Thoughts on Mad About You, episodes 56-61

 

via Golden Globes.org

"All I know is, I want to wake up with you naked for the rest of my life."
"You are a strange, amazing man."

-- I spent this batch debating if MAY was a show carried by its actors or its writing. There's episodes where the two are in sync and also one where the comedy is almost overtaken by a concept.

-- The batch begins with "Once More, With Feeling," directed by David Steinberg with a teleplay by Victor Levin, who shared story credit with Dan Greenberg. Paul and Jamie had great, Italian couple-quality, sex first thing in the morning. "We still got it," Jamie declares. Paul wonders if it should be treated like news. The less than reassuring assurances pile up. Jamie's hair is fine. Paul's not fat. Jamie did cook a good meatloaf. They had great sex in Aruba*. This scene is a good example of the acting and writing being in sync. Yes, Paul and Jamie's insecurities are all over the place, but they seem to build naturally. Neither Hunt nor Reiser dominated the other, which means points for both, plus Steinberg.

*In "How to Fall in Love," the Buchmans have Siegfried and Roy matches from when they went to Vegas last year. Maybe both vacations coincided with a film festival? 

-- Jamie's distracted while pitching a "Buchman Bucks" idea to Ira. Paul's distracted while watching the footage for an instructional video on Japanese gardens**. When Ira drops by, Paul claims Jamie's cranky towards Fran. After a failed attempt to make things right with Jamie over dinner plans, Paul comes home and the couple prepares for more sex. It's interrupted by a concerned Fran, who misunderstands Jamie hanging up on her. For all that trouble, it looks like the second time wasn't as good. The next day, Jamie doesn't like that Paul downgraded a dress from being sexy to attractive on her. After learning Fran quit her job, Jamie claims Paul is mad at Ira. Once he learns, Ira decides to make Paul a silent partner in the store. And the Buchmans' sex is now awful. "It happens." The next night, Jamie initiates an emergency sex game. It's all over the place, going from Little Red Riding Hood to the topless tourist and Pedro on an Aruban beach. Hey, it apparently worked.

**Paul doesn't like that the demonstrator uses the word "oodles" and awkwardly edits in "a tremendous amount." And yet, in "The City," he was okay with saying "howdy."

-- Next up is "The City," directed by Steinberg and written by Reiser. This is the episode where I thought the concept was overpowering. Paul and Jamie are joining Ira and his date Velma (Marita Geraghty) to see the feel good movie of the year, literally named Feelin' Good. For Paul, it's an add-on to his day. He got a grant from the city. Paul convinces Jamie that seeing the movie is a necessity. She got shortchanged by a sidewalk salesman, criticized by a cop for buying from him, had to carry a heavy dictionary and lost some of her fruit to an entitled subway passenger. While in Iqbal Theba's cab, the Buchmans discuss their role as relationship pimps for Ira and realize "left or right" is the most important information. Paul gets out to buy odds and ends, including a Sprite for Iqbal, and a lawyer (Allan Wasserman) attempts to start his own ride. Even though Paul gives the lawyer his muffin, he still declares the Buchmans are the reason why people move to Jersey and makes a vaguely obscene gesture.

-- At the theater, Paul unnecessarily buys tickets***, which he attempts to scalp to a crazy old woman (Bibi Osterwald). Paul's also gotten on the wrong foot with a patron (Kelly Perine) about appearing to cut in line, and for repeating the lawyer's gesture. In the theater, Velma shares her accomplishments, like being an original Go-Go (and actually skiing in the "Vacation" video), managing Aerosmith and having taken the same NYC film courses as Paul. Other patrons include a woman (June Gable) who doesn't appreciate Jamie blocking her view and a talkative jerk in a wheelchair (Richard Redlin). The bully actually punches Paul! Again, Paul and Jamie's misfortune is escalating, but we've all seen better examples of "New York is hell," right?

***Ira sarcastically claiming that the extras were forged is funnier after seeing John Pankow in To Live and Die in L.A. In a similar vein, Jamie being impressed by an actress having starred in Our Town in "Our Fifteen Minutes." Hunt was among the actors who played the Stage Manager in the acclaimed 2009 off-Broadway revival.

