The Warner Archive March 13, 2008 DVD relrelease of the 2006 first season of the Julia Louis Dreyfus sitcom "The New Adventures of Old Christine" provides those of use who missed out on the discontinued 2008 release of this season a second bite of the apple. History suggests that Archive will do the same regarding the other four seasons of this amusing show that soon learns the lesson that the adult characters have more long-term comedic potential then those who are not tall enough to ride every rollercoaster.
One of the more amusing aspects of "Christine" is watching Dreyfus play it relatively straight in this traditional sitcom between her stints as the gleefully manipulative Elaine on "Seinfeld" and the titular hilariously foul-mouthed and constantly angered loser who is "a heartbeat away" on her current series "Veep."
The titular mess is women's gym owner Christine Campbell, whose life changes in the pilot drive the series through its respectable five seasons. She is newly divorced from contractor Richard Sr. (Clark Gregg of "Agents of S.H.I.E.L.D.") and is getting young son Richard Jr. (a.k.a. Richie) ready for his first day at the elite Westbridge (a.k.a. White Bread) School that a Google search awesomely reveals is an actual educational institution.
Adorably slacker/garage-dwelling late-in-life baby younger brother Matthew (Hamish Linklater) plays the Kramer role in that he is doofus loser of the group. The character of comedian Wanda Sykes fills the need for the cynical best friend.
The memorable first day at school involves meeting the WASPy moms who respectively are the queen of Westbridge and her lady-in-waiting. Lindsay rules the school and has dim-witted Marly to do her bidding. Christine suffers an additional hit on seeing her ex sucking face with current main squeeze "young" Christine. This provides further proof that many men desire romantic partners who are younger and prettier than him.
A standout episode revolves around the common sitcom and real-life issue of elaborate birthday parties for children. Old Christine tries to keep up with the Kasdashians but ends up throwing a more basic event. This predictably initially falls flat but turns around in an amusing unexpected manner.
Another one in which actual hilarity ensues relates to the hypocrisy of some liberal ideals. The set-up this time is that Christine is delighted to meet a woman at the school who shares her views regarding the elitist environment. The one-two punch is that learning the status of the new friend creates embarrassment and discovering the rest of the story is an example of something being mortifying when it happens to you and providing everyone else incredible amusement.
The appeal of the concept and the characters of "Christine" reflects the success of "Seinfeld." We see ourselves and the people in our lives in the characters and live vicariously through them in that they act how we would love to respond to the irritants in our lives.
Anyone with questions or comments regarding "Christine" is encouraged either to email me or to connect on Twitter via @tvdvdguy,
The expression "don't be ridiculous, of course it does" is the apt response to whether the Warner Archive June 19, 2018 DVD release of the 1988-89 fourth season of the 8-season sitcom "Perfect Strangers" shows that this program (which admittedly jumps the shark in S7) stands the test of time. The applicable principle is the observation of Carol Burnett that funny always remains funny.
An additional perspective is that the DVD set serves the purpose of that format by providing another bite of the apple regarding a hit in its day with a limited syndicated run. The modern aspect is that owning the DVD does not leave one at the mercy of the whims of streaming services.
As the review (which illustrates a close link with a top novel of the 21st century) of the Archive DVD release of S3 states, the successful variation of the odd couple formula this time is that uptight cynical 20-something ambitious cub newspaper reporter Larry Appleton (Mark Linn-Baker) shares his apartment and his work space with always cheerful 20-something recent immigrant from the Mediterranean island of Mypos Balki Bartokomous (Bronson Pinchot). This adorkable innocent having the wisdom of the fool shows that natives of industrialized countries often are not superior to our kin from more primitive cultures.
The charm of the constant elan and naivety of Balki is the primary draw of "Strangers." The next most appealing factor is the incredible skill of Linn-Baker and Pinchot at physical humor; they achieve perfect symmetry and often toss each other and themselves around with such flexibility that it seems that their bones are rubber.
