After his wife leaves him for his best friend, John Lacey joins the One Two One Club, a support group for divorced and widowed people. The group consists of its fiery British leader Louise,...
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Craig T. Nelson,
Jerry Van Dyke,
John Lacey comes home one evening to discover a letter from his wife (starting with "Dear John" - hence the title) telling him that she is leaving him. Lonely and now divorced, the series ... See full summary »
A struggling, middle-aged actress attempts to make a career in Hollywood, all while surrounded by her hard-drinking best friend Maryann, her two ex-husbands, Ira and Jeff, and her two daughters, headstrong Zoey and agreeable Rachel.
After his wife leaves him for his best friend, John Lacey joins the One Two One Club, a support group for divorced and widowed people. The group consists of its fiery British leader Louise, sleazy Kirk, neurotic Ralph, aged but foxy Mrs. Philbert, and Kate, a red-headed divorcee who presents a possible love interest for John. Over the course of the series, the characters help each other first come to grips with their situation, and then overcome it, often with hilarious results.Written by
Jason A. Cormier <email@example.com>
The letter Wendy leaves for John reads the following: Dear John, I know that this will come as a great shock to you and I pray that in time you will come to understand why I had to leave. The love that I once had for you died many years ago, although I have tried desperately to pretend otherwise. Wendy See more »
The Season 1 opening title sequence is a near-shot-for-shot re-creation of the original British series titles. See more »
This is a funny TV series, because the title character, played by Judd Hirsch, is willing to be a straight man to the other characters in a support group he attends.
In essence, much as "Good Times" is Kid Dynamite's show, this is really Jere Burns show as he portrays the rogue, Kirk. Kirk is just enough of a rascal to cherish and laugh at, both at the same time.
The others put in a dash of humor, too, one of them without ever saying a word.
The standard for comedy in the eighties was a comedy that would make people laugh. That's what this show did. It din't try to be too "situational", and hope for a smile, the way most comedies of the nineties and naughts do. It reached for the guts, and pulled them out.
This wasn't "slapstick", but just a bit shy of it. It jumped the shark a bit at the end, and that didn't work. It was best when staying true to its character of the support group.
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