Tag Archives: the golden girls

The Great Golden Girls Marathon “‘Twas the Nightmare Before Christmas” (S2, Ep. 11)

And so we come to that staple of most 1980s sitcoms, the Christmas episode. After exchanging their gifts, the four women are held captive by a deranged Santa while picking up Rose from her job at the counseling center. Though their plans to visit their own families out of state are ultimately foiled, they come to realize that they are more like family than they ever realized

The true highlight of the episode is, of course, the calendar that Blanche gives to the other girls, entitled “The Men of Blanche’s Boudoir.” Of course, we don’t get to see what is contained in said calendar, but that just makes it all the more hilarious when the women–particularly Dorothy and Sophia–respond to the…endowments of the men on display. Sophia’s remark is, unsurprisingly, very earthy (“I’m surprised you were able to walk in October,” she exclaims), and we find ourselves both vastly amused and very curious.

Despite the fact that we don’t get to see the men, there is something more than a little subversive about this moment. As most people will agree, it is typically women who are rendered into objects of spectacle for men, their bodies a source of erotic delight (the film theorist Laura Mulvery has a remarkable essay on just this subject). As they so often do, the women manage to flip the gendered dynamics that society so often relies upon, and it does so in a way that is all the more subversive for being played for laughs.

The real emotional center of the episode, however, occurs after they go to a diner to commiserate over their seemingly ruined holiday. The friendly waiter (played by Teddy Wilson, who would return in a later episode as a different character) remarks that, given how they were carrying on and teasing one another, he had assumed their family. This casual remark from a stranger forces the four women to recognize that, in reality, they are a family in all of the ways that really matter. This might seem trivial to some people, but to me it’s one of those moments in the series where you really start to realize how much these four women mean to one another. For queer people in particular–who often have a strained relationship with their families–there is something especially resonant about the way in which these wonderful women find such profound emotional fulfillment with one another.

Now, admittedly, there is something more than a little problematic in the scene that takes place at the counseling center, especially since it uses those with mental illness as the punchline. However, in cases like this it’s important to remember that, as progressive as it often is, The Golden Girls is still very much a product of its time.

Overall, I’ve always found this to be an enjoyable episode, even if it doesn’t pack quite the punch of some of the others in the second season. Next up, we’ll be talking about one of my all-time fave episodes, in which we finally get to meet Sophia’s estranged sister Angela (played by the inimitable Nancy Walker).

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The Great “Golden Girls” Marathon: “Joust Between Friends” (S2, Ep.9)

Moving right along with our episode-by-episode breakdown of The Golden Girls, we come to another of those episodes where two of the women square off agains each other. In this case, the catalyst is Dorothy’s employment at Blanche’s museum. When it looks like she is going to outdo Blanche, the latter quits in a huff, not realizing that Dorothy has been put in charge of planning a party in her honor. Meanwhile, Rose adopts a dog, much to Dorothy’s chagrin.

This episode falls squarely into that set of Golden Girls episodes that explores the fraught territory of female friendships. This time, though, there’s no middle ground, since it’s pretty clear from the beginning that Blanche is in the wrong. Dorothy, as their therapist remarks in a later episode, cannot be blamed for being competent. And, of course, Dorothy takes the high road, even when it would be easier to give in to her baser instincts and just tell Blanche the truth. It’s also worth noting that the scenes of confrontation between the two of them–including and especially when Blanche pleads for forgiveness and Dorothy tearfully responds that she doesn’t know whether she can give it. As comedic as these scenes ultimately are, they still showcase just how extraordinarily talented these women were.

And yet, one can’t help but feel at least a bit of sympathy for Blanche and her plight. As she says to Dorothy, she’s been working at the museum for a number of years by this point, and to see Dorothy come in and do her job in such a short time is incredibly disorienting. Maybe it’s just my innate sympathy toward Blanche (to say nothing of my own fragile ego), but I can see where’s coming from, even if I think that her reaction to the situation is a bit overblown.

One of the things I like most about this episode is the fact that it’s Sophia that tells Blanche that Dorothy has been planning her surprise party, thus quite thoroughly shaming her. As biting as Sophia can be when it comes to interacting with Dorothy, incidents like this show that her loyalty to her daughter is deep and true. It’s one thing for her to insult Dorothy, but when someone else does–even if it’s someone who is like a daughter–she will definitely come out swinging. It’s one of those wonderful moments when we get to see just how strong the bond is between the two of them.

