Wednesday, October 26, 2011

Put “Man Up” Down

man-up-abc-tv-show(Author’s Note: I started writing this review of Man Up a week ago when the show debuted. However there were some things from the pilot that I was unable to remember. And believe me when I say that this in itself is an indictment of the show since I normally remember just about all the details from a TV show that I watch. As I’ve said, I didn’t remember details of the episode and so was forced to try to locate and watch the show online. I eventually found it on the CTV Two section of the CTV website. However I kept finding reasons not to watch it and relive the agony I felt when watching the show the first time. I eventually watched it and that is what I am reviewing. I am not going to willingly watch this show again.)

I have, for the most part, attempted to avoid reviewing the pilot episodes of series this year. I am breaking this self-imposed restriction in order to review Man Up, the new ABC Tuesday night comedy, and I am doing this for one reason: I would do anything short of ripping my own testicles off with my bare hands in order not to have to watch a second episode of this abomination. And under the right – err, wrong – circumstances I’d think about the testicle thing.

Man Up is a comedy (allegedly) that centers around three friends, Will Keen (Mather Zickel), Kenny Hayden (Dan Fogler) and Craig Griffith (Christopher Moynihan). Will is married to Kenny’s sister Theresa (Terri Polo) while Kenny was married to Theresa’s friend Brenda (Amanda Detmer). Rounding out the adult cast is Bridgette’s new boyfriend Grant (Henry Simmons).

The pilot opens with Will, Kenny and Craig playing Call Of Duty online together while talking in their headsets (sorry I don’t own a game console so I have know idea of the exact terminology). Will was able to get permission to play by suggesting to Theresa that they have sex while she was folding laundry, a suggestion that provoked an eye roll from Theresa. The game chat isn’t entirely game related. Will’s son Nathan’s thirteenth birthday is later that week and Will doesn’t know what to get his son that says “I’m a man.” Craig (who has never been married) is obsesses with  Lisa, a former girlfriend who he had lunch with earlier in the day. She’s getting married on the same day as Nathan’s birthday party but from their conversation and she talked about a song he used to play for her on his guitar. This he took as “a cry for help.” Kenny says that this woman is crazy and he should know because he used to be married to a crazy woman. Will then has to tell Kenny that Brenda will be at the party. Kenny calls Theresa on her cell phone to tell her to uninvite Brenda, while Craig calls Lisa, which breaks up the game because the only one playing is Will.

The next day Will and Theresa are in their kitchen. Theresa gets a package which she has Will open. He uses his pocket knife. It turns out to be a video game which Will initially thinks is for him because it is violent and scary and rated for 17 year-old and older. In fact it’s her gift for Nathan. He himself is searching for the right gift for his son to usher him into manhood and he thinks that this would have been a perfect gift to usher him into manhood. His point is undercut somewhat by his use of Hazelnut coffee creamer. Theresa further undercuts him by telling him that his grandfather fought in World War II and his father fought in Vietnam but he plays video games and uses pomegranate body wash. He’s “man…ish.” Just then Kenny arrives to tell his sister that Brenda has to be uninvited, that she can’t come to the “fluffin’” party (the kids are present and he has to use a substitute word). Just then Brenda arrives with some party hats and tells Kenny that there is no way that she isn’t going to be at the party They argue about her coming to the party. Eventually Will pulls Kenny out of the argument and tells Kenny that he has to deal with it and he should try to act like the “coolest guy he can think of .” For Kenny that’s Toby McGuire (?!). Kenny tries to act cool like Toby McGuire but then Brenda informs him that she’s bringing a date to the party, and Kenny loses it.

Will’s at work but still looking for a “manly” gift for Nathan’s birthday.when Kenny comes in. He’s a pharmaceutical salesman with a product that has side effects worse than what it treats. Will lists some of the options that Will has found for Nathan’s gift when Craig, who works at the same insurance company, comes in to tell him that not only aren’t they paying a particular claim but that not claims would be paid that day; it’s in a memo. Kenny notices that Craig is growing a beard to which Kenny objects, because a beard is “my thing.” Will remembers that Lisa liked him with a beard and this is how it’s revealed that Craig called Lisa six times the previous night. Kenny and Craig still want to go out for lunch in spite of the fact that it’s only 10:15 but Will does go out because all the talk of beards gives him a great idea for a gift for Nathan.

At the party, Craig is telling Brenda and Theresa about Lisa, and while everybody is telling Craig that Lisa is just feeling a bit nostalgic for what they had, Brenda totally agrees with him that it is a call for help and that he needs to make some sort of a gesture, that when you realise that someone is your soul mate it is forever. Kenny says that Brenda used to say that he was her soul mate she tells him that her soul mate is coming soon and he is bringing lemon bars. There’s a first meeting between Kenny and Grant that really shows a certain amount of perfect pomposity on Grants part, and which is hard to explain in words. Later, when Grant is shooting hoops with some of the kids, Kenny decides to challenge him to a game of one on one. It does not go well for Kenny. every time he tries to make a shot Grant blocks him (not surprisingly since Grant is tall and perfectly muscled, while Kenny is short and not muscled at all.

The crisis suddenly erupts when Nathan unwraps Grant’s gift. It’s a shaving kit. Will’s gift for his son, something that only a father would get his son (he thought) was a shaving kit. So he has to make a mad dash to the mall to get a replacement gift, and he takes Craig and Kenny with him, with Craig driving. Suddenly Craig announces that he needs closure with Lisa. Coincidentally (not really) they’re right in front of the church where Lisa is getting married. Will needs to be back for the cutting of the cake so he gives in and let’s Craig go in the church. Lisa is in the middle of her vows when Craig bursts in singing “Brown Eyed Girl”. Soon after he, Will and Kenny are rushing for the car, with an angry mob of groomsmen following them, yelling “You’re dead.”

Back at the house Will gets everybody in the house just as the angry wedding party shows up and demolishes his mail box. They want “the brown-eyed girl,” meaning Craig. Kenny wants him to give himself up while Craig is about to call the police. Then Nathan says “Dad” and Will decides that the three of them will go out to confront them, because that’s what their fathers would have done, because “they were real men, not the over evolved generation of pantywaists we’ve become.” Craig will stay on the porch while Kenny will go through the garage and get Nathan’s hockey stick to cover Will’s flank. Then Grant wants a job. Kenny doesn’t want him involved but Will tells him to stay on the porch with Craig. Grant says he’ll do something cool. Kenny can’t find the hockey stick; the best he can come up with is a pink pogo stick. The two groups stare each other down when suddenly Grant charges off the porch and tackles the groom and two of the other men. Later as Craig, Kenny and Will are congratulating themselves, we find out that he’s the only one who actually got into a fight, which was why he was the only one actually arrested. Brenda then tells Kenny that they are leaving; they have to go bail out Grant…and Kenny had better have his ATM card because they’re going to need bail money. Finally, after everyone leaves, Will has some time with Nathan. Turns out that between the party and the fight (and kissing a girl named Samantha in the “bounce house”) it has been the best day of his life. Will is about to apologise for not getting Nathan a gift when the boy reveals that Theresa said that the game was from Will. He can’t get it unwrapped so Will takes out his pocket knife and suddenly he realises what the perfect gift would be. He passes down “the old Mohaska” to his son just as his father passed it down to him.

I can’t fault the cast of Man Up. This is a Grade A cast in a Grade F series. Dan Fogler is a Tony Award winning Broadway actor, while both Mather Zickel and Christopher Moynihan have extensive experience both in series and in film roles, as has Amanda Detmer. And I’ve always been impressed by Terri Polo in just about anything that she’s done, either comedies like Sports Night and dramas, including the last season and a half of of The West Wing where she played Helen Santos. She has a nearly chameleon-like quality that allows her believably take on a variety of roles an not only be believable in them but to sometimes make me fail to recognise her in a role until I look at the credits. And while Henry Simmons will always be Detective Baldwin Jones (from NYPD Blue) to me he was almost ideally suited to play the all too perfect (if not necessarily too bright) Grant. Part of the problem is that he has to play that role, just as all of the other actors have to play their characters they way they do.

A big problem that the pilot had was that it was simply not funny. In fact there were places where it was catastrophically unfunny. The scene where Craig went into the church was cringe worthy, as was the scene where Grant charges into the weeding party. The scene where Kenny “played” basketball with Grant didn’t make me feel any sympathy for Kenny at the same time that it didn’t make me feel anything at all about Grant. I don’t really know how to feel about that scene. It’s sort of like watching someone goading a peaceful animal into charging and then feeling ill-served that it attacked. And yet, in watching that scene play out the way that it did, I don’t feel any sympathy for Grant because of the way that he was introduced.

But the biggest problem in the writing is with the characters. I don’t feel any emotional attachment to any of them. There's nothing about any of them that I fell that I can relate to, and they are too self-centered and self-aware. In their own ways, Will, Kenny and Craig are all doofuses. No sane man would take a lunch with a former girlfriend who is about to get married as a “cry for help” or an effort to rekindle an old relationship the way that Craig does. And Kenny, who plays the angry divorced guy, is still so “whipped” by his ex-wife that despite seemingly trying to “lay down the law” he ends up paying the bail for her new boyfriend. Grant is basically “The Old Spice Guy” brought into the everyday world, and even then it is a caricature rather than a character with any real dimension. And while Henry Simmons has the ideal look to portray him, and he did a good job with it, it’s not exactly a character that you can deal with in large doses.

