All Is Forgiven

In one scene, Paula and another character are dealing with some problem when a third person interrupts them (I told you that my memories were vague). Paula protests that they can't deal with the interloper's problem because they are too busy dealing with their own. "We have whales to fry!" I love that expression and occasionally use it myself. In another episode, Oliver has been a writer on the show for some time but has been very frugal with his increased salary. His co-workers encourage to splurge with some of his money and treat himself to a new car. He goes out and buys a high-end sports car that is way outside his price range. Now his friends advise him to return the car and get out of the financial obligation. "You can't just return a car like this; they won't take it back!", he protests. Nicolette Bingham, Carol Kane's character, replies in her honeyed southern accent, "Why, Oliver, if you simply inform them that you won't be making the payments, I'm sure that they will be happy to take it back."

Terrific show, indeed.

The writing was ahead of its time, but the show never had a chance to smooth out the rough edges. The acting was all a bit stagy and overplayed. I'm sure they would have improved if they'd even had a full season.

One of the best lines came from Terence Knox's character, Matt. He was concerned that the family never had supper together. Here's a paraphrase (most likely) of the lines:

Even the Borgias sat down to eat together....They didn't all get up, but at least they made the effort.

I'm glad to see I'm not the only one who remembers this show. I enjoyed it a lot, not to mention I'm the same age as Shawnee Smith and had a thing for her. Two lines in the show that stick out for me are when Carol Kane's character said, "You've caught me between social engagements; my debutant party and my funeral." There's also the exchange between Bess Armstrong and her husband, when Bess has booked a vacation to Mexico, but he says he has some news for her. Enthused for her planned trip, she insists he sings the news to her, so to the tune of "Aye Yai Yai Yai," they sing:

Matt: You know my daughter.

Paula: Her name is Sonia Russell.

Matt: Well she got kicked out of school again and she's come to live with us forever.

I remember "All is Forgiven" mostly because I was going through a "aren't VCRs neat" phase, and decided it would be cool to tape all of the opening theme songs from the 1986 TV season. Since I've watched that tape a few times over the years, the cast of the show remains clear in my head.

I think the show would've grown on people, but they probably would have had to iron out the kinks between the home life and the work life (like "Barney Miller" did), because they didn't mesh very well.

One scene that stuck with me was a fight between stepdaughter Shawnee Smith and stepmother Bess Armstrong. They were fighting, and Bess thought she had the upper hand, shouting: "When you're old, I'm going to be there, dancing on your cake!" And Shawnee replied, "GOOD, because you certainly won't be able to CHEW it!" Did I mention I love Shawnee Smith? Though the "Saw" films made me see her in a whole new light.

I loved the plot of this sitcom: a woman gets a job as a secretary at a soap opera then because of a sudden power vacuum becomes the producer during her first day on the job. Bess Armstrong is a fine actress, but the character was too average--she needed to be either crazier or stiffer. Either would have made for more comedy. One scene, however, has stuck in my memory, a comedy classic: the head writer of the show (Carol Kane) is visited by her great lost love from the past, a man she never got to dance with. She is meeting with him in an office while the others wait outside, and she asks them to hum "The Tennessee Waltz" over the intercom so the couple can dance. The music starts out VERY tentatively and they begin to dance. As the music builds and gets more confident, the dancers talk, agree to go somewhere else to get better acquainted, and leave. The hummers continue their song to the empty office, adding harmonies, counterpoints and flourishes, never knowing they're playing to an empty house.