New Poll – Who SHOULD Win As Outstanding Lead Actress In A Drama

Our first Emmy Poll of the year and the task is both simple and self-explanatory. From the choices listed all you need to do is vote for the one that you think should win the Emmy for Outstanding Lead Actress in a Drama. Not necessarily who you think is going to win but who you think is most deserving of the win. If you've got reasons for picking the actress that you've chosen, please please please feel free to comment in this thread, the official place - on this blog anyway – to explain why you think a particular peson should win this Emmy. (I really want your comments; I get so tired of deleting Comment Spam for Chinese porn sites – at least I think they're porn sites, regardless they add nothing to the conversation).

This poll will be up for a week. I will have the results and the next poll up on July 17^th.

The 2010 Emmy Award Nominations

Ah, the Emmy nominations. A high point in what has so far been pretty much a downer of a summer. While many places have been suffering a killer heat wave, around here (Saskatoon) we've been enduring the rainy season. Over the past couple of weeks at least it has been rare to get a stretch of three days when it hasn't rained. Mostly it had rained – at least a little bit – every day, and some of those have been downright torrential downpours. Basements have flooded despite several million dollars spent to build large containment tanks for the storm sewer system – the tanks filled as fast as the rain fell – and I've seen sewer grates in low lying areas blown out by water. The city's main ballpark – which was relocated to the wrong place about 50 years ago because there an existing concrete grandstand and who cares that the place is low lying and has ridiculous drainage that no company is daring enough to try to correct – has repeatedly flooded, and no sooner do they get it pumped out than the rain floods the place again. My garden is overrun with weeds because the soil is too clay– like and when it's wet I can't get the hoe to penetrate it let alone cut out the weeds. And remember, this is Saskatchewan where things are supposed to be DRY!

But enough of general whining. Let's turn to the Emmy nominations where we can hone down our whining to specific people and shows that do and do not deserve to be nominated. Because inevitably the people who nominate shows for the Emmys get it wrong in at least one show or person who should have been nominated and wasn't and/or was nominated and should have been. I mean I don't mean to criticize – wait, yes I do that's the whole purpose of this Blog after all – but let's face it there are some obvious people and shows that are nominated and shouldn't and others that are obvious snubs. But let's get into specifics.

Outstanding Drama Series

Breaking Bad – AMC

Dexter – Showtime

The Good Wife – CBS

Lost – ABC

Mad Men – AMC

True Blood – HBO

I figure we might as well start off with the big categories, right? Overall not too bad; mostly cable shows, but according to Mad Men creator Matthew Weiner all of these shows were offered to broadcast networks first (I'm not sure I believe that but even – maybe especially if that's true, it's a discussion for another time). I don't believe I can come up with another network series that is particularly deserving of the nomination – Parenthood maybe (I haven't seen it); Friday Night Lights perhaps (or is that just a cable show that appears on Broadcast TV in the summer). However, even though I don't get to see the show, I have been told that Sons Of Anarchy is deserving of an Emmy nod. In terms of the shows that are nominated, I'm going to call it a three way race between last year's winner Mad Men, Breaking Bad, and Lost. Lost might get the nod because it was the show's last but the Academy tends to stick with winners – as in last year's winners – so maybe give it to Mad Men.

Outstanding Comedy Series

Curb Your Enthusiasm – HBO

Glee – FOX

Modern Family – ABC

Nurse Jackie – Showtime

The Office – NBC

30 Rock – NBC

Okay, I'm going to state what I think should be the obvious in terms of nominations – where is The Big Bang Theory? Does the Academy regard the show as a one trick pony, that trick being Jim Parsons's character of Dr. Sheldon Cooper? And even though I don't get to see the show, from what I've heard putting Nurse Jackie in the comedy category is stretching the definition of "comedy" to the breaking point. In terms of which show I think will win, despite the recent dominance of The Office and 30 Rock in the past few years I would suggest that the Academy is likely to go with the current critical flavour of the month. In other words Glee.

Reality Competition Series:

The Amazing Race – CBS

American Idol – FOX

Dancing With the Stars – ABC

Project Runway – Lifetime

Top Chef – Bravo

Obvious snub – Survivor, probably Heroes vs Villains. I mean seriously, how could the Academy ignore all of the moments that the show brought us in that season; Boston Rob starting a fire by literally rubbing two sticks together (first time that ever worked on the show), the battle of wits between Boston Rob and Russell (which Rob eventually lost because most of the people he was trying to use to get rid of Russell were terminally stupid and listened to Russell), and the eventual triumph of (relative) good – that would be Sandra, the only person ever to win two seasons of Survivor – over evil – demented Hobbit Russell, who never did get that there was a social side to the game. I've never really been a fan of the Project Runway – Top Chef style competitions (too much of a cookie cutter concept) so one or both of them wouldn't be missed by me. Given the competition I'd say Amazing Race wins again, even with a lacklustre season.

Outstanding Lead Actor In A Comedy Series

The Big Bang Theory – CBS – Jim Parsons

Curb Your Enthusiasm – HBO – Larry David

Glee – FOX – Matthew Morrison

Monk – USA – Tony Shalhoub

The Office – NBC – Steve Carell

30 Rock – NBC – Alec Baldwin

I have this disturbing image that next year Tony Shaloub will be nominated in this category for Monk despite the fact that he's sitting at home in the La-z-Boy and not actually do any acting at all. Shaloub is a talented guy and all but creatively this show has been over for years and the academy refuses to acknowledge the fact, Meanwhile Ed O'Neill hasn't been nominated for Modern Family – the only adult cast member from that show not to get an Emmy nod. Now I'm not saying that O'Neill should get the nomination in this category – the show is very much an ensemble cast with no real "star" – but O'Neill really does deserve a nomination and why not here. As for the winner, I think Jim Parsons has the funniest character but the Academy will give it to Alec Baldwin again – or maybe Steve Carell because he says he's leaving after the coming season.

