Original Airdate: October 30th, 1978 on CBS
You may not care that much about TV shows from the seventies, but if you were asked to name three, there’s a good chance you’d say All in the Family, M*A*S*H and The Mary Tyler Moore Show. Mary won a staggering 29 Emmys. It coronated the title actress as comedy royalty. It eventually gave us 30 Rock. It also generated a flock of spinoffs rivaled only by Norman Lear, Happy Days and Star Trek. Rhoda made a modest splash in the sitcom world—it even inspired an inexplicable animated pilot about Carlton the doorman, as voiced by the inimitable Lorenzo Music—but the most successful Mary spinoff was actually an hour-long drama. Mary’s gruff boss, Lou Grant (Ed Asner,) evidently made the move from Minneapolis to Los Angeles and left TV behind for a good old-fashioned newsroom. The end result was Lou Grant, a socially conscious melodrama that proved to be another successful entry in James L. Brooks’ resume. Is it worth your time in 2017? Of course not. But it wouldn’t be any fun to leave it at that, would it?
- Politically engaged. I’m always going to like anything that challenges conventional wisdom about TV being vapid and pointless, especially old-school Silver Age fare like this. Lou was a valuable precursor to more memorably woke dramas like St. Elsewhere and Hill Street Blues, which were also productions of MTM Enterprises (guess what the MTM stands for.) Each episode features the intrepid reporters of the LA Tribune wading into a hot topic ripped from the headlines of Time magazine. This episode confronts an issue that we’re still lamenting nearly 40 years later—the disparities in the way the media treats white crime victims and victims of color. I recently saw two salient examples of this phenomenon. I live in a part of the city that’s mostly non-white and afflicted by violent crimes. A few weeks ago, someone was stabbed to death and left to die in the street. There were two paragraphs about this in the newspaper. I don’t know for sure that this person wasn’t white, but I have absolutely no way of knowing for sure since the paper didn’t even print his name. A few weeks before that, I saw Jon-Benet Ramsey on the cover of Globe in line at the supermarket. In June of 2017. These two victims lived maybe 30 miles from one another, but they might as well be on separate planets. This episode is all about the same issue—a young black mother gets senselessly murdered the same day that some old dowager gets robbed, and our heroine Billie Newman (Linda Kelsey) has to fight tooth and nail to get the Tribune to devote any resources to covering the murder. The news media landscape in 2017 would be unrecognizable to the folks at the Tribune, but chances are they’d find modern-day media racism all too familiar.
- Underused institutional setting. Why aren’t there more TV shows about the media? Clearly the issues are still relevant and it’s an unfamiliar setting for most people. Is it because The Newsroom has irretrievably poisoned the well? That’s probably why, isn’t it? God, that show sucked out loud. (I was about to write a sentence calling Aaron Sorkin out as one of the biggest hacks in television, but there are just so many hacks that my sentence would have buckled under the weight of qualifiers.) Nevertheless, one of the more interesting things that TV dramas can do is to pull back the curtain on the institutions that drive our society. It’s what made The Wire a masterpiece and it’s why I’ll gladly sit still for Frederick Wiseman’s 3-hour-long documentaries. Lou offers some of these pleasures. We get to see editorial meetings about what’ll make it on the front page. We see Lou giving guidance to young reporters. It’s not Spotlight, but it’ll do, I suppose.
- Over-the-top direction. We open on the gruesome murder of Marla Evans (Gail Cameron, Another You). Of course, we’re given a little slice of Marla’s life in the minutes before the murder in order to humanize her and emphasize the terrible tragedy of her death, and that’s all well and good, if a little obvious. The thing is, when it comes to larger-than-life drama, a little goes a long way and the director would be well-advised to use a light touch. The director, one Mel Damski (Yellowbeard), does not use a light touch. Instead, there’s a soaring soundtrack worthy of Michael Bay and sweeping, erratic camera movements. It’s meant to be thrilling. Instead, it’s cheesy melodrama.
- Maudlin. Billie’s trying to convince the cops to let her examine the bloody crime scene when Marla’s seven-year-old daughter, Lisa (Alene Wilson, Battered) comes skipping down the hallway, singing a merry little song. The cop stops the little girl from going into the apartment, picks her up and carries her away. She cries out for her mother. Is this really necessary? Do we really have to attend Marla’s funeral? If we do, do we have to spend five minutes there? We get it. The lady’s dead. It’s sad. It doesn’t make it more sad if you turn it into a tragic anecdote from “Chicken Soup for the Soul.”
- A thirsty eagerness to call attention to moderate character work. So the whole deal with Lou Grant as a character is that he seems like a crotchety old man but he’s got a heart of gold. His gruff mannerisms keep people at arm’s length but that doesn’t mean he doesn’t care. It’s kind of a cliche, but it is what it is. So we get a scene where Lou seems like he’s discouraging Billie, but he’s really motivating her to try harder to write a compelling article about Marla. It was reasonably deft and I would have praised it, except it’s immediately followed by Art Donovan (Jack Bannon) coming up to Lou and congratulating him on understanding human psychology while still seeming like an old curmudgeon. For chrissakes! Just let the moment breathe! We get it! Why do the writers of Lou Grant think the audience are a bunch of fucking idiots?
- Too much time spent with the dowager. If this episode of Lou has one fatal flaw, it’s a total lack of subtlety, but if it has a second fatal flaw it would be that there’s not enough of a story here. Everyone wants a happy ending, so Billie has to come up with a great article for the paper, and sure, that means spending some time in the community and getting to know Marla’s milieu. So far, so good. Then we spend an eternity at her funeral, which, teary but okay, I guess. Then Billie helps catch the murderer. Okay, pretty unrealistic, but whatever, we’ve all learned a valuable lesson about how every human life deserves the full consideration we give to blonde children and how it’s silly to spend all our time focusing on cute old white ladies foiling a robbery attempt. So what happens next? Oh, of course the show spends more time focusing on the cute old white lady. There’s this whole b-plot about hotshot young reporter Joe Rossi (Robert Walden, All The President’s Men) covering the hell out of the robbery story. He also helps catch the robbers. Why does Lou Grant think all reporters also fight crime?
Final Episode Judgment: 4/10. It’s definitely not the nadir of hour-long dramas, but it just can’t compete in a world where there’s something light years better airing for the first time somewhere on TV every night.
NEXT TIME: I continue to explore alleged TV classics as I review Family Ties!