-- By the time everyone's at Riff's, Paul and Jamie are certain Velma's a liar. She claims to have met Liza Minnelli, imitated Caroline Kennedy on To Tell the Truth (Paul figures Kitty Carlisle would have recognized the actual Caroline Kennedy), met the Kennedys at Hyannis Port (they served a deli platter and she played with John-John in the attic), once stayed awake for 11 days, is running in the New York Marathon and was close with Kissinger. Paul fakes that his nose has gotten worse and the couple goes to the home of their friends so Jamie can deliver the dictionary. Paul steps in veal and the doorman won't let them in. They go back to the theater, which doesn't have a midnight show and are caught in a lie by Ira and an offended Velma. Luckily for Paul and Jamie, the projectionist (George D. Wallace) is willing to let them see the movie. He's a crossword lover, so they give him the dictionary.

-- Next up is "Minutes," the second-best episode in the batch and also the funniest. It's directed by Thomas Schlamme and written by Jack Burditt. Paul and Jamie are taking part in a PBS project where six documentary filmmakers turn the cameras on themselves, capturing an honest and real uninterrupted 15 minutes of their everyday lives. "The Conversation" in season six was shot in real time, and I wonder if they considered doing "Minutes" like that, too. Anyway, Jamie wants to embellish, like making sure the bedroom is clean, the apartment contains Fran's "Moehla Dada from the MOMA" and that it looks like the Buchmans read Scientific America, not TV Guide and the Victoria's Secret catalog****. After takes including sorta conversation and sitting in silence, Jamie's worried that she and Paul aren't interesting enough compared to Ken Burns, the Yee "brothers" and a foreign pair.

****The Buchmans also read Entertainment Weekly. The Oct. 21, 1994 issue, congratulating Travolta ("Welcome back"), is visible in "The City." A point for continuity, though: Ira's checking out the catalog in "Love."

-- The next take has Jamie adopting a tougher persona (she used to hang out at "Bikes 'N' Things") and Ira, sporting a new suit and plugging the store. Fran shows up with the painting and is a nervous, giggling mess in front of the camera. It's been that way since she was a kid and bombed at telling a joke on Wonderama. Jamie wants to hire actresses to replace her. With eight minutes to go in the episode, Paul and Jamie make a promise that no matter what happens, they won't call cut. Even if Jamie's caught on camera preparing to reuse a thrown out coffee filter. Or Murray brings in Paul's leopard-print briefs. Or Lisa shows up, talks about the shady men she's involved with and how it's better than "sitting home alone playing 'Hello Kitty,'" demonstrates faking an orgasm, changes her top on camera while not wearing a bra, references her mom's facelift and returns the Buchmans' copy of Roman Holiday. Assuming it wasn't augmented, the studio audience was right to applaud Anne Ramsay's performance.

-- Jamie discovers Paul's red file. He lied. The project wasn't a spur of the moment gig. He knew about it, but didn't tell her. The Buchmans end up being very honest for the camera, including Jamie giving Maggie back her flowers, Paul admitting to Maggie that the undies are his (Maggie runs out of the apartment after misunderstanding the invite to see "Fran's Moehla"), Paul revealing his teeth are capped, Jamie saying her middle name is actually "Eunice," and Paul admitting to not only falling asleep during sex, but that he directed Hooter Vacation under a pseudonym. The Buchmans feel better, but there's no way they're allowing that footage to be used.

-- Schlamme also directed "Love," written by Jeffrey Lane. It's another one where the acting and writing are matched. Two stories are told, each involving a couple getting to know each other. Ira shows up at Paul and Jamie's, sharing a story about how he's gotta pee. They're not home, they're at Riff's. Paul is distracted, which gives Jamie/Helen the opportunity to do her imitation of Paul/Paul, which confuses Ursula. The Buchmans are eating now before Jamie's classmate Susannah (Anne Bobby) shows up. She's early and, like Ira, prone to talking at length. She also initially thinks Ira is Paul. Back at Riff's, Paul is writing the script to "Find Him, Meet Him and Make Him Yours." Jamie wants to see Paul try to pick up girls. He says that out of anyone, she's who he'd want to pick up. Challenge accepted.