Outstanding Lead Actress In A Comedy Series

Glee – FOX – Lea Michele

The New Adventures Of Old Christine – CBS – Julia Louis-Dreyfus

Nurse Jackie – Showtime – Edie Falco

Parks And Recreation – NBC – Amy Poehler

30 Rock – NBC – Tina Fey

United States Of Tara
– Showtime – Toni Collette

Why is Julia Louis-Dreyfus nominated for a show that was cancelled. I mean I know that she's a talented comedian and all but still it just doesn't seem right. And as I've said, people whose opinions I frequently resect don't see how Nurse Jackie is a comedy. Of course they regard it as a snub that Courtney Cox-Arquette wasn't nominated for her role in Cougar Town. I'm not sure about that. Her character is funny but I wish they'd have stuck with the idea of an older woman involved in a relationship with a younger man that they started out with. Maybe it's too conventional or too controversial a concept and they were worried about lobby groups like the PTC but it was an avenue to explore. Doesn't matter really; he Emmy will go to Tina Fey.

Outstanding Lead Actor In A Drama Series

Breaking Bad – AMC – Bryan Cranston

Dexter – Showtime – Michael C. Hall

Friday Night Lights – DirecTV – Kyle Chandler

House – FOX – Hugh Laurie

Lost – ABC – Matthew Fox

Mad Men – AMC – Jon Hamm

Nothing I say about who got snubbed and who shouldn't be in this category is going to matter because Bryan Cranston is going to win for Breaking Bad but it is god to see Kyle Chandler finally nominated for Friday Night Lights. I would like to say that the Academy made a big mistake by not nominating John Noble for his role as Walter Bishop on Fringe. They say that playing someone who is in some way insane is one of the toughest things an actor can do, but look at what Noble has done on Fringe this season. Not only has he played our lovably looney Walter from "our" side of the universe, but in flashbacks he's played the sane and desperate Walter who crossed over to save a version of his sone, and the megalomaniacal "Walternate" from the other side. Surely that says something about his abilities as an actor. As for Hugh Laurie, I've seen people suggest that the Academy must have voted not on his whole season of work but on just the series premiere. This betrays a failure to understand how the Emmys work. An actor nominee is judged not on a full season of work but submits specific episodes. So essentially they are selected based on what they or their agent or director or whoever else advises them regards as their best work of the season. Does Hugh Laurie deserve to be there? I don't know; I haven't seen the whole season yet. All I know is that based on his season of work, John Noble deserves to be nominated.

Outstanding Lead Actress In A Drama Series

The Closer – TNT – Kyra Sedgwick

Damages – FX Networks – Glenn Close

Friday Night Lights – DirecTV – Connie Britton

The Good Wife – CBS – Julianna Margulies

Law & Order: SVU – NBC – Mariska Hargitay

Mad Men – AMC – January Jones

Another case where the Academy has finally decided to recognise one of the stars of Friday Night Lights, Connie Britton. Three of last year's nominees are back – Kyra Sedgwick, Glenn Close and perennial nominee Mariska Hargitay. In terms of snubs, I am told – because I don't see the show – that Katey Sagal should have received a nomination for her part in Sons of Anarchy. I am inclined to believe that Glenn Close will win again for Damages, particularly since the series – which has been on FX – might not be picked up for a fourth season without help from DirecTV.

Outstanding Supporting Actor In A Comedy Series

Glee – FOX – Chris Colfer

How I Met Your Mother – CBS – Neil Patrick Harris

Modern Family – ABC – Jesse Tyler Ferguson

Modern Family – ABC – Eric Stonestreet

Modern Family – ABC – Ty Burrell

Two And A Half Men – CBS – Jon Cryer

Most of the performers in this category are new, which is unusual. Only Neil Patrick Harris and last year's winner Jon Cryer are holdovers from last year. Even more unusual is that three of the actors are from Modern Family. As I think I've said repeatedly in the past, Comedies are not my preferred form. I think the likeliest winner will be Chris Colfer, particularly if, as I expect, the three nominees from Modern Family split the vote.

Outstanding Supporting Actress In A Comedy Series

Glee – FOX – Jane Lynch

Modern Family – ABC – Julie Bowen

Modern Family – ABC – Sofia Vergara

Saturday Night Live – NBC – Kristen Wiig

30 Rock – NBC – Jane Krakowski

Two And A Half Men – CBS – Holland Taylor

The other two adult cast members from Modern Family are in this category but this time around I'm convinced that there is only one likely winner and that is Jane Lynch for her breakout performance as Sue Sylvester in Glee.

Outstanding Supporting Actor In A Drama Series

Breaking Bad – AMC – Aaron Paul

Damages – FX Networks – Martin Short

Lost – ABC – Terry O'Quinn

Lost – ABC – Michael Emerson

Mad Men – AMC – John Slattery

Men Of A Certain Age – TNT – Andre Braugher

This is one of those categories that could go just about any way. Aaron Paul, Michael Emerson and John Slattery are holdovers from last season's race when Emerson won. I think Emerson is one of the front-runners this season but given Terry O'Quinn's performance in the final season of Lost ( a show that I haven't watched since its third season – I got tired of the long wait between the first six episodes and the rest of that season, and didn't go back) I would expect him to be the other front runner. Who'll win? I'm almost convinced that it's 50/50 you pick'em between the two.

Outstanding Supporting Actress In A Drama Series

Burn Notice – USA – Sharon Gless

Damages – FX Networks – Rose Byrne

The Good Wife – CBS – Archie Panjabi

The Good Wife – CBS – Christine Baranski

Mad Men – AMC – Christina Hendricks

Mad Men – AMC – Elisabeth Moss

This may be the hardest category of all to pick. Christine Baranski is great in just about anything she does, but the pair from Mad Men, Elizabeth Moss and Christina Hendricks both turned in stand-out performances from the ensemble supporting cast from Mad Men. And then there's perennial emmy nominee (and two-time winner) Sharon Gless. And there's Rose Byrne from Damages, the only nominee in this category from last season to be nominated this year.