The bigger picture is the skill of the writers at keeping the "com" fresh regarding the wacky "sits" in which our Chicago-dwelling dudes find themselves. A highlight of this is skillfully combining the classic storylines of a character accidentally getting hypnotized without the knowledge of the people in his or her life, an alter-ego taking over, and a character facing a tax audit.
We also get a variation of the main men (or women) being forced to fly and land a commercial jet; a Christmas episode that does not center around "A Christmas Carol," "It's a Wonderful life," or "The Gift of the Magi;" and a flashback episode that does not involve a character facing imminent peril. Many of the other episodes are more of the same.
The "Strangers" crew provide sofa spuds who reside in TV Land an extra-special treat by having S4 further setting the stage for the 9-season sitcom "Family Matters" featuring Steve Urkel, who proves that one man's Top-10 sitcom creation is another man's Jar Jar Binks. The roots of "Matters" dates back to the "Strangers" S3 season premiere in which Balki joins Cousin Larry in the basement of The Chicago Chronicle. New friend sassy and loving elevator operator Harriette Winslow comes to the rescue.
S4 introduces Harriette spouse Carl Winslow, the jolly doughnut-loving cop. The involvement of this (seemingly childless) couple with Balarry extends to moving into their apartment building. More fun comes via Harriette telling the boys that something that she wants to discuss with Carl is a family matter. Another episode has an even better reference to the best-known sitcom set in the midwest.
In the spirit of the heart-felt epilogue that ends every "Strangers" episode, the modern lesson regarding this series is that it well-represents the Silver Age of television comedy in which the depicted world is not perfect, unmarried people having sex is not always shameful, and the show does not rely on extreme personalities or innuendo to get laughs. A prime example of this is having the mother-of-all-80s and beyond sitcom mothers Doris Roberts do her thing in an S4 outing.
'Perfect Strangers' S3 DVD: Sitcom Version of Pulitzer-Prize Winning 'The Amazing Adventures of Kavalier and Clay'
The Warner Archive April 17, 2018 DVD release of the third season of the '80s sitcom "Perfect Strangers" provides Gen Xers cause for the dance of joy. This release comes a decade after the DVD release of the first two seasons of this series about 20-something bosom buddies odd couple cousins Larry Appleton (Mark Linn-Baker) and Balki Bartokomous (Bronson Pinchot) living and working together in Chicago. The other good news is that the S3 release creates reasonable hope for releases of future seasons over the next several months.
This release also provides an opportunity to address an 18 year-old issue. It is amusing that the 2000 Micheal Chabon Pulitzer-Prize winning novel The Amazing Adventures of Kavalier and Clay is so highly praised as great literature despite essentially being a novelization of "Strangers." Kavalier tells the tale of the legendary comic book artists of the '30s through the '50s in the context of an 20-something New Yorker and his Czech cousin living, working, and (if memory correctly serves) dating together.
The core relationship is essentially the same in both the novel and the show. One difference is that Larry is a Midwesterner boy on his own until sweet and naive Balki knocks on his door almost literally fresh off the boat from the Mediterranean-adjacent island of Mypos. A broader perspective is that Larry and Balki can be considered the Lucy and the Ethel of the '80s. A narrower perspective is that "Strangers" has a significant role in the (reviewed) modern HBO series "The Leftovers," in which Linn-Baker plays himself.
S3 finds Larry starting a new job that brings him one step closer to his ideal career. He is a cub reporter at The Chicago Chronicle newspaper. Balki stopping by the office in the season premiere leads to him becoming the new mail boy at the Chronicle. The co-workers of the boys include sassy elevator operator Harriette Winslow, whose home life becomes the center of fellow TGIF series "Family Matters."
Business soon gets down to usual with fairly typical "sits" lead to "com." As is the case in all good and great shows, the distinction is in the quality of the writing and the talent of the actors. "Strangers" awesomely has shining moments in both regards.
