Let me tell you why I love “WKRP in Cincinnati.”
I watched a lot of TV as a kid. A good four to six hours a day sometimes. Which is especially amazing when you consider how little there was, compared to what we have now. (Three channels. No TiVo. No cable. My daughters simply do not believe this. My daughters thought that Spider-Man was a real person, but they don’t believe me when I tell them this.)
But “WKRP” still stands out in my memory, and not just because it was good.
“WKRP” was a mildly successful sitcom in the late 70s and early 80s about life at a struggling AM radio station in Cincinnati, Ohio. I got to see it both when it was first-run — my dad let me watch with him — and later, in syndication.
The show struggled to find an audience — it was moved around the schedule constantly — and was dissed by Mary Tyler Moore herself (“Let me put it this way: I wouldn’t watch it.”), even though her company produced it. CBS clashed with the series’ creators about the show’s direction, and it was canceled after four seasons.
Despite all that, the show produced some of the best television around at the time, including one legendary Thanksgiving episode. (“As God is my witness, I thought turkeys could fly.”)
“WKRP” is the spiritual godfather to workplace comedies like “The Office” and “Parks and Recreation” and “Scrubs” — a group of zany characters, all trapped in a zany place, doing zany things. Like so many other shows, it was about a bunch of lovable losers — and they were losers, there was no getting around that.
Andy Travis, the program director hired to turn the station around, was a success — until he came to the lowest-rated station in a dead-end market. Dr. Johnny Fever was a big-time L.A. DJ once — until he said the wrong thing on the air and was blacklisted in the business. Herb Tarlek is a terrible salesman and a failure even as a sleazy lounge lizard. Les Nessman, the station’s news reporter, can’t pronounce most of the names in his stories and is obsessed with hogs and communism. The station’s general manager, Arthur Carlson, only has a job because his mother owns the station.
They are all trapped together in Cincinnati. I know now that their sets were limited by the budgets and designs of TV at the time, but it really looked like they spent their time in an ugly office before going home to cramped, cheap apartments. I could picture them even when the camera was not on them, heating something out of a can and watching bad sitcoms from the couch before shuffling off to bed and starting the whole process again in the morning. Their lives were lonely, and like most lonely people, they were weird and difficult and sometimes hard to like.
I suspect that’s what makes a show like WKRP so tough to make now. You saw glimpses of it in “Community,” but it’s understandably difficult to sell a show about losers to a studio or a network or an audience. Real life gives us enough of that.
Admittedly, there are lots of weird characters on TV. But other shows invite us to laugh at them — that Michael Scott, he’s such a moron; that Kramer, he’s so whacky; and so on. We get to look down on them from behind a thick, protective coating of irony.
The characters at WKRP aren’t so easily mocked. (Aside from the fashions and music from thirty years ago, I mean.) They tried too hard, and there’s nothing so repellent to ironic distance as actual effort.
Here’s a good example, from the first season (and one of my favorite episodes). WKRP sponsors a concert by a band called “Scum of the Earth” to show off its new format change, and it’s a disaster from the moment the exceedingly well-dressed men show up. After abusing and insulting everyone within spitting distance, they refuse to play. So Andy and Venus and (reluctantly) Johnny have to fight them to get them onstage.
It’s probably the smallest joke in the whole episode. (Johnny’s weary sigh: “Rock and roll.”) But as a metaphor, it’s pretty perfect.
Everyone at WKRP knows, on some level, that they’re all stuck. They know they’re never going to make the real big time. The ones who were there before, like Andy and Johnny, know they don’t really belong.
But they never stop aiming for something a little better. Not too much better. They’ll fight for it. I mean literally punch people in the head for it, if necessary, even if the reasons why aren’t too clear any more.
And most of the time, they still fail. We can laugh about it. They do. (Eventually. Usually.)
But it’s hard to look down on them. It seems a little too close to what we all do every day. It seems like we all need to believe we’ve got a shot — or at least a sense of humor — or we wouldn’t get out of bed. Especially on those cold, gray, winter mornings in Ohio.