Later today I'll post my first Emmy Poll. They will each run for seven days (which I discovered last year is the optimal length of time for a Poll Question). The Primetime Emmys will be awarded in Los Angeles on Sunday August 27, 2010.

Weekend Videos – Top Rated Shows 1960-1964

Based on the schedule I set up for myself, I should have put these videos up last week when I didn't post any videos. The problem had a lot to do with my getting sick the weekend before last, which in turn led me to have certain problems with my right leg: extreme pain tends to keep me from getting stuff done. Feeling a lot better now, and in fact I felt a lot better earlier this week when I wrote my feelings about that atrocious game show Downfall.

Just to reiterate what is going on here, about two months ago I started posting clips from the highest rated shows overall for each year, done in five year increments. The first part of this dealt with the 1950-51 to the 1954-55 season while the second part dealt with the 1955-56 to 1959-60 season. The "rules" that I am forcing onto myself are these: I will list the top three shows for each season along with the percentage of the nation's televisions that were tuned to that show during the season. These figures are drawn from the Complete Directory To Prime Time Network And Cable TV Shows 1946-Present. If the season's top rated show has already been featured either in this post or in the previous post in this series I'll find a clip from the second highest rated show, provided that it also hasn't been featured before, or the third highest rated show if the first and second place shows have been featured, and so on. The same procedure holds true if there are no clips of the show available online. I will be including the overall rating for the show. Previously I've expressed these in percentages however in 1960 the way that A.C. Nielsen calculated ratings changed and I'm not sure that percentages is a precisely accurate manner in which to describe these numbers. Finally as before I will be including my own comments about the shows.

1960-61:

Gunsmoke 37.3, Wagon Train 34.2, Have Gun Will Travel 30.9, The Andy Griffith Show 27.8

This is the first, and maybe the only, time that I have to go to the fourth place show. This was the fourth (and final) season in a row that Gunsmoke was in first place and the third season in a row that Wagon Train and Have Gun Will Travel were in second and third place respectively. But that's fine because it gives us the chance to look at one of the greatest family situation comedies ever made, The Andy Griffith Show. Created as a backdoor pilot out of Make Room For Daddy (aka The Danny Thomas Show) the series combined small-town charm and eccentricity in the form of Mayberry and it's residents (I almost said denizens) with the heartwarming family relationship between Sheriff Andy Taylor, his son Opie, his Aunt Bee, and cousin Barney Fife. A big part of the show in this early period was the relationship between Griffith's Andy Taylor and Don Knotts's Barney Fife. The show reunited Griffith and Knotts who had appeared together on Broadway and in the movie version of No Room For Sergeants. One interesting thing that people interested in trivia like my blogging buddy Ivan G. Shreve Jr. will be aware of is that the show featured Doc Adams and Chester from Gunsmoke... the radio version, Howard McNear and Parley Baer respectively. This Season Three clip features Parley Baer as Mayor Stoner.

1961-62

Wagon Train 32.1, Bonanza 30.0, Gunsmoke 28.3

Bonanza debuted in 1959 but didn't even crack the top ten – let alone the top three – until the 1961-62 season. This coincided with the show's move from Saturday night to Sunday. The show was an immediate hit in its new time slot, opposite GE Theater and The Jack Benny Show on CBS. The elements of the show success were all in place; the family relationship between Lorne Greene's Ben Cartwright and his three adult sons Adam (Pernell Roberts), "Hoss" (Dan Blocker), and "Little" Joe (Michael Landon), all of them the children of different mothers. What set Bonanza apart from most westerns and probably accounted for its long life was that it was primarily interested in relationships – between the Cartwrights and with other people – rather than focused on the sort of shoot'em up action that was the major aspect of most westerns. The show didn't shy away from comedic episodes either. This clip tends to support that contention

1962-63

Beverly Hillbillies 36.0, Candid Camera 31.1, The Red Skelton Show 31.1, Bonanza 29.8, The Lucy Show 29.8

The dominance of the Western was finally broken by a silly little comedy that probably inaugurated the era that I like to describe as the "gimmick" sitcom. Instead of being about "happy" but normal middle clase families dealing with each other, the "gimmick" sitcoms all had, well a gimmick. The "gimmick" for The Beverly Hillbillies was a pretty simple one, the classic "fish out of water." No fish were as far out of their own patch of water as the Clampetts from the Ozark country – I don't think it's really established where the Clampetts originated from although Granny frequently mentions Tennessee and there are later indicators that they were living in southern Missouri – suffice it to say that they were from so far back of beyond that the results of many Presidential elections hadn't reached them. The contrasts were obvious, between the sophisticated city people, personified by banker Milburn Drysdale, his highly educated (and therefore grossly overqualified) secretary Jane Hathaway, and the snooty social climbing Mrs. Drysdale, and the backwoods Clampetts. The show maintained its popularity even as the Clampetts became increasingly more sophisticated (relatively – they did learn about large appliances, dial telephones, and many of the other aspects of modern life) by emphasising the caricature characters; Jethro's stupidity all while thinking he's the most sophisticated member of the family, Milburn Dyrsdale's insatiable greed, and Granny's ongoing feud against anything modern and in particular her neighbour Margaret Drysdale. The show was becoming increasingly tired, and was losing audience when it was cancelled in CBS's 1971 "rural purge" (it finished 18^th in the 1970-71 season), but would probably have survived until the end of 1973 and the death of Irene Ryan. The clip I have here includes one of my favourite minor characters, Jethro's twin sister Jethrine, as well as Sonny Drysdale, played by Louis Nye. (One final note: the original theme music performed by Flatt and Scruggs is under copyright and none of the clips I've managed to find include the original theme music.)

