Three's Company

[Daniel Avery]

Much like Farrah when she left CHARLIE'S ANGELS, Suzanne upset the wrong people when she decided to overplay her hand and leave THREE'S COMPANY. Her career immediately went on the wane, and it suffered for a few years as a result. It was as if the industry was popping her hand for leaving the show that made her a household name.

I saw it more as a situation where the producers (as a group, not just the individual producers on CA and 3C) had to make an example of both actresses in order to keep the actors (as a group) from gaining advantage. Even after each left their respective show, other producers felt obligated to shun them to continue the "punishment" to send the message that if you get too demanding, we can ruin you. The producers knew that if they caved in to a popular actor's demands, then they'd have to do it every time a show became popular. There was an inevitable march toward just that destination (where stars wielded more power over the direction of a show than producers), but producers were fighting it all the way.

 

[Soaplover]

Priscilla Barnes was honestly a strong addition to the cast, at least initially. But, as previously stated, Barnes herself felt so overwhelmed by the swarm of publicity she received by getting the THREE'S COMPANY job that it ended up hindering her. To top it off, she apparently went to the producers and asked for a release from her contract, but they were determined to hold her to her three-year deal. They were perfectly fine with sidelining her for those final three seasons, though. Priscilla as Terri could be funny, but I just don't see her as funny as the earlier blonde roommates. Which, to be fair, that might not be Priscilla's fault, but the continuous decline in the show itself.


I'm divided here. I thought Jenilee Harrison was very pretty and brought a young freshness to the show that could be humorous and, when executed right, quite funny. The problem was Jenilee was very young (perhaps too young for the show), and the writers and the producers never saw her as a permanent replacement. Jenilee was merely recruited to finish out Season 5. The producers were pretty obvious that they just wanted a "replacement character" that could help use up some of the scripts they had already written for Suzanne as Chrissy, which was both a cost-saving and time-saving decision. Indeed, if memory serves, some scripts merely crossed out "Chrissy" and penned in "Cindy" and called it a day.

I will say, though, that Cindy worked very well in a secondary character compacity. It must've been awkward for Jenilee and Priscilla, too. The replacement working with the one she's replacing... and then Cindy's just gone after Janet's mean to her in the episode where Janet decides blondes do really have more fun when she wears a wig. Anyway, poor Jenilee got a sour deal, I'd say, but she wasn't bitter. She ended up on DALLAS, and seems to have been fulfilled outside of show business, too.


Early Suzanne was best. Still, the show was never quite the same without her.


I've never seen SHE'S THE SHERIFF, and based on the reviews, I don't think I've missed very much. Suzanne was supposed to go into THE SUZANNE SOMERS SHOW on CBS when she walked out on THREE'S COMPANY, but that never bore fruition. ABC caught wind of the emerging sitcom over on their rival network, CBS, and threatened to sue if Suzanne's new TV character resembled "Chrissy Snow" in any way. So, CBS bucked under the pressure and eventually scrapped their deal with Suzanne.

Much like Farrah when she left CHARLIE'S ANGELS, Suzanne upset the wrong people when she decided to overplay her hand and leave THREE'S COMPANY. Her career immediately went on the wane, and it suffered for a few years as a result. It was as if the industry was popping her hand for leaving the show that made her a household name.


I recall watching STEP BY STEP (a BRADY BUCNH redo for the 1990s) when it was in reruns on ABC Family back when I was young. It was never really a favorite, but it was in the same rotation with FULL HOUSE and FAMILY MATTERS, all TGIF shows, so I watched them all.

I will say, though, that STEP BY STEP was better than the most. Suzanne and Patrick Duffy shared good chemistry together.

Don't forget the 1985 pilot she did with John Davidson called 'Goodbye, Charlie'.. where Charlie dies and comes back in the body of Suzanne Somers... she's hilarious in it. It's on Youtube

 

[ClassyCo]

Don't forget the 1985 pilot she did with John Davidson called 'Goodbye, Charlie'.. where Charlie dies and comes back in the body of Suzanne Somers... she's hilarious in it. It's on Youtube

I seem to remember that existing, but I had forgotten about it. I might have to check it out.

 

[Crimson]

I saw it more as a situation where the producers (as a group, not just the individual producers on CA and 3C) had to make an example of both actresses in order to keep the actors (as a group) from gaining advantage. Even after each left their respective show, other producers felt obligated to shun them to continue the "punishment" to send the message that if you get too demanding, we can ruin you.

