A free spirited yoga instructor finds true love in a conservative lawyer and they got married on the first date. Though they are polar opposites; her need of stability is fulfilled with him, his need of optimism is fulfilled with her.
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 ...
Greg is delighted by an office visit from a very polite Harvard Law School student, Rick Sanderson. But to his horror discovers afterward he's been had at a hair-brain game they apparently still play...
Greg's poker bunch has been playing happily for years without any serious personal conversation ever, but Dharma quickly finds out about their private lives and feelings, even becomes their confident...
Ally McBeal and Billy Thomas were going steady throughout their childhoods. Ally even followed Billy to Harvard law school despite having no interest in law. But when Billy chose to pursue ... See full summary »
In this sitcom, Charlie, who takes Mike Flaherty's place in later years, is the Deputy-Mayor of New York City, and his team of half-wits must constantly save the Mayor from embarrassment and the media.
Michael J. Fox,
Hot-tempered journalist Maya Gallo got herself fired from yet another job when she made an anchorwoman cry on the air with some gag copy on the teleprompter. Unable to find a job anywhere ... See full summary »
Laura San Giacomo,
Al Bundy is a misanthropic women's shoe salesman with a miserable life. He hates his job, his wife is lazy, his son is dysfunctional (especially with women), and his daughter is dim-witted and promiscuous.
There could hardly be an odder match, but love knows no reason. Assistant D.A. Greg Montgomery, the son of successful businessman Edward Montgomery and Kitty, the queen of socialite snob-ism, falls madly in love with the utterly unconventional free spirit Dharma Finkelstein, the daughter of hippie couple Larry Finkelstein and Abby O'Neil. Even if they can't break the couple up, both in-law families-who never agree on anything else-stir up trouble as they are shocked by each other's lifestyle. Greg's lazy and incompetent colleague Pete Cavanaugh and Dharma's odd friend Jane, don't help their relationship either, between which another improbable hate-love chemistry develops. Written by
Not only did the producer add a vanity card at the end of episode one, but at the end of every episode (visible for about 2 seconds, readable when freeze-framed). The main tests included various "beliefs" of the producer, as well as various outlooks on life. One in particular simply read "All work and no play makes Chuck a dull boy" over and over, except for the very middle of the screen, where it says "If you have stuck with this and read this far you are an exceptional person". Another said "the meaning of life might be "Sit, UBU, sit"". See more »
What are you doing?
Wait a second, can you see me?
Oh, I totally misunderstood that groom-can't-see-the-bride-in-her-wedding-dress-thing.
See more »
Producer Chuck Lorre ends each episode with what he calls a "vanity card" - At the top of the screen you see "Chuck Lorre Productions" and a different number followed by a big paragraph of quirky remarks. The card appears onscreen for less than 2 seconds, not enough time to read it. Each episode has a different card. 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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