Frasier (1993) s07e17 – Whine Club

Whine Club is half a regular “Frasier” episode, half a “mythology” episode, meaning working on the season’s low-burning arc about Niles (David Hyde Pierce) and Daphne (Jane Leeves) getting serious about other people when they should (?) be getting serious about each other. It’s also got an excellent subplot for John Mahoney where he and his friend’s widow, played by a wonderful Anita Gillette, enjoy commitment-free naughty sexy-time in their sixties or whatever. And it’s directed by Kelsey Grammer, who usually does more auspicious episodes.

It all might be okay if it weren’t entirely about villainizing Hyde Pierce’s new girlfriend, Jane Adams. She comes over for brunch, and everyone hates her. Will they or won’t they tell Hyde Pierce fills the last five or six minutes, comedy of errors-style. Except, as the episode points out earlier, everyone hated Hyde Pierce’s always-unseen ex-wife Maris, so it’s no surprise they don’t like the new girlfriend. Since we’re seven seasons in and Hyde Pierce’s marital problems subplot started in season three, I can’t remember if there was ever a period when everyone didn’t make fun of Maris (with Hyde Pierce around).

The whole point of the episode is to show how wrong Adams is for Hyde Pierce, what with Leeves right there and almost out of reach again because she’s getting married, but it just comes off as shitty to Adams. We get it; she’s a harpy. Mahoney reminds Grammer everyone hates all he and Hyde Pierce’s romantic partners (they don’t bring up Shelley Long, but Mahoney hated her too). Grammer and Hyde Pierce hated Mahoney’s steady girlfriend, played by Marsha Mason (who the show didn’t like for being working class). Way to remind the show’s got lousy parts for women.

The writing credit goes to executive story editor Bob Daily (his first scripting credit on the show) and Jon Sherman (his second). It feels like two episodes smooshed together because there’s actually not any whining in the brunch section. Unless you count Peri Gilpin complaining Grammer roped her into a brunch from hell. Grammer planned it before he and Hyde Pierce got into a fight about their wine club, which only takes up seven minutes of the episode (and feels like the non-mythology part of the show).

Anthony Head guest stars during the wine club scene. He’s great. It’s a shame it’s just the one scene.

There’s some hilarious stuff in the episode—drunk Leeves is a standout—but it’d be a lot better if it weren’t so craven.

Frasier (1993) s07e12 – RDWRER

Despite the unfestive title, RDWRER is the third “Frasier” in a row to do a holiday. Two episodes ago, it was a birthday episode (sort of) for Kelsey Grammer, then last episode was a Christmas episode, and now this episode is the New Year’s. There’s no specific mention of the new elephant—Jane Leeves knows David Hyde Pierce had a crush on her, but he doesn’t know she knows. Instead, it’s a Crane Boys episode; Grammer, Hyde Pierce, and Mahoney go on a wacky adventure.

The episode starts with Grammer and Peri Gilpin talking about their respective New Year’s. Grammer’s requires a flashback (and the entire episode). He and Hyde Pierce’s plans have fallen through, so they finagle an invite to a Wine Country party; they just need to get there. Good thing dad Mahoney’s custom plates—RDWRER (Road Warrior, sound it out)—have just arrived for his Winnebago. After a short scene with Leeves (she gets one bit then exits), it’s a road trip episode, with Grammer and Mahoney never letting Hyde Pierce drive.

New-to-the-show-this-season credited writers Sam Johnson and Chris Marcil do a great job, and Grammer delivers on the directing front. As per usual, he showcases his fellow actors over himself—Leeves’s outburst about late Christmas cards, Mahoney getting into it with a rural cop, Hyde Pierce convinced he’s been kidnapped. Then Grammer lets himself have a great showcase talking to Hyde Pierce—telephonically—about the kidnapping. It’s an “event” holiday episode, much more than the preceding two. The show’s not letting the mega-plot get in the way of an episode this time.

There are a couple fun and weird bits. First, Mahoney’s obsessed with Austin Powers, even though Grammer assures him he’s missed the pop culture moment. It’s silly and ages awkwardly—if they were really betting on Mike Myers being ubiquitous, they bet wrong—but it gives Mahoney some absurd lines to deliver well. Then Rebecca Schull guest stars. She was on “Wings,” which takes place in the same universe as “Cheers.” I can’t remember if there was ever any post-“Cheers” crossing over with “Frasier,” but… it’s a good bit part. She and Anthony Zerbe are an old couple also on the road in a Winnebago.