And the two female characters don’t come off very well either. Brenda is a bitch, and not in the pro-feminist badge of pride sense that the word can have if said in the right way. She delights in treating Kenny like dirt and humiliating him at every opportunity. In fact that’s the reason – maybe the only reason – why she’s dating Grant. She treats Craig just as badly by encouraging his delusion that Lisa wants to reconcile with him. The only reason I can see for her taking that action is to see the “fun” when Craig takes the advice of the only person who agreed with him. And Theresa is only slightly better. Her best friend is Brenda, someone who takes pleasure in messing with Theresa’s brother. She’s the one who undercuts Will when she says that his grandfather fought in World War II and his father fought in Vietnam but he just plays video games on a console and uses pomegranate body wash. Theresa calls Will and his friends “man…ish” And the thing is that the qualities that she presumably finds unmanly are undoubtedly the qualities that she found attractive in the first place.

It is the concept that is probably the worst part of Man Up. The basic notion, that modern man are “an over-evolved generation of pantywaists,” is a running theme through a number of series. It was the basis of the late and unlamented How To Be A Gentleman, and of the ABC series which precedes Man Up, Tim Allen’s Last Man Standing. I think that the idea that men in general are becoming less masculine, or “man…ish” as Theresa puts it, is a fallacy. Maybe it’s a by-product of the feminist movement and the or maybe it’s just a result of a misguided view of what being a man entails. When Will tells his friends that their Vietnam War vintage fathers (and presumably their grandfathers, the World War II fighters) wouldn’t have called the police when there was a mob of angry groomsmen on their lawn threatening to beat Craig to a pulp, he was wrong. They would absolutely call the police. (Of course if they had met Craig, they might well have thrown him out to the mob, but that’s a different story.)

Man Up fails in some of the most important ways. The characters are poorly drawn and in several cases are unlikable. At best they are only mildly engaging, and the leading male characters were people that you didn’t really want to know (and hope that other people don’t thing you’re like). The humour was at best weak and at worst depressingly unfunny, and median edged closer to the latter than to the former. In a year which has produced a number of good comedies (several of which have featured strong female characters) this is particularly bad show. If you’ve watched the first episode – or worse the first two episodes – do yourself a favour and don’t watch any more. If enough people do that maybe this abomination will go away.

Sunday, October 09, 2011

Falling Angels

CharliesAngels2011castI wasn’t sure if I should start writing a review of ABC’s revival of Charlie’s Angels. There is a definite sense that the show is not long for this world. I certainly wouldn’t bet on it getting a full season order. Based on what I’ve seen it doesn’t deserve one. It is one bad piece of television.

The original Charlie’s Angels ran from 1976 to 1981 and featured Kate Jackson, Farrah Fawcett-Majors (as she was then known) and Jacklyn Smith as three young women who had gone through the police academy but found the reality of their lives as cops less than fulfilling – writing parking tickets, acting as crossing guards and doing office work – until the mysterious Charlie Townsend took them away from all that. The show used the same plot all the time; the women go undercover to solve the crime of the week along with their “handler” (for lack of a better term) Bosley. Somehow the cases all took place in locales where the women had to be skimpily dressed and with minimum of “support”. Farrah Fawcett-Mjaors once said, “When the show was number three, I figured it was our acting. When it got to be number one, I decided it could only be because none of us wears a bra.” It was the epitome of T&A TV from Fred Silverman. In fact when Shelley Hack replaced Kate Jackson on the show and ratings started to fall, Hack was fired; it was rumoured at the time that super-model Hack was fired because she didn’t have enough to jiggle. She was replaced by Tanya Roberts (who did have a lot to jiggle) and ratings continued to fall. ABC insisted that the show was empowering to women by showing them as being capable and in non-traditional roles. The series was later rebooted as a pair of theatrical movies starring Drew Barrymore, Lucy Liu and Cameron Diaz as women who, although not trained as police officers, had various skills that the never seen Charlie (played in the original series and the movies by John Forsythe) felt would be more useful as private detectives than in their traditional fields. While the original series played it fairly straight – well as straight as any show featuring three women solving crimes wearing as little in the way of clothing as the broadcast censors of the time (who were apparently more liberal than they are today if Farrah Fawcett’s comments about bras is accurate) – the movies are described as “action comedies.”

The new Charlie’s Angels has ex-criminals as it’s lead characters instead of former cops or experts in various fields. Abby Simpson (Rachel Taylor) is a former cat burglar, Eve French (Minka Kelly) is a former street racer, and Kate Prince (Annie Ilonzeh) is a former Miami detective who was caught taking bribes. Even Bosley (Ramon Rodrigues) – now given the first name of John, and not looking at all like David Doyle or even Tom Bosley – has a past. He’s a hacker who now uses his talents for good. He still acts as the Angel’s handler but in this version of the show he goes out on cases and even goes undercover. Canadian actor Victor Garber supplies the voice of Charlie (replacing Robert Wagner) and is not seen at all; in the original you nearly always saw Charlie, or at least his hand or the back of his head or the women who surrounded him.

In the most recent episode of the show, Charlie has an assignment for the Angels. They have to find a missing investigative journalist, who just happens to be the woman who broke the story of police corruption that resulted in Kate being caught. The woman, Amanda Kane (Tahnya Tozzi) was last seen aboard a cruise ship. So naturally the Angels go undercover on the ship. Kate becomes a cruise director on the ship while Abby temporarily takes on the role of a IT tech on the ship. This allows her to break into the ship’s security office and hack into the video records, which she downloads to Bosley. Eve takes on the role of a passenger. Abby gets her upgraded to the suite that Amanda had previously occupied. This not only gives them a base to operate from but also gives them the chance to search the room at their leisure. In the room they find a mysterious plastic cylinder. On the security files they find Amanda on the ship and discover her being manhandled by a man who they identify as the croupier in the ship’s casino. Eve goes to the casino and wins a lot of money playing Blackjack – card counting of course – which attracts the croupier’s attention. they head back to his suite, which gives Eve the chance to search it. She finds a cylinder like the one they found in Amanda’s room, this one containing an unusual flower. She takes a photo of the flower with her cell phone.

Bosley and the Angels somehow link the croupier with four major crime figures who are also aboard the ship. They decide to have Bosley replace the one man that the croupier hasn’t met by having Eve “incapacitate” during a massage. Bosley is given one of the flowers by the croupier which gives him entry into the suite. They’re there to bid on a mysterious product but to ensure security, not only are they stripped of their weapons but any electronic device they may have and then are drugged. They disappear from the ship only to wake up on an island.

Needless to say, the Angels and Charlie are anxious when Bosley doesn’t check in. Conveniently there are only three islands near where the ship was when Bosley disappeared. They’re privately owned but while two are owned by Hollywood celebrities, one is owned by the mysterious Morgan Finch. Moreover they are able to determine from satellite imaging that one of the buildings on the island is radiating a great deal of heat. Somehow Charlie arranges to get the Angels off the cruise ship and onto a boat which allows them to infiltrate the island to find Bosley and hopefully Amanda.

The big building that is radiating so much heat is a huge greenhouse and refining operation. The mystery flower – still unnamed – produces a drug that Morgan Finch (D.B. Woodside) calls Island Ice, something that he describes as being like Heroin on steroids. Finch is auctioning off exclusive distribution rights for the whole country to one of the four criminal cartels represented by the people brought to the island by the croupier. Everyone but Bosley seems eager to bid without even knowing that the drug was legitimate. He was the only person to ask for evidence that the drug was as potent as Finch said it was. Finch provides proof in the form of the only person currently addicted to the drug: Amanda Kane. Unfortunately when the auction restarts it halts again when the croupier brings in a cell phone with the picture of the man that Bosley is supposed to be replacing, who of course looks nothing like, him.

On the island, armed with high powered weapons the Angels infiltrate into the combination greenhouse and processing lab. They proceed to split up with each taking on a different job. Abby will look for Amanda, Kate will search for Bosley, and Eve will try to destroy all of the plants by connecting the irrigation system into a barrel conveniently labelled “Poison.” In short order all three of them get captured before they even have a chance to use the fancy weapons that they brought with them. And in equally short order they are able to administer a major ass-kicking to the people who captured them. I think the most laughable example of ass-kicking comes when Eve and the guard fight in the greenhouse as the irrigation system – you know, the one now pumping poison to the plants – is drenching them, and incidentally getting into Eve’s mouth. In short order the bad guys are all subdued, Amanda and the captive labour is freed and the Island Ice is destroyed. All by four people. In the coda, Charlie calls to tell the Angels – minus Kate – that the Bahamian government has agreed to extradite Finch to the United States (for reasons I’m not entirely clear on; he operated his growing and processing operation on an island presumably in Bahamian jurisdiction, and the ship that he abducted Amanda from was registered in the Bahamas so that crime was “legally” committed in that country. Frankly I’m not sure what crimes he had committed in the United States. Meanwhile Eve was meeting with Amanda, now going through rehab, although they’re apparently not meeting at the rehab facility. Eve wants to tell her that she’s really happy that she was caught as a dirty cop because it was a wake-up call about what she was becoming. The end.

