Frasier (1993) s07e18 – Hot Pursuit

Hot Pursuit is the second of two season seven “Frasier” episodes credited to writer Charlie Hauck. Considering the job he got on this one, it’s understandable he wouldn’t be back. It doesn’t seem fair to give a new writer an episode about Kelsey Grammer and Peri Gilpin wondering if maybe they ought to just get it over with and jump the shark and sleep together. It’s not a bad idea for an episode. It’s executed poorly here, but it’s not necessarily a bad idea. It’s just too basic, which is a surprise since the other half of the episode is a subtle delight.

The episode opens with Grammer returning from a week in Boston to visit son Freddy and, consequently, ex-wife Lilith. And, consequently, her late twenties stud boyfriend. No cameos, just exposition and some mid-life crisis facial hair for Grammer. He’s only home for a scene before Gilpin shows up at the door to pick him up for their broadcasting conference. While they rush out, Saul Rubinek—Jane Leeves’s fiancé, only in the episode for this one scene—tries to hire John Mahoney to do some light surveillance. Mahoney’s enthusiastic, but David Hyde Pierce makes him promise not to do it.

Oh, in addition to the Rubinek bit, Hyde Pierce is around long enough for he and Grammer to make fun of Gilpin being jealous of blondes. It’s a nasty bit for everyone; it’s intentionally bad for Gilpin, but it also makes all three regular male cast members come off like assholes when they tease her about it. It’ll be back later. It’s Chekhov’s reductive female character trait.

Half the episode will be Hyde Pierce and Mahoney doing a bonding arc, while the other half is a single-set comedy of offscreen errors to get Grammer and Gilpin alone together and having big singles sads. They also talk about how long they’ve been working together—seven seasons, sorry, years—and how it makes them one another’s most successful opposite-sex partnership.

If the writing were great, if it were some kind of very special episode (maybe Gilpin directing, at least Grammer), there might be something there. Instead, it’s an awkward kicking of the show’s tires, trying to decide how desperate they are to gin up a new twist. Except, of course, they were one of the last nineties sitcoms not to have made a similar move, which… just makes it seem more desperate.

The resolution is okay but not good.

The Hyde Pierce and Mahoney arc, however, is sublime. It’s heartfelt, funny, and incredibly well-acted. Grammer and Gilpin try in their arc, but there’s nothing to work with. Sure, they’ve been playing these characters for seven years, but Grammer’s been hung up about Lilith’s never seen new boyfriend for twelve minutes, while Gilpin’s been jealous of blondes her whole life for eleven. It’s nowhere near enough ado about nothing.

Sigh.

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) s07e16 – Something About Dr. Mary

I’m not sure where to start with this episode. Jay Kogen’s got the writing credit, and he’s had his name on some good episodes in the past. But why they ever thought they ought to do an episode like Dr. Mary. Dr. Mary is played by Kim Coles, a Black woman (and possibly the first significant Black guest star since the first season), who is filling in for show producer Peri Gilpin while Gilpin has her apartment painted. Guilty white liberal Frasier (played by anti-liberal Kelsey Grammer) met Coles while doing an outreach program for job training.

After initially being shy about getting on the air with Grammer, Coles quickly dominates the show but changing the format. Instead of stuffed shirt Grammer, it’s hip, sassy Black lady Coles—who adopts the “Doctor” moniker because it sounds good, which is one of Grammer’s last straws. Dad John Mahoney just thinks Grammer’s avoiding talking to her about her performance because she’s Black, while brother David Hyde Pierce points out he once had a Black friend. As though someone in the writer’s room decided the lily-white cringe wasn’t cringe enough… Grammer then points out rich Black people aren’t really Black people.

The episode also includes an ableist subplot to distract from questioning whether Hyde Pierce, Mahoney, and Grammer are really the ones to be talking about race. Grammer and Gilpin making fun of a colleague with a speech impediment.

The episode employs various devices to show how Coles’s becoming more popular—apparently, the radio station is taking out advertisements mid-broadcast—to the point, it threatens Gilpin’s return. Station manager Tom McGowan loves Coles because she makes the show more popular and, for a radio show, better. Grammer never considers the possibility radio professional McGowan might be correct. Gilpin’s the only one with a vested interest in staying, and she’s happy to move on if the money’s right.

The episode’s subplot has Hyde Pierce taking up kickboxing, bumping into Jane Leeves, and then cooking for her and Mahoney because she’s milking the injury (at Mahoney’s insistence). It’s fine. At least Mahoney’s not saying “massa” during it (spoiler, he does in the other plot). And there’s some good physical comedy for Hyde Pierce.

Grammer’s got a broken part, as does Coles, who will eventually have to forgive Grammer for being too scared to talk to her like a person because she’s Black (and a woman). But both of them have good moments.

Something About Dr. Mary, besides the title, doesn’t so much not age well as reveal how white creatives had (read: have) such ingrained misogynoir, they can turn it into an entire sitcom episode but never acknowledge its existence.

Oof.

Frasier (1993) s07e15 – Out with Dad

As usual, I regret not keeping better track of writing credits. Joe Keenan gets the credit this episode; he’s been writing “Frasier” since season two with numerous big successes, but based on Out with Dad, I’d have thought him a newbie. The episode picks and chooses plot points from outstanding—and memorable—episodes and mixes them a bit. Dad John Mahoney tells Mary Louise Wilson he’s gay, so she’ll stop flirting with him, and she sets him up with her… well, wait, Brian Bedford’s English.