1963-64

Beverly Hillbillies 39.1, Bonanza 36.9, The Dick Van Dyke Show 33.3

The total opposite of The Beverly Hillbillies was The Dick Van Dyke Show. The series had no gimmick beyond the split between work and home. The show was based on Carl Reiner's experience while working with Sid Caesar, although the character of Alan Brady is less Caesar and more of a combination of Milton Berle and Jackie Gleason according to Reiner. There are two distinctive sets of characters between the work and home stories, although they often overlapped. At work, Van Dyke's character Rob Petrie was surrounded by his fellow writers Sally Rogers (Rose Marie) and Buddy Sorrell (Morey Amsterdam), the Alan Brady Show's milquetoast producer Mel Cooley (Richard Deacon) and star Alan Brady (Reiner). At home Rob was dealing with his wife Laura (Mary Tyler Moore), son Richie (Larry Matthews), and neighbours Jerry and Millie Helper (Jerry Paris and Anne Morgan Guilbert). The two sides weren't mutually exclusive of course since Rob's friends from work would often come to New Rochelle to visit, and of course Laura would often come to New York and even work on the show. There was a genuine chemistry between the various actors, the biggest being between Rob & Laura/Dick & Mary. The great puzzle today of course is how – and why – a man married to the undeniably sexy Laura Petrie (who wore those Capri Pants to far greater effect on the male libido including the young Rob Reiner – than Lucille Ball ever managed) would have twin beds. One of the great riddles of television to be sure. This office based clip features an appearance by the show's producer, Old Time Radio favourite Sheldon Leonard.

1964-65

Bonanza 36.3, Bewitched 31.0, Gomer Pyle - USMC 30.7

Bewitched took the idea of the "gimmick" comedy a step further. Samantha Stevens (Elizabeth Montgomery) seemed like an ordinary housewife, but in fact she was a witch whose mortal husband Darrin (Dick York, and later Dick Sargent) wanted to stop using her witchly powers. There are those of us who feel that making this demand showed how big a Dick Darrin really was, and certainly if the show had been created even ten or fifteen years later at the heights of feminism she would have told him where he could stick his demands, but if Samantha had been free to use her witchcraft unfettered we probably wouldn't have had a show. As it was, Samantha tried her best to fit into the normal suburban lifestyle. It wasn't easy. For one thing using witchcraft was as much a part of Samantha's life as writing ad copy was for her husband. For another thing there were Samantha's relatives from her mother Endora to her Uncle Arthur, her look-alike cousin Serena, and her Aunt Clara (the only member of Samantha's family that Darrin actually liked) none of whom really understood why Samantha was going along with this. In this clip (one of the few Black & White Season One clips I can find – most of the season one material that has been posted features colorized episodes of the show), Samantha immerses herself in local political affairs, with a politician who might just have another kind of affair on his mind.

Downfall Falls Down For Me

There are things that I give ABC credit for. One of those things is doing new series during the summer. Some of these shows are scripted dramas, some are reality shows – a few masquerading as "News" programs – and some are game shows. One of their most popular game shows over the past few summers has been Wipeout. In the last two years that show was partnered with something called I Survived A Japanese Game Show. ABC cancelled I Survived A Japanese Game Show for this summer and replaced it with a new all-American game show called Downfall. After watching the first episode of Downfall I found myself wishing wistfully for I Survived A Japanese Game Show to come back and replace this mess. After watching the second episode of Downfall I found myself wishing that ABC would bring a real Japanese game show on – with or without translation – to replace Downfall. This show is such a blot on the TV landscape that the prospect of people cheering wildly about a game whose rules I couldn't even pretend to understand that give prizes I don't know the value of would be preferable.

Downfall, hosted by professional wrestler Chris Jericho, is a show with a pretty basic skeleton and a gimmick. The skeleton is pretty simple. There's a ladder structure in which players compete for increasing amounts of money by answering questions. The higher the amount of money available to be won the more questions you have to answer. For $5,000 you have to answer four questions; for $10,000, five questions, for $25,000 six questions and so on. Each level also has physical prizes, ranging from popcorn machines and poker tables to big screen TV, large appliances, and cars. These can be lost as time passes. There are seven rungs on the ladder with a top prize of $1,000,000, and players who reach the $25,000 level are guaranteed that amount of money pluc any prizes they've won to that point in time. There is an effective time limit for each set of questions. There are nine sets of questions on different categories because if player find themselves running out of time they can push "The Panic Button" which will stop the "clock" at the expense of losing any surviving physical prizes at this level. The player gets a chance to play for the money at the level by risking either a personal possession or their "Panic Partner," usually a spouse or a family friend (although the first competitor picked her husband's naval CO who had put him on a deployment before the show).The possession or person may or may not be saved while the player wins the money. That by the way is why there are nine sets of questions even though there are only seven rungs on the prize ladder. The player can leave the game at the start of any level but if they run out of time at any stage – whether they've used their two Panic Buttons or not – they leave the game.

That's the skeleton, and let's admit that it is a skeleton that has become common on just about every game show, including that primetime show that Drew Carey did and the most recent version of Password. Now let's get to the gimmick. The show is shot on the top of a ten story building, although they insist on describing it as a skyscraper. There isn't a clock. Instead there's a conveyor belt, and the prizes are placed on the conveyor belt, with the prize money at the farthest end of the conveyor belt. A the end of the conveyor belt is a sort of chute or ramp to clear the building. When Chris Jericho starts asking questions the conveyor belt moves forward. When the prize – which is actually a full sized replica of the real prize – reaches the end of the conveyor belt it falls onto the chute/ramp and thence to ground 100 feet below. Spectacular results occur when you've got fluids, like bottled water, a giant cup of coffee, or cans of paint flying though the air and smashing to the ground. When the player puts a personal object on the conveyor belt it's at risk in the same way that the prizes that the show provides are. If you don't answer the questions over it goes. If the object is something you don't particularly like – like a man who put a particularly ugly Christmas clock that his wife loved and he hated – you might be tempted to blow off the questions until object goes over the side. Similarly the "Panic Partner" is put on the conveyor belt – they're in a harness with a safety line – and they can go over the side as well. It's not like a bungee jump but more like being lowered. Finally, if the player runs out of time, signified by the fake show money falling off the conveyor belt and fluttering to the ground, that person gets lifted up – they too are in a harness, as is Chris Jericho although his harness is designed to keep him from "accidentally" stepping over the side of the building – swung out over the side and dropped off the building.