The second episode of S3 finds Larry dealing with the shock of many of us on discovering a minor weight gain in our late 20s. This ultimately leads to Larry agreeing to go on a diet from Mypos only to lead to the typical conflict of his trying to get Balki to abandon his integrity only to ultimately learn that the high road is the better route. The hilarious physical comedy that is "Strangers" trademark revolves around Larry frantically trying to prevent Balki from discovering a delivery of a pizza.
The next outing is a special treat on many levels. Having Holland Taylor play a newspaper editor who is the virtual twin of the advertising executive Ruth Dunbar that Taylor portrays on the earlier '80scom "Bosom Buddies" (which shares creators with "Strangers" and "Matters") nicely ties that show in with "Strangers." "Buddies" costars Peter Scolari of "Newhart" and the father of Colin Hanks as childhood friends from Ohio now dressing in drag to live in an inexpensive New York apartment while they pursue professional and personal goals.
The next nice surprise relates to the nature of the "Strangers" plot about the character of Taylor trying to coerce Balki into having sex. Knowledge of several lesser shows leads the audience to reasonably predict that the "sit" will involve Larry trying to convince his cousin to give one for the team to help the career of our aspiring Clark Kent. "Strangers" does not disappoint regarding either the actual conflict or its resolution.
This pattern continues regarding an episode in which our boys engage in a three-minute dash around a grocery store. The physical comedy during that frantic effort is exceptional. More importantly, an audience expectation that greed results in the cousins only walking away with a can of Spam or an item of equal comedic value is unmet. The epilogue provides yet another good surprise.
The hilarity continues with adventures such as Balki creating chaos by assuming that corporate America has integrity, Larry having his effort to present a false front to his successful brother face obstacles, and the boys breaking into their office to obtain an incriminating document.
Nitpickers may comment on the order of episodes in the Archive set not coinciding with the order on IMDb. The most probable explanation is that the Archive order reflects the intended running order. To paraphrase the trademark line of Balki, anyone whom this bothers is ridiculous.
Part of the joy of pure sitcoms such as "Strangers" is that not much occurs that requires watching episodes in any particular order. The journey is the joy regarding starting at the development of the "sit" and ending up at the heartfelt discussion of the learned lesson as the picture freezes, there is a flourish of the theme song, and the end credits begin appearing on the screen.
[EDITOR'S NOTE: A desire to attempt to do justice to the phenomenal design of the complete series locker edition of "The Wonder Years" and to the series itself requires a two-part review. This initial discussion focuses on the set itself and the early seasons. The follow-up covers the later seasons, including the precedent-setting series finale.]
Time Life very aptly extends its recent pattern of releasing DVD sets of variety shows (including the reviewed "Laugh-In" and also reviewed "Carol Burnett Show") from the '60s and '70s to rerelease a CS DVD set of the 1988 -93 dramcom set in the '60s and the '70s "The Wonder Years." This one is the product of Carol Black and Neal Marlens, who also are the show runners of the '80s ABC famcom "Growing Pains."
The figuratively mind-blowing special-edition locker set requires beginning this discussion of "Wonder" with details regarding this set that deserves every design award out there. The Unreal TV library includes roughly 20 deluxe CS DVD sets, and this one far outshines all of them in cleverness and construction quality.
Our accolades begin with the locker itself being good quality metal that does not bend or warp. It sits on four small padded feet that keep the locker steady.
The delight continues with opening the locker and discovering more-than-ample room for the two loose-leaf binders that will bring back memories of personal wonder years; you also get a yearbook. The "but wait, there's more" item is a set of magnets for adorning the locker.
Each sturdy binder consists of the discs, complete with detailed episode synopses, of three of the six "Wonder" seasons. Each disc is in its own sleeve that allows removing it without any risk of scratching it.
The equally sturdy yearbook begins with fun autographs by most of the cast and crew; we also get copious photos and profiles from both back in the day and the present.
