Media critic Jaime J. Weinman on what was so good about one of my all-time favorite TV shows, WKRP in Cincinnati:

“WKRP” has never really had a reputation on a par with “Taxi” or “Mary Tyler Moore” or “Barney Miller” or “M*A*S*H,” but I think it was actually the best sitcom of its era when it came to the most important thing a sitcom can do: create memorable, distinctive characters and create comedy from those characters, instead of a lot of extraneous jokes. The characters on “WKRP” were all so well-defined that seeing them act out of character, even slightly out of character, could be inherently funny, and the characters all had different and well-defined relationships to each other, so you could put any two characters together in a scene and get a different type of comedy out of it.

 

The other thing Wilson did with the show was give it more variety than most sitcoms: it’s not just that they’d do an occasional “very special episode,” like the one about the Who concert in Cincinnati where kids were trampled to death; they would actually change the style and tone from week to week depending on what the story was about. So one week it would be a farce, another week a dramedy, still another week a traditional sitcom story and still another week an extended comedy sketch (there is one episode, “Hotel Oceanview,” that is literally an adaptation of a Toronto Second City sketch by the same writer). “Mary Tyler Moore” and other MTM and MTM-style shows valued consistency in style and tone; “WKRP” fluctuated and experimented more, which may explain why it was treated as the red-headed stepchild at MTM (“I wouldn’t watch it” — Mary Tyler Moore).

The rest of his post contains a whole mess of ‘KRP clips for your viewing pleasure. Go on over and have a look…