Downfall is a
lousy game show. There is nothing original or innovative in the game play. The gimmick is just that, a gimmick and frankly one that, even when you know that the prizes are replicas and studio props and not real cars or dining room sets or aquariums still seems insultingly wasteful. The less said about Chris Jericho as host the better. He may be a charismatic wrestler, but as a game show host he's no Wink Martindale, or even – dare I say it – a William Shatner. (Well maybe close to Shatner but in terms of game show hosting, being close to Shatner is no compliment.) But I think that the worst thing you can say any game show is something that you have to say about this show: it is B-O-R-I-N-G. There have been no changes to the basic skeleton of the game that would give it greater interest over the general run of uses of this skeleton. The gimmick is fun to see once or twice but after repeated viewings simply becomes repetitive and annoying. And the host tries to compensate for having a significant deficiency in charisma (in this venue) by displaying a lot of energy. It doesn't compensate for the lack of charisma however, it only serves to annoy.

By comparison, consider I Survived a Japanese Game Show. The basic skeleton was taken from Survivor and Big Brother (a group of people isolated in a house and essentially marooned in an unfamiliar environment – Tokyo rather than a deserted island) and they have to face reward and elimination challenges. But the skeleton has been given an interesting change with the location and the nature of the challenges. The gimmick too has changed. The contestants didn't face major physical and endurance challenges; the Reward and Elimination challenges were quite frankly good clean goofy dirty fun. Even the Eliminations, featuring the insane Elimination Squad were hilarious. And host Rome Kanda was no Jeff Probst. The format didn't call for one, it called for a typically unctuous game show host and that's what Kanda (an actor) gave us. I Survived A Japanese Game Show gave us far more imagination than I suspect the producers of Downfall even possess.

Please ABC, send Chris Jericho and this show to a well deserved "retirement" and bring back I Survived A Japanese Game Show.

Weekend Videos – Theme Mash-ups

(Just so you know, I think I might be coming down with something, so if this whole business is a bit more disjointed than usual you'll understand.)

You may have noticed that there are a lot of artistically brilliant people who use computers. (I'm not one of them.) As often as not these people want to show off what they make. The make music and post it online, shoot their own videos and post them online, and edit existing video and put it with a different soundtrack. The result of mixing different video clips and matching them with music or dialog that you don't normally associate with those images are known as mash-ups. In their own way these mash-ups are as much of an artistic creation as the original creations.

I first discovered this business of mashups when I was doing last week's piece on Friday night in 1984-85. There was a particular theme that had a lot of mashups done using it. You won't be seeing those this week. I will be running those next week, so just so you know, you had better have a high tolerance for the Dallas theme.

The first mashup I want to include here uses the theme from Magnum P.I. in combination with footage from various Star Wars movies to create Han Solo P.I.

The interesting thing about this combination – besides the fact that Tom Selleck almost had another Harrison Ford role, Indiana Jones in Raiders Of The Lost Ark – is that the people who made this mashup also provided a second video which showed the original title sequence from Magnum P.I. side by side with what they made so that you can compare them shot by shot (you might want to view this clip full screen to catch all of the details).

Science Fiction shows seem to attract a lot of mashups, perhaps because the fans are extremely fanatical and maybe quite creative. This mashup takes the theme from the TV version of The A Team (aka the good version) and mixes it up with scenes from the original series of Star Trek. It's not bad, but I think that someone is missing a bet by not doing a mashup using either The Next Generation or Voyager as a base to draw from... and using Reg Barclay as Murdoch! If I ever make a mashup (and I might once I really get used to video editing and effects) that's an idea I could wrap my head around – Picard as Hannibal, Data as Face, Barclay as Murdoch, Worf as B.A. and maybe Ro Laren as Melinda Culea's old role of Amy Allen (I liked both characters and it's going to be my mashup).

There are a couple of Love Boat parodies, but I like this one with the crew from The Next Generation, which always seemed to me to be more of a soap opera than the other versions. The only thing this one missed was Wesley Crusher as Vicki.

Some mashups work better than others. Sometimes it's because the timing is off but other times it is because the theme music is just too tied with visuals that can't really be replicated from existing footage. Take this version of the Hawaii Five-0 theme mixed with scenes from Star Trek: First Contact. The pace is right, the cuts are just about perfect, but the result is ... lacking.

On the other hand, this credit sequence for Star Trek: Deep Space Nine using the modern Battlestar Galactica theme is rather good.

Shows with cult followings are ripe with opportunities for mashups, particularly if there's plenty of footage available. There's a version of the Dark Shadows credits mixed with the music of Falcon Crest. (Unfortunately embedding is disabled for this one.) The big negative on this one is that the split screens aren't as complex as they would be on the original Falcon Crest. Also the creator seems to have extended the theme beyond its original length. Compare that with this version using scenes from Torchwood.

Doctor Who parodies are almost a growing industry. I just keep running into more and more of them (Doctor Who (British) Office style, Doctor Who Buffy style, Doctor Who Angel style, Doctor Who Charlies Angels style, Doctor Who Friends style, and the list goes on and on and on, often with several versions of each mashup) but I was rather intrigued with this creative effort using the A-Team music but not the voiceover. Introducing The U Team!

Finally, because I love both shows and because I love the theme from Firefly, and because I haven't really given you much of a sense of the vast variety of the Doctor Who material that's out there, Doctor Who Firefly style.

Next week, what got it all started for me – Dallas style credits.

Ch-Ch-Changes

I just did a modification to the blog. I’ve replaced my old third party blogroll with the Blogger version. Turns out the sit providing the old blogroll was giving me a 404 error when I tried to go there to change a few things around, so they got the bum’s rush. The modification wasn’t hard to make but checking out all of those blogs for ones that were essentially dead, that took time.

Summer of course is a good time for a TV Blogger to fiddle around with formats, concepts and general look and feel things. There isn’t much to review (no comments from the peanut gallery about how “much” I’ve reviewed in the past year) and you can try new stuff. This isn’t the end of the changes either. I want to spruce up the old joint. It may or may not be an Extreme Makeover: Homepage Edition project but there are some things I’d like to try over the next couple of months, and why not try it now.

