@j swift, @DRW50

(For anyone who doesn't know, I've been writing recaps/commentary on various TV shows for over six years. It started at the old AV Club and now continues at the Disqus channel What's On Tonight. I've done everything from ALF to SOAP and would someday like to collect it all in a book. I'm hoping to finish ADW this week, followed up by a week of Disney park anniversary and opening specials. I hope you all like this and I'm sure we'd all welcome you at WOT.)

 

Episodes 120-124

-- It's a tale of three sitcoms. We have The Marriage of Dwayne and Whitley fighting for airtime against The Courtship of Shazza/Freddie/Ron/Kim and <i>A Different World: The New Class</i>. While nobody gives a bad performance in this batch, I give my crown to the sextet of Jada Pinkett, Ajai Sanders, Karen Malina White, Bumper Robinson, Patrick Malone and Jenifer Lewis. The newcomers immediately fit in and the established characters grow richer.

-- The batch begins with "Honeymoon in L.A.," a two-parter directed by Debbie Allen with episodes written by Susan Fales-Hill and Glenn Berenbeim. We learn that Dwayne and Whitley's vacation coincided with the post-King verdict riots. It may be fun visiting Venice Beach, Rodeo Drive, the Walk of Fame and the Chinese Theatre, but there's still the matter of whether or not society is all that advanced. She's hopeful and he's apprehensive. Following an argument* over going shopping vs. attending a basketball game, Dwayne and Whitley spend a little alone time. She'll be ready for him to pick her up from the mall if Denzel, Eddie or Wesley don't do it first.

*Taking place on an L.A. street suspiciously empty of pedestrians or any other drivers.

-- Soon after, the not guilty verdict is given and the riots begin. Upset by the news, Dwayne kicks the tires of his rental car, a pink convertible. He catches the attention of a cop (Gilbert Gottfried). It's interesting that they went the route of having the cop neither seem like, nor turn out to be, much of a threat to Dwayne. His young, white partner (Michael Caldwell) is more competent and sensible. For that matter, Kim also sticks up for law enforcement in general. Whitley, after listening to a shopper (Sister Souljah) who advises building up the black community rather than integration, is stranded at the mall.

-- Dwayne and Whitley encounter humanity's dark side in "Part II." Still in the mall, Whitley observes self-righteous white looters**. Dwayne, meanwhile, is in South Central. Residents (including Rondell Sheridan) are looting and vandalizing businesses in their own neighborhood, not thinking about how they'll have to live with the consequences. Ending up riding a bike -- the convertible was stolen -- Dwayne makes it to the mall. Whitley, meanwhile, has befriended a homeless man (Kenneth Mars). He teaches her about how society's "invisible" people end up shouting and while on TV (as half of "homeless couple"), she gets in a dig at the media for its inability to really examine the reality of the situation. Reunited, Dwayne and Whitley know America is listening but wonder if it will last.

**Plus Roseanne and Tom Arnold, possibly tying with Candice Bergen (and her appearance on <i>Seinfeld</i>) for Biggest TV Star to Make a Cross-Network Cameo in 1992.

-- The L.A. story is interjected with not only everyone's points of view -- it's not too surprising that Ron and Col. Taylor are Republicans, is it? -- but the apparent framework for this season. Ron's still courting Kim, but he's also attracted to Freddie, now looking the part of a serious law student***. Freddie and Kim have succeeded Whitley as co-directors of Height Hall. Charmaine is fast-talking and initially judgmental of Lena, her roommate. Lena, Gina and Charmaine are all attracted to Dorian, Terrell is largely ignored and Dean Dorothy Dandridge Davenport is a force to be reckoned with. Although Dorian and Terrell have some of the Dwayne and Ron formula (while Lena, Gina and Charmaine each have elements of early Kim and Freddie), I stand by my call that these aren't mere ripoffs.

***A makeover which was spoiled by the opening credits.

-- The Courtship of Ron and Freddie: You read that right. Near the end of "Honeymoon, Part II," they have one of those arguments that end with a kiss. If that wasn't awkward enough, he briefly shares the dorm director suite with Kim, Freddie and Shazza. Cramped conditions are the focus of all three storylines in "Interior Desecration," directed by Debbie and written by Jeanette and Mimi.

-- Dwayne and Whitley can't agree on what furniture to keep in their new apartment. Will her "wish it was a Warhol" portrait survive? What about his leopard-print loveseat? Meanwhile, Charmaine's too much of an early riser for Lena. Gina, on the other hand, is a sound sleeper. Finally, Ron and Freddie are attracted to each other, but neither he nor Kim can stand Shazza, whom Freddie is ostensibly still in a relationship with. Ron goes from one tension-filled situation to another once he briefly stays with Dwayne & Whitley. After Whitley attempts to sneak back her belongings, things reach a point where the couple might only use the things they brought or bought. Whitley bought the toothpaste ... but Dwayne bought the toilet paper. Everything's resolved, sorta. Lena befriends Charmaine while participating in the stepping competition. Freddie and Kim decide not to talk about each other's man. Dwayne and Whitley decide to be mature and fair about the furniture situation. And Ron is their new neighbor, which Dwayne makes up for by immediately accepting Whitley's portrait, phone and pink couch.

-- I found "Somebody Say Ho!," directed by Debbie and written by Reggie Rock Bythewood, to be the best episode in this batch. It's the first one carried by the underclassmen. Terrell and Charmaine don't get along. He's sick of her <i>90210</i> facade and she's sick of his hood attitude. Meanwhile, Gina is attracted to Dorian, even making him Christian-shaped cookies. Tension builds for Terrell and Charmaine, to the point where he's the most likely suspect when someone places a "Digit Ho" (she'll do anything for a math problem) sign on her back in Dwayne's class. Dwayne reprimands Terrell ("You're a man, boy!"), but even he found it funny. Hurt, Charmaine files charges in student court against Terrell. If he's guilty, it could mean expulsion.

