The death of Robin Williams this week was a shock, the kind of event that makes people stop, even in the crush of other terrible news from all corners of the globe, and feel a stinging sense of loss for someone they never met.
That there was the ritual rush of response on Twitter, Facebook, and in online comments, was to be expected. Though Williams had had issues with substance abuse, and made trips to rehab, this wasn't someone who seemed in danger of going over the edge.
The idea that a performer who was synonymous with rapid-fire wit and boundless energy would take his own life was at first hard to believe, and then deeply sad.
But even as Williams is mourned, the scope of reactions illustrates how wide-ranging his appeal was. When Williams died at age 63, he had been so famous for so long that his original audience grew older along with him, and younger generations discovered his movies, thanks to TV airings, DVDs and Netflix.
His body of work includes kid-friendly fare, going all the way back to his star-making TV series, "Mork & Mindy" (1978-1982), with Williams playing the lovable alien, Mork from Ork. Many more kids grew up watching the movies, "Aladdin" (1992) with Williams' sensationally funny voice work as the genie; "Mrs. Doubtfire" (1993), whose farcical plot, featuring Williams as a dad who poses as an English nanny, was layered over a story any child of divorce could relate to; and the fanciful fantasy of "Jumanji" (1995.)
Sensitive adolescents can still relate to "Dead Poets Society" (1989), a coming-of-age tale with Williams as the idealistic, dedicated teacher it's easy to dream of having. Slightly older and wiser college-age viewers can identify with the class and personal struggles of underdog genius Will Hunting (Matt Damon), and Williams' wise but down-to-earth therapist, in "Good Will Hunting." The 1997 drama, directed by Portland-based filmmaker Gus Van Sant, won Williams an Oscar for best supporting actor.
And adults can satisfy their own tastes with any number of Williams movies, including more experimental efforts, like director Terry Gilliam's "The Fisher King" (1991); literary adaptations, such as Williams' first movie success, "The World According to Garp" (1982); or solid commercial movies, like "Good Morning, Vietnam" (1987) and "The Birdcage" (1996.)
In recent years, it seemed Williams was most alive in his occasional TV appearances, most notably as a guest on late-night talk shows hosted by David Letterman, Jay Leno, Conan O'Brien, Jimmy Kimmel and others. His mind racing, Williams could always be counted on to break up the talk-show formula, and soar off into his own free-association zones.
Though Williams starred in the 2013-2014 CBS comedy, "The Crazy Ones," the David E. Kelley-created show never quite found its tone, and it ran only one season.
But Williams' most striking recent performance was on television, in a memorable Season 3 episode of the FX comedy, "Louie." In the 2012 episode, Louis C.K. and Williams meet at the funeral for a club owner they knew, and who, they mutually agree, was a jerk to the comics who performed at his club. The two then go to a strip club that was a favorite of the late and unlamented club owner. The employees at the club are shocked to learn of their favorite customer's death.
Amazed at this response, Louis C.K. and Williams walk out of the club, into the daylight. After a moment, they both bust out laughing, and promise they'll attend the funeral of whichever of them dies first.
The echo of Williams' own way-too-premature death makes the episode affecting in an entirely different way now. But the deliciousness of the pause he shares with Louis C.K. as they leave the club, and their laughter afterward, are a reminder that this performer known for his anarchic merriment was sometimes at his best when he was most subtle.
And Williams' best was something special, and rare, and worth remembering.
-- Kristi Turnquist