Love is all around. And, unfortunately, so is a highly contagious virus. The emergence of COVID-19 has understandably triggered a necessary suspension of most social activities as we know them, regardless of sentimental or historical significance. Clearly, safety must trump (pun maybe intended) convenience, ergo several monumental milestones have become frozen on the pause button of 2020, including that of a beloved Minneapolis news crew.
‘The Mary Tyler Moore Show’ celebrates its 50th Anniversary this month - September 19th to be exact. The 1970’s sitcom about a girl who can turn the world on with her smile, as fate would have it, hits the half century mark in a year stained by a worldwide pandemic, social unrest, and political strife of measures arguably never before witnessed. While Zoom and social media platforms could surely facilitate virtual honors to the gang at WJM-TV, this semi-centennial might very well pass discreetly. However, any celebration, as muted as it may be, brings to light some new revelations and understandings about the MTM legacy in our current world.
If 2020 can claim a good chunk of social turbulence, then 1970 swiftly emerges - and perhaps surpasses - as a worthy competitor. Through the 21-inch screen of a Zenith color console, the crew tackled some of these issues, Mary Richards-style, with humor and candor. A Season 3 episode featuring the coming out of Phyllis’s homosexual brother is highlighted by the characters’ instant and unconditional acceptance. A 1972 script portrays Mary’s anger and disgust over the anti-Semitic policies of a country club towards best pal Rhoda Morgenstern. Even uncontrollable funeral laughter provided one of the series most comedic moments, in “Chuckles Bites the Dust.” Mary and company never backed down from any wonderful, messy topic that might be thrown their way. Yet, they did so with such frank realism, viewers felt as though they were visiting old friends. Pertinent issues were not patronizingly addressed as “very special episodes,” but rather pragmatic depictions of life and its humorous idiosyncrasies. Should it be any surprise that the March start of Corona-lockdown found the Twin City’s famous Mary Richards statue sporting a protective mask and pair of gloves? Perhaps the TV gods are reminding us that hardship goes down best with a spoonful of sugar and a bit of a laugh? (For the record, every colorful bandanna I see as a face covering, reminds me of what I believe Rhoda would wear as PPE ;)
Further special awareness quietly emerges of another obvious MTM connection to society today. Injecting a dose of sad irony, is the significance of the show’s setting of Minneapolis. The snowy burg, hometown to the Mall of America and pop legend Prince, has now become linked to a tragic incident in our American heritage. Civil rights and racism will always be topics of importance and urgency, albeit sometimes distressing to discuss. They must be examined though, with candor and compassion. And while the marches and rallies of 2020 occurred a few decades after Lou and the crew bid farewell to one another, one can’t help but speculate that good spirits are infusing the most daunting of our current obstacles with hope.
For the past 6 months, America has sustained on a steady quarantine diet of comfort food and comfort TV, getting us through anxiety and uncertainty about our new normal. A situation comedy about a working girl “making it on her own”, that spawned 3 spin-offs and oodles of Emmys, can now add instrument of solace to its list of accomplishments. Not only is ‘The Mary Tyler Moore Show’ revolutionary in its own right, but also an instant remedy for any situational unease. Its soft haze creates a cozy tranquility, and the good nature of its content creates some hope that we might just make it after all.... :)
