I LOVE LUCY
DICK VAN DYKE
MARY TYLER MOORE
ALL IN THE FAMILY
The Classic Sitcoms Guide to...
The Mary Tyler Moore Show
Season Five: 1974-75
1974-75 : THE FIFTH SEASON
Year-End Rating: 24.0 (11th place)
The show practically glides into a fifth season, buoyed aloft by critical
and popular acclaim, as well as a cast and creative team that are among
the finest ever assembled for the production of a weekly situation comedy.
Major developments in the continuing story include the engagement
of Ted and Georgette and the final appearance of Phyllis, who will move
to San Francisco and her own series the following fall.
The show continues to benefit from the contributions of many talented
scripters, with stalwart David Lloyd acting as executive story editor.
Prolific writers Ed. Weinberger and Stan Daniels also serve as producers
in season five, a position they will hold for the remainder of the series.
Jay Sandrich continues to head the roster of directors, though Mary
Tyler Moore herself directs an episode this season--her single venture
behind the camera.
Mary spends the night in jail after she refuses to reveal a news source.
Mary dates a man because of his striking looks, even though she knows
they have nothing in common.
An episode that takes the risk of exploring Mary's apparently shallow
ability to date a rather dull man merely because he happens to be very
good-looking. In fact, her actions actually reflect a newfound maturity
in Mary's character, who makes the refreshingly adult realization that
she is capable of dating a great-looking man for purely physical reasons--and
why, she wonders, shouldn't she? This sophisticated treatment of an
essentially feminist issue wouldn't have been possible in an earlier
phase of the series's development, when Mary was still constrained by
the rules of what good girls did, and didn't do, on sitcoms.
After he tosses Ted from the newsroom in an angry fit, Lou takes stock
of his temper and begins to treat Ted with kid gloves.
Lou gets involved with a lounge singer of dubious reputation.
A consultant tries to bolster the ratings of The Six O'Clock News,
but succeeds only in enraging the newsroom staff.
Murray comes very close to having an affair with an attractive woman.
Barbara Barrie would play Liz on Barney Miller when the station-house
comedy premiered in 1975.
Sue Ann meets her match when a manipulative young woman tries to take
over The Happy Homemaker Show.
Linda Kelsey guests as the unscrupulous girl--a far cry from Billie
Newman, the earthy reporter she would later play on Lou Grant.
Phyllis dates a man for purely intellectual stimulation but is alarmed
when he begins dating Mary for a different kind of exhilaration.
Sue Ann attempts to introduce a little Yuletide cheer, a month and
a half too early, when the staff gets snowbound at work in early November.
Sue Ann tries to nudge Mary into the fast lane when they attend a broadcasters'
convention together in Chicago.
Ted is shocked when his mother announces that she intends to move in
with her boyfriend.
Murray desperately wants a son but can't convince Marie to have another
child after she's already had three girls.
When Lou decides to move out of his house and into Rhoda's old apartment,
Mary is afraid that she'll lose all sense of privacy.
One of director James Burrows's apprentice assignments. His later
association with Taxi and Cheers would eventually establish
his credentials as one of the brightest TV directors in the business.
When Lou decides to add a female newscaster to the show, he's faced
with two unlikely candidates--Sue Ann and Mary.
Ted convinces the newsroom that he and Mary are having a torrid affair.
A perfect example of the kind of character comedy that was to become
the trademark of the early MTM sitcoms. The absurd situation arises
organically from the personalities of the characters; it was inevitable
that Ted would try this stunt sooner or later. And it was equally inevitable
that Mary would be unable to rationally cope with the galling repercussions
of Ted's innuendo.
Because we're so familiar with Mary's and Ted's personalities, we
can see instantly that both are merely victims of their own character.
We sympathize with Ted's desperate plight just as much as we identify
with Mary's utter mortification. The entire embarrassing situation is
made funny largely because we are convinced that it could conceivably
happen to any one of us.
Mary feels dissatisfied with the scope of her job and asks for the
chance to produce The Six O'Clock News.
Ted invents a seemingly foolproof scheme for betting on the football
pools, luring Lou into partnership with him.
When Lars takes away her credit cards, Phyllis is dismayed at the prospect
of actually having to look for a job.
Cloris Leachman won an Emmy for her role in this episode, her last
regular appearance on the series. She would begin filming her spinoff
series, Phyllis, the following season.
Lou rashly mounts a tough exposé of a Minneapolis civic leader,
who turns out to have a spotless reputation.
Ted proposes to Georgette in the middle of his Six O'Clock News
Mary agrees to lend a hand when the woman she met in jail is finally
Barbara Colby reprises her role as Sherry, the inmate Mary first met
when she was jailed for contempt of court in episode 97.
Lou is indignant when he is honored with an award that is usually bestowed
on broadcasters who have outlived their usefulness.
Director Marjorie Mullen was the show's regularly script supervisor,
a job she'd also performed throughout five seasons of The Dick Van
Dyke Show a decade before.
Ted is conned into endorsing a shady broadcasting school that turns
out to have a total student enrollment of one.
Another classic episode. The strange fabric of the newsroom staff's
paternal relationship with Ted Baxter is demonstrated as they each endure
undeniable embarrassment in order to bail Ted out of a jam. The scene
where Lou, Murray, and Mary take turns lecturing to the lone student
is an absolute gem.
Mary must face the difficult fact that she can't stand her new boyfriend's