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Old 01-29-2017, 08:09 PM   #46
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Mary Tyler Moore Laid to Rest at Private Connecticut Funeral
Alex Reiger :[Trying to convince Louie not to antagonize Bobby] "It's not hard to make people feel bad about their lives. What's hard is making people feel good about their lives."
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Old 01-30-2017, 04:27 AM   #47
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So sad. Rest in peace Mary you will be missed.

The Mary Tyler Moore Show's theme song is also one of my favorite TV theme songs ever.

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Old 01-30-2017, 08:02 AM   #48
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I watched both MTM specials on both CBS and ABC (20/20). I thought ABC's was much better. CBS focused too much on Oprah.
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Old 01-30-2017, 07:02 PM   #49
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Originally Posted by Willbo
I watched both MTM specials on both CBS and ABC (20/20). I thought ABC's was much better. CBS focused too much on Oprah.
Didn't see the ABC one, but I agree we didn't need the CBS Oprah-fest. But there were a lot of good clips. I keep checking the TV Guide but I can't find the PBS special...has anyone seen it yet?
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Old 01-31-2017, 07:30 AM   #50
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So sad Mary has gone,I wrote to her in 87 got a lovley signed picture enclosed,what a lovely legacy Mary has left us,you'll never be forgotten Mary!.
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Old 02-01-2017, 12:13 AM   #51
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Hollywood Remembers Mary Tyler Moore 9:30am Eastern Time/8:30am Central Time) on Decardes, Friday, February 3rd.

Mary Tyler Moore marathon on Decades channel Saturday 1pm Eastern Time (12pm Central Time) - Monday, 7am Eastern Time.(6am Central Time)

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Old 02-01-2017, 03:07 PM   #52
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I was too distraught to post until now. Not many actors dying hit me this hard.
The reality is concerning MTM's health issues, she did live a long life. But her death still caught me off guard.

The MTM show is one of my favourite shows ever, and I was dreading this day. Not necessarily because of MTM's death, but because with the exception of Ted Knight, we are fortunate the rest of the cast is still with us. How many TV shows from the 1970's (that was mostly adults) are most of the cast still living?

I watch MTM every night on a channel called Comedy Gold here in Canada. This past Saturday it was MTM all day. (16 episodes) Then on Sunday I saw a comedy channel that I never watch show had MTM episodes in the afternoon. (8 episodes)

She is now with her son.
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Old 02-02-2017, 03:03 PM   #53
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"The Mary Tyler Moore Show" That Wasn't: How CBS Refused to Have the Actress Play a Divorcee
by Allan Burns, as told to Stephen Galloway
Feb. 2, 2017

Jim and I were not partners at the time; we were writers who admired each other. He had created a show called "Room 222" and asked if I could help him with the script. He was at Fox, and the head of television for Fox, Grant Tinker, took a liking to us, both separately and together.

Jim and I were talking on the phone one day, and I said, “Has Grant been talking to you about anything?” He said, “I think Mary is going to be doing a new show.

This was after "The Dick Van Dyke Show", considerably after, because she had done a few years of movie work. It turned out that Jim was right. Grant was talking about the two of us writing a new show for Mary, and we had not met her.

After talking around the ideas we had, Grant said, “Maybe it’s time you guys met with Mary.” We had already done some writing she liked and so went over to her house one night and she just committed to it. Grant’s approval was the stamp of approval, as far as she was concerned. If Grant trusted us, she trusted us, and that never changed.

We had the idea that we would do the first divorcee on television. It’s hard to believe, but in 1970 that was a controversial idea. Mary loved the idea, Grant loved the idea. Both of them were divorced and understood it, but the network had a sort of cardiac episode.

We were summoned to New York, to the office of Mike Dann, who was then the head of programming for CBS. He was a long-termer, the entity you had to go to, hard-nosed. He did not like what we had proposed and in fact called upon a research guy who was in the meeting with us.

They were really ready for the two of us, and we were relatively inexperienced. We thought we were ready for their objections to divorce, because we said everybody is touched by divorce and it gives us an awful lot of possibilities story-wise.

