There could hardly be an odder match, but love knows no reason- assistant DA Greg Montgomery, the golden spoon son of successful businessman Edward Montgomery and his bossy spouse Kitty, ... See full summary »
Greg gets stripping lessons at home, then discovers a secret door in their bedroom to a hidden attic closet full of dolls which scare Dharma as 'bad karma', Jane remembers the previous tenants moved ...
Billie, a woman in her 30's want to settle down, have a family. When she tells her boyfriend, James this, he tells her he doesn't want that, so they break up. She goes and gets drunk and ... See full summary »
There could hardly be an odder match, but love knows no reason- assistant DA Greg Montgomery, the golden spoon son of successful businessman Edward Montgomery and his bossy spouse Kitty, the queen of socialite snob-ism, falls madly in love with the utterly unconventional free spirit Dharma Finkelstein, truly the daughter of hippie couple Larry Finkelstein and Abby O'Neil, who never fail to go against whatever even smells like convention. Even if they can't break the couple up, both in-law families -who never agree on anything else- never cease to stir as much as they are shocked by these incompatible lifestyles. Neither do the best friends help, Greg's lazy and incompetent, parasitic 'colleague' Pete Cavanaugh and Dharma's even more bizarre, bossy Jane, between which two another improbable hate-love chemistry develops. Written by
Jenna Elfman's real-life husband Bodhi Elfman appeared in 2.6: A Closet Full of Hell and 3.11: Lawyers, Beer and Money, and as performance artist "Terry" in episode 5.8, "Home Is Where the Art Is". See more »
[marches with Pete, Larry, and Edward down a hallway like astronauts while triumphant music plays in the background]
What the hell are we doing?
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The end of the opening montage for the series has several pairings of word expressing opposites, such as: sun and moon, yin and yang, sugar and spice. See more »
Yes, there are parallels to "I Love Lucy," but with a degree of introspection which was impossible for TV in those days. I regard this show as one of the last of the US broadcast networks' "second golden age," which emerged at the end of the seventies.
The actors use their voices extremely well; their timing, phrasing and range of modulation are expertly refined and restrained, and amazingly accomplished for TV. There are very few essential sight gags; when replaying the (excellent quality) audio track alone, I am intrigued by how well it would have worked on radio.
I notice some don't seem to "get" the parents, seeing them as shallow stereotypes. But their roles were written and played with the winking insight that the characters have become quite well aware their lifestyles, values and belief systems were folly. With evident embarrassment, they pragmatically and self-consciously stick to their pretensions, as they provide the only structure they dare trust enough to hold their fragile self-identities and relationships together.
This is gently revealed in the dynamic between and among the folks. The kids may seem to be center stage, but having themselves already caught on, essentially play "straight man" together to the poignant unfolding of their parents' subdued realizations as they sail into the fading expectations of middle age.
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