There are any number of things about this episode and the show in general that I find to be just wrong. In a lot of cases things happen with little or no explanation, as if someone had waved the magic TV wand and no explanation was needed. Except I needed a little bit of explanation. Just as an example, how did the croupier, apparently working alone, manage to get four people from his suite (and incidentally I believe that cruise line employees are required to live in staff cabins on board ship, but that’s minor) to whatever boat took them from the cruise ship to Finch’s island without someone from the ship – passengers, hotel staff or crew – noticing that he was moving four unconscious people around the ship. The magic wand reappeared when Charlie – or someone was not only able to get the Angels off the cruise ship in mid-ocean but also got them a boat and some hi-tech appearing weapons. And of course Charlie apparently has access to real-time infra-red satellite imaging for the island which allows them to find the heat signature of the greenhouse facility. That goes a bit beyond willing suspension of disbelief.

It goes beyond that of course. I’ve watched two episodes of this and quite frankly I don’t really understand the characters because there doesn’t seem to be much in the way of character development. In the second episode (the first that I saw) we met Eve’s former fiancĂ© Detective Ray Goodson, played by Isaiah Mustapha (who should hang on to the Old Spice gig) who may be a recurring character if the show lasts long enough – which I doubt, and in this third episode we met the woman reporter who turned her in. I still don’t feel like I have any grasp of their characters. Of course that may be because the character development of these people are thinner than the actresses who portray them. That’s a real problem. I don’t know if Taylor, Kelly and Ilonzeh are doing a good acting job because I don’t know what the characters are supposed to be.

The writing is bad, as we’ve established, but the concept is also badly realized. The two Charlie’s Angels movies were billed as “action comedies.” The modern TV version of Charlie’s Angels isn’t an action comedy. I was going to say that it would be more accurate to say that it isn’t deliberately trying to be an action comedy, but I can’t because that would create the impression that the show was so bad that it was funny. It doesn’t even qualify as funny by accident. Show producer Alfred Gough, who with his partner Miles Miller created Smallville, has said that he wanted to avoid doing anything “retro” or “campy.” In other words they’re playing it relatively straight. This is a problem because for all that Aaron Spelling and Leonard Goldberg who produced the original series paid lip service to the idea that their show had some sort of feminist quality back in 1976, it was never meant to be taken seriously. I don’t think you can get away from that in a revival – particularly thirty-five years later – unless you do some serious re-imagining of the concept. That’s what Miller and Gough did with the Superman mythos by approaching it as the story of Clark Kent’s development into a superhero. I think a different sort of approach could have worked here as well.

In the past thirty-five years a lot of things have changed. Women’s roles have evolved far beyond what they were when the original Charlie’s Angels debuted, and television’s portrayal of women has evolved as well. In fact television has evolved in a lot of ways. I have to believe that this show would not have been made if it weren’t called Charlie’s Angels. I’m not sure that we needed Charlie’s Angels back at all, but I am absolutely sure that we didn’t deserve to have this version of Charlie’s Angels. Between underdeveloped plotlines with holes that you could march Godzilla through, gossamer thin characterizations, and a determination to make the show much the same as it was thirty-five years ago, the result is indescribably bad. I am literally unable to express just how bad I think this show is forcefully. The good news is that I don’t think it will be around much longer. The bad news is that it took the place of a show that could have been better. The really bad news would be if ABC didn’t have anything better available to them.

Update: As a lot of people expected, Charlie's Angels has been cancelled after airing its fourth episode. ABC will air the remaining four episodes that have been shot. There's no word about what will replace it once the remaining four episodes have aired. At least we found out something about the "new" Bosley and his link to Charlie before it was cancelled.

Thursday, October 06, 2011

Polls Closed - NBC Cancels Free Agents

Free_Agents_NBCThe second – or maybe the third – series cancelled this year and the first comedy is…

Free Agents

NBC has cancelled Free Agents after four episodes. The American remake of the frankly profane (not to mention nudity filled) series from Britain’s Channel Four lasted four episodes in the United States despite the presence of Anthony Stewart Head who appeared in the original. Just as a matter of interest, the American series lasted 2/3s as long as the British version. For the foreseeable future, Free Agents will be replaced by reruns of NBC`s new comedy Whitney.

Also cancelled today (and the reason why I can’t really decide whether Free Agents was the second or third new series cancelled this year) was The CW`s reality series H8R created and hosted by Mario Lopez. Apparently The CW`s viewer (and given the ratings the network as a whole has been pulling this year the lack of an ‘s’ there is only barely an exaggeration) didn’t care to see “celebrities” confront the people who claim to hate them and convert them into fans.

I didn’t poll on reality shows, but the voting on the comedies was quite lively, with 25 votes being cast. All but two of the shows got votes. FOX`s New Girl and ABC`s Last Man Standing (which debuts next week) had no votes. Suburgatory from ABC, Up All Night from NBC and FOX animated comedy Allen Gregory (which has not yet debuted) had one vote each. CBS`s How To Be A Gentleman had two votes while the network’s 2 Broke Girls and Free Agents both had three votes. FOX live action sitcom I Hate My Teenaged Daughter got four votes and NBC’s Whitney and ABC’s Man Up had five votes each. Last Man Standing, Allen Gregory, I Hate My Teenaged Daughter and Man Up are all yet to debut. Additionally Up All Night and Whitney have been given full season orders from NBC, 2 Broke Girls has received a full season order from CBS, and New Girl has a full season order from FOX.

Update: CBS has announced that production on How To Be A Gentleman will be moving to Saturday nights effective immediately while Rules Of Engagement, which had been scheduled to air on Saturdays will be moving back to the time slot following The Big Bang Theory on October 20th. Production on How To Be A Gentleman will halt after the completion of the show`s ninth episode. According to Deadline Hollywood, "That is effectively a cancellation for the sitcom with the Saturday run qualifying as a burn-off, though CBS never officially cancels a series before the upfronts." For our purposes, while the series has aired only two episodes, the fact that the remaining seven episodes will in fact air, even if it is in the Saturday "death slot," still qualifies as airing more than the four episodes that Free Agents got.

Second Update: CBS has pulled the episodes of How To Be A Gentleman from Saturday nights after a single episode. While the network still has six episodes in the can and won't announce the final fate of any of its shows until the May upfronts this amounts to the cancellation of How To Be A Gentleman with three episodes having been aired, one fewer than Free Agents.

Wednesday, October 05, 2011

And We Have Winner….Er Loser

Playboy_club_promo

The first show and the first drama to be cancelled this season is…

The Playboy Club

The show was cancelled after three episodes, so it is possible that  another show from this fall season will be cancelled in two. Nothing currently airing really screams out for a two episode cancellation however. In terms of the poll, four of you got it right, saying that The Playboy Club would be the show cancelled earliest. However it was tied with Charlie’s Angels (and anecdotally, it seems to me that most of the votes for Charlie’s Angels came after the show started airing), a show which could tie with The Playboy Club. Five other shows each got one vote: Revenge, Unforgettable, Prime Suspect, Grimm, and Hart Of Dixie.

The Playboy Club, which was the first series picked up by NBC Entertainment President Bob Greenblatt for the 2011-12 season will be replaced temporarily by reruns of NBC’s Thursday series Prime Suspect (which is also not setting the ratings on fire) until October 31st when NBC new newsmagazine Rock Center With Brian Williams on October 31st. Since the original plan was to replace The Playboy Club with the new musical based series Smash in the winter, it is likely that Rock Center’s time in the Monday third hour time slot will itself be temporary.

Monday, October 03, 2011

The Dick Van Dyke Show Blogathon: In Praise Of Laura Petrie’s Ass

Mary Tyler Moore16I have a confession to make. I am in love with Laura Petrie. And her ass. So maybe not love, maybe just lust.

Now there are a few reasons why this couldn’t possibly work out. For one thing, Laura Petrie is a fictional character. For another thing while I am in love (or lust) with Laura Petrie, I have no particular feelings of either love or lust for the actress who portrayed her, Mary Tyler Moore. I never had a “reaction” to Mary Richards or almost any other character that Mary Tyler Moore has played in her long career. Well maybe the woman she played opposite Robert Wagner in a little known farce called Don’t Just Stand There. But Change of Habit did nothing for me, and she played a hot nun in that, which usually tickles a certain pervy side of me. Certainly I never wanted to sleep with Mary Richards. Finally, even if she were real, Laura Petrie is old enough to be my mother. I know that because her son Little Richie is a year older than I am; well at least Larry Matthews, the actor who played Richie Petrie on The Dick Van Dyke Show is one year older than me, to the day (August 15th; Rose Marie, who also starred on the show was also born on August 15th, but over thirty years before Larry and I). Never the less, had the term MILF existed in 1961 when the Dick Van Dyke Show began airing, Laura Petrie would have been one.