Moving on to the actual show, this early 30-minute series with almost equal "dram" and "com" also almost certainly is the first in which an adult narrator (Daniel Stern in this case) comments on his "wonder years" roughly 20 years earlier; this concept dates at least to the early '60s in which teen Dobie Gillis regularly breaks the fourth wall in the spectacular "The Many Loves of Dobie Gillis" sitcom.
"Years" is notable as well for following the wisdom of the '70s sitcom set in the '50s "Happy Days." Producer Garry Marshall builds that series around the concept that a series that is based in the past does not look dated in the future.
An observation in the aforementioned yearbook addresses the use of era in the series. This notes that we do not see how our childhoods parallel national events and trends until we achieve full adulthood.
Future television show director and occasional adult actor Fred Savage plays "Years" lead Kevin Arnold. The expressiveness of Savage and talent for expressing non-offensive disgust at the stupidity of peers and parents alike show the reason for casting him in the classic film "The Princess Bride." (Seeing him get in the spirit of "Years" fantasy scenes also is fun.)
Despite a well-known predictable element, the "Years" pilot deserves classic status. We meet 12 year-old Kevin during the summer of '68 before he enters the newly renamed Robert F. Kennedy Junior High. Early narration includes commentary that the suburban setting of the titular period in the life of Kevin lacks the benefits and the disadvantages of the city and the country but provides a pretty good place to grow up.
A related amusing aspect of this is that the series is set in the northeast (most likely New Jersey) but that wide shots clearly show that the neighborhood is in California.
Older brother Wayne gets right down to humiliating and pummeling Kevin without provocation; this sets the stage to establish the appeal of literal boy-next door Brian Cooper, who is the big brother of series-long love interest/ literal girl-next-door Winnie Cooper (Danica McKellar).
Nineteen year-old Brian has gorgeous blonde hair, a rock-hard body, a cool car, and smokes. He steals his first scene by calling out to Wayne to either leave Kevin alone or endure the same punishment that Wayne is dishing out.
The narrator sharing that Brian goes onto Viet Nam makes the fate of this character predictable even to new comers to this series.
Other '60stastic early episodes center around Kevin and nerdy best friend Paul getting excited to reap the benefits of the brand-new law requiring adding sex education to the public school curriculum, the Apollo 8 mission to orbit the moon and safely return to earth, oldest Arnold child high-school flower child Karen entering a relationship that is more open than she understands with a radical college student (John Corbett of "Northern Exposure" and "Sex and the City,") and a Christmas episode in which the Arnold children and their housewife mother Norma try to persuade gruff middle-management job holding Dad to buy a color television.
All of this works because the Arnolds are a real family with real issues that are nor presented in an overly comic or dramatic fashion. No one is extreme, and the problems often are not solved in 30 minutes. One early example is Kevin still incurring some wrath from his friends and classmates after mercilessly ridiculing them. There is not any third-act grand-gesture by our everyboy.
The spectacular copious special features include a 2014 cast reunion.
Classic TV royalty Time Life creates a made-in-Heaven marriage regarding granting Wal-Mart the exclusive right to sell the October 17, 2017 "Mama's Family: The Complete Collection" DVD set.
This 130-episode six-season series, which is a spin-off of the fan-favorite "The Family" sketches in the "Carol Burnett Show," revolves around feisty small-town Southern middle-class matriarch Thelma Harper and her dysfunctional family. The best way to think of this is to imagine Aunt Bee of "Andy Griffith" as more irascible.
It is equally cool that youthful Vicki Lawrence rivals Estelle Getty in her talent for playing a character who is significantly older than her. The age disparity between Vicki and Thelma warrants an aside that is highly relevant to this review. Vicki stated in an interview at the time of a 1988 S4 three-episode story arc in which the Harpers go to Hawaii that requiring that she be in character on exiting the airplane in our 50th state was moderately distressing.
