When Sue Ann leaves a note in Lou's pants after they spend the night together, Mary finds the note and comments that "Whoever wrote this note dots their 'I's with little hearts just like Sue Ann does!"
Mary, charged with the newsroom budget, discovers that she makes less than the man who had the job before her. She argues for equal pay and eventually ends up with a raise -- though it doesn't totally make up the difference. Gloria Steinem would later zing the show during a panel discussion with co-creator James L. Brooks for that less-than-perfect ending. One could argue, however, that it was realistic for the era and was actually a nod to the continuing necessity of the women's movement.
Phyllis tries to set her visiting brother up with Mary but he seems more interested in Rhoda. Phyllis is distraught but Rhoda finally assures her: "He's gay." To which Phyllis replies: "Thank God."
After winning his first Teddy Award, Ted meets his idol, Walter Cronkite, and asks him what words he has trouble pronouncing.
In "Mary Midwife", Ted's wife Georgette goes into labor during one of Mary's legendary dinner parties, forcing Mary and Lou to act as midwives.
The series launched three spin-offs: Rhoda (1974-1978), Phyllis (1975-1977), and Lou Grant (1977-1982).
The character of Rhoda, Mary's neighbor and eventual best friend, was originally described as "a self-made loser--overweight, not good with hair and make-up, and self-deprecating." Of all the actresses who tested for the role, Valerie Harper was the producers' hands-down favorite. But there was one problem: she was beautiful. So they decided they'd make Rhoda the type of woman who put herself down because she didn't think she was pretty.
Mary is horrified when her parents move from the suburbs to a home just a few blocks away from her apartment. Her trepidation is justified when she stays out all night and her parents start badgering her about the incident.
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