I pretty much discovered The Dick Van Dyke Show while I was an adolescent. Oh sure, I was around when the show was in its first run. In fact it was even shown on the one TV station that we had in Saskatoon in the 1960s. But I didn’t see it at that time. It was on relatively late in the evening, and my family had a rather absurd idea of when a five year old should go to bed. So I saw the show as an adolescent and we all know how adolescent boys are. It might have made a difference if I had seen the show as a child…but probably not.

modNow lest you think that I was (and remain) a horndog with the mind of a sex obsessed fifteen year old, I would like to inform you of two things. The first is that I was and remain fully cognizant of the brilliance of this series. While many shows fixate on either the work environment or the home as the center of the action, with the other locale relegated to a secondary position if it’s shown at all (that’s one of my huge complaints about most modern procedurals – the protagonists seem to live entirely at and for work). The Dick Van Dyke Show mixed domestic stories in which the work cast would barely appear, and work based stories in which Laura and maybe (but not always) Richie would show up but you’d never see Jerry and Millie. And then of course there were the “neither fish nor fowl” flashback episodes most of which took place during Rob and Laura’s courtship and first year or so of marriage at Camp Crowder.

The second is that it took me a while to fully realize just how hot Laura Petrie (and Mary Tyler Moore) was. It is a testament to how brilliantly cast this show was that Moore was placed amongst a brilliant and experienced comedy and entertainment ensemble cast and she keeps up with the others as a comedic actor in spite of her age and her lack of experience in doing comedy. In fact she really hadn’t done much acting at all – one movie (X-15), Sam on Richard Diamond, Private Detective, a “role” that was almost entirely dependent on pure sex appeal – we usually only saw her legs and heard her voice. She’d also done a variety of guest appearances on dramatic shows of the period. The Dick Van Dyke Show was her apprenticeship as a comedic actress and she took to it like a duck to water. It is a testament to her abilities that I at least really noticed her as a comedic actress, with a comedic cry second only to Lucille Ball’s (“O-o-o-oh Ro-o-o-ob!” versus “Bwaaaa!”) before I really became aware of how sexy she was.
walnuts2I think I have to date my realization of how damned sexy Laura Petrie was to the episode “It May Look Like A Walnut” and in particular the scene in which Laura slides – nay surfs – prone on the tidal wave of walnuts that issues from the Petrie closet, not unlike Fibber McGee’s closet…if Fibber had filled his closet with walnuts. I have to confess however that having managed to find the scene on YouTube, it isn’t quite what I remember thanks to the way that they shot the seen. In my memory I was convinced that they shot the scene with the camera facing the door, so that Laura would be seen emerging in profile. Instead they shot it with the camera facing the junction of the interior wall and the exterior wall, so that we saw her emerge in a three quarter view. It’s not quite as sexy – I was sure that we saw her ass in that scene more than we did – but it does get the job done, particularly when she props her head up and starts talking to Rob. The sight of her there is something to behold.

There are a lot of things at the root of Laura Petrie’s sexual attractiveness. At the time she started the show Mary Tyler Moore was 23 though she lied about her age to get the part. She’s playing a slightly older woman of about 27 or 28 when she started in the role. (In preparing for this I tried to figure out Laura’s age using Larry Matthew's’s actual birth year of 1955 as the year of Richie’s birth; by my calculations 17 year-old Laura – claiming to be 19 – met and married Rob in 1952 or ‘53 making her about 27 in 1961 though claiming to be 29. It’s not really exact though.) She was a professional dancer as was Laura. Here I have to admit my fondness for dancers; my two big Star Trek crushes are Gates McFadden and Nana Visitor, both dancers who became actresses. Dancers generally have lithe taut bodies. Much of Laura’s wardrobe accentuates these features. The famous Capri Pants, which were supposedly used because Mary Tyler Moore insisted that the women that she knew didn’t wear dresses or skirts around the house, accentuated her body shape, particularly her butt. No wonder an adolescent Rob Reiner found it impossible to resist the desire to grab her ass (a deplorable act of course, but at least a little bit understandable). Laura’s wardrobe has a certain elegance to it. The Capri Pants were usually matched to a plain white blouse or a pull-over sweater. When she was out of the house and wearing a skirt or a dress it was usually simple and unadorned; the simple black dress or something not particularly flashy. (Mary Richards didn’t have that but then she was a creature of the 1970s when no one could manage elegance; Mary was a victim or fashion, fashion and polyester.) And then there are those rare occasions when she wears a dancers tights. Wow! As for her hair, there is something irresistible about that short but feminine cut that Laura has. It’s eminently practical for a young housewife of course, but it works with her face in a way that Mary Richards’s “big hair” really doesn’t.

gathersOf course once you start thinking of Laura Petrie as sexy, you can’t help but see it everywhere, and a lot of questions emerge. Why the twin beds? If I were married to a woman like Laura there is no way that I’d want to sleep separated by a nightstand. In fact I’m pretty sure that I’d be like Reverend Brooks in Dick Van Dyke’s 1971 film Cold Turkey (and if you’ve seen that movie you know exactly what I mean!). And then of course there’s the question of why Richie was an only child, given the nature of 1961 birth control technology.

Well, I think we all know the answers to these questions. The TV industry was busy pretending the sex didn’t exist in 1961. The only onscreen married couple with a double bed were Ozzie and Harriet and that’s because they were married in real life too. It wasn’t until Dick York bedded down with Elizabeth Montgomery in the same double bed on Bewitched that an actor and an actress who weren’t married to each other were seen in a double bed. That was the 1965-66 season, the year after The Dick Van Dyke Show ended. And adding a baby to the cast – the natural consequence of married life and double beds, was pretty much unthinkable too. I’m pretty much convinced that shows in this period only added babies when forced to by the actress getting pregnant. After all, Tabitha and Adam Stevens coincided with Elizabeth Montgomery’s two real life pregnancies. Of course, given the lack of continuity on the show – and indeed most shows of period – had Laura gotten pregnant the baby would most likely have been born and then all evidence of his or her existence would have vanished from the show like Rob’s political career (he beat Wally Cox in an election for city council in New Rochelle), Richie’s dog, the family goldfish (who actually had a speaking part in one episode) the rock in the basement that kept Rob from having a pool table until they needed a basement pool table for an episode, or Jerry and Millie’s kid… or was it kids.

cardinI think that it may be in the first season of Mad Men that one of the characters says that women are either Marilyn or Jackie, referring to Marilyn Monroe or Jacqueline Kennedy. Set in 1960, the first season of Mad Men is almost contemporary with The Dick Van Dyke Show in terms of period although of course Mad Men is a modern recreation and the attitudes expressed may be a reflection of modern attitudes with modern knowledge of John F. Kennedy’s relationships. Nevertheless there’s a nugget of truth there. Laura Petrie is clearly modelled on Jackie Kennedy in terms of her hair and clothing sense (but done on a comedy writer’s budget). I think that there’s an extra element to Laura Petrie that I can’t really put my finger on that appeals to me.

And in truth it isn’t just her ass.

Monday, September 26, 2011

Show Debuts - September 26-October 2

After last week when shows were debuting either for the season or for the first time ever, things have settled down. But no quite to normal. We have eight shows starting their seasons this week, with four of those being series debuts. And as yet there’ve been no public rumblings of shows being cancelled. Compared with the last few seasons that’s a surprise. When will the shoes -  and shows – start to drop?

Monday, September 26th

8-10 p.m. Series Debut of Terra Nova on FOX
8-9 p.m. Season Debut of Gossip Girl on The CW
9-10 p.m. Series Debut of Hart Of Dixie on The CW
9:30-10 p.m. Season Debut of Mike & Molly

Wednesday, September 28th

8:30-9 p.m. Series Debut of Suburgatory on ABC
9:30-10 p.m. Season Debut of Happy Endings on ABC

Thursday, September 29th

8:30-9 p.m. Series Debut of How To Be A Gentleman on CBS
10-11 p.m. Season Debut of Private Practice on ABC

New Series Synopses

Terra Nova is the long anticipated (since it was supposed to preview in May, much longer anticipated than was hoped) new series from Steven Spielberg. In the not too distant future the Earth is nearly uninhabitable, used up by people. A potential new start exists thanks to a scientific discovery that apparently opens a portal into Earth’s past, allowing a colony to set up in the age of the dinosaurs – Terra Nova. But all is not perfect in paradise.

Hart Of Dixie from The CW is a drama about a young woman doctor who, when she doesn’t get the surgical residency she was counting on is forced to take an offer that she would have normally rejected – to work in a General Practice in a small town in Alabama. Trouble is that the man who offered her the job has died…and left his half of the practice to her, but she’s not exactly popular with her new partner, and not particularly popular in her new “fish out of water” role.

Suburgatory is a comedy from ABC. When a single father finds condoms in his 16 year-old daughter’s room he decides to move from the city to the suburbs to find a better life. What they find is a place that seems too perfect, and a different sort of problems from those in the city.

In the new CBS comedy How To Be A Gentleman, the writer of an advice column in an Esquire like men’s magazine finds himself facing the prospect of being fired when the magazine is sold to a new publisher who wants it to become “younger and hipper.” To save his job he has to make his column more”modern and sexy” which means becoming friends with a personal trainer who used to beat him up in school.

