde Pierce both know Finneran without ever having met her (onscreen). Perhaps something got cut. It’s okay—and even amusing—but glaring.

It’s a funny, well-acted episode—Hyde Pierce in particular—and it’s nice they know they need to mix up the standards a hundred plus episodes in… but it’d have been nice if they could do it without being jerks. I kept expecting director Pamela Fryman to right the ship but nope.

Frasier (1993) s06e23-e24 – Shutout in Seattle

“Frasier” has had some excellent season finales, but Shutout in Seattle might be the best so far. Definitely when taking into account it’s an hour-long and because it addresses previous plot lines. And because it has an elaborate set-piece conclusion, which director Pamela Fryman sublimely realizes.

The episode opens with David Hyde Pierce and Peri Gilpin at the coffee shop; she’s just been stood up for a date, he’s still recovering from Saul Rubinek proposing to Jane Leeves. Well, more accurately, he’s recovering from Leeves accepting said proposal. He and Gilpin chat a bit about their respective sorrows, comparing. Then, just when it seems like Hyde Pierce is in the lead, there’s a surprise to put Gilpin ahead.

Hyde Pierce is going to be the focus of the first third or so of the episode. He’s the only single person he knows (besides Gilpin), and there’s a lengthy sequence at the apartment where the happy couples can’t stop being happy in front of Hyde Pierce. Even when Kelsey Grammer can’t remember Amy Brenneman’s name, calling her “Cassandra” (her character’s name is Faye). Cassandra, of course, was the character Virginia Madsen played in the episode where Grammer was dating both women at once. In the still icky recurring subplot, John Mahoney can’t shut up about how much he preferred Madsen because she’s… more voluptuous. Pig Mahoney is gross.

Especially when he’s got his own lady friend, Alice Playten, over at the same time.

And then there’s Rubinek and Leeves, so happy in love. It all makes Hyde Pierce miserable, and he runs off.

While he’s incommunicado for a few days, there’s time for Gilpin’s subplot, which has her making a bad dating choice. The episode will play it entirely for laughs, which works—they’re good laughs—but it’s an incomplete arc. Instead, the episode ties up everything else, seemingly forgetting Gilpin’s arc doesn’t start with her specific dating woes but her general ones. It’s a missed opportunity, one of the few in the episode, instead of the icky Mahoney comments.

Yuck, I just thought of another one I’d forgotten. One the show even acknowledge is gross, with Grammer visibly reacting to Mahoney’s comment.

Otherwise, of course, Mahoney’s good. Most of his arc takes place off-screen, so it’s all about his delivery of the recounting, and he does a fine job.

Hyde Pierce’s arc gives him a bunch to do—he gets to flex more than anyone else in the episode—with Grammer getting a slight arc made funnier with repetitive. Given that slightness, it’s pretty impressive how funny it gets by the end.

Leeves and Rubinek also get a minor subplot, once with occasional sight gags, and it’s cute, but it’s not one of the standouts.

Shutout is an ambitious episode, primarily for director Fryman, who’s got to keep all the plotlines going and all the characters around each other so much, then there’s the incredible real-time finale sequence in the cafe—Ron Volk’s editing got a nomination but didn’t win; I’m curious if what did aged as well as the superb comedy here. David Isaacs gets the script credit, and it’s mostly stellar. Minus the misogyny and the truncated Gilpin arc.

It’s also impressive how well it wraps up, giving a “just right” season finale feel.

Shutout’s excellent. Save the damn icky.

Frasier (1993) s06e16 – Decoys

This episode starts as a Crane boys outing—David Hyde Pierce has just found out he’s gotten a lake house in his divorce and is taking brother Kelsey Grammer and dad John Mahoney up for the weekend—and ends up being a light screwball comedy of errors. Hyde Pierce has brought Peri Gilpin up in hopes of getting her to seduce Saul Rubinek away from Jane Leeves while they pretend to be on their own romantic rendezvous, so Grammer doesn’t spoil the whole thing.

So basically, Hyde Pierce and Gilpin are really shitty, and they’re only going to get away with it—not sabotaging the relationship because it’d be too shitty for a sitcom–but get away with it in terms of not being tarnished characters if they learn enough of a lesson. Or at least eventually get enough of a chastising from the proper authority. Along the way, there are some excellent laughs and good direction from Pamela Fryman—the episode does the character X doesn’t see character Y because someone went through a door at just the right time ad nauseam. The joke is in the buildup, which is a fine enough device.

I mean, “Frasier” has already used it in other episodes. Including other episodes involving weekends away in cabin or lake house settings. The episode plays as a reliable standard, though there are some particularly nice moments. The first one is Hyde Pierce and Gilpin having a bonding moment in the coffee shop; the two actors took quite a while to share scenes and have never had an adventure together before. Usually, it’s just snippy banter. Here they’re collaborators. They’re good. It’s not a great plot, but they’re good.

And there’s a charming bit where Mahoney forces Grammer to go duck hunting. After promising the episode would feature Mahoney, he’s just around for scene setups and wise old man monologues. The duck hunting scene gives him a decent enough monologue, and Mahoney’s able to act the hell out of it. He does wistful quite well and watches Grammer process things through quite well.