-- While Paul's buying Jamie a champagne cocktail, Ira is trying to get Susannah out of the Buchmans' apartment. Back at Riff's, Paul and Jamie discuss eye contact. Not enough, you look shifty. Too much, you look like a lunatic. "Come here often?" bombs, as does Paul claiming Jamie looks like Jodie Foster. Jamie decides to flip things and get Paul to join her at the bar. Not only does this confuse Ursula some more, it also gets the attention of Mick (Eric Lutes, possibly fresh from the Caroline in the City pilot). Paul breaks things up by explaining he's Jamie's husband, scaring off Mick, who's not into three-ways. Back at the apartment, Ira has to pee. He pulls Maggie out of her party to keep an eye on Susannah. I should mention that I really, really like Judy Geeson as Maggie. She's funny both as the straight woman and when horrified by the antics of the Buchmans and company.

-- Paul attempts to set up a blind date with Jamie. People say she looks a little like Jamie Foster. He claims to look like Daniel Day-Lewis in The Last of the Mohicans. It falls apart when Paul's only willing to commit to drinks and maybe dinner. At the corner market, he can't believe the scenario that Jamie is unable to reach an item on a high shelf. Meanwhile, Ira and Susannah find common ground. She also had a brief marriage in her youth. Susannah used to work for a psychic hotline, mostly just listening to callers and figuring out what they want. She thinks Ira wants something the Buchmans have in their home. Either that, or he's just a putz. In the elevator, Paul and Jamie test out the theory that married men are more desirable. He ends up telling her about how much he loves his wife. The Buchmans arrive home as Ira and Susannah go off together. Aww ...

-- Finally, we have "Mad About You," depicting the preparation for Paul and Jamie's wedding back in 1992. Directed by Steinberg, it's written by Danny Jacobson & Jeffrey Klarik. Lots of guest stars in this one-hour episode, including Richard Kind, the Buchman and Stemple parents, Robin Bartlett, some great character actors (Ralph Manza, Jane Carr and Vito Scotti) and Lyle Lovett as Renaissance man Lenny, whose services include being a keyboardist, a justice of the peace and working for Con Ed. There's almost as many supporting players as there are ways to perform "What the World Needs Now Is Love." Or advice to give a marrying couple. Or guests one can have at their wedding. Paul and Jamie expect to invite 80 people, not helped by Sylvia inviting acquaintances. Jamie insists she wants to love Paul's mom. He advises her to go slow and expect setbacks. For his part, Paul recognizes the look Gus gives him. It translates to "I know what you're doing with my daughter and I don't like it." Paul and Jamie know that once the invites are sent, there's no turning back.

-- Jamie saying yes to the dress includes Debbie Buchman arriving amid a fight with her husband, Theresa showing up with Lisa ("Some day it will be your turn.") and the discovery of a typo on the invites. "Burt and Sylvania Buchman." Paul did mail the invites, but luckily for he and Jamie, a mailman (Patrick Cronin) is willing to let them get them out of the box. He's also Guest No. 87. Paul and Jamie are back from the point of no return. Could it be an omen? Sylvia finds out about the typo, says it was a simple mistake, but also hopes it's not an omen.

-- The guest list grows to 109 people. Paul suggests having Ira's band play the wedding. The Buchmans get their first present, the first of several gravy boats. At the caterer's, Sylvia lobbies for shrimp as an appetizer. Jamie's the only one impressed with the original entrée, squab. Everyone else thinks it's like a pigeon and besides, Gus wants roast beef. Jamie attempts to make a bond with Sylvia. "She called me mom. ... You don't have to do that." Everyone's taking liberties. The bridesmaids don't like their white dresses, asking to switch to blue (more points for continuity). Paul ends up hiring Ira, taking Jamie to hear their band play ... at a prison. While there, Jamie discovers Paul can't dance.

-- By the time the seating is worked out and Paul's learned to dance, Debbie has split up with Gary. They were together for 15 years. Jamie, who's no longer smoking, has gained weight and her dress is snug. She's gotten Paul a wedding gift, while he's preoccupied with getting Gus a gift of prized Cuban cigars. Paul invites Vicki the dancer (Kirsten Holmquist) and we're up to the night before. Jamie's getting a zit. Debbie's still bummed, so the Buchmans are asked by Sylvia not to talk about the wedding at their rehearsal dinner. Gus makes a toast to "Burt and Sylvania." "So soon not to like him." Gus accepts the cigars without much joy. "Hey, thanks kid. Honey, put them in your bag." Aunt Lolly advises not to get a dog (too late).