Of course, there are a number of continuity questions that this episode raises, particularly in the sequence where Blanche is describing Dorothy’s experiences (this is, I think, the only time that we hear about Dorothy’s study abroad experiences). Likewise, Dorothy’s reluctance/hostility to dog ownership is somewhat at odds with what happens in later episodes but still, it is touching to know that it stems from her deep, and ultimately devastating, love for a former schnauzer that lies at the root of her current antipathy toward pet ownership.

Overall I found this to be a very entertaining episode, even if it falls more into the category of filler than some of the others in this season. As always, we emerge reassured that Blanche and Dorothy have made peace with one another, at least until the next blow-up threatens their friendship.

Next up, Blanche and Dorothy concoct a clever (if ultimately rather silly) plan to make Rose feel better about her barren dating prospects.

The Great Golden Girls Marathon: “Vacation” (S2, Ep. 8)

Hello, fellow Golden Girls fans! Since I’ve now made a commitment to finishing up this marathon fairly soon, I wanted to jump right in with another installment. In today’s episode, “The Vacation,” Dorothy, Blanche, and Rose decide to go on a much-needed vacation to the Caribbean. Once there, however, they find that the advertisements were, to put mildly, misleading, and that they have to share their room with a trio of surly and spoiled young men. Sophia, meanwhile, takes this time to finally pursue a little dalliance with their Japanese gardener.

There are some truly funny sequences in this episode, and the sparring between the three women and the men are particularly amusing. The highlight of this portion, however, comes near the end, when the three of them are sitting on the beach, having survived the wrecking of the men’s boat. This incident brings out the best and the worst in the women, as each of them confesses some of their dark secrets that they’ve been hiding from one another (including the fact that both Dorothy and Blanche slept with Rose’s cousin). This sequence also features a very funny bit where Rose asserts her dominance over her squabbling fellows, one of those hilarious instances where Rose reveals that, beneath the midwest nice persona there’s a core of iron and badassery.

Now, admittedly, the sequences that actually take place on the island are more than a little problematic, perpetuating as they do the idea that places in the Caribbean are full of corrupt bureaucrats, decadent politics, and violent revolution. Now, I know that it’s played for laughs, but it’s worth emphasizing that, as progressive as it often was, there were times when The Golden Girls was problematic. It’s important to remember that there was substantial unrest in the Caribbean at the time, including notably the uprising that toppled the president of Haiti (an incident that Sophia alludes to in another episode), so it’s hardly surprising that this would have some impact on the series’ storylines.

As hilarious (and problematic) as the main plot is, to my mind the more significant aspect of the episode is Sophia’s little love affair with the gardener Mr. Mitsumo. The scenes between two of them are actually incredibly sweet, as they somehow manage to overcome the language barrier (he speaks only broken English and she, of course, doesn’t speak Japanese) to find that there is something deeper between them. The part of the scene where they kiss is incredibly endearing and I, for one, love seeing Sophia just as prone to feeling the prick of Cupid’s arrow as the rest of the girls.

Overall, this is a very enjoyable episode of The Golden Girls, though I would probably rank it in the bottom third overall. There’s not much significant political or emotional heft to the episode as a whole, and the humor is a little simplistic. It’s pretty average sitcom fare, and that’s perfectly okay.

In our next outing, we get to see yet another conflict between Dorothy and Blanche as they compete for accolades at the art museum.

The Great “Golden Girls” Marathon: “Family Affair” (S2, Ep. 7)

Sorry for my extended absence. I’ve been pretty swamped with a variety of projects, so I haven’t had as much time to devote to this blog (and this Golden Girls marathon), as I would like. Rest assured, I’m going to really try to publish at least a couple of these episode analyses per week, in the hopes that I can get all the way through the show within the next several months. That’s a tall order, but I do love a challenge.

This episode marks the first appearance of Scott Jacoby as Dorothy’s son Michael (woh would go on to appear in two other episodes as the same character). His visit to the women happens to coincide with a visit from Rose’s daughter Bridget, and while she is a future Oxford student, Michael he is a struggling musician. This doesn’t stop them from having a little afternoon delight, however, leading to a brutal fight between Dorothy and Rose that puts an intense strain on their friendship.