-- Freddie, "Miss Anita Hillman," is Terrell's attorney. Her argument is the right to freedom of speech. Dorian is Charmaine's. His argument is the right to be respected. Dean Davenport presides, with Dwayne, Charmaine and Gina as witnesses. There's a parody of the <i>L.A. Law</i> theme as the scene sets. Freddie and Dorian don't seem to be especially good attorneys, I must say. They cut short testimony, except for Gina's.

-- Gina ends up self-destructing on the stand, revealing she placed the sign on Charmaine's back out of jealousy. Terrell righteously points out that Freddie asked every question except the obvious, whether or not he did what he's accused of. But isn't a defense attorney <i>not</i> supposed to ask that? Dean Davenport resolves the matter by telling Terrell that he shouldn't call a woman any name they wouldn't call their mother; Charmaine that her sense of punishing hoods would be better resolved by voting****; Gina that she's on academic probation and "<i>my list!</i>"; and all present that they must unite, not be divided.

****Amusingly enough, this episode aired right before a presidential debate.

-- Finally, we have "Really Gross Anatomy," a one-and-done for Jasmine Guy as a director and the first of two scripts from Scott Sanders. In the newlywed division, we have Dwayne experiencing his first alone time since getting married. Whitley's on a business trip and Dwayne dislikes the experience. Ron, Col. Taylor and Mr. Gaines are all too domestic, while Dorian and Terrell end up trying to avoid their lonely professor. Whitley returns to find the place a mess, but Dwayne's also cuddling her stuffed animal in his sleep. He still wants a sandwich, though. Elsewhere in the underclassmen division, we have Charmaine working at The Pit, to Lena's frustration. In the love quadrangle division, we have Ron and a robe-clad Freddie sharing a stolen moment at her front door before she goes camping with Shazza.

-- The A storyline concerns Kim's discomfort with dissecting a cadaver. She's so upset, she ends up vomiting on the shoes of her instructor (Robert Guillaume). It ruins the mood for the romantic dinner Ron prepared for Kim, but it ultimately doesn't break her spirit. Aided by supportive Caribbean classmate Spencer (Michael Ralph), Kim proves she has what it takes to handle muscles*****. Ready for a course in bedside manner with Ron ("The doctor will see you now."), Kim is interrupted by Spencer, who brings flowers and rum punch. Hmm, do I detect a new pairing in the making?

*****Digression: To this day, I'm still a little embarrassed I made strips out of the sartorius muscle when I dissected a cat in my high school anatomy class. That -- and the fact my teacher was our school's answer to Jack Nicholson -- had me minding my Ps and Qs something else for the rest of the assignment.

-- Last, but not least, the opening credits are finally changed! After four years of the same vignettes and Aretha's version of the theme song, it was nice to see some much needed upgrades (like Darryl M. Bell no longer wearing those basketball shorts) and hear the Boyz II Men recording (which gets replayed during the montage of Dwayne & Whitley in L.A.).

-- Now that <i>The Cosby Show</i> was off the air, NBC did the logical thing and gave <i>ADW</i> the 8 p.m. Thursday timeslot. It was the lead-in to <i>Rhythm & Blues</i>, a fish out of water comedy about a white DJ at a black radio station. Ignoring <i>R&B</i> for a moment, moving <i>ADW</i> up a half hour seemed like a justified move. It was an established show with an apparently loyal audience. Giving it anything other than the 8 p.m. Thursday slot would have looked like a demotion.

-- FOX, meanwhile, continued to air <i>The Simpsons</i> at 8 p.m. Thursday. While <i>Cosby</i> could stand up to the competition, <i>ADW</i> couldn't. I'm not 100 percent sure why -- lack of interest now that the marquee love story was resolved?; both shows were competing for the same audience? -- but I do know <i>ADW</i> was no match for <i>The Simpsons</i>. ABC, meanwhile, aired <i>Delta</i> (featuring Ms. Burke as a blonde), while CBS aired <i>Top Cops</i>.

-- Ratings Roundup: The collapse was immediate. This batch, lasting from Sept. 24-Oct. 22, had a range of 11.1 ("Honeymoon, Part I") to 9.5 ("Anatomy"). The once Top Three series was coming in closer to No. 10. By the end of the batch, <i>Rhythm & Blues</i> was off the air.

Thanks for letting me know. It's good to see someone talking about this time period for the show. 

Episodes 125-129

-- After yesterday's promise, the underclassmen largely take a backseat in this batch. It's carried by The Newlyweds and The Lovers.

-- We start with "Don't Count Your Chickens Before They're Axed," directed by Debbie and the first of four episodes written by Gina Prince-Bythewood. Whitley's in line for a promotion, providing a merger goes through. It doesn't. E.H. Wright is no longer in the position to be acquiring art, meaning Whitley's laid off. Charmaine, who was profiling the rise of an American success story for class*, changes her course and profiles the rise and fall of an American tragedy.

*Besides almost getting a reprise of Whitley's treatment in "Bedroom at the Top" from John.

-- Just before she was fired, Whitley tried interesting E.H. Wright in a painting she was sure would be a great investment. Eh, it just looks like dancing figures to me. Dwayne, confronted by Ron about his apparent need to make all the decisions in his marriage, ends up spending the $3,000 for the non-returnable art. Knowing they'll survive -- with Whitley insisting she won't be a housewife -- the couple go out to dinner, only to be victims of a burglary. Their luxury electronics are gone, Whitley's expensive clothes are gone and the painting's gone. But they've still got each other.

-- On the one hand, Whitley's misfortune feels like the show is stepping up its campaign to humanize her, which has already been going on for the past five years. On the other hand, we're on our way to an especially cathartic moment for the character.

-- Meanwhile, over in the lovers' storyline, Kim, Ron, Freddie and Shazza have an uncomfortable dinner. Everything is dissected, from whether or not the women need to be offered a chair to how noisy Freddie and Shazza are when they're intimate. The next day, Ron admits to Dwayne that he kissed Freddie. Soon after, following passionless making out, Ron and Kim amicably break up. They're friends, but not friends with benefits.