"Mama" further can be considered a PG version of the more adult Del Shores "Sordid Lives" franchise, which revolves the eccentric middle-class residents of Winters, Texas. "Sordid" elements that are absent from "Mama" include a cross-dressing senior citizen, a gay white man married to a black man, and a philandering redneck who literally pays a leg (but not an arm) for his adultery with a significantly older woman. That is not to say that "Mama" may not include some or all of those elements if Lawrence et al film a reunion movie.
The "complete" set, which offers the original broadcast versions of the episodes, does Lawrence and and her co-stars particularly proud by including the copious extras that the end of this review describes.
The following YouTube clip of the Time Life promo. for this set provides a small overview of this perfect gift for yourself, for your mama, or for anyone with a sense of humor. Thelma would express this sentiment as good Lord, just go out and buy the damn DVDs already; what the Hell are you waiting for?
"Mama," which is the brainchild of "Burnett" and "Fact of Life" veterans Dick Clair and Jenna McMahon, begins life as a 1983 mid-season replacement on NBC. This initial concept is that widowed housewife Thelma lives with slightly more sophisticated sister Fran (the late Rue McClanahan of both "The Golden Girls" and "Sordid") and dim-witted adult son Vint (Ken Berry of "F Troop.") Buzz and Sonja, who are the teen offspring of Vint, round out the original household.
Moderately sexed-up neighbor/supermarket cashier Naomi (Dorothy Lyman of "All My Children") quickly moves in after marrying Vint in a "very-special" two-parter early in the first season.
Burnett occasionally drops by the Harper household in her role as neurotic daughter Eunice. We more regularly see Golden Girl Betty White as snobbish daughter Ellen.
Like the four (highly popular) retooled syndicated seasons that follow, the two NBC seasons reflect the highly successful principle of not fixing what is not broken. Virtually every episode is pure '80s sitcom down to an outing in which the Harpers compete on the Richard Dawson version of the game show "Family Feud."
Another early episode has Eunice and Thelma working out their differences while sharing a jail cell; we further see the ex-husband of Naomi threaten her current marriage.
"Rashomama" is a classic episode in two senses in that it is one of the most funny "Mama" episodes and is a standard sitcom take on the Japanese film "Rashomon" that centers around conflicting versions of an incident. This one has Naomi, Ellen, and Eunice offer differing accounts of an kitchen accident in which Thelma gets knocked out.
The genuinely triumphant return of "Mama" to the airways in 1986 reflects the related increased demand for programming that newly widespread cable creates and independent stations and basic-cable networks giving cancelled broadcast series a second bite at the apple. "Mama" finding tremendous love the second time around is spectacular.
The third season opens in the wake (no pun intended) of the death of Fran; Thelma is keeping mum regarding the presumably embarrassing (and hilarious) circumstances of that demise, Vint and Naomi are almost literally drooling over the prospect of moving from their basement dwelling into the vacated room of Fran, and we meet middle-aged spinster neighbor Iola (Beverly Archer of "Major Dad.") Further, Ellen refuses to forgo a previously scheduled appointment to attend the funeral.
The related developments in this jam-packed outing are that Eunice and husband Ed now live in Florida and delinquent teen son Bubba (mentioned but believed never seen in "Burnett") is very recently out on parole from an unfortunate incarceration. Thelma et al return from the funeral to discover hilarious damage from Hurricane Bubba.
The excitable boy facing the decision that Thelma describes as "the old lady or jail" leads to the hi-jinks that comprise the final four seasons of this series.
An S3 episode offers a two-fer in that lonely Iola becoming an unduly frequent visitor to Chez Harper leads to the family using the '80s-era matchmaking technique of a personal ad in the newspaper to find her a beau. The two-fer enters in the form of Iola getting mad at Thelma when the gentleman caller transfers his affections to the widow Harper without any encouragement from this mother of all mothers.
An especially memorable S3 episode has even more hilarity ensuing after Iola freeze dries her cat after that feline uses up all nine of his lives; "Weekend at Bernie's" has nothing on "Mama" in this regard.