They clearly were not happy. We had gone to New York accompanied by Arthur Price, who was Mary’s manager and the vice president of MTM, and when the meeting was over and Jim and I were dismissed, Dann turned to Arthur and said, “Tell Grant to get rid of these clowns.

We said, “OK, if they won’t do divorce, what can we do that would explain an attractive 30-year-old woman without a relationship?” We came up with the notion that this woman is coming off a long-term relationship with a guy at the Mayo Clinic.

They were somewhat satisfied; as long as they had gotten rid of the divorce idea, maybe they would tolerate us a little longer. And that’s what the first show was really about: a woman having to give up her small-town life in Rochester, Minn. The main title sets up the whole thing.

Grant liked it and Mary trusted Grant. She was the most hands-off star I ever met. If her husband approved of us, we must be good — that was her attitude.

She never asked to be included in any of the creative decisions. She just happened to be the most talented comedienne on television.

But CBS didn’t like a lot of our scripts. At one point, pretty early on, we had a script in which Rhoda’s mother came to visit. She wouldn’t see her mother — and they hated that.

The whole idea that the co-star of a show would not want to see her mother! This guy called us from CBS and said, “I’m going to tell you not to shoot this show.” So Jim and I looked at each other, and we called Grant and said, “They told us we can’t do this show.” He said, “The one we’re supposed to be shooting next week? I love that show. It’s funny.” I said, “What are we supposed to do?” He said, “Go ahead and shoot it.

People don’t do that, back up the writers against the network. They [Tinker and Moore] just backed us up. We may have had some minuscule changes, but very, very minuscule. As it turned out, that particular episode won us an Emmy. That’s Mary and Grant. They were really ballsy. We didn’t have one show that they didn’t let us shoot in 162 episodes.

I guess it was some sort of fool’s paradise. I had friends who were doing other shows, for other studios, who were having terrible times with the interference. It was like this dream, our whole experience with them.

Mary was a dream. I can’t imagine having a working relationship like that with anybody else. She was so trusting and so enthusiastic. She just had our back. We met her and we loved her. It never stopped for seven years.

What would surprise you was how shy she was. Very shy. Somebody who really glittered in the spotlight, when it was on her, was very self-effacing, very quiet. After we started the second year, Mary came up to us one day and very quietly and wistfully said, “Guys, I can be funny too,” instead of “Why the hell aren’t you …?!!

If you want to ask me one word to describe her — other than talented — it was generous. Once, we were reading a script around the table, and one line got a particularly big laugh. Mary kind of put her hand up timidly and said, “You know that line? I think you’d get a bigger laugh if Rhoda said it.

Now where did you ever hear a star say, “Let me give this huge laugh to another character?” Valerie [Harper] killed with it — but it could easily have been Mary. She thought for the good of the show.

That famous "Chuckles Bites the Dust" episode was a favorite memory. There was a clown who gets stepped on by an elephant and dies. We thought it was an absolutely ridiculous way to die, but hysterically funny. Nobody could keep a straight face. All through the rehearsal, everybody’s howling. But not Mary — the character, that is, not Mary Tyler Moore. For her, this was not a proper thing to do: A man has died and you should respect that.

All through the week, everybody fell apart with laughter. Even up to dress rehearsal, she still got a giggle about it. We said, “Mary if you don’t keep a straight face, this whole half-hour is gone.” She says, “Don’t worry.

Well, when we finally shot it, she did not crack a smile. She was as stern as could be. Then, at the funeral conducted by this unctuous priest, she starts to laugh. She can’t stop herself. Everybody else now is acting very serious. Mary finally explodes with laughter. I think it’s the loudest, longest laugh we ever had — but how difficult it was to be able to suck it up on that last night and give this performance. She won an Emmy for it.

Years later I got a call from Robert Redford one day — which impressed my secretary. He said, “I’m doing this very serious movie and I can’t get Mary Tyler Moore out of my mind.” They lived in the same stretch of Malibu. I said, “I have no doubt that whatever you’ve got in mind for her, she will do it and surprise you. She is just remarkable. She can do it all.

And it turned out she could, because she got an Oscar nomination for that [Ordinary People]. I always said: There was nothing that Mary Tyler Moore was incapable of. She was just wonderful.

