High Society

I never was a big fan of Absolutely Fabulous....so maybe that's why I liked this one so much! Although when they got rid of the Val character, it was a death blow to the show - I still have one of the episodes on tape because I enjoyed it so much. This was the episode where Stephano quit and Val took over the office. I've watched this with numerous friends numerous times and no one has hated it (as the person before me claimed). I'm unsure if this is because he may have only seen one episode. Anyhow, I had a feeling this would not make it because it was over the top and not a great fit for Murphy Brown (more like something that would go well with Will & Grace). Perhaps when the Gay network is up and running, they will put this on again.

I found this comedy magnetic and extremely funny. The chemistry between the two women flowed like an electrical charge that energized the humor and the humor and dialog were dead-center sync to the plot lines. It was a well-rounded and seamless and, like most 1st-season shows, a little vulnerable, but without the usual bumbling and apologies that go with a new show. It was great theater and funny enough to re-knot my belly button a few times per episode.

The constant comparison to "Ab Fab" seems to state more about the utter lack of imagination on the part of the reviewers than an actual likeness. "Ab Fab" was scored along the lines of "Benny Hill" and "High Society" was scored closer to some of the modern-day TV comedies like "Scrubbs" or "Desperate Housewives".

Often-compared to "Absolutely Fabulous," but really nothing like it, "High Society" should have been an enormous hit. Jean Smart and Mary McDonnell had remarkable chemistry together and the writing was top-notch, which should have been enough to keep the series afloat. Wrong. Some people had a hard time picturing Smart as anything but her homely character from "Designing Women," despite the fact most of her roles have been closer to Ellie than Charlene. Critics trashed it. Even actor John Schneider trashed it in an interview on TNN (then he subsequently ended up on "Veronica's Closet"). In several reviews, the characters in "Society" were criticized for laughing at their own jokes. Yet a few years later, Megan Mullally was hailed on "Will and Grace" for doing that same thing. Take the two characters from this show and roll them into one and you have "Will and Grace"'s Karen Walker, complete with Dott's look and Ellie's last name. Personally, I think this was one of the funniest sitcom of all time - too bad it was so closely compared to AbFab that very few people remember it!

I have seen a lot of TV in my time, both good and bad, and I cannot agree with the comment that this show is hideous. My only problem is that I was too young to appreciate both AbFab and High Society when they first started airing. I have seen on this site where people scoff at the use of Valium as a way to get a laugh because the drug is too weak. Let's face it. None of the Americanized versions of British comedies were allowed to be as free with their material as their counterparts in the 1990's. American television was more restricted than other nations, especially on regular networks. People immediately labeled Jean Smart as "family TV" because of one role, so they failed to accept her as Ellie Walker. Mary McDonnell is a two-time Oscar nominee with amazing talent, so how could she possibly be funny? That's what people thought, and they were wrong. What's sad is that some of the people who put this show down are probably tremendous fans of the American adaptation of The Office. Funny how it's acceptable today to rip off a show, but ten years ago, it was a deadly sin.

This show was the first of the 3 big network's attempts to translate the British phenomenon "Absolutely Fabulous" for American tastes (read: less vulgarity, less foul language, NO overt drug-taking, less drinking, etc.) that actually reached the screen ("Cybill" is often reported as being an "AbFab" spin, but the two have very little in common to acknowledge its British cousin as an influence); its quick failure ensured that it would also be the last. Mary McDonell & Jean Smart made for a great comedy duo and shared a good deal of chemistry, but they were surrounded by a lackluster supporting cast and amusing but often messy writing that too quickly relied upon a one-liner than dialogue that could flesh out a character, no matter how funny that one-liner may have been. Yet another interesting attempt to adapt a British program to American tastes.