-- I'm giving my crown for this batch to "The Little Mister," directed by Debbie and written by Glenn. After drinking too much at their Halloween party and arguing with Whitley over the Year of the Woman -- "I don't want you to be sorry, I just want you to understand." -- Dwayne has a vivid dream. President Georgia Mush (Dean Davenport) faces Jill Binton (Whitley) and Rose Gadot (Charmaine) in the election. Well, actually, Gadot may or may not be running. Hillard Binton (Dwayne) is repeatedly patronized, criticized or demonized, seemingly just for existing. Unlike Byron's state Senate race from last season, this one isn't being characterized by the issues. It's being characterized by buzzwords. Jill is for "change," Mush is for "trust" and Gadot is for "money."

-- While "The Little Mister" could qualify as an extended example of "Hey, It's 1992!," I was struck by how the era-specific references were overshadowed by the tried and true. Political spouses, like Col. Taylor and Terrell as the Barbara Bush and Marilyn Quayle analogues, are still too often held against the homemaker image. That said, the Clinton-specific jokes were good for a recognition nod. Jill dodged being a Girl Scout in her youth and seems to have had an affair with Johnny Weed (Ron). She's later told not to smoke. "I'm not inhaling."

-- Pressure is getting to Hillard. He doesn't want Jill to be sorry, he just wants her to understand. A fleeting moment of unity with Mr. Mush is interrupted by the quickly disastrous debate. Dwayne awakens upset and a little more understanding. Whitley: "If I had an affair with Ron, I'd hide it from everybody."

-- For the record, Gina played Vice President Quack. Freddie and Kim played the campaign managers (I think Cree Summer was doing a direct imitation of James Carville). Mr. Gaines was a Washington barber whose shop was where Hillard learned about the affair from Johnny himself. Dorian, dressed as Uncle Sam, represents the media circus**. Lena, who just about stole the dream sequence, plays Patty Buchanan, the fundawomanist addressing her party's delegation (sheep). When not demonizing Hillard, Patty has disdain for "happy rights."

**Following Hillard's comment that he's not going to sit there as some little man, Dorian teases an interview with Clarence Thomas. He'll get his reaction to the newest Supreme Court Justice, Anita Hill.

-- The Marriage of Dwayne and Whitley is the focus of "Baby, It's Cold Outside," written by Jasmine and directed by Glynn. Dwayne seems to have no time for Whitley, even when she's prepared for some dawn loving or shows up at The Pit wearing only her mink and some lingerie. Bored, she ends up calling into <i>The Montel Williams Show</i>, which happens to be Gina's favorite program. Dorian, Terrell and the girls of Height Hall*** listen to Whitley (excuse me, "Caller") share some juicy details on the air. Not only did she temporarily paint a bunny on her butt, but their sex life was beyond excellent.

***Cute gag, having Charmaine, Lena and Freddie do the see no evil, hear no evil, speak no evil pose.

-- Soon after, Whitley is visited by her friends. Freddie: "Hi, Whit. Sorry about your sex problems." Charmaine seems to have the trick, a small vibrating appliance. No, not that one. A mixer to whip up desserts Whitley can spread on her body. The sextet end up going on a girls night, with the older ladies ending up at the Reggae Room. Meanwhile, at home, Dwayne reveals to Ron that he hasn't been having an affair. He's just working hard (which Kim already knew).

-- Musical Moment: Whitley comes home to find Dwayne listening to Ray Charles and Betty Carter's recording of "Baby, It's Cold Outside." The couple lip sync and act out the song, eventually making up for lost romantic time.

-- The Courtship of Ron and Freddie: They've been sneaking around, while a guilty Freddie's been eluding Kim. During their time at the Reggae Room, Kim is picked up by Spencer and Freddie comes clean about her fling with Ron. Kim knew and she isn't upset. Kim later clarifies that while she's isn't upset, she still doesn't want to know that much about Ron and Freddie. Even though I was rooting for Kim and Ron, I have to say I like this relatively non-drama approach to their romance situation. It's a welcome reminder of the anything could happen days of Seasons Two and Three.

-- Finally, we've got "Faith, Hope and Charity," a one-hour Thanksgiving episode directed by Debbie and written by Susan. A whole lot of ground is covered, so I'll try to be quick.

-- Claiming all is forgiven, Marion Gilbert invites herself to Thanksgiving at Dwayne and Whitley's. Not at all ready to let Marion know about her downward mobility, Whitley enlists Kim to make her a dress out of the curtains and Dwayne to not reveal the truth. Meanwhile, Shazza is preparing a protest for the rights of Haitian refugees. His relationship with Freddie is fraying for multiple reasons, including law school's demands on her, Ron hanging around and Shazza's seeming interest in Lena.

-- Back at Dwayne and Whitley's, Marion is soon joined by her much younger fiance, Malik (Nestor Carbonell). His name for her is "Mora," after their insatiable appetite for passion. Whitley does not react well to this at all. Really, he mother's growling like Eartha Kitt and wiggling like Charo. Malik also scores demerits from Whitey for seeming to be a gigolo, one who kept her from receiving some nice new clothes. If the mother-daughter drama wasn't enough, Adele Wayne shows up. "Guess who's coming to dinner?"

-- "Adelaide" and "Mona" are once again at odds. Marion's modest turkey doesn't compare to Adele's "double D-cup" bird. There's also the matter of stuffing with oysters or sausage, or a pumpkin tart vs. a pumpkin pie. The drama grows as Kim, invited by Whitley, ends up charming Malik like she was supposed to. "Hey, I got it. Why don't I just take him in the back room and lift my dress over my head?" "Could you?" Alone together, Marion and Malik argue over his failure at breaking up Dwayne and Whitley. He's an actor, it turns out.

-- If <i>that</i> wasn't enough drama, Shazza and the protesters end up arrested, as do Malik, Marion and Adele. With bail at $500 each, the mothers are warned by an officer (Carol Ann Susi) that they're looking at a long night. Marion ends up revealing her scheme to Adele, saying she wanted Whitley to know what it feels like when someone you love is with someone who is so wrong for them. Freddie, who arrives to bail out Shazza (for only $50), spills the beans about Dwayne and Whitley's woes. The Courtship of Freddie and Shazza appears to conclude in this episode, with him revealing he knows about her and Ron. Despite this, the couple part amicably, with him giving one more reminder of her ideals

-- Once home -- it's never explained where Dwayne and Whitley got the $1,500 -- it's a mother and child storm of emotions. Dwayne and Adele loudly and tearfully resolve their estrangement. For her part, Marion admits that the one thing worth while in her life was raising Whitley. She wanted her daughter to live like a princess. Whitley: "All I have is a man that loves me. And that makes me feel like a princess." All ends well, with the mothers finally at peace, with their children, with each other and possibly with themselves.