I think there was an episode of “Wings” where Schull had an evil twin. Maybe she’s playing the third sister here.

Anyway.

Excellent episode. Clock’s ticking, though. The clock is ticking.

Frasier (1993) s07e09 – The Apparent Trap

The Apparent Trap is another episode “Frasier” can only do because it’s been running seven seasons, and there’s lots of back story. Plus, guest star kid Trevor Einhorn has aged enough he can more fully participate in the episode. He’s not quite full supporting, but he’s closer than he’s ever been before. It’s a Lilith (Bebe Neuwirth) episode and a Thanksgiving episode (the second Neuwirth Thanksgiving episode), so there are the traditional John Mahoney can’t stand Neuwirth, and she weirds Jane Leeves out material.

But it’s the first Neuwirth appearance she and David Hyde Pierce made the beasts with two backs last season, which means there is all sorts of new material for them to work through. And Kelsey Grammer, reacting to all of it. So Apparent has a lot going on before the A-plot finally reveals itself—Einhorn’s trying to get his parents back together. The title, obviously, lends itself to that story, though it also could’ve involved a previously unknown twin.

Anyway.

It’s a funny episode. The main plot’s not spectacular, but they’re able to get a lot of laughs from it. While Einhorn machinates, Neuwirth and Grammer are co-authoring an article (for The New York Times Magazine!) about single parenting when you’re rich, white, and smart. While the beginning of the episode focuses on Neuwirth as the regular cast’s cause for consternation, the second half almost plays like a backdoor pilot for a “Lilith” show. We get to see her as single parent, dealing with Einhorn’s day-to-day problems while (almost always offscreen weekends) weekend dad Grammer mainly just supports her. Despite Einhorn visiting Grammer (Neuwirth’s an unexpected guest), Grammer doesn’t spend much time with him.

Instead, Einhorn’s got a good video game subplot with Hyde Pierce, then the standard boyishly lusting after Leeves (in knowing competition with Hyde Pierce).

But the episode’s mostly Neuwirth’s. She gets a couple great showcases, which just make the opening animosity stuff with Mahoney a little tired after seven seasons.

Grammer also directs the episode, showcasing how far he’s come; when he started, Grammer didn’t appear in the episodes he directed, and now he’s second lead. Though he’s the one giving Neuwirth the showcase. He’s good about sharing the show’s spotlight, especially when directing, even when he’s around.

Leeves has only got a little bit—a funny monologue about unseen fiancé Donnie’s Thanksgiving is the highlight—while Peri Gilpin is only in the first scene, setting up Grammer’s plans, so there are some balance issues. Like Mahoney being missing for the beginning of Thanksgiving dinner like they don’t have enough chairs.

The script credit goes to Dan O’Shannon, his first “Frasier” writing credit. The script does a good job of a traditional, annual, very special episode (Neuwirth or Einhorn guesting, a holiday). It’s an easy episode, but when it’s strong, it’s bending steel bars. Neuwirth’s superb.

Frasier (1993) s07e01 – Momma Mia

The season’s off to an excellent start with this episode, which also inadvertently shows how much “Frasier” has changed getting to season seven. First is with Kelsey Grammer directed episodes; Grammer’s first couple efforts didn’t have him around—I think he was entirely absent in one, and showed for the intro in the other—but he’s front and center for most of Momma Mia.

The second development is more subtle and also possibly a result of an already full episode—David Hyde Pierce isn’t low-key lusting after Jane Leeves in their scene together. Leeves has only got one scene (it’s going to be a full episode, after all), but gets to be in on the first reveal of the episode’s punchline—Grammer’s dating a woman who looks just like his mom (guest star Rita Wilson) and doesn’t know it.

Except Hyde Pierce sees it right away and talks to Leeves about it. Dad John Mahoney’s going to have to wait for a little while later into the episode so they can build more tension.