Rubinek’s really likable in his few scenes—I’m also pretty sure it’s the first time we meet baby Alice; the real baby doesn’t get a credit, but I assume she’ll be back. Hyde Pierce is able to get Gilpin on board helping because Rubinek wants a family and getting back with Gilpin has a readymade one. Fryman can do a lot with the pace, but it’s troublesomely gross when the episode slows down enough there’s time to think about Hyde Pierce’s plan. Even for a nineties sitcom.

So, the very cute Eddie the dog bit during the end credits lightens things considerably.

Frasier (1993) s06e13 – The Show Where Woody Shows Up

For an obligatory Woody Harrelson finally guest stars on “Frasier” episode, they do all right. There’s a good mix of Harrelson with the regular cast–including some of the regular supporting cast—and there’s a little bit of an unrelated B plot. Station engineer Noel (Patrick Kerr) is trying to woo Peri Gilpin while everyone drops “Star Trek” jokes because he’s a nerd Trekkie. Or Trekker. I think he talks about it (but not on this episode). There’s additional synergy because it’s all Paramount—including directly making a William Shatner joke (but at Kerr’s expense). And it gives the script something to do besides make “Woody is dumb” jokes.

There are a lot of “Woody is dumb” jokes.

Rob Greenberg gets the script credit. Other than not knowing what to do with David Hyde Pierce—he hangs out with Kelsey Grammer and Harrelson for their bar buddy reunion, but since there’s nothing for him and Harrelson to interact on, Hyde Pierce just makes reaction shots to the “Woody is dumb” jokes. At least John Mahoney appears to be enjoying Harrelson doing the schtick. He’s beaming during some of the shots as he watches the energy buzz of Harrelson. Harrelson is genuinely great at playing a lovable buffoon.

Unfortunately, the episode can’t think of anything to do with Peri Gilpin (Harrelson’s happily married, though there could’ve been a fantastic baby bonding thing), so she’s only in it long enough to set up an offscreen gag for Grammer, Kerr, and Edward Hibbert. It’s okay—they all go to karaokeing offscreen, and then Grammer and Harrelson talk about it later, letting the audience imagine Kerr and Hibbert’s performances. There’s a reward for it too, so it does work out. But it’s a bit of a detour.

Because the crux of the plot is Grammer feels like he’s outgrown Harrelson and “Cheers” and wants to ditch him but can’t. Harrelson’s in town for a wedding, which never comes up after the first six minutes, even though it seems like it should. It’s an okay plot—a little meta with the now erudite Grammer unable to pal around with his working-class former regular bartender Harrelson; the writers’ room just gave up—and it’s funny. There are maybe too many of the “Woody is dumb” jokes but not too too many. Enough you remember why Harrelson couldn’t have led a spin-off plus one, but not so many a couple last-minute ones aren’t just fine.

Good direction from Pamela Fryman.

It’s a successful very special guest star episode.

Frasier (1993) s06e12 – Our Parents, Ourselves

Okay, I’d forgotten whether or not Janis Hirsch was a distinct new writer on the show. Or a distinct new writer to get an episode credit. She’s not. She’s new (Our Parents, Ourselves is her second credited episode), but she’s not distinct, which is kind of better.

The episode’s not bad. I mean, it wastes guest star Eva Marie Saint with a slight misogynist bent and turns John Mahoney into a callous horndog, but it’s not bad… for a nineties sitcom.

Academy Award winner Saint plays Peri Gilpin’s much-mentioned mother, a former attorney general of Wisconsin. She’s in town, and she’s annoying Gilpin, who just wants some time to herself. So Gilpin and Kelsey Grammer cook up a scheme to set Saint up with his dad, Mahoney, who’s apparently been single since he broke up with Marsha Mason last season. I can’t remember, but I thought he’d had a date since.

Anyway.

The scheme involves meeting at Mahoney’s favorite bar, which means we get some funny Grammer and David Hyde Pierce amongst the working class moments. Then there’s the setup with Saint and Mahoney, and the kids are outta there. Until this point, outside a well-executed phone call bit for the radio show—Gilpin has to pantomime a football play, so Grammer wins a therapy bet—the most amusing joke involves bar waitress Alice Playten’s faux pas when she meets Grammer and Hyde Pierce (Mahoney’s been awkwardly talking up his sons).

After the single parents set up, the action moves to Grammer and Gilpin sitting around his apartment waiting for Mahoney and Saint to get home. There’s some decent barbed banter between them as they get more and more concerned, but what stands out is Jane Leeves watching a beauty show and making shitty comments about all the women’s physical appearances and concocting excuses to slut-shame.

So, yep, Hirsch’s getting distinct.

It’s going to turn out while Saint’s all about Mahoney, Mahoney’s not all about Saint. There’s a pretty good comedy of errors Super Bowl, solidly slobs versus the snobs, though it makes Mahoney into a frat boy grandpa, and Saint gets zilch. The ending gives Gilpin and Grammer a lovely character-building moment.

The episode’s not bad, and it’s got some decent and better moments, but its shitty factor isn’t non-zero, and the jokes it does land are cheap and easy.

Pamela Fryman directs, which probably explains the reasonable success.