-- Continuity Corner: Ron and Kim apparently never had sex ("Chickens"). Ray Nay's is apparently back in business, which I guess means Ray Nay is no longer homeless ("Cold"). Dwayne is now Adele's one and only child ("Charity, Part II").

-- The Quotable Marion Gilbert: "The best you can do for the American poor is not to be one of them." "If you've kept it, flaunt it."

-- Ratings Roundup: A range of 11.6 (seventh place) for "Faith, Hope and Charity" to 9.4 (11th place) for "The Little Mister." "Chickens" and "Mister" aired in both slots of the 8 p.m. Thursday hour on Oct. 29, 1992. Losing to <i>The Simpsons</i> might have been expected, but <i>ADW</i> also lost to <i>Martin</i>. Over on ABC, things aren't looking promising for <i>Delta</i> and <i>Room for Two</i> -- <i>Matlock</i> is in the wings.

I re-watched the first four and the Thanksgiving episodes today.  It was notable from the previous season recap that Whitley has lost her accent, (or at least it only shows up when she is emotional).  Also, why is Whitley more embarrassed than Dwayne about the state of their living situation when their mothers visit?  Why do Whitely and Dwyane never address how much they expect each other to change?  Is there only one art job in America?

 

On the positive, I am astounded by the risks that they took.  If you compare LA Law's riot episodes to ADW's the differences are not in LA Law's favor.  LA Law chose to tell the story of a privileged white man who was a victim of violence in the riots and totally ignored the points made in the ADW episodes.  And to cast Sista Souljah while showing the LAPD to be buffoons was bold for network tv six months after the riots.    

 

I appreciate the sitcomy-ness of the episodes where they only seem to have one class and one assignment per week and they all happen to be in the same class.  They create a student court and they are literally the judge and the jury.  However, there has to be some fluff when they produce 26 episodes in a season.  And I love the new opening, but I have to put in my vote for the amazing Phoebe Snow and the phone booth version of the song.

 

It goes without saying that ratings are completely different than today.  However, it got me thinking about how growing up in the age of mass media everyone had similar touchstones.  Anyone my age remembers that Whitley Gilbert was at the mall during the riots, just as we recall in LA that the Cosby finale was one of the only shows not pre-empted during riot coverage.  Today the highest rated show is not being watched by at least 85% of 18-39-year-olds.  So in twenty years, there won't be that shared commonality of mass media that ties us all together regardless of race or ethnicity.  While I appreciate that media is more representative and niche, I worry about what people will talk about when they were all watching different you-tubers who only affirm (and never challenge) their beliefs.

 

 

Edited March 20, 20197 yr by j swift

18 hours ago, j swift said:

Also, why is Whitley more embarrassed than Dwayne about the state of their living situation when their mothers visit?  Why do Whitely and Dwyane never address how much they expect each other to change?  Is there only one art job in America?

Whitley and Marion's issue is over whether or not Marion will look down on the situation. Dwayne and Adele's issue is over the baggage from their estrangement.

 

In the previous season, Whitley and Dwayne seemed to have realized they were rushing too soon into marriage. They seem to have forgotten that and are now experiencing a pretty awkward transition into husband and wife. You'd think they would have smoothed out the domestic aspects during that time they were living together, though.

 

I'm not positing an update tonight, but I see Whitley's immediate career path includes being a waitress (in the Christmas episode) and eventually teaching (like Dwayne). Like I said, it feels like the campaign to keep her human decided to kick into high gear.

 

18 hours ago, j swift said:

On the positive, I am astounded by the risks that they took.  If you compare LA Law's riot episodes to ADW's the differences are not in LA Law's favor.  LA Law chose to tell the story of a privileged white man who was a victim of violence in the riots and totally ignored the points made in the ADW episodes.  And to cast Sista Souljah while showing the LAPD to be buffoons was bold for network tv six months after the riots.    

To paraphrase and update a point I made a while ago (during the episode about Kim's scholarship being tainted by apartheid), "You sure weren't seeing this [&#33;@#&#036;%^&amp;*] on Empty Nest." 

 

18 hours ago, j swift said:

And I love the new opening, but I have to put in my vote for the amazing Phoebe Snow and the phone booth version of the song.

I don't know if it's true, but the rumor is someone -- maybe Cosby -- was embarrassed to realize Phoebe Snow wasn't actually an African American.

 

18 hours ago, j swift said:

It goes without saying that ratings are completely different than today.  However, it got me thinking about how growing up in the age of mass media everyone had similar touchstones.  Anyone my age remembers that Whitley Gilbert was at the mall during the riots, just as we recall in LA that the Cosby finale was one of the only shows not pre-empted during riot coverage.  Today the highest rated show is not being watched by at least 85% of 18-39-year-olds.  So in twenty years, there won't be that shared commonality of mass media that ties us all together regardless of race or ethnicity.  While I appreciate that media is more representative and niche, I worry about what people will talk about when they were all watching different you-tubers who only affirm (and never challenge) their beliefs.

This, very much this! I'm disturbed by the growing lack of touchstones.

