Mary’s New Show: Formula That Works

NBC’s “Dear John” and ABC’s “Roseanne” may be funnier, but CBS could have the most appealing new series of the 1988-89 season in “Annie McGuire.”

What seems depressingly formulaic on paper--a merging of families through a second marriage, plus clashing in-laws--turns out to be highly alluring and seductive, a wise and amusing comedy that, as a bonus, also offers depth, warmth, Mary Tyler Moore and no laugh track.

“Annie McGuire” premiered last week, and the second episode airs at 8:30 tonight on Channels 2 and 8.

Previously married Annie (Moore) and Nick (Denis Arndt) are newlyweds, setting up house with her son (Bradley Warden) and his son (Adrien Brody) and daughter (Cynthia Marie King). The in-laws are Nick’s father, Red (John Randolph), and Annie’s mother, Emma (Eileen Heckart), who are stubborn, independent and diametrically opposed in their politics.

Tonight’s half hour isn’t as strong as last week’s utterly charming premiere, in which Annie’s attempts to find honest employment and romance for a would-be paraplegic mugger (James Eckhouse) temporarily backfired when the designated love interest (Victoria Ann-Lewis) had other plans. That story, written by executive producer Elliot Schoenman, was noteworthy for its puckish wit and un-self-conscious portrayals of persons with disabilities.

Absent last week, feisty Emma occupies center stage tonight as she resists Annie’s attempts to find her another apartment after her health prohibits her from climbing the stairs to the one where she now lives.

Lisa Albert’s story starts slowly, but ultimately is a winner (except for a contrived ending), finding humorous ways of expressing some of the eternal truths of parent-child relationships and the difficulties facing many older adults.

Moore and the rest of the cast are excellent (making his few lines count, Randolph is a particular delight). Give credit also to David Steinberg’s direction and the producers’ decision to opt for a laugh-trackless, one-camera show and filmic look.

These qualities, along with the writing, set “Annie McGuire” apart from other prime-time half hours, evoking memories of last season’s “Frank’s Place,” “The ‘Slap’ Maxwell Story” and “The Days and Nights of Molly Dodd.”

You watch “Annie McGuire” not only to laugh, but also to feel good. When it comes to domestic comedies, it’s the the non-grime version of “Roseanne,” with extra perks.

Private eyes will never be on the endangered species list as long as TV continues to produce them the way rabbits do their young.

Here’s another. ABC’s “Murphy’s Law” is about a somewhat seedy private eye who investigates insurance fraud, is a recovering alcoholic and whose roommate is a much-younger Eurasian model. The series premieres at 10 tonight on Channels 7, 3, 10 and 42, but doesn’t return until Dec. 3, when it begins airing in its regular 8 p.m. Saturday time slot.

George Segal is Daedelus Patrick Murphy the private eye and Maggie Han is his roommate, Kimiko Fannuchi. Josh Mostel is Wes Harden, the wimpy insurance agent for whom Murphy reluctantly works.

The opening story, written and directed by Lee David Zlotoff, is thin and uncompelling, to say the least, as Murphy solves the murder of a woman involved in a cult. Along the way, he’s beaten up by two thugs, who then douse him with booze for reasons that are never explained.

This is one of those series in which plot is relatively unimportant, however. What is important is the Murphy/Fannuchi relationship, which is only partially platonic, but fully unbelievable. If the relationship doesn’t work, the series doesn’t work.

The relationship doesn’t work.

There’s just no believing the vivacious Fannuchi and possessive, life-weary Murphy as close friends, much less potential lovers. Segal’s occasional Irish brogue is not too convincing either.

Han is the real star here, although her energy and screen presence as Fannuchi are mostly squandered in a premiere that sags from start to finish. By the time it ends, you feel as tired as Murphy looks.