Mr. Carlson is beginning to feel useless at the new formatted rock station so he decides to create a big Thanksgiving Day promotion. His idea? Get a helicopter, with a banner attached to it saying "...
A preacher with Clean Up Radio Everywhere wants WKRP to stop playing specific songs due to the lyrics. Mr. Carlson thinks the station should cooperate, while the rest say the songs are classics and ...
Dick Loudon and his wife Joanna decide to leave life in New York City and buy a little inn in Vermont. Dick is a how-to book writer, who eventually becomes a local TV celebrity as host of "... See full summary »
This sitcom follows recently divorced mother (Ann Romano) and her two teenage daughters (Barbara and Julie) as they start a new life together in Indianapolis, They are befriended by the ... See full summary »
Pat Harrington Jr.
Arthur "Big Guy" Carlson tries to run a failing Cincinnati radio station owned by his "tough as nails" mother. His own incompetence is overshadowed by the strange employees that work at the station. From wild Disc Jockeys: Dr. Johnny Fever and Venus Flytrap to the geeky news director, Les Nessman and obnoxious advertising sales manager, Herb Tarlek. With the help of saner employees such as Bailey Quarters; the rather shy journalism major; Jennifer Marlowe, the beautiful receptionist who is the very opposite of a stereotypical "Dumb Blonde" and Andy Travis; the studly program director, Carlson tries gimmick after crazy gimmick to bring money into the station and make it a success. Written by
The ending theme song was done by a group of studio musicians in Atlanta, GA. The lyrics are unintelligible because it was recorded solely to help the musicians and the show's producers get a feel for the song and the lyric melody. The producers liked it as is, so it was never changed. See more »
[saying that Bailey shouldn't produce the show]
This isn't the Ohio State School of Journalism, this is the big time.
See more »
The lyrics for the closing credits consist of gibberish words. See more »
Only a very few comedies have reached what I consider the height of mixing pathos, characterization, slapstick, verbal byplay. Night Court, Cheers, Mary Tyler Moore...and WKRP manages to surpass them all. WKRP comes out ahead of most of these (except maybe Night Court) because it was a true ensemble. It didn't focus on just Sam & Diane, or just Mary, but equally covered each of its cast members, giving them almost-equal screen time.
These were also folks who had _lives_ that didn't revolve entirely around the office or resolving the problem at the office: families, social lives, etc.
The recent Nick at Nite marathon (40 hours, five nights) just brought back home to me that this show was so funny, and why even some of the worst episodes are still a heck of a lot funnier than most "comedies" on the air today.
Hopefully WKRP will be settling into a long stay on Nick at Nite once the marathon runs its course.
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