It’s hard to deny that Scott Jacoby is a very cute young man, and he has a fair amount of charm (certainly more than his brother, who played Blanche’s grandson David in an earlier episode). As a character, however, Michael exhibits the same sorts of frustrating behavior that so often bedevil the women’s children. Michael’s essential flaw is that he refuses to take life seriously; unlike his no-nonsense mother, he bounces through life, from job to job, with nary a care in the world. What’s more, he seems to have no sense of common decency, since he has sex with his mother’s best friend’s daughter. Hardly the behavior of an upstanding young man, is it?

The emotional center of the episode, however, is the vicious argument that breaks out between Dorothy and Rose regarding which of their two children was responsible for their liaison. Rose, in a rare show of aggression, declares that Michael is nothing but a loser, while Dorthy responds that Bridget is a tramp. The tension between White and Arthur has been noted (most especially by White herself), and I suspect they might have been channeling some of that into this emotional confrontation, which helps to give it a raw intensity that it might have otherwise lack. In the long annals of fights between and among the women, this one is right up there. It’s hard not to feel uncomfortable watching it, precisely because it feels so real and immediate.

What’s more, it allows the show to explore the often fraught space between one’s friends and one’s family. In this case, neither of the women is comfortable accepting uncomfortable truths about their children and, as a result, they start to take it out on one another. Usually, family strife in The Golden Girls is restricted to one of the women and whichever family member they happen to be feuding with (daughter, son, brother, etc.), so this change is actually quite refreshing.

Ultimately, of course, both Dorothy and Rose overcome their differences fairly easily. It’s not so easy, however, to come to grips with their children’s foibles. On Dorothy’s part, she has to recognize that her son, as much as she loves him, is never going to be the responsible adult that she wants him to be. Rose, on the other hand, in her innocence and naïveté, has to grapple with the reality that her daughter is an adult with sexual desires. Ironically enough, it is Rose who actually has the harder time accepting the reality that her daughter is now an adult.

Next up, we come to one of the more problematic episodes of the second season, in which three of the women take an ill-fated trip to the Caribbean.

The Great “Golden Girls” Marathon: “Big Daddy’s Little Lady” (S2, Ep. 6)

For today’s installment of the ongoing marathon of The Golden Girls, we come to another of those episodes that has become iconic. In the episode, Blanche has to contend with her father’s decision to marry a much younger woman, while Dorothy and Rose decide to enter a songwriting contest and, in the process, create one of the most iconic moments in the entire series.

This episode has some of the most memorable (and quotable) moments in the entire series. Whether this is Rose and Dorothy’s banter about whether “thrice” should be used in a word, or their attempts to find a word that rhymes with Miami (Rose suggestions include a skewed pronunciations of salami, hootenanny, and mammy). To my mind, this is some of the most brilliant writing in the entire series. Just as importantly, it also allows Betty White and Bea Arthur, so opposite in temperament and personality, to really spark off of each other. The result is pure comedy gold.

In the end, of course, the two of them do end up producing a song, one arguably as memorable as the theme itself. And, though they don’t ultimately get win the contest (coming in second place and, as Dorothy says, treated badly), they do get to perform it for our pleasure and their own. Indeed, the resulting number–which features all four of the women singing together–is one of those moments of pure, unadulterated joy that The Golden Girls seems to have had a particular knack for creating. If you don’t emerge from that finale with a smile on your face, then I think you might want to confirm that you are actually human.

On the more serious side of things, Blanche’s grappling with her father’s marriage to a younger woman reveals a great deal about her relationship with her father. This Big Daddy is a very different iteration than his appearance in the first season, in which he was much more the rascally old man that is such a key part of many of Blanche’s stories about him. David Wayne’s portrayal gives Big Daddy a certain gravitas that he lacked, and this makes him a perfect incarnation of the southern gentleman. It’s clear from the outset that he dotes on Blanche and that she, likewise, idolizes him. At least, she does until his new bride-to-be shows up, after which she (once again) tries to reign in her father’s behavior.

Of course, Blanche’s response to her father’s amorous adventures make sense, even if she does go about expressing it in a very abrasive and disrespectful way. Who wouldn’t feel at least a little bit suspicious if their elderly parent was marrying a much younger person? As always, I find it striking that it is Blanche of all people who takes it upon herself to judge what other people do sexually. It’s a big part of what makes her such a rich, complex, and compelling character.

This is one of those episodes of The Golden Girls that stands the test of time, one of those that you can watch again and again and have it be just as funny as the first time that you watched it. Next up, we get to meet Dorothy’s son Michael, as well as Rose’s daughter Bridget.