@j swift, @DRW50

Episodes 130-134
-- As 1992 becomes 1993, A Different World is in a situation not unlike Dwayne's story in "Original Teacher." It's always been in a jar, albeit the cushy jar of NBC Thursdays. It's always been jumping high (pushing the envelope) and in this case, landing isn't so bad (being successful on prime night of television). However, this season, ADW became the flea in the jar, increasingly less valued. Like the fleas in Dwayne's story, the show is jumping, only this time it's hitting the lid (of audience and network apathy). Had ADW scored a miracle seventh season renewal, it would be interesting if the show would have fulfilled the prophecy and stopped jumping, reverting back to a generic sitcom formula.
-- I'm giving my crown to the ensemble. This was a strong batch, balancing several love stories with the special issues. I'm probably making too much about the end of the line aspect, but it is nice that ADW appears to be going out with a familiar, if not new, burst of creativity.
-- Hey, It's 1992! comes first, because Kris Kross are the special guest stars in "Original Teacher." Directed by Debbie and written by Reggie, it features Dwayne mentoring two juvenile delinquents aligned with rival gangs. Michael (Chris Smith) mourns his late cousin, while Billy (Chris Kelly) might end up the victim of callous behavior condoned by his father Loco (Ronald William Lawrence). Col. Taylor, after rapping with Mr. Gaines in an attempt to make Garrett A. Morgan seem cool, is disturbed by the boys' attitudes about violence and death. It's like having the Vietnam War at home.
-- For non-actors, Kelly and Smith are pretty good in "Teacher." I felt Kelly had more to work with, namely the scene where Billy watches Dwayne make an effort at breaking through Loco's apathy. Hardison carries the episode, though, especially when Dwayne gets to the point that Billy and Michael can find value in the lives of themselves and others. Although they don't present on Morgan*, Billy and Michael succeed by rapping "Shame" (with Jermaine Dupri as the DJ). Loco is also impressed, gifting Dwayne with a lidless jar.
*Another timestamp: the boys originally want to present on Steven Seagal, dismissed by Dwayne as "the white boy with the ponytail."
-- Hardison directed "Occupational Hazards," written by Jeanette and Mimi. A lot of ground is covered in this one: Whitley considers going on unemployment, Freddie and Ron are ready to consummate their relationship, the underclassmen have varying opinions on Waiting to Exhale and A Different World itself more or less severs the last tie to The Cosby Show.
-- Facing a $700 bill after she fails at the wear it once before returning it trick, Whitley is out of her element as she matches wits with Claims Officer #5 (Alaina Reed-Hall). Ms. Gilbert-Wayne wastes a day in line, wears considerably humbler clothing the second time around and is offered work pruning trees, creating portraits of pets or painting the lines on highways. The idea that she'll have to wait 2-6 weeks for her check is the last straw for Whitley. Dwayne returns home to find his wife's a telephone solicitor** and has sold the couch and refrigerator to help lessen her debts.
**Offering the chance for little girls to look like Raven-Symoné.
-- I've never read or seen Waiting to Exhale, so the underclassmen's specific reactions about the characters and depiction of men didn't resonate with me. What did resonate with me, however, was how effortless the chemistry is among Jada Pinkett, Ajai Sanders, Karen Malina White, Patrick Malone and Bumper Robinson. Actually, Cree Summer fit in the book club scene pretty well, too. I didn't have to be well-versed in Exhale to understand that I was watching characters reacting, not characters being molded to react.
-- Today in Courtships: Freddie and Ron end up consummating their relationship. Charmaine, expecting a visit from Lance, ends up being dumped over the phone. Dorian and Lena are in the pre-dating stage.
-- Freddie, Ron and Kim take center stage in "White Christmas," directed by Debbie and written by Glenn. Joni Brooks (Anita Morris), a holistic psychologist, hits it off with the Height Hall residents. She and Freddie have a deep, loving relationship, put to the test when Freddie feels like she needs a mother, not a sister or friend. Kim, meanwhile, has unresolved issues about Freddie and Ron, while Ron catches Shazza kissing Freddie. Two of the three issues are resolved on camera. Freddie assures Kim that she didn't get serious with Ron until he and Kim had broken up. Joni, who admits she prefers Shazza over Ron, shares the story of her mother's bigotry before making the point that a mother's wishes shouldn't stand in the way of a daughter's love. Freddie and Ron are back on.
-- In the B storyline, the campaign to humanize Whitley continues. She's the newest employee at the International Cottage of Flapjacks, working opposite the owner's spoiled, never actually working daughter (Tamara Clatterbuck) and a no-nonsense supervisor (Marcia Wallace, who throws in a "Ha!" for good measure). Whitley, who lied about her experience, ends up fired at day's end. She can only gift Dwayne the picture of a computer. Dwayne, on the other hand, gifts Whitley a dog, their first of possibly many children.
-- Which brings us to "To Whit, With Love," directed by Debbie and written by Gina. Unable to teach art, substitute teacher Whitley accepts an offer from Principal Shaw (Marla Gibbs) to teach remedial junior high history. Dwayne reminds Whitley that "remedial" no longer means slow, but problem students. Shaw herself mentioned the previous teacher left after the students played keep away with her glass eye. Still, Whitley's tired of feeling useless. Not only that, but she watched Lean on Me in preparation.
-- It's a tough room. Whitley's students include Olufemi (Ahmad Stoner), who's especially proud of his heritage; antagonistic Iesha (Chante Carmel); and flirty Ron (Marquise Wilson)***. Their shenanigans extend to their tests, with answers like "Yo Mama" assassinated Abraham Lincoln. Ready to quit, Whitley finds Principal Shaw cleaning her classroom. The regular janitor's got a bad back and a good union.
***The student body also includes Marques Houston as Eli.
-- "You can't get to the dawn until you make it through the night," Shaw tells Whitley. She's aware of what budget cuts are doing to the school. Quitting isn't going to solve anything. The next day, Whitley gets the kids defensive ("Being stupid is so funny."), then reaches them by exploring history beyond the textbook. Seeing the real Cleopatra and all her gold, just like the rappers, is especially eye-opening.
-- The Courtship of Lena & Dorian solidifies in this episode. Her friends are sure she isn't enough of a lady for him. Later, she finds out he doesn't believe in premarital sex. It looks like the relationship is doomed. Gina observes that you can't mix a Christian with a heathen. Not so fast -- in more ways than one. Lena respects Dorian's virginity, but asks him not to wear his tank tops around her ("because you look too good."). For that matter, the sight of Lena's tight behind has Dorian praying for help.
-- Finally, we have "Happy Birthday to Moi," directed by Debbie and a one-and-done for writer Perry Dance (who moved on to Roseanne and Saved by the Bell: The New Class). It's the most sitcom-y episode of the batch.
-- Dwayne's planning Whitley a surprise birthday party and thanks to Kim, Whitley knows all about it. "You did the right thing, Ethel." Dwayne, who finds out that Whitley knows, appears to cancel the party (which Whitley "doesn't know about") and takes his wife for a modest birthday dinner. You have to love a waitress who lights her cigarette on your birthday candle. Anyway, Whitley comes clean to Dwayne, trying to gain sympathy by recalling the events of this season. Dwayne points out she wasn't alone during them, saying she has a control problem. Actually, it seems to be mutual, but whatever. Dwayne has one last trick. He and Whitley come back to their apartment, he sends her into the kitchen ... and she returns to the living room to find a party after all.
-- The Belligerent Sexual Tension of Terrell & Charmaine: They're failing French. "Charmaine, you are not going to eat a little dog for dinner." With the midterm approaching, the pair team up for some hardcore studying. It's not helping, resulting in the episode's funniest scene -- their gradual hysteria as they realize they're going to fail. Opportunity knocks in the form of Col. Taylor's baby monitor, used to attempt listening to star student Gina take the oral test. Charmaine and Terrell are busted (but not really disciplined), Gina admits she felt great about being Charmaine at something and it looks like Gina and Charmaine will be studying together. Terrell's apparently on his own.
-- Continuity Corner: Charmaine has succeeded at becoming employee of the month at The Pit ("Hazards"). Isn't it a little odd that Joni and Kim are just now meeting, or Kim's never seen a photo of Joni ("White")? Lena's still writing poetry, described by Joni as Maya Angelou meets Flavor Flav ("White").
-- Ratings Roundup: A range of 10.7 (“Love”) to 8.4 (“White”). The show is now consistently in the bottom third for Thursday nights, ranking as low as 12 out of 15 programs (on Jan. 14, 1993, when “Moi” aired). Beginning with “Teacher,” ADW is back in its 8:30 p.m. slot, where it was instantly defeated by Martin. Out All Night, moved from Saturdays to face The Simpsons, also immediately failed. On the night of Dec. 3, 1992, The Simpsons came in first place with “Lisa’s First Word.” Meanwhile, over on ABC, Delta and Room for Two were dropped for the return of Matlock.