Monday, September 19, 2011

Show Debuts - September 19-25

The Emmy Awards mark the real start of the new TV season. Here are the series debuting on all the networks this week (all times are Eastern).

Monday, September 19th
8-10 p.m. Season Debut of Dancing With The Stars on ABC
8-10 p.m. Season Debut of The Sing-Off on NBC
8-9 p.m. Season Debut of How I Met Your Mother on CBS
9-9:30 p.m. Season Debut of Two And A Half Men on CBS
9:30-10 p.m. Series Debut of 2 Broke Girls on CBS
10-11 p.m. Season Debut of Castle on ABC
10-11 p.m. Season Debut of Hawaii Five-0 on CBS
10-11 p.m. Series Debut of The Playboy Club on NBC

Tuesday, September 20th
8-10 p.m. Season Debut of The Biggest Loser on NBC
8-9 p.m. Season Debut of Glee on FOX
8-9 p.m. Season Debut of NCIS on CBS
9-10 p.m. Season Debut of NCIS: Los Angeles on CBS
9-9:30 Series Debut of The New Girl on FOX
9:30-10 p.m. Season Debut of Raising Hope on FOX
10-11 p.m. Season Debut of Body of Proof on ABC
10-11 p.m. Series Debut of Unforgettable on CBS

Wednesday, September 21st
8-10 p.m. Series Debut of The X-Factor on FOX
8-9 p.m. Season Debut of The Middle on ABC
9-10 p.m. Season Debut of Criminal Minds on CBS
9-10 p.m. Season Debut of Modern Family on ABC
9-10 p.m. Season Debut of Harry’s Law on CBS
10-11 p.m. Series Debut of Revenge on ABC
10-11 p.m. Season Debut of CSI on CBS
10-11 p.m. Season Debut of Law & Order: SVU on NBC

Thursday, September 22nd
8-9 p.m. Series Debut of Charlie’s Angels on ABC
8-8:30 p.m. Season Debut of Community on NBC
8-9 p.m. Season Debut of The Big Bang Theory on CBS
8:30-9 p.m. Season Debut of Parks and Recreation on NBC
9-10 p.m. Series Debut of Person Of Interest on CBS
9-9:30 p.m. Season Debut of The Office on NBC
9:30-10 p.m. Series Debut of Whitney on NBC
9-11 p.m. Season Debut of Gray’s Anatomy on ABC
10-11 p.m. Season Debut of The Mentalist on CBS
10-11 p.m. Series Debut of Prime Suspect on NBC

Friday, September 23rd
8-9 p.m. Season Debut of Nikita on The CW
8-9 p.m. Season Debut of Kitchen Nightmares on FOX
8-9 p.m. Series Debut of A Gifted Man on CBS
9-11 p.m. Season Debut of Dateline on NBC
9-10 p.m. Season Debut of CSI on CBS
9-10 p.m. Season Debut of Supernatural on The CW
9-9:30 p.m. Season Debut of Fringe on FOX
10-11 p.m. Season Debut of Blue Bloods on CBS
Sunday, September 25th
7-9 p.m. Season Debut of Extreme Makeover Home Edition on ABC
8-9 p.m. Season Debut of The Amazing Race on CBS
8-8:30 p.m. Season Debut of The Simpsons on FOX
8:30-9 p.m. Season Debut of The Cleveland Show on FOX
9-9:30 p.m. Season Debut of Family Guy on FOX
9-10 p.m. Season Debut of Desperate Housewives on ABC
9-10 p.m. Season Debut of The Good Wife on CBS
9:30-10 p.m. Season Debut of American Dad on CBS
10-11 p.m. Series Debut of Pan-Am on ABC
10-11 p.m. Season Debut of CSI: Miami on CBS

New Series Synopses

2 Broke Girls is reminiscent of The Odd Couple. Two young women from very different backgrounds are forced to live together because of the one thing they have in common: they’re both broke. Somehow the former rich girl and the one who has always had to work two jobs just to make ends meet have to survive each other and maybe become more successful as a team than they were as individuals.

The Playboy Club is a a period drama focusing on events at the hippest night club in 1960s Chicago, the Playboy Club. The women who wear the bunny uniform are a major part of the show’s focus and there’s a bit of a mystery attached as well.

The X-Factor is the American version of Simon Cowell`s British talent search sensation.

The New Girl stars Zooey Deschannel as a woman living – platonically – with three male roommates after catching her model boyfriend cheating on her. Jess is a quirky young lady re-entering the dating game with the help of her three new roommates and streetwise model, and Jess`s best friend Cece.

Unforgettable stars Poppy Montgomery as Carrie Wells a former cop who has hyperthymesia and is incapable of forgetting anything. An ex-cop now living in New York she goes back to being a cop after she becomes involved in a murder investigation led by her former partner who was also her lover.

Revenge is billed as a modern take on the classic The Count Of Monte Cristo. Under the name Emily Thorne, Amanda Clark returns to the Hamptons house where she grew up, seeking revenge on the people that she blames for the wrongful conviction and death of her father and the destruction of her family.

Charlie’s Angels is a remake of Aaron Spelling’s 1970s T&A classic, this time produced by Drew Barrymore who was one of the stars of the two movie remakes of the series. This time the Angels aren’t unfulfilled women cops, but ex-cons with talents that make them an effective team as private investigators.

In Person Of Interest a mysterious software billionaire has developed a computer program that predicts the identity of people connected to violent crimes that will take place in the future. To help him prevent these crimes before they happen he hires a presumed dead former CIA agent to effectively become his leg man.

Prime Suspect is an American remake of the classic British series. Maria Bello plays the new leader of a team of detectives whose new squad isn’t enthusiastic about taking orders from a woman, particularly a woman that they suspect has slept her way into her new job.

A Gifted Man is the story of a self-absorbed doctor whose encounter with the ghost of his ex-wife changes his life. He helps to run the free clinic that she had worked at and encounters people who really need his help.

Pan-Am is another period piece, this time looking at the lives of a group of flight attendants – or stewardesses as they were known then – in the 1960s when air travel was glamorous and the stewardess was the symbol of that glamour, even if the reality was nowhere near as good as the image.

It’s A Wonderful(?) Night For Emmy

emmysThere are a lot of adjectives to describe the 2011 Emmy broadcast; controlled, planned, anal.

Boring. 

Most of all boring. And I think it was boring because it was so controlled planned and precise. There were no obvious moments when comedy bits were dumped because the show was running overtime, The show seemed as well timed out as a Japanese train schedule and there was no room for deviation from timetable. It showed. The result was that it was an almost total lack of spontaneity. Even those moment that were supposed to feel spontaneous – the speeches by the winners – felt as planned out by the producers. The only winner to be played off was Kyle Chandler and that’s because he started to walk off and then realised that he forgot to thank Connie Britton for five years as Mrs. Coach. With one exception – Outstanding Actress in a Comedy – they didn’t even let the presenters actually read the names of the nominees they were going to be presenting to. You know, just in case someone screws up a name or laughs or something. How anal retentive is that! And yet they somehow managed to find time for the guy who named the winners – just in case we missed it when the presenters said the names – to make silly lame jokes. We don’t want this. As Joe Friday never said “Just the facts man.”

There were a couple of major musical numbers. One by Lonely Island it didn’t understand at all. I felt like Temperance Brennan on Bones: “I don’t know what that is.” I had to look it up and as a result…I’m feeling old and I still don’t understand the link that the song had to television. The other musical number was The Canadian Tenors – who I’ve also never heard of – singing Leonard Cohen’s “Hallelujah” during the Memoriam sequence. Now you’ll excuse me for saying so but I dislike this tendency, seen here and at the Oscars, of having the Memoriam segment underscored with live singers, particularly when the show’s director cuts between the memorial clips and the singers, which is exactly what they did this time.

I suppose we should discuss Jane Lynch’s hosting duties at the Emmys. Given what was allotted to her, I guess that she did an adequate job. FOX tried to recreate the excitement of last year’s opening musical number based on “Born To Run” but it didn’t come off quite right. Or maybe I just missed it because I was plating my dinner (in a manner that would drive Gordon Ramsay to apoplexy). She had a brief monologue at the beginning and from time to time has a couple of jokes, some referring to her sexual orientation. She also had a sketch later in the show wearing a black wig about why New Jersey is the setting for so many shows – among them House, Real Housewives of New Jersey, and of course Jersey Shore. Suffice it to say there was also a reference to another show that took place in New Jersey which had a controversial final scene. On the whole I wish that Jane Lynch had been given more to do on the show. Or maybe just better stuff to do.

Turning to the actual winners, the Comedy categories were dominated by Modern Family. The show won in every comedy category except Outstanding Actor and Actress in a Comedy, and that’s only because the show’s ensemble cast was all nominated in the supporting categories. Ty Burrell won for Supporting Actor in a Comedy while his onscreen wife Julie Bowen won as Supporting Actress. In one of the only “spontaneous” moments in the broadcast Melissa McCarthy won as Outstanding Actress in a Comedy, and received a tiara and roses in addition to the Emmy over the winner of my reader poll, Amy Poehler. That was a real shocker, and unlike a lot of people I’m not going to say that she won it for the movie Bridesmaids rather than Mike & Molly. Steve Carell failed to win an Emmy for playing Michael Scott on The Office, losing to Jim Parsons from The Big Bang Theory, who won the reader poll unanimously.