The Great Golden Girls Marathon: “Isn’t it Romantic?” (S2, Ep. 5)

“Isn’t it Romantic,” the fifth episode of the second season of The Golden Girls, is one of the most famous (and, for some, infamous), since it deals with lesbian desire. In the episode, Dorothy’s college friend Jean (played by the warm and divine Lois Nettleton), reeling from the death of her partner, finds herself falling in love with Rose.

First of all, let’s talk about Lois Nettleton. For years before she guest starred in The Golden Girls, Nettleton was a well-regarded character actress, appearing in a wide variety of television series throughout her long career. As a result, she brings to Jean an earthiness and a warmth that renders her utterly believable as a woman who has lost the love of her life and is trying to find a way of moving forward. It would be very easy to make her an object of pity or ridicule, but the writers, and Nettleton, chose instead to portray this is a very human response to grief. Nettleton has an effortless charm that allows her to inhabit the role, and you find yourself loving Jean from the moment she appears on screen.

Some, I’m sure, will feel uncomfortable with the way in which the series plays into the myth that gay people are always aiming to seduce straight people. Others have also criticized the episode for reaffirming Rose’s heterosexuality. These critiques, in my view, grossly overlook what the episode actually accomplishes. It allows us to see Jean as fundamentally human, as prone to mix-ups and awkward feeling as the rest of us. More importantly, in my view, it also gives Rose the chance to talk maturely and seriously with Jean about her feelings. Although, she says, she doesn’t understand these feelings, she tries to imagine what it would be like, and she tells Jean that she would be proud that she was the recipient of them.

It’s important here that it is Rose, simple, naïve Rose, with whom Jean falls in love. Of all the women, it is Rose who seems to have the best heart and the sweetest nature, and it is exactly these things that allows her to respond to Jean’s overtures not with disgust but with warmth and love and generosity. This response fits in with the overall ethos of the episode, which can be summed up in Sophia’s pithy remark that she’d rather live with a lesbian than a cat, which is not only funny but a remark strikingly ahead of its time.

But of course, no discussion of this episode would be complete without the incident in which Blanche confuses “lesbian” with “Lebanese” (when told that Jean is a lesbian she responds, “Isn’t Danny Thomas one?”) For Blanche, the more upsetting part of the entire revelation is that Jean prefers Rose over her, and her histrionics are yet another testament to how profoundly talented Rue McClanahan was as a comedic actress.

All in all, I tend to come away from this episode feeling positive about the ways in which it affirms the power of acceptance. For a show produced in the 1980s, when the religious right was on the ascendant and a staunch Republican was in the White House, this was more than a little radical. That’s why, even all of these years later, I still find its message of warmth and generosity so powerful, so moving.

Next up, we get to meet (again) Blanche’s father Big Daddy, and Dorothy and Rose pen one of the series’ most famous songs.

The Great Golden Girls Marathon: “Isn’t it Romantic?” (S2, Ep. 5)

Now we come to what I think is one of the finest episodes of the entire series (yes, I know I’ve said that before, and I’ll probably say it again). Both bittersweet and joyful, “Isn’t it Romantic?” exemplifies the best that The Golden Girls has to offer.

In this episode, Dorothy’s friend Jean (played with inimitable charm by Lois Nettleton) comes for a visit. While warm and delightful and quick to make friends with Rose and Blanche, Jean also harbors something of a secret. Her recently-deceased partner Pat was not, as everyone seems to assume, a man, but a woman. And, on top of that, she gradually finds herself falling for Rose, whose farm-girl cuteness appeals to Jean’s own loneliness and vulnerability. While Rose must ultimately let Jean down easily, the two agree that they can remain friends.

Part of what makes this episode work is the sheer charm exuded by veteran TV actress Lois Nettleton. She’s one of those people that you know you’ve seen on some TV show from the ’60s or ’70s, though you may not be able to say what it was or who she played. Regardless of the role, however, Nettleton always manages to convey the inner warmth and goodness of her characters.

Some, I’m sure, will see in Rose’s repudiation of Jean’s feelings a warning about the the futility of queer desire, but to my mind it’s a very human and natural storyline portrayed in a very sympathetic light. Jean is not rendered into a stereotype or a pathetic figure, but is instead simply a woman who found herself falling for another woman whose kindness and goodness of spirit are some of her most attractive qualities.

