![]() ![]() ![]() Virginia regales the assembled physician with show tunes. At a meeting of the American Medical Association, Penelope and her talking vagina, now called "Virginia", are revealed to the public for the first time. Pearl reveals her secret to friends of his in show business. It has a propensity for singing show tunes. In the psychiatrist's office, her vagina reveals a new talent, singing. At the salon where she works, her talking vagina insults a lesbian client, which leads to her being fired. Penelope, a young hairdresser, discovers her vagina can talk when it criticizes a lover's performance, who leaves in a huff. With her self-confidence restored, she makes several hit appearances on TV talkshows the theory, apparently, is that Virginia makes an even more interesting late-night guest than Truman Capote. Her talking vagina has a mind of its own, which includes a desire to sing they wind up exploited by her psychiatrist, who launches her on a career in show business.Īccording to Michael Medved in The Golden Turkey Awards, the talking vagina precipitates many developments in her life:Įscapades include a sojourn in jail with a basketball team and sessions with a psychiatrist to help Virginia overcome her (its?) emotional problems. The film stars Candice Rialson as a hairdresser who discovers her vagina has the power of speech after it derisively comments on a lover's performance. The actor playing the salon owner's son is annoying and has no rapport with Mary Ruth - something crucial to the success of the project.Chatterbox (addressed in the opening credits as Chatterbox! also known as Virginia the Talking Vagina) is a 1977 American comedy film about a woman with a talking vagina. The premise of the departed wife seems forced and awkward. But overall this seems calculated and contrived and the leads lack chemistry. What will prim and earnest Mary Ruth bring to the fun flashy salon that it currently lacks? Dull lectures that kill the pace? An earnest attitude that damps down the fun and colour? The premise seems to suggest she is really to leave when a better offers presents itself whereas in The Nanny you knew Fran loved to be there and didn't really want to leave. Kim has a passing snipe at Mary Ruth but overall doesn't seem to be really affected by her arrival. Claude is already content there so Mary Ruth doesn't present him with a new friend or ally. The hunky salon boss she is attracted to isn't too smart, which limits the character and possible stories. You wouldn't aspire to work there or live there. Reversing it to have the fish out of water lead character a prim acting hopeful in a trashy and flashy hair salon in Queens isn't much of a fantasy. Fran's arrival affects the existing character relationships of the household: she is a rival for CC and creates a barrier in CC's romantic pursuit of Maxwell, she is an ally for Niles, a friend for Maggie, a guide and leveller for Brighton, support for Grace, and a romantic attraction for Max. Fran brings in warmth, fun, glamour - and comedy clashes with her Queens logic. The rich household was luxurious but cold and rigid - it lacked a heart. The Nanny was fun as Fran is a street-smart Queens girl living in a fancy mansion in Manhattan with an elegant boss who has a glamorous lifestyle. She might have to leave suddenly if a big acting job comes along. Things fall into place for her when she lands a job at the title hair salon, and can sleep in the backroom. ![]() Here the main character is a naïve would-be actress Mary Ruth (Tracy Nelson) with no home or job. But the main similarity is they both failed. The spinoffs had the same basic character types as the parent show, but with elements switched and reversed. The MTM spinoff had three African American regulars - this has an Asian character and a gay character. ![]() The pilot ideas increased the diversity of the regular cast. Another fave sitcom of mine Mary Tyler Moore, also had a similar backdoor pilot (His Two Right Arms) at the end of its second season. ![]()
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