-- Informed that it's bad luck to spend the night before their wedding together (after all, Debbie did), Jamie and Paul are split up. He stays with Ira (what, not at his bachelor place?). She stays in the apartment with Lisa. Tomorrow, Jamie's going to be Mrs. Buchman. She prepares for a goodnight kiss. "Just like his mother." Soon after, Paul and Jamie can't get to sleep. He decides on a private wedding. Tomorrow will be for their family. Tonight, before Lenny, is for them. I'm not going to lie, I teared up a little. Another point for the actors. "I tell you, the part of my brain that came up with this was not alive before I met you." "I always knew it was gonna be you. ... I could have met you when I was five and I would have known." Paul and Jamie get married, and we cut from the outdoor ceremony to the reception. Their first dance is to, of course, (Dionne Warwick's version of) "What The World Needs Now Is Love."

-- The Total Filmmaker: Paul did a documentary on Antonio the tailor ("Mad").

-- The Total Waitress: Ursula reminds Fran, who's picking up the tab for Lisa's big meal but isn't personally hungry, that there's a minimum for purchases ("Feeling"). She misunderstands a hypothetical question about her boyfriend picking up girls and runs off screaming to find the bastard ("Love").

-- Great Moments in Shilling: Murray is an Iams dog ("Feeling."). Jamie's groceries include Healthy Choice ice cream and the theater is also showing It Could Happen to You, Mary Shelley's Frankenstein and Only You ("The City").

-- Hey, it's the Mid-90s!: Paul suggests that a pair of red socks casually on the bed is like the little girl in the coat in Schindler's List, addresses "Courtney Love" when Jamie's acting hardboiled, insists he doesn't want to be married to Uma Thurman, especially because of her name and admits to taping Baywatch ("Minutes"). This is slightly better than Paul being a fan of Saved by the Bell ("Mad").

-- The Buchmans Go Broadway: Fran's idea is altered in numerous ways, including replacing Don Mattingly with Chita Rivera ("Feeling"). The lawyer is seeing Cats for the first time, which Jamie makes fun of ("The City"). Riff's has a poster for the 1992 revival of Guys and Dolls ("Love"). The establishing shot of Times Square is from before 1992, including a billboard for 42nd Street ("Mad").

-- Bloopers: Mike shadows make cameos in "The City" and "Mad."

-- Continuity Corner: Lisa lets Fran and Ira think the events of "Escape From New York," "Legacy"," "Pandora's Box" and "The Ride Home" are why Jamie and Paul are mad at them ("Feeling"). Paul's newest employee is Sid (George O. Petrie), who'll hang around through season four ("Feeling"). Buchman's Sporting Goods is located at 18th and Broadway ("Minutes"). Ira's playlist includes "Color My World" and "Alley Cat" ("Mad"). Jamie's bachelorette guests include Paul's employee, Remy (Marva Hicks).

-- Before the Credits: While Jamie uses the ties and makes sure to get rid of excess air to keep bagels fresh, Paul tears the package ("Feeling"). Jamie pantomimes a lie while Paul's on the phone before giving up and accepting Sylvia's dinner invitation ("The City"). Paul may or may not be dreaming he's Lucy Carmichael ("Love"). Paul wants to throw out the top of his and Jamie's wedding cake ("Mad").

-- Under the Credits: Ira and Fran go confront Lisa ("Feeling"). Rudy Giuliani gives a rebuttal ("The City"). Paul and Jamie continue awkwardly talking while being recorded ("Minutes"). Paul and Jamie watch What to Do on a Date ("Love"). The wedding guests dance to "How Sweet It Is (To Be Loved by You)" ("Mad").

-- Ratings Roundup: During this batch, which spanned from December 1994-early February 1995, MAY usually ranked No. 3 for its evening. Speaking of Thursdays, ABC axed My So-Called Life, replacing it with Matlock. NBC axed Madman of the People, trying out various shows in the 9:30 slot (including MAY, which aired "Love"). Also of note, Hunt won her second Golden Globe during this time period. The show also won, while Reiser lost to Tim Allen.