Comment Moderation

It is with more than a little reluctance that I have decided to turn on Comment Moderation. Of late I've just been getting too much "comment spam" - usually from what I'm pretty sure are Asian sex sites - and it is irritating me to delete them when I notice that they appear. I've always valued the free flow of comments but of late the privilege has been abused, and not used by the people I want to see use it, the real readers of this site.

Weekend Videos – Friday Night 1984-85

This post was delayed from before the Upfronts. When I started writing this I was concerned that the 2010-11 season would see the broadcast networks largely abandon Friday nights to no-scripted reality programming, which was the way that many of the networks have been going in the past few years. Friday was seen as the "new Saturday," and not in the sense that Saturday night was once the home of some of TV's iconic series. These days the networks have all but abandoned programming anything serious on Saturday nights except sports and FOX's combination of COPS and America's Most Wanted. In the past few years Friday nights were going in the same direction with only CBS having scripted programming in all three hours in the 2009-10 season. There are hopeful signs in the current schedule, with CBS, FOX and The CW all having scripted programming scheduled for all of their time slots – at least for a while – and the other networks having some scripted programming on the night. Still there's a sense that the networks – except for CBS – are one bad ratings period away from abandoning Fridays forever to the likes of Supernanny and Wife Swap.

It wasn't always thus of course. There has been a long history of good TV shows on Friday nights. While it was never featured the powerhouse programming that Saturdays featured for many years it was a big night for the networks for many years. The tendency was to cater to an older and a younger audience – teens and single young adults were assumed to be out on dates – but before the dominance of the 18-49 demographic in the skeevy little minds of network executives, that was enough. Consider the 1975 Friday line-up ABC had the Jack Webb produced Mobile One with Jackie Cooper and a movie – Mobile One lasted 11 episodes before being cancelled. CBS had Big Eddie, a comedy starring Sheldon Leonard as a former gangster with a heart of gold (it died after 13 weeks because of what was on NBC) followed by M*A*S*H, Hawaii Five-0 and Barnaby Jones. NBC had Sanford & Son, Chico and The Man, The Rockford Files and Police Woman. Can you imagine any network putting shows of that quality on Friday nights today? Well maybe Mobile One and Big Eddie but not the other shows.

And yet that's not the line-up I'm going look at. The 1980s saw an even better group of shows. It marked the beginnings of ABC's TGIF line-up that would really flower in the 1990s, while CBS had two of its big primetime soaps, and NBC was running dramas of varying quality. I thought I'd like to look at the 1984-85 season.

ABC opened the night with Benson, then in its last season. What I have is a truncated version of title sequence from that season. Missing from this clip are Rbert Guillaume, who played the title character Benson DuBois and James Noble who played Governor Gatling. I've chosen this version of the show's title sequence because the only other clip from Benson available on YouTube features the original cast of the series which, except for Guillaume, Noble and Inga Swenson were replaced within two season, and I happen to be a fan of the interaction between Benson and Rene Auberjonois's character Clayton Endicott III. Next up, at 8:30 Eastern was Webster, starring Emmanuel Lewis, Alex Karras and Susan Clark. The show was about a newly married couple who on returning from their honeymoon suddenly find themselves the parents of a small black child whose parents had died. This clip features Heather O'Rourke and is something of a compilation of her scenes in the episode. At 9:00 came a rather obscure show called Hawaiian Heat with Jeff McCracken and Robert Ginty playing a pair of Chicago cops who finally get tired of the cold snow and lack of women in bikinis (which was apparently a big selling point of this show) and arrange to transfer to the Honolulu PD. Given that it was up against Dallas and Hunter it isn't surprising that it only lasted 13 weeks. Finally, in the third hour ABC had the third and final season of Matt Houston, starring Lee Horsley and Pamela Hensley. Added to the cast in this season was Buddy Ebsen as the title character's Uncle Roy. Houston was a millionaire oilman who was a private detective as a hobby. Hensley played his lawyer and personal assistant. The worst thing about the addition of Buddy Ebsen – besides the image of Barnaby Jones firing an Uzi – is that it meant less Hensley...who was the main reason why I watched, given the absurd nature of most of the plots in the show.

Over at NBC the night led off with the first series version of V. Adapted from the mini-series of the previous two seasons (May 1983 and May 1984). Since the second mini-series ended with the apparent destruction of the Visitors thanks to the Red Dust and the capture of Diana, the show needed a way to bring the Visitors back, which they accomplished by having a greedy corporate type free her and then having government collapse when the Visitors came back. It was a reach and the series ran out of ideas after 19 episodes. Following V was one of NBC's genuine successes, Hunter, starring retired football player Fred Dryer and Stepfanie Kramer as a pair of detectives with something of a "Dirty Harry" attitude when it came to dealing with the criminals. The relationship between Dryer's Rick Hunter and Kramer's Dee Dee McCall was at times fractious, although by the second season this was toned down by Roy Huggins, who had been called in by series creator Stephen J. Cannell to serve as Executive Producer. Huggins emphasised the chemistry between Hunter & McCall although he never took as far as latter producers did. The series ran for seven years but fell apart in its last season after Kramer left the series. NBC round off the night with Miami Vice, also in its second season. Starring Don Johnson, Philip Michael Thomas and Edward James Olmos. The premise of the show is pretty much summarized in the title; the lead characters – Sonny Crockett and Rico Tubbs – are vice cops in Miami, although in this case the principal vice is the importation and sale of drugs. Since I included the Miami Vice theme a couple of weeks ago I've decided to offer a scene featuring Phil Collins's song "In The Air Tonight." The show was often accused of being essentially a music video masquerading as a TV show, and scenes like this tend to support that theory.