The Variety, Music and Comedy Series awards were lumped together with the Reality-Competition Category. I don’t care much for the Variety, Music and Comedy categories, although I noted a couple of things; they cut the segments naming the writers in this category – often the funniest damned thing in whole damned Emmy Show – down to 15 seconds each, thereby eliminating virtually all of the humour in those bits; and The Daily Show with Jon Stewart won both of the categories and absolutely no one was shocked or surprised. Mostly they were resigned to the fact. The Amazing Race won the Reality-Competition Series category; the reader poll said So You Think You Can Dance, but then only three votes were cast.

The Drama categories were, for the most part surprising. Martin Scorcese won the directing Emmy for the first episode of Boardwalk Empire, and that shouldn’t be surprising until you realize that Scorsese has lost six Emmy in various categories before winning this one. The first big surprise was Jason Katims winning the Writing category for Friday Night Lights. You could say, “after five year’s of being as great as it was, it’s about time,” but considering that there were two episodes of Mad Men nominated – including “The Suitcase” – not to mention the highly touted Game of Thrones, well it was surprising. Peter Dinklage won for Game of Thrones in the rather weak Supporting Actor in a Drama category, while Margo Martindale won as Mags Bennett in Justified. In the days leading up to the actual awards she became a critical favourite for the Emmy in a category with some truly strong actresses. In maybe the only non-surprise in the Drama categories, Julianna Margulies won the Lead Actress Emmy for The Good Wife, just like my reader polls said she should (but again, only three votes; I wanted Elizabeth Moss to win). The biggest surprise maybe of the whole night came in the Lead Actor in a Drama category when Kyle Chandler won for playing Coach Eric Taylor on Friday Night Lights over Jon Hamm (my readers’ choice), Steve Buscemi and the others.

I have little interest in the Movie and Miniseries categories, mainly because I see so very few of the entries in the category, and inevitably one or two shows dominates the category. This year was no different; I was actually on the edge of falling asleep while these categories were being announced. Downton Abbey won for Writing and Directing, and Supporting Actress (Maggie Smith). HBO’s Mildred Pierce (which was mercilessly panned by many critics) won for Supporting Actor (Guy Pearce) and Lead Actress (Kate Winslet). The dominance of these two was broken when Canadian Barry Pepper won the Lead Actor for playing Robert Kennedy in The Kennedys.

This left us with the three "Best Show” categories. Despite the threat from Game of Thrones, and The Good Wife – which won my reader poll – Mad Men won the Outstanding Drama Series for the fourth straight year. Since it’s only been on for four years, perhaps we now know what it will take for something else to win the category – Mad Men just has to be ineligible (which it won’t be next year). Downton Abbey won for Outstanding Miniseries or Movie (*yawn*). Finally, in the last, and most shocking (not) award of the night Modern Family took the Emmy as Outstanding Comedy Series.

If I were to apply my usual yardstick for awards show – did the show feel as if it was longer or shorter than it actually was – then Sunday night’s Emmy Award Show was a failure. It felt like it went on a lot longer than it actually did. I’m convinced that the reason why it felt that way is that FOX stifled the spontaneity of the show. While the networks expect every awards show except the Oscars to fit into a strictly enforced three hour window, I think that FOX was so determined to make it run on schedule – and coincidentally to not cut anything that they had planned – that they sucked all of the fun of the unexpected out of it. And while blame for this sort of thing usually falls onto the host, it does not seem to me that Jane Lynch bears any responsibility for this one. This one is entirely FOX’s failure.

Sunday, September 18, 2011

New Polls (2 of ‘em) Up

I couldn’t set them up as one this time around, and I couldn’t use my usual polling service but these are a pair of polls that I really like running. As always with these polls the premise is simple (like their author!). Simply choose the name of the show that you think will be cancelled after the fewest number of episodes. Note, I didn’t say which show would be cancelled first. The reason is that since some shows debut a week or two (or more) after everything else it is possible for a show to be cancelled after which airs fewer episodes than the first show to be cancelled chronologically. For example, lets say that Show A debuts on September 19th is cancelled three weeks after it debuts. It is possible that Show B, which debuts on October 3rd to be cancelled on October 18th, fifteen days after it debuted. Show A was cancelled first, but Show B aired fewer episodes.

This poll will run until October 16th OR until the first show in each category is cancelled, whichever comes first. As always, feel free to post comments on why you voted the way you did with this post.

Saturday, September 17, 2011

Poll Result - Outstanding Drama Series

marguliesgame-of-thrones










For the final Emmy Poll of the year, I asked which show would win the Emmy as outstanding Drama Series. This time around there were more votes cast than in most of the polls this year, but two fewer than in the Comedy series poll.

Eight votes were cast. Receiving no votes were Boardwalk Empire, Dexter, and Friday Night Lights. Receiving two votes (25%) was Mad Men. And in a tie for the lead with three votes each (37.5%) were The Good Wife and Game Of Thrones.

This is a tough category for me. I’ve seen three of the shows – obviously not the two that are on HBO and not Dexter either. I’ve seen a couple of episodes of The Good Wife, and have watched both Friday Night Lights and Mad Men sporadically since they debuted. I will say that I’ve seen some episodes of this past season of Mad Men and found it excellent as always. In fact, if the nominations for Outstanding Drama Series were based on single episodes, as so many of the Emmy categories are, I think a great many people would support Mad Men if they nominated the episode “The Suitcase.” Viewed overall I personally think that Mad Men is one of the best shows on TV and if I had voted, it probably would have gotten my vote. And as good as Friday Night Lights has consistently been, I don’t think that it can overcome the handicaps that it faces having been on DirectTV and then being a bit of an afterthought for NBC. That leaves us with two HBO series and The Good Wife. I haven’t seen enough of The Good Wife to effectively judge how good it is, but I suspect that it will do better in the acting categories than it will here. Is the Academy going to reward a broadcast network show when there are so many cable shows including bridesmaid Mad Men? I’m afraid I have to discount the chances for Game Of Thrones because of the long-standing Emmy prejudice against Science Fiction and Fantasy genre shows. (But is that just my reaction to Fringe never having a nomination in any of the main Emmy categories.) By default then I think the big HBO contender is going to be Boardwalk Empire. The three most likely winners are Boardwalk Empire, The Good Wife and Mad Men and because I’ve seen more of Mad Men, that’s the one I’m going with.

Todd Mason has a different opinion:
THE GOOD WIFE has weak moments, but remains the best drama on US television, despite impressive work on the part of the folks at FRIDAY NIGHT LIGHTS and MAD MEN and DEXTER.
BOARDWALK EMPIRE has an excellent cast for the most part, and shows why an excellent cast can't carry a series without decent scripts.

For what it’s worth Todd (less than the price of a cup of tap water) I can see your point about The Good Wife, and maybe if I had watched more episodes I’d agree with you more whole heartedly, but I do love my Mad Men. As far as Boardwalk Empire is concerned, I agree with your general premise about an excellent cast needing decent scripts (and/or superior direction) but since I haven’t seen the show I will refrain on commenting on whether that’s the case with this show.

I want to have a new poll up for the “Cancellation Derby” in the next day or so, although it might turn out to be two polls running simultaneously for Comedy and Drama. Be back soon.

Monday, September 12, 2011

Show Debuts - September 12-18

The summer is finally over. For most of us Labour (Labor) Day marks the end of summer and the beginning of Fall – although based on the weather around here last week you couldn’t tell; we had the hottest days of the year last Wednesday, Thursday and Friday. For TV the beginning of the Fall season is supposed to be right after the Emmy Awards on Spetember 18th. However, some shows will be debuting from four of the five US networks. The only one not to debut new shows is FOX (although ABC’s debut is a bit of a cheat; 20/20).

So here is what’s coming this week (all times are Eastern):

Tuesday, September 13th
8-9 p.m.: Season Debut of 90210 on The CW
9-10 p.m.: Series Debut of Ringers on The CW
10-11 p.m.: Season Debut of Parenthood on NBC

Wednesday, September 14th
8-9:30 p.m.: Season Debut of Survivor on CBS (originally scheduled for one hour but extended to 90 minutes)
8-9 p.m.: Series Debut of H8R on The CW
9-10 p.m.: Season Debut of America’s Next Top Model on The CW
10-10:30 p.m.: Series Debut of Up All Night on NBC
10:30-11 p.m.: Series Debut of Free Agents on NBC

Thursday, September 15th
8-9 p.m.: Season Debut of The Vampire Diaries on The CW
9-10 p.m.: Series Debut of The Secret Circle on The CW

Friday, September 16th
10-11 p.m.: Season Debut of 20/20 on ABC

New series synopses:

Ringers is the much anticipated return of Sarah Michelle Gellar to network TV. She plays estranged twin sisters, Bridget and Siobhan. Bridget a recovering addict who is a key witness in a murder trial goes to visit her estranged twin sister Siobhan. Siobhan is married and wealthy, but her perfect life isn’t perfect, as Bridget discovers when she assumes her sister’s identity after Siobhan apparently dies at sea.

