Headscratchers: The Nanny
Shouldn't kids who grew up in a house with a British father and a British butler have developed something of an accent? Even if Max was rather distant and Niles didn't spend much time with them, you would think that they would have been around enough for the kids to hear them speak and learned something through sheer osmosis.
- First off, they go to an American school, meaning they already spend most of their time surrounded by American accents. Second, the whole reason the show began was that neither the father nor the butler could really handle raising the children, and needed someone to bring in someone who could do the whole messy "raising kids" business for them, thus they hired The Nanny (plus, she had style, she had flair!). Presumably, the kids have gone through a series of American nannies, and that's where they learned their American accents. Heck, by the later parts of the series, the kids have even started learning to speak Yiddish as a Second Language and have adopted some of Fran's other speech patterns.
- Children pick up their speech patterns from their peers, not their parents. I mean, think about it; do you talk the same way as your parents?
- It's also been shown that Sarah (Maxwell's late wife) was American.
- This troper knows an American couple that live in England. Their little kid has a British accent. Generally, while you can pick up accents from your parents, you'll pick up the accent of the area you grow up in.
"The Nanny Behind the Man"
- How Maxwell treats Fran in this episode Headscratchers. A brief summary of the episode: Max wants to get a playwright under contract before Andrew Lloyd Webber gets him. To do that Fran, at Max's request, gets Yetta to wine and dine him. The plan works but it turns out that he's had writer's block for years and only Act 1 is done. So Fran, again at Max's request, gets Yetta to dump him, causing him to lose the contract to Weber. Problem is, that his relationship (specifically the dumping) enables the playwright to get over his block and finish the play - making Weber a lot of money. Despite the fact that everything Fran does is with Max's approval and in order to help him, he blames Fran for everything going wrong and the audience is supposed to agree with him. I realize the show runs on Rule of Funny, but it just wasn't funny. All it did was make Max look like an asshole.
- It's the same problem that happens on Frasier a lot. Fran's a Butt Monkey so to some extent we're supposed to find her suffering funny. (And, admit it, sometimes we do.) It's just that in some cases, you wind up empathizing more than laughing, so it winds up as Dude, Not Funny!. It's basically a subjective reaction to the humor of the show.
"Honeymoon's Overboard", and possibly the whole Sixth Season
I really hated C.C.'s callous nature about Fran's well-being after Fran and Maxwell get lost on their honeymoon. The previous episode, which had Fran and Maxwell
finally tie the knot, showed C.C. finally relenting in her pursuit of Maxwell's affection, even amicably turning to Niles for a romantic relationship. But she somehow turns back into the jealous Rich Bitch
she was throughout the series in this episode. She's shocked to discover Maxwell's disappeared, but she's totally uncaring that Fran disappeared with him. It makes the entire sixth season feel like a Post Script Season
- Yeah, but after C.C. relented, she then grabbed a piece of the decorations to use as a veil, and started to walk down the aisle until Niles had to forcibly remove her. She never really gave up on Max.
- Or at least she didn't give up on Max until Niles and C.C. had their big blowout fight in Season 6 after Niles proposed to her and she shot him down; Niles points out to her that she's pining for a man who will never love her romantically, and that Max and Fran are now married and about to have kids together. He then brings up the possibility that C.C. will end up being a bitter alcoholic in rehab if she doesn't get a grip. C.C. realizes Niles is right, and the next thing we know, Fran and Max are walking on on Niles and C.C. in bed
The episode with the tabloid cover
In the episode where the trashy tabloid falsely alleges that Max was cheating on his first wife with Fran, why oh why did Maggie instantly believe it? The paper was a tabloid
for crying out loud! The same tabloid was also printing a story about late funnyman Redd Foxx's ghost being trapped in an apple later in that episode. Maggie got into Columbia University, so she was supposed to be intelligent right? So why did she coming storming in completely convinced that the story was true?
- Personal guilt over being so happy at getting a new mom. She was the only one that really remembered her mom and it was bothering her deep down.
- It's was (rather pathetically) explained in the episode by Maggie to Fran. She said it was because the UST between Fran and Max was so strong and so obvious, what else was she supposed to believe. She also mentions that this helps her understand why A) her father hired a door-to-door cosmetics saleswoman to raise his children and B) she was still their Nanny despite the fact that Maggie was in college, Brighton was old enough to drive, and Gracie was somewhere around Age 12-14 and, possibly being the smartest person in the family, more than capable of taking care of herself. Not the most solid explanation in the world, but at least they did try.
- It also fits into her personality. Maggie is incredibly bland and her characterization consists of just getting involved with some random thing to cause conflict for the episode.
Maxwell turning down Cats, Hair, and Tommy
- Are we supposed to think he's an idiot for turning down Hair, Tommy, and Cats. First off, if you'd never heard of it and didn't know what a big deal it would be would you produce Cats? No, no you wouldn't. Also, Hair has a song titled Sodomy. Yeah I think Maxwell's first glance reaction of it being a dog was accurate. And as for Tommy... it involves a religion that uses pinball for worship. At first glances all three sound stupid but they were big hits... and how would Maxwell know that? Also, timeline issues. Hair was put on in the late sixties, Tommy in the seventies, and Cats in the eighties. So how old is Maxwell and how long has he been doing this?
- Tommy didn't actually make it as a Broadway musical until 1994; it's conceivable that he passed on it because the movie version is notoriously awkwardly regarded even by people who enjoy the original album and its concert stagings. Cats was first produced in 1981; if he's in his 40s or so (his hair's starting to gray, it's plausible), he could have been in the business ten to fifteen years before the show's timeline with no trouble at all. As for Hair, I can only assume it was referring to a revival- and there was, in fact, a nationally touring revival in the US in 1994. Considering Hair is such a product of the 60s, and the 90s were more nostalgic for the 70s, it's possible that he didn't want to get attached to what he saw as a dated, sure-fail rehash- and then instead the tour sparked new interest in the musical.
- What's really puzzling is his constant rivalry with Andrew Lloyd Webber, who at the time was mainly a composer who needed producers himself to get his musicals put on (though he was so successful that there wasn't too much of a gambit going on). To the best of my knowledge, Lloyd Webber wasn't in the producing game (except for concept albums of his own shows) until he funded the A.R. Rahman musical Bombay Dreams in the 2000s.
- Hindsight is 20/20. This applies not only to people claiming that they would have known what to do in just such a situation, but to thinking other people are idiots for not doing exactly that. (See: every single other Headscratchers page on the entire flipping wiki.) Max's justifications for not taking it are exactly the same as yours: he thought they sounded stupid at the time and who could have known they'd be huge hits. The reason we're supposed to laugh at this is the same reason he's been around long enough to pass on all those shows and why he has a rivalry with an extremely well-known Broadway creator and not some producer that 99.9% of the world has never heard of: it's a comedy show, not a documentary about Broadway.