So maybe her brother-in-law? Anyway, Bedford is Marg Helgenberger’s uncle, which is important because Kelsey Grammer’s interested in Helgenberger. Only Bedford’s interested in Mahoney, so Mahoney has to pretend he’s gay for the evening, except gay and unavailable. He can’t come clean about being straight because it’ll mess up Grammer.

People being confused about Mahoney being gay goes back to season one. And the family pretending they’re something other than cishet WASPs most memorably happened in the “let’s pretend we’re Jewish” episode, but I’ll bet there have been more. Out just stirs them together a little differently.

Oddly, it’s a Valentine’s Day episode too. Grammer ropes Mahoney into going to the opera because otherwise, Mahoney would be at home watching chick flicks with Jane Leeves and Peri Gilpin. David Hyde Pierce was supposed to go with Grammer, but Jane Adams (who doesn’t appear) stayed in town special for him. Grammer doesn’t want to give up his seat (to Adams to go with Hyde Pierce) because he’s got the hots for Helgenberger, another opera-goer. When he and Mahoney get there, Mahoney waves at Helgenberger to be extra, but Wilson thinks he’s spotted her. Confusion and hijinks ensue, including Mahoney drafting an unlikely person as his romantic interest.

It’s an amusing episode; it’s just entirely redundant. There are some good laughs (and nice human moments, eventually, for Mahoney), but it’s an adequate episode for a sitcom in its seventh season, nothing more. And Helgenberger makes almost no impression, with first Wilson, then Bedford running all her scenes.

Solid direction from David Lee probably helps a lot. Again… fine, with asterisks.

Frasier (1993) s07e14 – Big Crane on Campus

Oh, “Frasier: Season Seven,” why do you continue to taunt me? This episode has Jane Leeves and David Hyde Pierce cooking together and being adorable for the first time since Leeves found out about Hyde Pierce crushing on her. It’s a good scene, with Hyde Pierce getting to more fully participate—previously and problematically, these scenes have been from Leeves’s perspective (way to get a big subplot: it’s entirely in service of the dude). Sheldon Epps directs the episode and knows how to make it work. It’s a regular “Frasier” scene, only a little different; Hyde Pierce isn’t the awkward one; now it’s Leeves.

If I’d been watching this episode in February 2000, I’d have been fully committed to the idea of them getting together. Best thing for the show.

Whoops.

Otherwise, the episode’s a Kelsey Grammer-centric episode. He’s just happened to meet his high school crush (a hilarious, brassy Jean Smart) and can’t believe she’s being nice to him. Once they actually start seeing each other (there are some great scenes with Smart teasing a blubbering Hyde Pierce), Grammer discovers she’s a little too brassy for his tastes. Except he can’t give up the prom queen, not with their high school reunion just around the corner.

Outside Leeves and Hyde Pierce’s kitchen moment, everything in the episode’s in support of Grammer (and Smart). She’s a relatively featured guest star, getting a lot more complicated scenes than Grammer’s girlfriends usually get. Peri Gilpin’s around to talk Grammer through dating for the wrong reasons; she gets a classic literature book club C plot, which comes back in the end credits sequence as a way to be shitty. It’s an unfortunate finish to a strong episode.

First and foremost, it’s an excellent showcase for Smart, who was only a few years from starting to be appreciated in 2000. Or closer to it than “Designing Women.” It’s also proof they can do a mythology moment well for Leeves and Hyde Pierce. Mark Reisman, another new-to-the-show-this-season writer, gets the credit. And, finally, it’s a solid outing for Grammer. It treads somewhat familiar territory but with a fresh enough angle. He tends to be really good with his guest stars, and Smart’s no different.

So, another good episode to convince me everything’s fine and we’re not driving toward a cliff in a Winnebago.

Frasier (1993) s07e13 – They’re Playing Our Song

I’m feeling a little like the boy who cried wolf, on the lookout for “Frasier”’s inevitable, impending fall; the show’s two episodes away from the “mythology” two-parter, and those two episodes have been excellent. This one’s all about Kelsey Grammer going overboard while composing a theme song for his show. Station manager Tom McGowan wants something simple, a catchy jingle. So, of course, Grammer’s got a full orchestra, choir, and David Hyde Pierce on hand to perform some spoken word. All on Sunday overtime.

It’s mostly a Grammer episode. There’s some ensemble work in the build-up, with Hyde Pierce helping Grammer with the initial composition, dad John Mahoney offering a much better idea and being ignored, and then Jane Leeves finally going after the icky old chair with a super-powered vacuum. Peri Gilpin gets to hang around at the beginning since it’s a radio episode. Eventually, she’s just in the audience, too; everyone’s there to watch whatever Grammer’s going to do.

There’s a lot of good banter—the script credit goes to David Lloyd, who’s had his name on numerous great “Frasier” episodes—and the finale even brings it around to Mahoney and Grammer having a father and son moment. Mahoney, Leeves, and Gilpin all get a little in their audience portion of the episode. Gilpin’s latest boyfriend is an unemployed musician, Leeves knows Mahoney’s song is good, and Mahoney’s confused about the free donuts. Then Hyde Pierce gets a lot of material, but it’s all in reaction to Grammer and his magnum opus writing. There are lots of smaller guest parts (the orchestra members) who only interact with Grammer, usually with excellent banter.

It’s also nice for McGowan to get a little more than usual. He sticks around for most of the plot this episode, whereas he usually gets a scene and then disappears.

David Lee does a fine job directing. It’s just a really good episode. If I’d been watching it at the time, I’d have thought they had their impending big changes all figured out. Little would I have known….

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) 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) 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.