We further get two memorable instances of Thelma engaged in the sitcom staple of cross-dressing as a disguise. Her change of heart regarding sabotaging the effort of Vint to join a lodge has her don the garb of that organization to infiltrate a meeting; she further dresses as Santa and gets in the Christmas spirit after an upsetting incident destroys her holiday spirit. Of course, the episode ends with a miracle.
Another beloved sitcom could not provide better context for the timeless appeal of "Mama." One of the best moments of "Friends," which spawns the unmarried single urbanites hanging out sub-genre of sitcoms, has sarcastic Chandler comment on seeing an episode of "Three's Company" that that outing is the one with the wacky misunderstanding.
"Mama," "Friends," "Company," and other TV Land faves all have the common elements of good writers who can make familiar fare adequately fresh to keep it entertaining and the right actors playing entertaining characters who can make us at least smile on watching a variation of something that we have seen many times before. Good perspective regarding this comes from the late Garry Shandling, who was the master of making sitcom cliches hilarious.
Shandling states in his his late-night talk show character in the finale episode of "The Larry Sanders Show" that sometimes you get something special and sometimes you get "Company" failed spin-off "The Ropers."
The aforementioned plethora of extras is far too extensive to address here; one highlight is the surprisingly dark and dramatic TV-movie "Eunice," which airs in the period between "Burnett" and "Mama." This one is more Tennessee Williams than Sherwood Schwartz.
Bubba-centric extras include a hilarious "Burnett" sketch in which guest-star Maggie Smith is his teacher holding a conference with parents Eunice and Ed regarding the misconduct of their young son. We further get an interview with still energetic Allan Kaysar (who is a Columbine High graduate), discussing how he comes to play Bubba after moving to Los Angeles from Colorado to pursue an acting career.
Time Life also awesomely gets the band back together to sit around the Harper kitchen table to reminisce. Their topics include the break between the network and the syndication runs and actress/series writer Dorothy Van playing hilariously elderly aunt Effie,
It sincerely is hoped that devoting so much time and thought to writing this post on "Mama" triggers adequately fond memories by current fans and inspires enough interest in future fans to go to your neighborhood Wal-Mart to get a set. It almost is certain that you will not be disappointed. Two additional endorsements are that your not-so-humble-reviewer bought a set and "Mama" is one of the relatively few shows that has universal appeal in the Nelson household.
The most exciting news about the long-overdue (but well worth the wait) December 9, 2014 DVD release of the 95-episode complete series of "Mork and Mindy" is that any fears that this release is intended to profit from the August 2014 suicide of "Mork" star Robin Williams are COMPLETELY unfounded.
The recent (and expedited) renewed surge of DVD releases of "Happy Days" (including the recently reviewed S5 of that '70s sitcom and soon-to-be-reviewed S6) and its spin-offs after long dormancy periods strongly suggests that CBS Home Entertainment planned both this "Mork" release and the concurrent release of S4 before the death of Williams. Additionally, the CS set lacks ANY mention of Williams passing.
The set further comes in a sturdy plastic clamshell case and has each of the 15 discs in separate non-overlapping spots. The outer packaging is a solid cardboard sleeve.
Although having an episode list for each disc is nice, even a one-sentence synopsis of these shows would have been terrific. (The S2 and S3 sets do have short episode descriptions; it is presumed that the S4 set does as well.)
A heartfelt August 2014 Unreal TV post on the value of Williams to the fans who followed his career from "Mork" onward communicates how awful exploiting his death would have been. Williams is the John Lennon, John Belushi, or Kurt Cobain of those of us who spent the late '70s in elementary or junior high school.
Rather than reality, the concept around which "Mork" is based is a character with origins in Williams' standup act. The titular oddly named being is a native of the planet Ork who is on earth to observe our culture and use telepathy to weekly report back to his superior Orson, whose deep voice and wide girth clearly make him a namesake of Orson Welles, on Ork.