CBS had the powerhouse line-up of the three networks. In the first hour was Dukes Of Hazard which was in its final season with the network. "Them Dukes" were John Schneider and Tom Wopat playing cousins Bo and Luke Duke who were under the watchful eye of their Uncle Jesse (played by the great character actor Denver Pyle) and a host of supporting characters including James Best and Sorrel Booke. The show was a basic battle of Good (the Dukes and their friends) versus Evil (Boss Hogg and Sherriff Roscoe P. Coltrane) but played in an extremely light-hearted manner, with the bad guys being caricatures who were not quite lovable but somehow not hate worthy. Daisy Duke, played by Catherine Bach provided sex appeal – in a very chaste way since she was yet another Duke cousin, and therefore unavailable to the heroes and unapproachable by anyone that she one her family didn't approve of. Following The Dukes Of Hazard was Dallas which was in its seventh season. The 1984-85 season was the one in which Barbara Bel Geddes retired from the show following her heart surgery and was replaced by Donna Reed, and that is the version of the titles I've included here. Dallas was of course the iconic prime time soap about the Ewing Family. The character of J.R. Ewing, the philandering, "ethically challenged" head of Ewing Oil brought Larry Hagman, who had previously played the straight-laced and scrupulously ethical Major Anthony Nelson on I Dream Of Jeannie back to prorminence and eventually eclipsed his fame for his previous role. Finally the network had the third season of Falcon Crest a prime time soap created by Earl Hamner, who had previously created The Waltons. Starring Jane Wyman as Angela Channing the conniving matriarch of a California winery who is in conflict with just about anyone who gets in her way... which is just about everyone. There was a huge turn-over in cast over the years which meant that new characters suddenly shot to prominence, and at times the plot lines became convoluted and down-right ridiculous, but through it all the series was dominated by Wyman's presence.

I doubt that we'll ever see the networks put forward line-ups like these on Friday nights again, but I'm not entirely convinced that the night is a lost cause either if there were a network besides CBS that was willing to think outside of the 18-49 Demographic box and program the night for families with younger kids who can't go out and the right groups of older viewers who don't want to go out. Those are markets too.

Weekend Videos – Top Rated Shows 1955-1959

(This post delayed by Blogger - I still can't post directly from Word 2007 which has never been a problem until now.)

About a month ago I started posting video clips from the top rated TV shows of the year. My first postings were for the period from the 1950-51 season to the 1954-55 season. This post will feature the period between the 1955-56 season to the 1959-60 season. Here are the rules or at least the guidelines. I will list the top three shows for each season along with the percentage of the nation’s televisions that were tuned to that show during the season. These figures are drawn from the Complete Directory To Prime Time Network And Cable TV Shows 1946-Present. If the season’s top rated show has already been featured either in this post or in the previous post in this series I’ll find a clip from the second highest rated show, provided that it also hasn’t been featured before. The same procedure holds true if there are no clips of the show available online. Finally I’ll also try to make a few comments on the three top rated shows of the season.

1955-56:

The $64,000 Question 47.5%, I Love Lucy 46.1%, The Ed Sullivan Show 39.5%

The $64,000 Question was a phenomenon in its day, and the basic concept of the show – a ladder system in which players win more money as they answer tougher questions – is a major part of many modern game shows like Who Wants To Be A Millionaire? The thing that was both the big gimmick and the cause of The $64,000 Question’s eventual downfall was that the players were asked questions in areas where they claimed expertise. The producers were able to select contestants, often based on the incongruity of their areas of expertise. Thus you had a shoemaker who was an expert on opera, a jockey who knew a tremendous amount about art, or an attractive young woman psychologist who knew all about boxing. However this meant that the producers could tailor the questions they asked to whether they and the audience like the contestant. While The $64,000 Question was never “rigged” in the way that other game shows of this period were by giving contestants the answers to the questions, the producers did vary the difficulty of the questions at the higher levels in an attempt to let popular contestants win more money and make less popular contestants lose. Debuting in June 1955 the show was off the air by November 1958, a victim of the game show fixing scandals, although it should be noted that the show’s ratings had begun to slip even before the scandals. The sound track on this clip is slightly out of sync with the visuals.

1956-57

I Love Lucy 43.7%, The Ed Sullivan Show 38.4%, General Electric Theater 36.9%

We’ve already seen I Love Lucy in a previous instalment of this so we have to turn to the second place series for this season, The Ed Sullivan Show. The show started in 1948 as Toast Of The Town and was renamed The Ed Sullivan Show after its host in 1956. Sullivan soon became a television institution (and a favourite of anyone who even thought of doing impressions during his lifetime – including on his own show) in spite of the fact that all he did was introduce the acts at the beginning of the show and shook hands with them at the end. What exactly did Old Stone-Face do on his “really big shoo?” Well the fact is that Sullivan, who had started as a boxer and a sports writer and became and entertainment writer (really a gossip columnist) in the competitive New York newspaper market, had an incredible eye for talent and for knowing what the public wanted. Moreover he was presiding over what was really a vaudeville show. He was able to put together a mix of established acts and newcomers, acts for kids and for adults that would attract a diverse audience. Sullivan knew the established acts and as I’ve said had a great eye for what would work as combinations. But it all needed something to hold it together. That was what Sullivan did on his really big shoo – he held the diverse acts together. This clip from 1964 features the great Frank Gorshin.

1957-58

Gunsmoke 43.1%, The Danny Thomas Show 35.3%, Tales of Wells Fargo 35.2%

Gunsmoke had debuted on TV in the 1955-56 season, although the property would have been familiar from radio where it had debuted in 1952. It failed to crack the top 30 in its first season but had finished seventh in the 1956-57 season. The arrival of Gunsmoke on the scene is responsible for the rise of the “adult” western as a genre on TV. In the 1957-58 there were five westerns in the top ten (Gunsmoke, Tales of Wells Fargo, Have Gun Will Travel, The Life And Legend Of Wyatt Earp, The Restless Gun). Gunsmoke offered viewers strong likeable characters and a definite “Good vs. Evil” motif. As the series developed – and it did run for 20 years so there was plenty of time for development and shifts in focus, which helps to explain why it lasted for 20 years – more characters and greater depth were added to the show. This episode is the first episode of the series from 1955.