I miss her dearly. To lose both of them [Moore and Tinker] in six weeks was quite a blow. Mary was a dream in every way. In temperament, in talent, in beauty. A remarkable woman.
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Old 02-02-2017, 04:15 PM   #54
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What a wonderful tribute. Confirms a lot of things I suspected about Ms. Moore.

Thanks for sharing it, James.
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Old 02-02-2017, 05:33 PM   #55
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Default The 12 Best Episodes of The Mary Tyler Moore Show (Not Including ‘Chuckles’)

From "The Good Time News" to "Lou Dates Mary."
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Old 02-02-2017, 05:45 PM   #56
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Originally Posted by Limm60
When I retired from teaching i had two "Mary " moments -
1. When I spoke to my fellow teachers, I "thanked them for being my family"
2. As the last child walked out of my classroom, I stopped, went back in, took one last look and turned out the lights.

I really did this because of the impression that the Mary Tyler Moore show had on me.

Thank you Mary for giving me such precious memories.

TV has such a bad reputation as something that has made us less human and/or worse humans.
It can depend on how we utilize the tragedies, triumphs and personal stories of fictional characters. It actually can help us to cope and understand.
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Old 02-03-2017, 02:00 AM   #57
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Rest in peace MTM
"Marion, stop cackling I've been waiting 10 years for you to lay that egg"
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Old 02-05-2017, 03:11 AM   #58
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I grew up watching Mary Tyler Moore on TVLand in the nineties. My mom always had it on. Very sad, though she lived a fairly long life, especially given her diabetes. I read she was nearly blind in her last couple years which is no good. I'm a Type 1 diabetic myself and I appreciate all the campaigning she did advocating on behalf of diabetics.
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Old 02-05-2017, 04:12 AM   #59
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I have one of Mary's books in which she related many of her problems due to diabetes. Vision problems came early on in her long battle, as she discussed things like being in a group (like at a party) and worrying that her not seeing someone would be misinterpreted as a snub. It's a good example of how thoughtful she was -- while having significant medical problems, she still placed others first.

In one of her interviews with Dick Cavett, how she describes her lack of confidence at times is consistent with how humble she was. Remarkable lady.
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Old 01-25-2018, 07:34 PM   #60
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Ed Asner Remembers Mary Tyler Moore: "She Was One of the Greats"
by Dan Snierson
Jan. 25, 2018

Hats flew at half-mast on Jan. 25. When Mary Tyler Moore died at the age of 80 of cardiopulmonary arrest in Greenwich, Connecticut, the culture mourned the loss of one of the most vital and vivacious voices in TV history.

Moore fetched two Emmys in the 1960s as charming housewife Laura Petrie on "The Dick Van Dyke Show" and earned an Oscar nomination as an icy mother in 1980’s Ordinary People. But it was in her seven-season turn (1970-77) as spunky TV producer Mary Richards on CBS’ "The Mary Tyler Moore Show" that Moore burned brightest, winning four Emmys as a single woman who defied traditional archetypes, charted her own course in the workforce, and became a feminist icon.

Along the way, Mary Richards formed an unlikely bond with her gruff boss, Lou Grant (Ed Asner). They became a punchline-perfect duo, and their friendship evolved into the show’s emotional center. If she could turn the world on with her smile, he could turn it right back off with his scowl.

Here, Asner, 87, who nabbed five Emmys for that role, remembers the woman who changed the game not only for him—but for audiences everywhere.

When Lou Met Mary

During the casting process for "The Mary Tyler Moore Show", Asner was recommended to series creators James L. Brooks and Allan Burns by Grant Tinker, Moore’s then-husband and co-founder of MTM Enterprises, and CBS casting exec Ethel Winant, who was convinced that the dramatic actor could pull off comedy.

After an audition with the producers, Asner was brought back to read opposite Moore.

"America’s sweetheart — that was my first impression. Automatically, her beauty took hold. She was the goddess, and I hoped that the little lady — or the big lady, I should say — would overlook my faults.