In an age when actors can become multi-millionaires from long running TV shows, it's easy to forget how hostile producers back in the 70s and 80s were to actors fighting for a piece. This was an era when producers were willing to do prolonged number of episodes without Archie Bunker or Fred Sanford, when the Duke boys could be replaced with poor substitutes for an entire season, and Valerie could be fired from a show named after her. Even a united group of actors were not guaranteed to win.

 

[ClassyCo]

In an age when actors can become multi-millionaires from long running TV shows, it's easy to forget how hostile producers back in the 70s and 80s were to actors fighting for a piece. This was an era when producers were willing to do prolonged number of episodes without Archie Bunker or Fred Sanford, when the Duke boys could be replaced with poor substitutes for an entire season, and Valerie could be fired from a show named after her. Even a united group of actors were not guaranteed to win.

The producers were relentless in their efforts to prove their point and make sure the actors stayed in their place. Cindy Williams also thought she'd get what she wanted when she decided to roll the dice at the beginning of the eighth season of LAVERNE & SHIRLEY. The producers booted Williams out, leaving Penny Marshall to carry a show that retained a title that no longer made any sense. But I suppose Marshall wasn't too upset, seeing as she demanded double-or-nothing when it came to her per-episode salary in order to finish the eighth season.

 

[Soaplover]

Since the 80s, there has been massive over-correction to the point where actors, writers, and directors have gotten much too greedy and as a result.. reality tv became a thing and streaming became a thing with a lower episode count and a lower quality in writing.

In regards to Suzanne, it was a mistake to have her hubby handle things.. but there was an interview where the lawyer that her husband and Somers used had beaten the network/producers in regards to another salary situation so they were determined to not even entertain her demands.

In regards to Cindy Williams, her side of the story was that one of the days she was required to film was the day her daughter was born.. so I think she had a right to push back.. .and she had said that she focused on motherhood after being pushed out of Laverne & Shirley

 

[Sea - Boo! - Er]

Don't forget the 1985 pilot she did with John Davidson called 'Goodbye, Charlie'.. where Charlie dies and comes back in the body of Suzanne Somers... she's hilarious in it. It's on Youtube

I assume that's based on the movie with Tony Curtis and Debbie Reynolds, which is one of my favourite comedies. I'll have to check this out.

 

[Chris2]

In regards to Cindy Williams, her side of the story was that one of the days she was required to film was the day her daughter was born.. so I think she had a right to push back.. .and she had said that she focused on motherhood after being pushed out of Laverne & Shirley

I’ve always taken that as hyperbole on Williams’ part. What production would want a pregnant person working on the day they’re going to give birth? So production can be disrupted?

The real issue was that Williams (understandably) wanted a reduced schedule during her pregnancy, and Paramount wanted to reduce her salary accordingly. Paramount’s stance wouldn’t fly today, but this was over 40 years ago.

 

[Bobby Southworth]

To be honest, I'm not a big fan of Laverne & Shirley. It can be ok, but for me, it was just a little too silly and contrived, like most Miller/Boyett productions. Actors with real talent, and shows where the premise was setup perfectly and promisingly, totally butchered and watered down by Miller-Boyett's assembly line of kid friendly slop. I'm sorry.. I know there were still good moments, but they really knew how to ruin a show with potential.

Oddly enough, I've always had somewhat of a soft spot for the last season with just Penny. I don't think every episode was good, but it gave her a chance to really shine, and her reactions to all the craziness around her, and the situations she somehow found herself in were gold. I really appreciated Penny Marshall's personality in real life, too. The "I just don't give a crap", sarcastic attitude, and her delivery.

There was an episode that last season where Laverne walks into a friend's apartment, and if I'm remembering correctly, he might have already been depressed or something, and she tosses a ball for his dog to catch, and the ball goes over the balcony, and the dog jumps right over the balcony after it. I literally laughed out loud, and the fact that this scene comes to mind so many years after I saw it says something. You find out the dog is ok because I think he's on the 1st floor or something like that, but as the audience, we didn't know at first. LOL. This kinda writing was top notch, and it's too bad Miller/Boyett didn't have more of it.

 

[ClassyCo]

To be honest, I'm not a big fan of Laverne & Shirley. It can be ok, but for me, it was just a little too silly and contrived, like most Miller/Boyett productions. Actors with real talent, and shows where the premise was setup perfectly and promisingly, totally butchered and watered down by Miller-Boyett's assembly line of kid friendly slop. I'm sorry.. I know there were still good moments, but they really knew how to ruin a show with potential.