As always, Sophia leads the way when it comes to the perspective the viewer is meant to take on Jean’s sexuality. While everyone (including Dorothy) makes a big deal out of it, Sophia accepts it without question, commenting that some people prefer cats over dogs, and some women prefer women over men. It is the blunt simplicity of Sophia’s statement that always stands out to me, as she reveals the folly of overanalyzing human desire and emphasizing the things that we share as fellow human beings.

Yet even Rose, who seems quite befuddled about the whole affair, ultimately concludes that, were she gay, she would proud that Jean felt that way about her. This might seem a little trite to some, but it always resonates with me. Let’s be real; we queer folk have a tendency to fall in love with the straights, and for many of us that is one of the most painful experiences we have as we come into our own as queer people. Far too often, our feelings for our straight friend is met with contempt, if not violence. Isn’t an expression of pride and compassion better than disgust and revulsion? Let’s remember that this is the 1980s, when the Reagan administration was still doing everything in its considerable power to make sure that queer folk stayed invisible. Jean’s visibility, and the girls’ acceptance of her, is a well-deserved slap in the face to that repressive ideology.

But of course no discussion of this episode would be complete without mentioning the uproariously funny jokes that emerge, foremost of which is Blanche’s confusion of “lesbian” with “Lebanese,” with a bit of Danny Thomas thrown in for good measure. The best part is that Blanche is mortally offended that Jean would prefer Rose over her, though she also admits that it’s fine, even if she doesn’t understand it. There is an irony here, given Blanche’s later outrage at her brother’s homosexuality, but that’s a post for another day.

The Great “Golden Girls” Marathon: “It’s a Miserable Life” (S2, Ep. 4)

Despite the sporadic nature of my updates to this series, I’m hoping to be a bit more consistent going forward. I’ve still got quite a few episodes to cover, after all. So, onward we go into season two.

In the fourth episode of the second season, the girls confront the malice and profound misanthropy of Frieda Claxton, their neighbor who does everything in her power to ensure that the old oak tree on her property is cut down by the city in its efforts to widen the street. When Rose loses her temper during a meeting of the City Council and shouts at Mrs. Claxton, the old woman dies on the spot, and the four women ultimately decide to pay for her funeral.

What is most striking about Mrs. Claxton is that she is unrepentantly misanthropic. Unlike the four stars of the show–who spend much of their time committed to social good–she straight up doesn’t like people. While the show doesn’t necessarily see this as a good thing (quite the opposite, in fact), it is refreshing to see a woman who doesn’t make any bones about the fact that she doesn’t feel the obligation to be nice to people just because that’s what she’s “supposed” to be like. Fun fact? She is basically what my Mom is going to be like when she gets to be that age.

The real highlight of the episode, though, is the scene at the funeral home, in which the four women have to contend with Mr. Pfeiffer (the “p” is not, in fact, silent). The scene is pure comedy gold, from Sophia’s threatening to give the funeral director a punch in his “pface” to the girls attempting to get the cheapest funeral and casket, since none of them really want to invest that much money into honouring a woman that none of them liked. The sequence also contains a sly reference to the popularity of The Cosby Show and indeed the centrality of television to the lives of those who lived in that far-off time before DVR. The whole thing is, quite simply, a hugely hilarious bit of comedy.

What I really like about this episode is that it shows us that Rose truly is a good, decent person. Sure, she has her moments when she lets her anger burst out inopportunely. However, her genuine devastation at the lack of attendees at Claxton’s funeral reveals how deeply Rose feels about the world around her, how she is determined to believe, despite all of the evidence to the contrary, that there is something good in the heart of even the most despicable person.

Indeed, this episode (like so many) contends with the incontrovertible fact of death and its increasing proximity. As mean as Frieda Claxton was, Sophia points out, she still deserves at least a measure of a funeral. Though she claims it’s good luck to pay for the funeral of someone you hate, one suspects that there is a recognition on Sophia’s part that death waits for all of them, and that it might be in all of their interest to save up some goodwill with the Almighty.

Next up, we come to one of my very favourite episodes, in which Dorothy’s gay friend comes for a visit.

The Great “Golden Girls” Marathon: “Take Him, He’s Mine” (S2, Ep. 3)

Special Note: This is my 500th post on this blog. Wow. We’ve come a long way, baby!

And so we come at last to the third episode of the second season, and the establishment of a pattern that will come to play such a prominent part in Dorothy’s life: her fraught and contradictory relationship with Stanley.