I read as I thought they wanted to hear me read, and they laughed and said the appropriate “Thank you, we’ll be in touch.” From what I heard, after I left, Mary turned to them and, with a tremendously screwed-up face, said, “Are you sure?” I don’t blame her for asking the question that way, because it was a meshuggeneh reading. The producers then said to her, “That’s your Lou Grant.”

I like to think the Mary-Lou relationship was special. Lou served as a guardian for her throughout the history of the show and sometimes pushed her forward when she wasn’t ready to be pushed.

Tears and Tinkering

A few days before the pilot was filmed, Moore & Co. performed a test version of the show in front of a live audience. It did not go well.

The audience did not laugh to any degree. Mary was in horrendous tears. Supposedly, Grant said to the producers, “Fix it.

"At the Friday filming, the producers said, “Just play the hell out of it.” We went out there and we kicked the s— out of it. I got to the “You know what? You’ve got spunk” scene, and I had a devilish grin on my face. And her character basked in that credit I was giving her. I immediately turned on her and said, “I hate spunk.”

We just felt that the whole scene was a great jumping-off place for the show. It flew like the wind and collected all kinds of huzzahs. We marveled at how the early prognostications were full of s—. I felt, at that moment, that I could’ve taken those 300 people [in the audience] and marched them off a cliff — they were totally in my power. From that point on, the show just floated on clouds.

A Feminist Rises

In the first two seasons, Mary Richards was Lou Grant’s eager young protégée, not looking to rock the boat. But in the third season, in 1972, she became aware of (and pushed back against) gender inequality in the workplace.

In the season 3 premiere, Mary discovers that her predecessor, a man, earned $50 more per week. When she challenges Lou on this, he unapologeticaly notes that men need to make more money because they have families to support. Mary responds with a logical, eloquent argument for equal pay that rings relevant today. From that time forward, Mary evolved into a more vocal advocate for herself and, by extension, for all working women. Just as important, Lou — an old-school man’s man — often found himself swayed by her positions, signaling to men that giving women power didn’t make men weaker.

All of this was cloaked in the show’s humor and charm.

"The producers saw Moore’s pluses and realized that they were a bonanza to draw from—both her wit and her intelligence and her comic timing—to push Lou’s envelope as far as it could be pushed. I was surprised to hear that we were breaking ground and, later on, those saying it was revolutionary. I couldn’t believe that everybody tended to think of this as such a big deal. Women certainly regarded it that way.

I never saw any reaction [from Moore] except a pleased-as-punch smile. She didn’t comment on it, nobody else did. I didn’t comment on it either. “If that’s what they think, fine, we’ll forge ahead and amass more sympathetic votes.” Rights advancements come about many times by quietly instituting it rather than blazing it across the front page.

Love is All Around

Moore kicked down a door for comedic actresses that had been open only a crack: the idea that women could be beautiful, smart, and funny. Moore kept her humor character-based rather than clownish.

Although, in one famous episode, a clown becomes Mary Richards’ undoing.

"When Chuckles the Clown bites the dust, Mary tries to ride herd on all of us to be properly mournful and observant, and then the minister gives his sermon. Each time he mentions something — ”A little song, a little dance, a little seltzer down your pants” — Mary breaks up giggling, and the rest of us all look at her like, “Are you nuts? It’s terrible what you’re doing!” She ends the scene crying. That’s what [Moore] could do: Mary could laugh and cry at the same time, and that was a special gift that truly delineated her.

There wasn’t a person she was unkind to in her glory days. There wasn’t an animal that she didn’t love. I can’t say I ever take the measure of most stars of TV shows, but she was quite willing to stay in the background and give the star turn to whoever had that moment in the show, be it a permanent member of the cast or the guest. She was willing to bask in their reflected light.

Mary After All

In the years after the show went off the air and Asner went on to star on "Lou Grant", Asner and Moore drifted, but his admiration for her, he says, never wavered.

"Mary gave us brilliant moments for seven years. She was one of the greats. She was unique in terms of beauty and wit — a nonpareil. I call the show “seven years of the yellow brick road,” and I certainly was given a great gift. I think the others in the show felt the same way.

There would be no show without Mary Tyler Moore. She was the show, and we were damn grateful she was there. Thank God fortune dealt us that hand.
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