1958-59

Gunsmoke 39.6%, Wagon Train 36.1%, Have Gun Will Travel 34.3%

The 1958-59 season may have been the high point of the Western’s popularity. Of the year’s top ten shows only three weren’t Westerns: The Danny Thomas Show, The Real McCoys and I’ve Got A Secret. Wagon Train was one of the great westerns. Inspired by the John Ford movie Wagon Master it starred one of Ford’s stock company, Ward Bond from 1957-1961 when Bond died. In fact Ford directed one episode with Bond that aired eighteen days after the actor’s death of a heart attack in 1961. The show had fairly small regular cast – Bond’s trail master Major Adams, (replaced by John McIntire after Bond’s death) the scout played for five seasons by Robert Horton and for three more by Robert Fuller, the assistant trail master played by Terry Wilson, and the cook played by Frank McGrath. or the most part the episodes weren’t about them, they were about the people in the wagon train and the people that the train encountered as they travelled from St. Joseph Missouri to California, making it more of an anthology series than most westerns. This clip, from 1960, features Peter Lorre and Robert Horton.

1959-60
Gunsmoke 40.3%, Wagon Train 38.4%, Have Gun Will Travel 34.7%

Have Gun Will Travel was another of the classic Westerns. Richard Boone played the man called Paladin (real name unknown), a cultured and erudite former army officer, who is also a professional gun for hire. Dressed entirely in black, Paladin would usually leave his residence at the Carlton Hotel in San Francisco to fulfill a contract – or not, since sometimes he felt more sympathy with the people that he was hired to deal with than with the people who hired him. The only other recurring character in the series was the hotel Chinese bell hop known as Hey Boy played by Kam Tong, although in the fourth season he was replaced by a new character, Hey Girl (played by Lisa Lu) because Kam Tong had taken a somewhat larger part in a different series. Because of this the series had numerous guest stars, some of whom appeared numerous times, many of whom would be instantly recognizable. One unique aspect of Have Gun Will Travel is the fact that there are themes, and that the closing theme is the one that is better known. The music that is most associated with the show, Johnny Western’s Ballad of Paladin made its first appearance after the first season, and was never the introduction to the show. The show’s actual theme was composed by Bernard Hermann. This clip features frequent guest star Charles Bronson, and Harry Carey Jr. I’m also including a clip of the closing theme done by Johnny Western.

The Difference Between Canadians And Americans

As I have often noted here, I am a Canadian. And Canadians are different from Americans. One place where this is apparent is in what we watch on TV. Oh, it's not Canadian shows that we watch on TV – for the most part Canadian shows don't penetrate onto the Top 20 list of most watched shows – but what interests us is quite different from what catches the hearts and minds of Americans. Following is a list of the Top 20 shows In the United States for the 2009-10 Television season, based on Total Average Viewers per Episode, with their position in Canada and the average number of viewers in Canada for the same show. (For American Idol and Dancing With The Stars I am assuming that the more highly watched shows are the Performance Shows and the lower rated versions are the Results Shows). For comparison a general rule of thumb is that the Canadian population is 10% of the US population, but that is a rough estimate.

Position	United States	Viewers	Canada	Canadian Viewers
1	American Idol	24,714,000	4	2,789,000
2	American Idol	23,461,000	5	2,686,000
3	Dancing With The Stars	19,725,000	11	2,172,000
4	Sunday Night Football	18,782,000
5	NCIS	18,699,000	10	2,201,000
6	Undercover Boss	17,732,000
7	The Mentalist	16,828,000	9	2,279,000
8	CSI	15,820.000	15	2,084,000
9	NCIS: Los Angeles	15,667,000	20	1,768,000
10	Dancing With The Stars	15,298,000	14	2,092,000
11	Two And A Half Men	14,825,000	16	2,032,000
12	Big Bang Theory	14,224,000	12	2,169,000
13	Desperate Housewives	14,058,000	17	1,933,000
14	Survivor Heroes vs Villains	13,669,000	1	2,929,000
15	Criminal Minds	13,552,000	3	2,807,000
16	Grey's Anatomy	13,552,000	2	2,899,000
17	Survivor Samoa	13,450,000	1	2,929,000
18	60 Minutes	13,269,000
19	The Good Wife	12,617,000
20	CSI: Miami	12,617,000	13	2,125,000

Rounding out the list of the most popular shows in Canada are:

Position	Show	Viewers
6	Amazing Race 15 & 16	2,529,000
7	House	2,493,000
8	CSI: New York	2,349,000
18	Lie To Me	1,811,000
19	Hockey Night In Canada	1,796,000

Of the most popular shows in Canada, only Hockey Night In Canada is a Canadian produced show. Undercover Boss and 60 Minutes don't air in Canada while Sunday Night Football is seen on TSN, one of the cable sports networks, meaning the The Good Wife is the only show not in the top 20 in Canada that is seen on a major network (Global) in this country. Also, in Canada both seasons of Survivor (Samoa and Heroes vs Villains) were lumped together as one.

I'm not entirely sure what to make of the differences. Three of the six top rated shows in Canada are reality-competition series as opposed to five of the top six in the United States (and yes, I am stretching the definition of reality-competition to include Football – it is a competition and it is reality) but we seem to like different reality-competition series than Americans. Of the top five shows in the United States only two are in the top five in Canada, and they do significantly (in Canadian terms) less well than two scripted shows that don't penetrate the top 10 in the United States. I could say that Canadians might like our shows to be a bit deeper intellectually – I think you could argue that shows like Criminal Minds, House, and Lie To Me are just a little bit deeper than some of the shows that are on the top 20 in the Unites States. That would fit our love of The Amazing Race which has placed in the top 10 in Canada since the show started but which has long struggled in the US market. But that's probably not the real explanation. After all, that doesn't explain Grey's Anatomy. So while I acknowledge that there is some sort of palpable difference between what Americans and Canadians watch, I'm sure why that difference exists.