Whitley went from being my favorite character to one of the things I hated more than just about everything else.  The End!  

10 minutes ago, ChitHappens said:

Whitley went from being my favorite character to one of the things I hated more than just about everything else.  The End!  

Interesting. Could you elaborate? I still like Dwayne & Whitley, but I feel like they were harmed by (a) the padding to reach their happy ending (more so in 1991-92 than 1990-91) and (b) their slightly combative dynamic as married people.

Dwayne and Whitley's antagonism feels more sitcom-y than cultural or character driver.   From Lucy & Ricky to Raymond & Debra, married couples create a natural conflict for sitcom writers.  Somehow, we are supposed to think that it is charming for a husband to take his wife out to a restaurant that he knows she won't enjoy; as long as she learns a lesson in humility.

 

My objection is that for a show about higher education, they demonstrate none of the benefits of a college degree.  Neither Dwayne nor Whitley's socioeconomic status increases once they achieve their degrees, despite the fact that they were very good students.  They are not successful in their field of study, they live in the same place they lived as undergraduates, and their professors don't provide any more guidance than the guy at the local canteen. Whitley is fluent in French, she has an art degree and grew up among powerful privileged people, but she is not allowed to utilize any of her resources.

 

Why isn't Whitley pursuing a grant for graduate research (the college equivalent of welfare)?  Why does their college experience not afford them the same luxuries as Claire and Cliff Huxtable?  Why are the local schools for the children of Hillman professors so poorly funded? 

 

I know ADW is often cited as increasing attendance at HBC's, but it is not an aspirational example for those wanting a bachelor's degree in the early 1990s.  Dwayne and Whitley seem bound by an obligation to their college town, that keeps them from pursuing their dreams, for no other reason than because they live in a sitcom.

 

They also treat teaching as if it is a profession that anyone can do regardless of training or union status.  And a career in the arts, (even though they all have advanced studies in African-American art and literature), is just a pipe dream for the elite.

Edited March 27, 20197 yr by j swift

51 minutes ago, j swift said:

Dwayne and Whitley's antagonism feels more sitcom-y than cultural or character driver.   From Lucy & Ricky to Raymond & Debra, married couples create a natural conflict for sitcom writers.  Somehow, we are supposed to think that it is charming for a husband to take his wife out to a restaurant that he knows she won't enjoy; as long as she learns a lesson in humility.

I don't mind the idea of Dwayne & Whitley going from the fairy tale to the reality, but their relationship just feels so dysfunctional right now.

 

Quote

Whitley is fluent in French, she has an art degree and grew up among powerful privileged people, but she is not allowed to utilize any of her resources.

The unfortunate trade off for being the leading lady.

 

Quote

I know ADW is often cited as increasing attendance at HBC's, but it is not an aspirational example for those wanting a bachelor's degree in the early 1990s.  Dwayne and Whitley seem bound by an obligation to their college town, that keeps them from pursuing their dreams, for no other reason than because they live in a sitcom.

During the fourth season, Dwayne and Whitley's motivations changed from onward and upward to onward and still (lateral at best). At the time, it felt justified, but it doesn't exactly yield a lot of results, whether immediate or even two seasons later. The night before the dawn, as Principal Shaw would say.

 

I should note this is my first go-around with the show. I'm spoiled because I know the ending, which also makes it a little harder to engage with this particular storyline. I know it's just marking time.

Edited March 27, 20197 yr by Franko

@j swift -- I'm especially curious about your thoughts on "Lean on Me."

 

Episodes 135-139 

-- <i>A Different World</i> enters its homestretch with an overall satisfying batch of episodes. While none are bad, only two really stand out.