Oddly enough, I've always had somewhat of a soft spot for the last season with just Penny. I don't think every episode was good, but it gave her a chance to really shine, and her reactions to all the craziness around her, and the situations she somehow found herself in was gold. I really appreciated Penny Marshall's personality in real life, too. The "I just don't give a crap", sarcastic attitude, and her delivery.

There was an episode that last season where Laverne walks into a friend's apartment, and if I'm remembering correctly, he might have already been depressed or something, and she tosses a ball for his dog to catch, and the ball goes over the balcony, and the dog jumps right over the balcony after it. I literally laughed out loud, and the fact that this scene comes to mind so many years after I saw it says something. You find out the dog is ok because I think he's on the 1st floor or something like that, but as the audience, we didn't know at first. LOL. This kinda writing was top notch, and it's too bad Miller/Boyett didn't have more of it.

I enjoy LAVERNE & SHIRLEY, especially before they move to Hollywood. The first four seasons are funny, especially when you catch an episode in the right mood.

 

[Spooky Owl!]

Williams was, reportedly at the time, insecure that Penny's family ran the show (and possibly for good reason).

I enjoy LAVERNE & SHIRLEY, especially before they move to Hollywood. The first four seasons are funny, especially when you catch an episode in the right mood.

And their jumping ahead by several years because "nothing much happened in the early-'60s."

 

[Bobby Southworth]

Yes, I remember my grandmother even, not being a fan of the series, and in the pre-internet days talking about how Williams was bullied by the family ties running the show. I don't know 100% how true, or how bad it really was, but it would make sense that she felt kind of like an outsider.

Going back to Three's Company. For me, the first three years were the true gold, with the Ropers. I still think it's almost gold the 4th year, but by the time Suzanne started missing episodes, it lost a little something, and continued to do so for the remainder of the series. It still remained good, but just not "as" good. I never found Terri funny, but I'm not sure how much we were supposed to?? The blonde roommate had always been the go to for the cheap laughs in the past, but I agree that it seems more like Janet was sorta placed in that position those last few years. Even though I didn't find Terri funny, that doesn't mean she wasn't a likable character, just not a very funny one. I would probably take her over what Chrissy had become in her last two or so years.

 

[Chris2]

I liked the early days of “Laverne & Shirley” because of the wonderful chemistry between the two leads, and because of Cindy Williams’ way of being able to wring laughs out of the must mundane lines.

The weakness of the show, to me, was that outside of Lenny and Squiggy, the supporting cast was blah at best. I liked the first year or two where they had a different, funnier landlady; Laverne’s dad was only seen occasionally, and the joke that he was barely comprehensible; and they had foils for the girls: Big Rosie and Lucille, Carmine’s girlfriend.

Later, they settled on a more boring landlady, the Big Ragoo, and Laverne’s dad in a bigger role. I didn’t find any of them particularly funny. I saw an interview with cocreator Mark Rothman and he basically said the same thing.

And even before the ill-fated move to California, you could see the decline setting in during season 5. This is when Bob Boyett joined the show as a consultant and you could see them moving towards the more simplistic, kid-oriented formula that he and Tom Miller perfected with their shows in the late 80s and 90s.

As for TC: they didn’t give Priscilla much to work with. I thought she was strong in her first few episodes. Terri was accomplished in her career, payed the violin, and flirted with Jack. They could have leaned into that more, the way they leaned into Chrissy’s airheadedness. Instead, they didn’t do much to distinguish her from Janet.

 

[Jock Ewing Fan]

I liked the early days of “Laverne & Shirley” because of the wonderful chemistry between the two leads, and because of Cindy Williams’ way of being able to wring laughs out of the must mundane lines.

The weakness of the show, to me, was that outside of Lenny and Squiggy, the supporting cast was blah at best. I liked the first year or two where they had a different, funnier landlady; Laverne’s dad was only seen occasionally, and the joke that he was barely comprehensible; and they had foils for the girls: Big Rosie and Lucille, Carmine’s girlfriend.

Later, they settled on a more boring landlady, the Big Ragoo, and Laverne’s dad in a bigger role. I didn’t find any of them particularly funny. I saw an interview with cocreator Mark Rothman and he basically said the same thing.

And even before the ill-fated move to California, you could see the decline setting in during season 5. This is when Bob Boyett joined the show as a consultant and you could see them moving towards the more simplistic, kid-oriented formula that he and Tom Miller perfected with their shows in the late 80s and 90s.