While the episode opens with Grammer’s meet-cute of errors with Wilson, which involves Peri Gilpin’s fix-up not showing up for him, then Gilpin telling the wrong lady she’s caught Grammer’s eye, the episode’s all about Mahoney’s birthday weekend. Grammer and Hyde Pierce are taking him to the family cabin—“Frasier” has gone to many a family cabin and I’m pretty sure none of them have been the same cabin. This cabin is a rental, however, so they get a continuity pass.

Though it doesn’t make sense why they’d rent a cabin when they’ve already got their… never mind.

Hyde Pierce and Grammer quickly start bickering once they arrive, which seems like obvious Crane boys drama in the script—credited to Rob Hanning—but it’s actually all set up. They’re children, with dad Mahoney, and lady who looks like mom Wilson. Leads to some very funny scenes. The episode’s got a lot of laughs, both deliberate ones the script sets up, but then also a bunch of physical material for Hyde Pierce. He’s afraid of the bugs, you see. They even do an absurd bit where he’s got a suitcase with nothing but different kinds of bug repellant. It’s too broad but at least quick.

By the end of the episode, they’ve gotten past all the laughs for some sincere family moments for Grammer, Hyde Pierce, and Mahoney. Despite Mahoney and Hyde Pierce sharing a plot thread, observing Grammer on his separate one with Wilson, there’s even a nice moment for Mahoney and Grammer. It’s an extremely well-constructed episode.

It’s really funny. There are a couple hiccups—the suitcase of bug repellant is the stand-out—but there are a dozen really good laughs. Leeves and Gilpin don’t get a lot of screen time, but they’re very good with what they do get, especially Leeves.

Season seven’s looking good.

Frasier (1993) s06e14 – Three Valentines

Kelsey Grammer’s garbage politics were well-known when “Frasier” aired, which always made rooting for the show awkward. But Three Valentines, the fifth episode of the series he directed, is so good I thought about how it was too bad he never broke into movies. Though he’d just have made right-wing crap.

This episode is a divine showcase of the show’s main cast (except Peri Gilpin, who’s around and good but not showcased), starting with David Hyde Pierce doing a lengthy slapstick sequence. He’s getting ready for a society Valentine’s Day date with the president of his wine club and notices his pants aren’t quite well-ironed enough. The only dialogue in the scene is Hyde Pierce setting the stage for the audience (on a phone call to his wine guy) and then the occasional witty remark to Eddie the dog, who watches the silly human unintentionally wreak havoc. What’s great about the scene is Hyde Pierce, obviously, and how he, Grammer, and the script pace out the ordeal. It starts with Hyde Pierce doing one kind of a physical bit, then moves on to another, then moves on to another, then another, then rewind to the second, then skips ahead. It’s exquisite work from all involved.

Then it’s time for Grammer’s Valentines, which has him out on a maybe date, maybe business dinner with new colleague Virginia Madsen. The scene opens with Grammer calling Gilpin to talk about whether or not it’s an actual date. He’ll call Gilpin back throughout—it’s nice to see cell phones used to such good effect—to get feedback on the latest development. Grammer’s sequence eventually gives him some good physical humor, but nothing like Hyde Pierce’s masterclass in it. Instead, it’s mostly comedy of errors dialogue stuff and an enjoyable guest turn from Madsen. Rob Hanning gets the script credit on this episode; it’s an excellent script.

The third and final date is John Mahoney and Jane Leeves on a non-romantic evening. The Hyde Pierce segment was all physical gags; the Grammer one was physical and dialogue; theirs is all dialogue. Leeves gets bummed she doesn’t have any romance in her life, while Mahoney is upset everyone thinks he’s too old to be her fella. The latter’s a lot more problematic when you think about it than when you watch it… actually, so’s the former, given her relationship status is defining her. Even great, it’s still a nineties sitcom episode.

Lots of good acting from Leeves and Mahoney, emphasizing their abilities at immediate tone changes. It’s a lovely finish to the episode.

Three Valentines is obviously an exemplar “Frasier,” but it’s also an exemplar of the sitcom format. Grammer, as director, does a great job. The cast is all excellent. And Hyde Pierce’s physical comedy sequence is glorious.

Frasier (1993) s06e10 – Merry Christmas, Mrs. Moskowitz

The first time Kelsey Grammer directed a “Frasier” episode, he barely appeared onscreen. Subsequently, he started including himself more, and with this episode, he’s got himself front and center. He gives David Hyde Pierce and John Mahoney some outstanding showcases—better than he ever gives himself—but he’s got the A plot from the start.