-- We begin with "Mind Your Own Business," directed by Debbie and written by Jeanette and Mimi. Ron and Mr. Gaines buy The Reggae Room, opening it as "A Place Where the Blues Will be Played." Ron, as usual, is spending money he doesn't have, borrowing to the limit on his credit cards. In classic sitcom style, everyone pitches in or is drafted: bartender Dwayne, waitress Whitley, bouncers Dorian & Terrell and executive assistant Charmaine. Aries Spears even shows up as Ty, a amateur comedian doing endearingly lame impressions of Cosby, Stevie Wonder and Andrew Dice Clay. In another instance of classic sitcom action, the band Ron booked (and used to manage) drops out to play a gig for Russell Simmons in Toronto.

-- Mr. Gaines enlists the help of his four grandnieces, Faith, Hope, Charity and Henrietta (En Vogue). Making their first visit to the city, the girls are -- of course -- nerdy and having only had experience singing at church. Dawn Robinson, as the boy and success-fixated Henrietta, has the most to work with. Once the girls are persuaded to sing at a liquor-selling establishment, everyone from Ron to Charmaine has a go at teaching them to be sexy. The girls mostly succeed, although their stage presence isn't especially polished. Hey, at least <i>one</i> cliché was ignored.

-- Next up is "Cabin in the Sky," directed by Henry Chan and written by Reggie. Needing a second couple to share the expense of a weekend rental, Dwayne and Whitley end up lodging with Mr. Gaines and Velma. Charmaine is weekend supervisor at The Pit until Mr. Gaines is forced to give the position to his less than accomplished son Darnell (T.K. Carter). Both endeavors quickly fail. Dwayne and Whitley, who spent five hours in the back of the Gaines' Volkswagen, are unable to share a room once the older couple get into a fight about how to handle Darnell. Back at Hillman, Darnell alienates his customers and staff.

-- Things go from bad to worse. Dwayne and Whitley, on their way to doing the nasty in an outhouse, end up getting sprayed by a skunk. They Gaines <i>still</i> won't shack up. Darnell, meanwhile, has even more irate customers and ends up firing Lena and Charmaine. Luckily for everyone, the vacationers return. Mr. Gaines and Darnell reach an understanding, with the younger man vowing to get it together. It's not for his father's sake, but for his own. Dwayne and Whitley also have a happy ending, enjoying an intimate bath in tomato juice.

-- The first excellent episode is "Lean on Me," directed by Henry (his last) and written by Gina. With his summer plans open and after weighting the career vs. calling question, Dwayne applies for a position at Kinishewa. Expecting to entertain a vice president with a Japanese meal, Dwayne and Whitley are greeted by Kinu.

-- Having scurried up the corporate ladder since her graduation from Avery, Kinu is bound for New York City. Despite Kinu appearing to be happy and well-adjusted, Dwayne and Whitley are each certain she wants revenge. He even says so once Kinu informs him he didn't get the position. Dwayne wasn't rejected because of her, Kinu assures him. The simple truth is that there is a greater pool of applicants than there was when Dwayne left the business world. He's qualified, but they're more qualified. Furthermore, Kinu is a happily married woman herself.

-- I liked "Lean" so much because it humanized Dwayne. Two years ago, he chose to pursue education over business and is now living with the consequences of that. Pursuing what you love isn't exactly a bad thing, although Dwayne does feel the frustrations of no longer always being the best and being unable to improve his and Whitley's situation. She doesn't care ... that much. Between Whitley's big heart and big butt, Dwayne's got no shortage of support. "I believe in you, Dwayne." "Still?" "Always." He regains his mojo, finally kicking perpetually late Terrell out of his class.

-- We have a fusion of clichés, character humor and coming of age storytelling in "Dancing Machines," written by Scott Sanders and directed by Bruce Kerner. The A plot concerns Ron ostensibly getting students interested in Amnesty International (Freddie's cause) by hosting a dance marathon. Interested in the $1,000 prize, Dorian & Lena and Terrell & Charmaine team up. Terrell: "I know you love money more than you hate me." The foursome aren't above taking cheap shots. Dorian and Lena may be athletes, but there's one thing that's physical that they definitely don't excel at. Pointing out that he's a Christian, Dorian wonders what Terrell's excuse is.

-- Tension continues during the 33-hour contest. Gina is relieved when she and Ty (now imitating Snagglepuss and Mike Tyson) are eliminated. Freddie and Ron disagree over how much of the proceeds he'll donate. The two couples are still taunting each other, so much that Dorian makes fun of Terrell while accepting from himself and a sleeping Lena. That's enough for Freddie, who shames the group for not caring enough about Amnesty International. Chastised, Dorian donates his and Lena's prize money. After arguing with Ron over whether or not they're compatible, Freddie scores 45 percent of the proceeds and the relationship is stable again.

-- Over in the B plot, Whitley's student Dashawn (Jonell Green) stays with the Gilbert-Waynes. Dashawn, a tomboy raised by her widower father, has a talent for disassembly and assembly. While her father's on a job interview, Dashawn gets unwanted charm lessons from Whitley. Later, in front of Dwayne, Spencer and Kim, Dashawn exhibits her advanced electrical skills. Try turning on the stereo and the TV comes on, and vice-versa, with both turning off when you ring the doorbell. Dashawn, who probably grew up and made a lot of money in smart technology, is reassured that she isn't really a problem student but a gifted, bored student. With her future looking bright, Dashawn thanks Whitley by making a perfect curtsy. It's a sweet ending, but I'd rather they conclude a running gag and have, say, Dashawn responsible for the front door falling from its frame.

-- Finally, we have "Great X-Pectations," directed by Glynn Turman and the last episode written by Jeanette and Mimi. Ably carried by Patrick Y. Malone, Jenifer Lewis and Bumper Robinson, it concerns guns in schools. -- How is respect gained, Dean Davenport asks her students. They're assigned to create and present the possible conversation between Martin Luther King, Jr. and Malcolm X during their only meeting. Terrell, sporting trendy X apparel, is assigned to be Martin opposite Dorian as Malcolm. Preparing for the assignment, Terrell and Charmaine are harassed by a "Rainbow Coalition of jerks," a situation quickly exaggerated and over-exaggerated by Gina. Charmaine -- who, for the record, was Martin opposite Lena's Malcolm -- files a police report while Terrell arms himself. The gun is found by Dean Davenport, who plans to expel Terrell.

