Betty White’s muffin on the boob tube

Which came first: the Snickers ad, the Facebook group, or SNL’s crowdsourced mandate to fete American sitcom icon Betty White? American as Apple Pie
To me this blonde’s netroots smack of a publicist’s hand, and White’s performance Saturday night all but validated SNL’s reluctance until now to spotlight the octogenarian’s one note routine. The SNL tribute could laud only her age, raising the specter that a proverbial domestic bread might have been named for her.

Betty White was a broadcast fixture, not a luminary. On the plus side, she hasn’t stooped to pitching life insurance on infomercials, although I suspect her screen persona lacked the gravitas. It does look like the Snickers “Divas” campaign wants to boost White’s brand recognition up to the visibility of its other stage and screen legends.

Of course Betty’s first name predates namesake archetypes of American comedy, but it’s no indication of her contribution. When a McGruber sketch had the title comic break character to wend an impassioned I Love You to grandmother White, I was horrified to predict that the actress’s persona had no stretch to stray from her signature negativity.

White may have begun her career in the age of the Honeymooners, but her caricatures belong squarely to the American sitcom as it devolved into cynicism. The high notes of Mary Tyler Moore and Golden Girls were achieved in spite of muddy cutouts like Betty White. The social relevance of every sitcom that followed was twilighted in my opinion by Oliver Stone’s brilliant parody of American television in Natural Born Killers.

Seeing Betty White on SNL reminded me of attending a celebration of another show business icon Shirley Jones. Both larger than life, both admirably spry, and both masters of well-honed chops, but we’re talking pork chops, with no more hue than the rosy cheeks of Paula Dean. Luminescent as they come, Jones could emote with a twinkle, but that didn’t make her Lena Horne. I know, apple pie is not an art medium.

Betty White can play the ditz or calculating shrew. Where else was SNL going to go with her but convalescent home vamp? I’m not sure the jokes made at the expense of her muffin weren’t clammier than Alec Baldwin’s Schweddy Balls. Hohoho, the ultimate promise of the boob tube.

Like surviving veterans of the wars quickly receding in our memories, White deserves honors rekindled with every new generation. Like the soldiers’ contributions, I’d say her deeds in particular were forgettable. We don’t ask our aging vets to reenact their killings. Bad jokes are worse than reenacted, they’re swung around afresh.

Leave Betty White to shill for candy bars, she’s part of America’s cultural pantheon and deservedly so. Laugh track optional.

Counterpoint duets in American musicals

A now Christmas classic has breathed new life into Frank Loesser’s “Baby it’s cold outside / I really must go.” After burning out the household listening to all available recordings, I yearned for other counterpoint duets. Neither Broadway, nor the internet was very forthcoming, hence this post.

For a duet with a similar whimsical wolf vs. mouse dynamic, there’s “Small Talk” from Frank Loesser’s Pajama Game. (Preferred duo Doris Day and John Raitt).

“An old fashion wedding” from the 1966 revival of Irving Berlin’s Annie Get Your Gun. (Ethel Merman and Bruce Yarnell).

“I wonder why / You’re just in love” from Irving Berlin’s 1950 musical Call Me Madam. (Ethel Merman and Russel Nype or Donald O’Connor).

Irving Berlin’s earlier “Pack up your sins and go to the Devil” features syncopation on both parts.

There’s the “Will I Ever Tell You” counterpoint to “Lida Rose” in Meredith Wilson’s The Music Man. And the combo of “Goodnight my someone” with “Seventy-six trombones” (Shirley Jones and Robert Preston).

There’s the infamous “Tonight Quintet” from West Side Story. (Best remake: South Park).

The 1959 musical Little Mary Sunshine lampoons counterpoint with three parts: Playing Croquet, Swinging, and How Do You Do?

Stephen Soundheim repeated the feat in A Little Night Music with “Now,” “Later” and “Soon.”

Less romantic counterpoint could include “All for the best” from Godspell. Can you think of any other?

(The best pairing for “Baby it’s cold outside”? Physical performance: Esther Williams and Ricardo Montalban, best repartee: Margaret Whiting and Johnny Mercer, best contemporary match: Zooey Deschanel and Leon Redbone.)