As for TC: they didn’t give Priscilla much to work with. I thought she was strong in her first few episodes. Terri was accomplished in her career, payed the violin, and flirted with Jack. They could have leaned into that more, the way they leaned into Chrissy’s airheadedness. Instead, they didn’t do much to distinguish her from Janet.

Mostly agree. I would give Phil Foster a bit more credit though. he played the role about as well as could be played, given the premise.
Eddie Mekka was likeable, and didn't need to be funny - sort of a balancing character
Early Priscilla Barnes was quite good. There was an opportunity to develop her further, and that opportunity was missed.
She just didn't have the same comic ability as Suzanne Somers, and it led to scripts where her and Joyce DeWitt became plot devices, with
Don Knotts handling most of the comic void left by Suzanne Somers, with Richard Kline having a larger role to complement John Ritter

 

[ClassyCo]

Don't forget the 1985 pilot she did with John Davidson called 'Goodbye, Charlie'.. where Charlie dies and comes back in the body of Suzanne Somers... she's hilarious in it. It's on Youtube

For kicks, I decided to watch the GOODBYE, CHARLIE pilot this morning. I've never seen it, nor have I ever seen the 1964 movie starring Tony Curtis, Debbie Reynolds, and Pat Boone.

As for the pilot, I thought it was good, about what I was expecting humor-wise and the types of jokes I knew they'd do. This top-tier executive named Charlie dies and he is reincarnated as a beautiful young woman (Suzanne Somers). Somers is actually pretty funny, she has a couple of decent-to-good one-liners, a good physical comedy moment or two, and I like that she's actually toned down from her Chrissy Snow days and doesn't come across here as an airhead or bimbo. John Davidson appears to have been a good choice for the male lead, with he and Somers sharing some good on-screen banter and chemistry.

Honestly, with a few tweaks, the show might've worked. It would've been a better star vehicle for Somers over SHE'S THE SHERIFF, but the GOODBYE, CHARLIE pilot didn't sell. Maybe if it had found a deal in first-run syndication, it might've ran for a few seasons and made a pleasant, chuckle-fest of a show... that's if you can get past all the obvious man-in-a-woman's-body jokes, which probably would've mellowed with time.

 

[Daniel Avery]

They could not lean into Terri as a "smarter" roommate, which would seem logical given her career as a nurse. If they had leaned into her being 'the smart one' then 99% of the material would fall apart. I mean, the shorthand formula of every episode was "Character misinterprets something they saw/heard, and things go haywire until they figure out the mistake." If you had a truly intelligent person in the mix, they would figure out the mistake within seconds and then there would be no story.

 

[Crimson]

If you had a truly intelligent person in the mix, they would figure out the mistake within seconds and then there would be no story.

The network might have liked that. 3 minutes of story, 27 minutes of commercials.

 

[Jock Ewing Fan]

The network might have liked that. 3 minutes of story, 27 minutes of commercials.

I think that is called a farce comedy. Not generally my preferred entertainment, but "Three's Company" was that rare show that managed to make it work

 

[Sea - Boo! - Er]

For kicks, I decided to watch the GOODBYE, CHARLIE pilot this morning. I've never seen it, nor have I ever seen the 1964 movie starring Tony Curtis, Debbie Reynolds, and Pat Boone.

As for the pilot, I thought it was good, about what I was expecting humor-wise and the types of jokes I knew they'd do. This top-tier executive named Charlie dies and he is reincarnated as a beautiful young woman (Suzanne Somers). Somers is actually pretty funny, she has a couple of decent-to-good one-liners, a good physical comedy moment or two, and I like that she's actually toned down from her Chrissy Snow days and doesn't come across here as an airhead or bimbo. John Davidson appears to have been a good choice for the male lead, with he and Somers sharing some good on-screen banter and chemistry.

Honestly, with a few tweaks, the show might've worked. It would've been a better star vehicle for Somers over SHE'S THE SHERIFF, but the GOODBYE, CHARLIE pilot didn't sell. Maybe if it had found a deal in first-run syndication, it might've ran for a few seasons and made a pleasant, chuckle-fest of a show... that's if you can get past all the obvious man-in-a-woman's-body jokes, which probably would've mellowed with time.

I watched it the other night. I do think that the premise was ripe for expansion but maybe the half-hour sitcom format was not the way to do it. It all seemed too rushed and the "tish boom" joke style seemed inappropriate. Possibly, a one-hour series leaning into the mystical elements would work better.

 

[ClassyCo]

I love Ann Wedgeworth. I still hate she wasn't kept on as Lana.