When Stanley comes by to ask Dorothy to go out with him to help salve his broken heart, Dorothy pawns him off on an unwilling Blanche. Unfortunately, the two of them bond more than she had expected, and this sparks yet another round of recriminations and feuding between Blanche and Dorothy. Meanwhile, Sophia and Dorothy go into business together trying to sell sandwiches.

One of the great strengths of The Golden Girls is the way in which it really helps shed light on the messiness of personal relationships. It would have been far too easy to paint Dorothy and Stan as mutually hating each other, and it appears that was indeed the goal in the first episode in which he appears, there’s clearly a lot of chemistry between Bea Arthur and Herb Edelman. One can actually imagine the two of them as a couple that once loved one another (even if their marriage came about in less than auspicious circumstances). The series shows us instead that the ties that bind a couple together during 38 years of marriage cannot be so easily dissolved or snapped; however much we might want it, there is rarely is such a thing as a truly clean break.

Dorothy’s flare of jealousy at Blanche’s budding relationship with Stan also speaks to the complicated relationships that exist between women. I know that I, for one, can completely understand Dorothy’s feeling of betrayal  and jealousy at the thought that her best friend might be sleeping with her ex-husband. I mean, who wouldn’t feel that way? Even if you are divorced from someone, even though they might have betrayed you in the worst way possible (remember that Stan left Dorothy and married a woman half his age), you still can’t let those feelings go.

But, this being a sitcom, balance has been restored by the end. Blanche jettisons her relationship with Stanley, correcting understanding that to persist in it would put an irreparable strain on their friendship. It’s rather touching, really, to see how they privilege their feelings for one another over their ones with men. It’s a dynamic that will be one of the constants in the entire series, and for me it’s one of the most enjoyable things about it.

Lastly, we should make at least passing mention of the Sophia/Rose part of the story. Admittedly, it lacks the gravitas of the other, but it is definitely hilarious. The “Bacon-Lettuce-and-Potato” bit (they run out of tomatoes for the sandwich) has to be one of the most hilarious segments in the second season.

Next up, we get to take a look at the strange case of Frieda Claxton in what is arguably one of the funniest episodes of this second season.

The Great “Golden Girls” Marathon: “Ladies of the Evening” (S2, Ep. 2)

As I’ve said several times, the second season of The Golden Girls is, in my mind, the point when the whole thing starts to gel. The writing amps up–both in terms of the comedy and the political commentary–and the chemistry among the leads also seems to really hit its stride. You finally get the sense that these are four women who may disagree with one another in many significant ways, but deep down they truly love one another. Their friendship will endure many trials, but it will always emerge stronger than before.

In this episode, Blanche happens to win tickets to see Burt Reynolds and, as part of their celebration, they opt to spend the evening at a lovely hotel in Miami Beach. Unfortunately, the hotel they choose is a den of prostitution, and they are taken to jail. Hilarity ensues, particularly when Sophia snatches the tickets in retaliation for having been left out of their Reynolds plan.

To my eyes, at least, this is one of the funniest episodes of the entire series. The sequence in jail–particularly Rose’s dismay at losing Butter Queen in her youth–the appearance of Burt Reynolds at the end of the episode, the squabbling amongst the inmates. All combine to make this a riot from beginning to end. There’s even a nice little dig at Richard Nixon (courtesy of Blanche), which is splendidly funny. There are times in a good comedy when the writing and the performances all come together, and this is one of those episodes. What’s more, it once again shows the women come together in the end, all of their differences put aside.

There are also a few little comedic gems that are worth mentioning. When Rose reads off a litany of the other celebrities that will be present with Burt, she mentions that Charles Nelson Reilly will also be there. While the girls are less than impressed, the canny viewer will no doubt recognize that he appeared with Betty White in a number of game shows throughout the 1970s. It’s just another one of those little touches that the show frequently uses to highlight the exemplary careers of its leading ladies.

One also can’t help but wonder if the Sophia strand of this episode’s plot is a rather sly and self-aware gesture toward the fact that she wasn’t originally intended to be a key part of the series. She is justifiably upset that she is being left out of the plans that the four women make, and one can hardly blame her for her desire to finally take a little bit of pleasure for herself.

All in all, I think this is one of the most uproariously funny episodes in the entire series. The surprise appearance of Burt Reynolds at the end might be brief, but it is hilarious. The man somehow has the knack of commanding the camera regardless of what he is in.

In the next episode, we’ll see what happens when Stan returns and goes on a date with Blanche, much to Dorothy’s chagrin.