The episode begins establishing it’s a Christmas episode with Grammer and Peri Gilpin shopping for last-minute gifts. It’s a nice department store scene, lots of activity, some good smiles, and then a great introduction to guest star Carole Shelley. She saves Grammer from a social faux pas and gets her single daughter a date with a doctor out of it. The daughter ends up being Amy Brenneman, so it works out.

Brenneman’s appearance is interesting for a few reasons. First, she’s trying out comedy from drama and adapts her timing well. Second, she ends up being support to Shelley. Third, Grammer isn’t hostile towards her. The last time there was a big-name love interest guest star (Teri Hatcher), Grammer was visibly distressed. This time he’s far more gracious, and the proto-couple are charming together.

Especially when it turns out the A plot is Grammer and family hiding their Christianity from Shelley, who assumed he was Jewish. Problematically, Mahoney wants to hang up an electronic Rudolph wreath, and Hyde Pierce and Jane Leeves are running around planning a musical Christmas pageant. Thanks to the pacing and the script—credited to Jay Kogen—the episode dances around being screwball and builds to an emotional conclusion. A funny, moving close, but very much a heartfelt Christmas episode.

Shelley’s fantastic. She and Brenneman toggle between moods immediately, which is part of the story, but it’s also very impressive to watch Shelley do it. Primarily since punchlines are entirely based on her read of a situation.

The subplot with Leeves and Hyde Pierce is excellent too, leveraging their chemistry and Hyde Pierce’s physical comedy abilities. Grammer’s other episodes had a big focus on Leeves and Hyde Pierce, and this one lets them find a good rapport as well, just in C plot territory. Turns out Mahoney and the Christmas decorating that wasn’t is the B plot and a perfect one.

“Frasier”’s always done satisfying Christmas episodes, but I’m not sure there’s ever been one as funny as this one. Of course, the stakes are low—Grammer and Gilpin are back at work, and there are no visiting family guest stars—but the lack of drama just lets them have more fun.

Plus, the credits postscript is Eddie being seasonally adorable.

Frasier (1993) s05e20 – First Date

First Date is a sequel episode to Moon Dance, the season three episode where Niles (David Hyde Pierce) lucks into a perfect date with Daphne (Jane Leeves), full of high romance but still entirely safe for the then married character. I mean. From network and pop cultural norm viewpoints. The Maris thing is misogynist.

Anyway.

It’s Kelsey Grammar directing again (I think Moon Dance was his first episode as director too), with Rob Hanning getting the script credit. If Hanning stood out for anything, I’ve forgotten—once again regretting not keeping track of the writers; he does a solid job here. The setup isn’t great, with Grammar trying to avoid people talking about a torrid TV miniseries’s conclusion, and the initial stuff with Hyde Pierce talking about asking Leeves out is stodgy. Grammar, as an actor, is worst in that section, which is weirder since he directed the episode. It’s like he can’t figure out a reaction so tries not to do one.

But there’s a good immediate twist, then another twist—people hearing the wrong things from other rooms and so on—and it quickly becomes a comedy of errors, but one with Hyde Pierce and Leeves running the episode. And then all of a sudden Grammar’s directing kicks in and it’s just wonderful. The way Grammar finds the comedy chemistry—both Leeves and Hyde Pierce can do physical and dialogue humor. The show’s been syncing them up—possibly intentionally—this entire season and it’s got a great pay-off here.

Even if the ending resolution is wanting.

Though the credits sequence with Grammar and Eddie the dog is pretty funny.

Oh, and John Mahoney. Mahoney gets some of the first act weirdness but is able to get out of it quicker than Grammar with his stuff. The original Moon Dance had something like eight years credited; Date has one, but it really doesn’t seem like the same person wrote the opening and the finish.

Good guest spot from Caroline Aaron.

It’s a rocky win but it’s a win.

Frasier (1993) s04e20 – Daphne Hates Sherry

There’s some truly great stuff this episode—Kelsey Grammer directs and continues his extremely gentle look at the potential chemistry between David Hyde Pierce and Jane Leeves (he directed the previous Moon Dance episode, which was the first time the show really acknowledged the potential)—but there’s also some very messy stuff.