H8R is a new reality series from The CW hosted by Mario Lopez in which celebrities confront their biggest haters and try to make them realize that their animosity is misguided. featured celebrities include Snooki, Kim Kardashian and Jake Pavelka, while others booked for the series include Kat Von D, Eva Longoria, and Barry Bonds.

Up All Night from NBC stars Christina Applegate and Will Arnett in a comedy about a couple trying to cope with parenthood in the modern world. In this case that means a career woman mom with a vulnerable and needy boss played my Maya Rudolph, and a stay at home dad.

Free Agents is NBC’s remake of a British comedy. This version stars Hank Azaria as Alex, a newly divorced man and Kathryn Hahn as a woman whose fiance recently died. They have a drunken one night stand and the series deals with the awkwardness between the two of them which is magnified since they work together at an advertising agency run by Stephen (played by Anthony Stewart Head, the only hold-over from the original British cast).

The Secret Circle follows The Vampire Diaries on The CW, which is only fitting since both are based on the novels of L.J. Smith. The story focuses on Cassie Blake, who moves to live with her grandmother in Chance Harbor Washington. There she discovers that not only is she the latest in a long line of witches, but she’s the last member needed to complete a coven of teenaged witches known as “The Secret Circle.”

Thursday, September 08, 2011

New Poll - Outstanding Drama Series

Right now I have a headache and heartburn, largely caused by things that this computer is doing to me, so let’s keep this short and sweet. It is our last Emmy Poll and as always there is only one rule: vote for the series that you think should win the Emmy for Outstanding Drama Series rather than for the show you are sure will win…if they aren’t one and the same that is. I enjoy getting your comments and responding to them here, so please feel free to comment on the relative merits of the nominees.

 

Deadline for this poll is Saturday, September 17 at Noon (not that I’ve ever made the Noon deadline myself of course). That’s the day before the Emmys are broadcast on FOX.

Poll Results - Outstanding Comedy Series

Parks-and-Recreation-Season-1-2009I nearly forgot about this one and I need to get on with it. There were ten votes in this category. The Big Bang Theory received no votes. In a three way tie for third place with one vote each (10%) are Glee, from FOX, and The Office and 30 Rock, both from NBC. In second place with three votes (30%) was ABC’s Modern Family. But the winner in this category with four votes (40%) was NBC’s Parks & Recreation.

I’ve stated often enough that I don’t watch a lot of sitcoms. The rare exception is The Big Bang Theory which I find hilarious. Thus I’m not really equipped to discuss the relative merits of the various shows that are nominated. However, this time around we have enough comments to get a feeling of the people who voted…even if a few “spammy” comments slipped through.

First up we have this from Todd Mason:
COMMUNITY was actually better than this slate, but only a bit better than PARKS and 30 ROCK. GLEE and MODERN FAMILY don't belong on the ballot.
I happen to agree with you about Glee. The thing is that I don’t know where the show really fits. It gets lumped into the comedy area because it has music and the inevitable association of “musical” is with “comedy.” Just my opinion of course.

Next this statement in support of this stance from Roger Owen Green:
I don't care what they say: Glee is not a comedy! (And neither is Nurse Jackie.)
I agree, particularly about Nurse Jackie. Of course the show wasn’t nominated as a Comedy this year though star Edie Falco was.

My good friend Toby O’Brien had this to say:
Although I enjoy all but "Glee" among the nominees, but only "Parks & Recreation" really took it to a higher plane this year. "Modern Family" and especially "30 Rock" had too many off episodes.....
I’ll take your word for it.

Alex wrote this:
I have to go with Parks & Recreation. Over the past few years, it's found its groove and stepped up its comedy game. Glee is, although entertaining, fundamentally not a good show. It focused on cheap, instant laughs and thrills rather than character development.
I think that the comments about Glee may be right on the mark. Based on some reported slippage in the ratings this past year it may be that the public is growing tired of the Glee “formula.”

Finally we have this from Tom Myler expressing a minority opinion:
Contrary to what of people think, The Office did great this past season! The final arc after Michael Scott left was hilarious.
This definitely does seem to be a minority opinion, even to your point about the arc after Michael Scott left. While there were some moments that professional critics found to be excellent, like the episode where Dwight ran the Scranton branch, many thought there were too many gimmicks in those final episodes. Adding to that is some negative reaction to a lot of the earlier episodes.

New poll up in a few minutes.

Sunday, August 28, 2011

New Poll - Outstanding Comedy Series

I had planned to do this poll of undeserved nominations, and came upon a sudden realization that this year at least it isn’t as easy to find undeserved nominations. Oh they’re there. They always are. Here’s the thing though; they aren’t as easy to find (this year at least) as the Emmy snubs. More to the point the egregious and obvious ones are pretty obvious. I mean I think we can all agree that when an actress appears in every episode of the first season of a show, the way that Cloris Leachman did in Raising Hope, she shouldn’t be nominated as the Outstanding Guest Star in a Comedy no matter what the rules in the category allow. That’s about as “undeserved” as they get. As a result, what I’m going to do is expand the two series categories to ten days rather than one week.

First up is the Outstanding Comedy Series. As always the rules are simple: vote for the show that you think should win not necessarily the show you think will win. I will be running and answering any comments that I might receive in this category so long as those comments aren’t comment spam. Deadline for this poll is Wednesday September 7 at Noon (approximately).

Saturday, August 27, 2011

Poll Results - The Biggest Emmy Snub

Snubbed
Last week I switched up the Emmy polls by asking what people felt was the biggest Emmy snub this year. I offered ten possibilities and we had three votes cast. The polls haven’t exactly been popular this year…sigh.

But on to the results. The following got no votes: Fringe, Community, Survivor: Redemption Island, John Noble, Mayim Bialik, and Delroy Lindo. And the winners – it was a three-way tie – are Anna Torv, Nick Offerman, and Kyra Sedgwick with one vote each (33.3%)

If this were the sort of poll where I’d cast a tie breaking vote, though it pains me to say it – because I am a huge fan of what Anna Torv has done on Fringe – I would have to cast my vote for Kyra Sedgwick. I think it was nearly criminal that Sedgwick, who was nominated and won in this category last year didn’t receive a nomination, while Mariska Hargitay has earned her eighth nomination (and won once) for Law & Order: SVU and Kathy Bates was nominated for Harry’s Law. I’m sorry but this just doesn’t seem right to me.

We had two comments about this category. Tim Tipton wrote the following:
Here's a great show that is always snubbed by the emmys and I never hear anyone speak in it's defense: it's always sunny in philadelphia. I think because it's low brow humor, it is overlooked. But Danny DeVito should at least get an emmy. He's funny.
I know that there are a lot of fans of It’s Always Sunny In Philadelphia although it’s not a show that I have seen, and not one that, from the descriptions, particularly appeals to me. Still, it’s hard to argue against Danny DeVito in just about anything that he does. He is invariably funny. That being said, I think that he and the show have two things running against them. The first is that the show is a very dark comedy and to a large degree the characters are not particularly likable. The Emmys are not kind to dark comedies and to characters that appear to have few redeeming qualities. In other words it’s too dark to get the approval of the Academy.

The other comment came from Ben who wrote:
There are a lot of deserving should-be candidates here. As I commented earlier in the year, it reflects badly on the ATAS that neither Community nor Fringe get any nominations at all. Nick Offerman deserves recognition, but at least P&R has Amy Poehler.

I voted for Anna Torv. In Fringe's first season she played Olivia Dunham as a tightly controlled, unemotional cop, and many people thought she just couldn't act. Cut to season 3 and not only has Olivia gone through amazing development, but Torv plays a different version of the character with a whole other arc. Critics start to sit up and take notice, but the Emmys remain oblivious.

I happen to agree on both points. As I mentioned, I love what Anna Torv has done on Fringe, and cast my “non-vote” for Kyra Sedgwick only because the failure to recognize here work on The Closer this year is particularly magnified because she won the Emmy in her category last year. That being said, I can offer an explanation why Fringe – and by extension Torv – didn’t get nominations. Fringe is, to be frank, a low rated genre (aka Science Fiction) show on a broadcast network, and those three things combined are anathema to the Television Academy (I don’t consider Lost a genre show in this sense, although it increasingly became one as it went on). Despite some amazing groundbreaking work, neither Sarah Michelle Gellar nor Buffy The Vampire Slayer were ever nominated in the acting or series categories (and Joss Whedon was only nominated for Outstanding Writing in a Drama once…for the episode Hush, which was essentially a silent movie). I think you have to go back to 1997 when Gillian Anderson won for The X-Files to find the Emmy giving an award to a “genre” series in one of the major categories.Even if you include Lost, it only won as Outstanding Drama Series in its first season, only had one nominee in the Actor in a Drama Category, and won two Emmys in the Supporting Actor category. No actresses were even nominated for the show. But of course Lost had the advantage of being a highly rated show. If Game Of Thrones manages to win a major Emmy – and I think it’s possible – one of the biggest reasons for its success will be that it was on HBO and got a reasonably good audience for that premium network. Being on HBO gave it prestige, while being on FOX (on Friday night no less) does nothing to help Fringe.