The titular Mindy is a 21-year old all-American girl, played by Pam Dawber, who meets Mork almost immediately on his landing on the outskirts of Boulder, Colorado. In true sitcom style, the pair immediately begin platonically sharing the wholesome apartment in which Mindy resides.
The pilot also brings Mork, who first appears in an S5 episode of "Days" several months before the 1978-79 season in which "Mork" premieres, back to his roots. A desire to learn more about male-female relationships has Mork consulting with self-proclaimed love expert Fonzie.
Fonzie provides the requested assistance in the form of having Laverne DeFazio of the "Days" spinoff "Laverne and Shirley" date Mork. (The aforementioned 2014 "Days" DVD bonanza includes the reviewed S7 and also covered S8 of "Laverne.")
This historic episode is the one time that actors from "Days," "Mork," and "Laverne" appear together. One can only hope that the recently reviewed "Joanie Loves Chachi" also would have been represented had this "Mork" episode not predated the premiere of "Joanie."
The chemistry between Fonz portrayor Henry Winkler and Williams in this pilot, the previous "My Favorite Orkan" "Days" episode, and the Spring 1979 "Days" clip show in which Mork explains that he is doing a spin-on to out of appreciation for his spin-off prompts sadness that Winkler and Williams did not go out to co-star in a series or films.
The hilariously catastrophic date with Laverne, a search for a human-sounding voice back in 1978, and a scene in which Mork becomes intoxicated are early examples of opportunities that the "Mork" writers provide Williams to engage in his manic improvisation and frantic physical comedy that makes him so special and that sets "Mork" above sitcoms from any era.
The following classic clip, courtesy of YouTube, in which Mork literally allows his emotions to run wild PERFECTLY illustrates Williams' talent to ride a churning stream of consciousness.
Further, the first harsh lesson in the reality of American life that Mork experiences is very relevant today. His eccentric behavior results in being taken into custody and subjected to an administrative hearing to determine whether he should be confined in a psychiatric facility.
This relates to the long history of labeling folks who do not conform to societal norms as mentally ill. A friend describes this as making someone pay either for hurting the feelings of another or for having the audacity to share awful and/or inconvenient truths.
The need to not have this review rival a latter Harry Potter novel in length requires skipping over the experimental middle seasons that introduced squabbling deli-owning siblings and other secondary characters to touch on the fourth season.
A rapidly-paced story arc at the beginning of S4 has our titular characters tying the knot and Mork laying and hatching an egg that contains their newborn baby Mearth, who has the appearance of a 50-something man. Legendary comedian (and Williams' mentor) Jonathon Winters famously plays Mearth and awesomely provides Williams a playmate who can keep up with him.
The introduction of this character further freshened "Mork" by providing someone who could replace Mork as the naive newcomer to earth.
The introduction of Mearth additionally provides Williams and Winters a plethora of opportunities to assume characters and riff for extended periods that present the challenge of editing that material down to several minutes.
The fourth season is notable as well for having some of the best guest shots of the series. William Shatner appears in a very Kirk-like role and legendary actor John Houseman is hilarious as the voice of a computer gone wonky.
One sad aspect of "Mork" is that filming the season finale before learning that the series would not be getting a fifth season prevents any form of special sendoff. At the same time, it is nice to think that this modern family is still living their daily lives.
The extras include three gag reels, at least one of which provides a great candid look at Williams doing his thing, and the aforementioned "Days" episodes.
Wrapping all this up is very tough (and prompts leaking eyes) because it feels like once again losing Williams. Like many comic geniuses, you either got him or did not.
Further, folks who regularly spontaneously do things such as comically engaging in the style of bitter sniping that makes the Elizabeth Taylor Richard Burton film "Who's Afraid of VirginiaWoolf" so awesome to the confusion of those around them and who understand the world as deeply as Williams feel his pain.
Having to conclude these additionally makes one wish to be more Orkan regarding an enhanced ability to control emotions.
However the desire to keep classic DVD in the public consciousness that drives this site requires encouraging folks to plunk down the roughly $90 for which it is selling.