The messy stuff starts, with Marsha Mason moving in on Leeves’s space in the apartment. Mason’s John Mahoney’s girlfriend, who’s taken to sleeping over, and discouraging Mahoney from eating healthy and exercising; Leeves—being his physical therapist—has an investment in Mahoney doing both those things. In fact, it’s her only investment. The episode entirely skirts around the intrusion at the professional level, then ups the ante with Mason giving out Leeves’s phone number to the various barflies she knows who are looking to score.

So, you would think part of the episode would include Grammer and Mahoney—as Leeves’s employers—addressing the inappropriateness of Mason essentially promising her acquaintances physical favors from their employee, but they don’t. Instead, everyone’s able to get over it once Grammer comes in to solve the problems because he’s the only one who can do it. He’s been too busy to solve the problems because he’s sick (not to mention directing the episode), leaving Leeves with no alternative than to seek refuge at Hyde Pierce’s, where they get really close to horizontal. See, there’s a heat wave to complicate matters, especially since Hyde Pierce only has a single fan and no air-conditioning because fancy buildings don’t have AC.

The stuff with Hyde Pierce and Leeves bonding and flirting is phenomenal, with wonderful acting from both of them.

The stuff with Leeves and Mason fighting while Mahoney grins or takes no responsibility for the situation—much less a side—is annoying. It’s admirable how well Mason’s able to sway from being likable to not, but when taken as a whole, her character is exceptionally problematic through this episode.

Most of the episode takes place at the apartments, Grammer’s and Hyde Pierce’s, with a short scene at the radio station to establish Grammer’s illness, continued status as a desperate single man (Peri Gilpin tries to get him to go to a singles party), and give Gilpin and Dan Butler a scene in the episode. The rest of the time it’s Mason picking on Leeves, Leeves and Hyde Pierce in a Tennessee Williams spoof, and Grammer occasionally popping in to complain about people bothering him while he’s sick.

There’s some really good writing—script credit to Chuck Ranberg and Anne Flett-Giordano—and even a great punchline for Hyde Pierce in the otherwise pat conclusion, but the episode’s way too willing to empty the pool on characters’ proverbial depths. Leeves’s agency drains and Mason gets through without ever having to confront the idea of her intruding on privacy, even though it’s painfully obvious she’s been doing it. Despite the wonderful scenes between Hyde Pierce and Leeves (it’s such good directing from Grammer too), Leeves doesn’t need a shoulder to cry on, she needs the HR department. The episode also doesn’t do Mahoney any favors, reducing him to support for Mason.

It’s got to be one of the most uneven “Frasier” so far.

Frasier (1993) s03e13 – Moon Dance

I miss guessing when an actor will be directing an episode based on their character going out of town for the show. The episode opens with Kelsey Grammer rushing through one last call to the show—my “Frasier” ears are broken because I had no idea it was Jodie Foster and I tried on this one—before flying east to visit his son. I think they first mentioned these regular cross-continental visits in the first season, but I don’t think we’ve seen one until now.

Or not seen one. And, yes, indeed, Grammer’s directing. He picks a choice episode to do as well, all about Jane Leeves teaching David Hyde Pierce how to dance for his first date since his separation. At some point in the lessons—they have a week to prepare—the date cancels, putting Hyde Pierce into the position of having to give up the dance lessons with his dream girl, which leads to some good material for Hyde Pierce and John Mahoney. Having a break from Grammer and letting the supporting cast develop outside supporting him… works for the show. And Grammer’s direction is excellent.

The dancing’s good, the plot twists are good, Leeves and Hyde Pierce—so often paired together purely for punchlines—do great with the soft dramatics. There’s a lot of character development here for Hyde Pierce—and Grammer’s direction very capably, very intentionally showcases Hyde Pierce’s acting—and a funny subplot for Mahoney (he’s trying to prove Eddie the dog is smart; it doesn’t go well).

For an episode with a truly startling amount of credited writers—eight, including two writing teams, three regular solo writers, and then one new person—it’s seamless. Hyde Pierce, Leeves, Grammer, Mahoney, the eight writers, they create a stellar, lovely half hour of television.