-- Dean Davenport has to weigh whether to lose a too good student or keep a too dangerous one. We learn Terrell has had a gun since junior high, he and Dwayne are both from Bed-Stuy and that Dwayne's gut reaction, if he was armed during "Cat's in the Cradle," would have been to shoot his attackers. We also learn Dean Davenport's 13-year-old nephew died due to a gun-carrying student. Terrell and Dorian ultimately succeed with their presentation. Dean Davenport decides not to expel Terrell, but he's placed on strict probation.

-- The Courtship of Kim and Spencer: He marks the end of their first year in medical school by proposing marriage. Four times in all by the end of the episode. They're a perfect couple, he reasons. A Type A woman and a laid back man. Kim wants to finish school, but as far as Spencer's concerned, they're engaged to be engaged. What is a no, after all, but the first step to a yes?

-- Hey, It's the Early '90s!: Approached by Dwayne to share the cabin, Ron jokes about their coming out of the closet "right here, baby!" Lena's always shown her navel, but I don't remember her tops calling as much attention to her chest as they do in this batch. Likewise, Gina has probably worn flannel before, but her outfit in "X-Pectations" was the first time I really noticed it.

-- Continuity Corner: Gina once again auditions with "When the Saints Go Marching In" ("Business"). Mr. Gaines doesn't know how to ride a bike, but Darnell tries teaching him under the credits ("Cabin"). After "Mammy Dearest" taking a stand against the dozens, it's a little frustrating to have Terrell and Dwayne trade yo mama jokes ("Lean"). Kinu's office is the same set that used to be Whitley's office ("Lean"). The town itself is apparently named Hillman ("Dancing").

-- Scheduling Corner: NBC apparently had enough. "Business" was the last new in-season episode of <i>ADW</i> to air on a Thursday. In February, the network shook up the second half of the week. <i>Homicide</i> took the 9 p.m. Wednesday slot, with <i>Seinfeld</i> scoring 9:30 Thursday and <i>Mad About You</i> receiving 9:30 Saturday. <i>Out All Night</i> and <i>ADW</i> were bounced <i>Cheers</i> reruns and <i>Wings</i>. Finally, NBC aired <i>Almost Home</i> and <i>Nurses</i> in the 8 p.m. Saturday hour, then dominated by <i>Dr. Quinn, Medicine Woman</i>.

-- Ratings Roundup: The last four episodes in this batch aired as summer burnoffs, although airdates vary. While "Business" scored a 9.8, "X-Pectations" mustered only a 3.5. Of note: "Lean" aired on May 27, 1993, one week after the <i>Cheers</i> series finale and the night of <i>L.A. Law</i>'s season finale. With <i>Cheers</i> and <i>ADW</i> off the air, <i>L.A. Law</i> was the oldest show on NBC's lineup.

 

(Scheduling note: Because of work, I might either do a three-episode post Thursday night, with commentary on the finale and my final thoughts on Friday night. We'll see how I feel.)

On 3/27/2019 at 7:16 PM, Franko said:

I liked "Lean" so much because it humanized Dwayne. Two years ago, he chose to pursue education over business and is now living with the consequences of that. Pursuing what you love isn't exactly a bad thing, although Dwayne does feel the frustrations of no longer always being the best and being unable to improve his and Whitley's situation. She doesn't care ... that much. Between Whitley's big heart and big butt, Dwayne's got no shortage of support. "I believe in you, Dwayne." "Still?" "Always." He regains his mojo, finally kicking perpetually late Terrell out of his class.

2

I can appreciate that sentiment, as well as the fact that in a pre-Friends era we get an ongoing storyline within a sitcom.  The Jefferson's never had continuing plotlines, except for the marriage of Lionel and Jenny.  

 

On 3/27/2019 at 7:16 PM, Franko said:

The simple truth is that there is a greater pool of applicants than there was when Dwayne left the business world. He's qualified, but they're more qualified.

 

Remember that detail, just saying...

 

On 3/27/2019 at 7:16 PM, Franko said:

They're assigned to create and present the possible conversation between Martin Luther King, Jr. and Malcolm X during their only meeting.

 

The amount of performance-based assignments at Hillman is remarkable, but how do the other students in attendance earn their grades?

 

What I loved about the new class, they were not rip offs of the previous class. They had their own personalities. I loved how Mr. Gaines found his “new” Kimberly Reese in Charmaine as his dependable employee. I hate how Jaleesa was gone without an explanation, though she was underused after being saddled to Bradford Taylor. One think I wish had happen that it went one more season to see the survival without Dwayne & Whitley. I believe Theo from The Cosby Show would have intergrated well into the cast and heavily played Dean Davenport. 

2 hours ago, Dr Neil Curtis said:

What I loved about the new class, they were not rip offs of the previous class. They had their own personalities.

Agreed. They had elements of the established characters, but were also capable of standing on their own. I wouldn't have minded seeing how they would have interacted and matured in later seasons.

 

2 hours ago, Dr Neil Curtis said:

I hate how Jaleesa was gone without an explanation, though she was underused after being saddled to Bradford Taylor. One think I wish had happen that it went one more season to see the survival without Dwayne & Whitley. I believe Theo from The Cosby Show would have intergrated well into the cast and heavily played Dean Davenport. 

Jenifer Lewis has been great as Dean Davenport, but I can't help but imagine how Jaleesa would have fit into her role. Poor Dawnn Lewis. After Jaleesa graduated, she was lucky to get one scene per episode.

 

Also, I've made no secret about both my love for Dwayne & Whitley and also my frustration that the show put too much weight on their relationship.

@j swift, @DRW50 -- Sorry if it feels like I'm dawdling. I finished the last five episodes and will write my commentary in the morning. I'll likely post it here tomorrow night.

 

Two little things from "When One Door Closes ... Part II": I thought it was cute that Cree Summer slipped into her Elmyra voice when Freddie was teasing Ron. Also, there might be a blooper in Whitley's speech. She refers to six years (at Hillman? hanging out at The Pit?), but it should be seven. Whitley was a sophomore in Season One.