As for Community, the big problem is probably that it is the lowest rated of the NBC Thursday comedies. When you look at the ratings, you find that Community had a lower number of total viewers and a lower 18-49 rating than the cancelled Outsourced (Community 4.475 million viewers (115) and 2.0/6 in 18-49 (81); Outsourced 5.187 million (99) and 2.4/6 in 18-49 (59)). And while the Emmys aren’t supposed to be influenced by ratings, the fact is that to a degree they are. I don’t think the voters felt they could justify having two thirds of the nominees in the category coming from NBC and so decided to ignore the lowest rated one.

New poll – the flip side of the Snubbed Poll – up in a couple of hours. Right now I need a nap.

Thursday, August 25, 2011

The PTC Hates The Playboy Club - Big Surprise, Right?

Playboy_club_promoMy summer has been filled with unfulfilled promise. I promised to recap Studio 60 On The Sunset Strip – unfulfilled. I bought a small notebook to take notes when I had thoughts on stuff to write when I’m not near the computer – unfulfilled. I haven’t had any real thoughts that desperately needed to record. But then the PTC came out with their latest campaign and suddenly I have something to sink my teeth into. You see, the PTC has – sight unseen of course, except for some promo clips – demanded that NBC affiliates follow the lead of KSL in Salt Lake City and refuse to air NBC’s new series The Playboy Club. Given the organizations’ attitude to anyone even peripherally associated with Playboy the magazine or Playboy the Corporation, this is about as surprising as the sun rising in the east. Of course this could have been a little bit more timely and would have been had it not been for my recent illness and the subsequent necessity to catch up with other things that I had let slip during that period.

The PTC’s letter to affiliates is a long and meandering one filled with the PTC’s usual mixture of hyperbole and not well veiled threats. Just to add to the mix they have statements from Shelley Lubben’s faith based Pink Cross Foundation, an organization dedicated to “helping victims of the pornography industry.” The statements have a particularly weird disconnect when you remember that the series is about the Playboy Club in Chicago in the 1960s and not Playboy Magazine in the 2010, or indeed in any era.

The letter begins with a number of statistics about the damage that porn addiction – defined as watching more than 11 hours or pornography per week – does to the addict and to society in general. While I won’t go into the actual percentages, I will say that the total number of “porn addicts” is less than two tenths of the American population. Which may explain why the rest of the paragraph refers to percentages rather than actual numbers. But the next paragraph is firmly tied to those figures.
I call these statistics to your attention because I assume you must be unaware of how damaging the pornography industry is to our society, to our families, and to individuals. Otherwise, how on earth could you, in good conscience, agree to broadcast in your community a program that glorifies and glamorizes this insidious industry?
I am referring, of course, to NBC's plans to air "The Playboy Club" this fall and am writing to urge you, on behalf of the Parents Television Council's 1.3 million members, to preempt the program in your community.

The PTC has received correspondence from NBC affiliates that describe the series is “a sophisticated series about the transitional times of the early 1960s and the complex lives of a group of working-class women.” These are dismissed as “canned responses,” which is laughable coming from an organization that provides its members with form letters to send to the FCC over every real or imagined violation of what it thinks is the broadcasting law. Nevertheless the PTC carries on with its assumption that The Playboy Club is about the pornography industry.

Putting a veneer of sophistication on an industry that exploits women and destroys families is not laudable, it is disgraceful. In what manner does such the airing of such material reconcile with your public interest obligations as a broadcast licensee? Whatever positive spin you may wish to put on the series, it is undeniably a betrayal of the trust you have built over the years with America 's families - the owners of the broadcast airwaves that you will be using to force this content into the living rooms of every family in your community.

Where the PTC letter really got “good” (in a strange definition of good it must be admitted) was when they introduced the statement from Shelley Lubben of the Pink Cross Foundation, an organization “dedicated to helping the victims of the pornography industry” (they don’t happen to mention that the organization is a “faith based initiative”). Lubben, a former actress in pornography stated:
"What's shown in The Playboy Club is not real...The series looks like it's all cute, taking place back in the old days. It seems harmless, but then they show a quick clip of three people going at it in the bathroom. NBC is breaking the law with this show. They're not meeting FCC standards."

Strong words, and they’re coming for someone who not only doesn’t understand the very basics about the show that she’s complaining about but also seems to have only such understanding of FCC standards as she has been fed by organizations like the PTC.

Much of the rest of the PTC letter is the same old stuff that the organization peddles. They promise that the organization will be “carefully reviewing every episode, and will urge its members to file complaints with the Federal Communications Commission about any content that may be in violation of broadcast decency laws.” Then they add this little threat to affiliates:
Please be mindful that it is the affiliate, not the network, that will ultimately bear the financial burden of an FCC fine should any of the content be found to violate broadcast decency laws.

First of all let’s address the specific claim of “three people going at it in the bathroom.” I actually found this scene in the promo clip provided by NBC (which I’m including below) – it happens around 1:58 – and beyond the fact that it is apparent that Ms. Lubben needs glasses (I see a man and a woman and a reflection in a mirror, not three people), it is also clear that this scene is little more than something that you could see in a soap opera most days…when there were soap operas. There is nothing here that the FCC could possibly object to: no bare breasts, no exposed excretory organs, no visible genitalia. The scene is benign, and shows far less than what can be seen on TV in most countries of the world, including Canada. Now that by no means guarantees that the PTC would not rise in righteous indignation over this scene, but there’s no there there.


Here’s the real issue. The PTC has had – dare I say it – a hard-on about anything even peripherally connected to the Playboy organization. When they were attacking the show My Name Is Earl, they inevitably mentioned the presence of Jamie Pressly (who played Earl’s ex-wife Joy), but every time they mentioned her, they took pains to mention that she had appeared nude in Playboy –I seem to recall that they referred to her as a Playmate, though she never was. What they rarely if ever mentioned was her work as an actress. It was a strategy designed to diminish and denigrate her as an actress and by extension the show, creating the impression that the only reason she was hired was because she had appeared in Playboy and was only on the show to titillate younger viewers.

Now here are the facts about The Playboy Club; not the tales that the PTC and its fellow travellers want you to believe about the show and not the salacious impressions that Shelley Lubben wants to see that aren’t really there. The show deals with the Playboy Club in Chicago in the early 1960s. It does not appear to deal with the magazine except peripherally (in the preview clip one Bunny says she’s going to be the first “chocolate” Playmate), or with photos of some Playmates from the 1950s that often didn’t show actual nudity. While there is more than a little criticism about the Clubs from a feminist point of view – notably the Gloria Steinhem article when she went undercover as a Bunny – the fact is that the aspects that the PTC claims will be seen on the show were never a part of what happened at the Playboy Clubs. There was no nudity at the clubs, and the rules about contact in the clubs between clients and Bunnies were quite explicit. Indeed a certain amount of what is shown in the clip – the two people making out in a bathroom, and the clients groping one of the Bunnies – would never have happened in the actual Playboy Club. The truth is that the real Playboy Clubs were high class private night clubs (the private nature being assured by the $25.00 annual membership fee – apparently only about 21% of the people who had memberships actually visited one of the clubs), that offered some of the biggest names in jazz and other entertainment.

Were the Bunnies sex objects? Undoubtedly, even if they were chaste “look but don’t touch” sex objects. Was it demeaning? Certainly Steinhem thought so. The question that Steinhem didn’t address was whether she would have found working another night club that didn’t bear the name Playboy equally demeaning. Was the association with the name “Playboy” the reason why she wrote her critical article? I have to think that the fact that the link with Playboy Magazine was a motivator in her decision to go undercover as a Bunny. She might well have found conditions at other nightclubs of the period equally demeaning (if not more so in many cases), but without the name recognition that the Playboy Clubs had.

And this of course is equally the point in the current situation in which the PTC is threatening NBC affiliates to try to get them to drop the TV show The Playboy Club from their stations. If the show was called something else and was about waitresses in a different nightclub, but maintained the storylines and the scenes shown in the preview clip, would the PTC be as outraged as it is by the show? The most likely answer is, no they would not. They might regard it as salacious after they saw an episode but I sincerely doubt that they had the same “pre-debut” fixation on the show. In this particular case, “a Rose by any other name” would not get nearly the attention, either from the PTC or for the PTC

I have no idea of whether or not The Playboy Club is a good show or not. I’m not privy to any more information than most of you are, and in fact because I’m Canadian it might even be less information, depending on whether or not NBC will allow Canadians to view clips of the show. I fully expect it to be a poor knock-off of Mad Men, lacking the qualities that make Mad Men first rate TV, like good writing, compelling characters and a vision that is more than just skin deep (an expression that undoubtedly fits in more than the obvious way). However I am willing to give the show a chance to at least present itself before I judge it, and I refuse to pass judgement based entirely on the name, and then look for proof wherever I can find it… or manufacture it. This is more than the PTC, with its vendetta against anything that is associated – even at second or third hand – with the word “Playboy” is able to say.