Intermissions or no intermissions? (the debate of our time)

A recent article in the Los Angeles Times by theatre critic Charles McNulty proposed that it was time to eliminate intermissions in theatre productions.  He feels it’s an outdated practice and in the post-COVID era theatergoers are going to be reluctant to huddle in crowded lobbies during intermission.  I see his points.

He addresses the issue of bladders.  Lots of people would rather not sit for two hours without going to the bathroom (especially since theatergoers tend to be on the AARP side).   Yes, people could leave their seats in the middle, but he acknowledged that theatres (especially Broadway theatres) tend to be packed.  Movie theatres offer more room.  Legit theatres aren’t going to reconfigure or take out seats so that’s a continuing problem.  Many of them are the size of shoe boxes anyway.

I personally don’t understand why theatres don’t welcome intermissions.  They make more money.  Concessions and T-Shirt sales would suffer without that mid-play break. You gotta move that merchandise. There's nothing sadder than a show closing with 7,000 unsold hoodies. I’ve had plays with no intermissions and several theatres have asked me if they could insert one.  

There’s the other psychological issue that tickets tend to be expensive (especially on Broadway).  I’ve gone to plays that lasted 75 minutes and I’m out of the theatre by 9:00.  That’s not a whole evening’s entertainment.  That’s a quick meal at the sushi bar.  

I have plays that have intermissions; I have plays that don’t.  One of my plays, which you can watch here, with Joely Fisher & Tim Daly, takes place in real time.  So there can’t be an intermission. 

But given my druthers, I prefer an intermission, and here’s why:

I write comedies.

Comedies play better with an intermission.  Audiences get tired and laughs start to die that otherwise wouldn’t if the audience has a break.  

With some dramas it’s the opposite.  They don’t want the audience to have a reprieve.  To fully get the experience they’re establishing they want the audience immersed until the end.   And I get that too.  

But for comedies, give me an intermission.  And it doesn’t hurt that wine is served during the break.  And I get a percentage of the hoodie sales. 

The Upshaws

THE UPSHAWS is a funny show.  And full disclosure: I say that not just because my daughter and her husband are writers on the show.  It premiered last week on Netflix and is already their number one show (so maybe I’m not alone).   The New York Times and Entertainment Weekly loved it.  And the Wall Street Journal hated it.  So that’s three solid endorsements.  

These days, if you’re going to show a diverse ethnic group, the safe way to go is to make everyone likable and noble.  And that’s great except it’s death for comedy.  THE UPSHAWS is not afraid to present characters with flaws.  And it’s not afraid to have to have characters clash.  This isn’t the COSBY SHOW.

Although THE UPSHAWS is mounted like a retro multi-cam, it somehow seems fresh.  The blended family situation is messy, and I think that’s one of its strengths.  This isn’t GOOD TIMES.  (Full disclosure number two: I never liked GOOD TIMES.  It was preachy, characters spouting statistics, and Jimmie Walker’s catch phrases turned the series into a cartoon.)  

Another big plus is THE UPSHAWS cast funny people.  This is the key to all sitcoms.  Hire funny people.  Wanda Sykes kills it.  Mike Epps is very funny (and kudos for allowing his character to be funny at the expense of being “nice.”).  Kim Fields, as always, gets every laugh you give her, and the side characters click too.  

The show is loaded with jokes (Imagine!  A comedy that wants you to laugh.) and having been in the audience for one of the episodes, I can tell you the laughs are real.  There are some very sharp lines.  

At the same time, it deals with weighty issues as the series unfolds and contains dramatic moments that are earned. 

It’s not groundbreaking, but I found it funny with heart.  And okay, yes, the ones written by Annie Levine & Jonathan Emerson were my favorites. 

Weekend Post

I've talked about how Larry Gelbart was the Mozart of comedy writers.  Remember in AMADEUS that Mozart used to write his music with no corrections or cross-outs?  Larry used to write MASH scripts in longhand on legal pads.  I once mentioned that I loved a particular episode he wrote called "The More I See You" and the next day he gave me a Xerox copy of his first draft.  I noticed that there were hardly any changes.  I said, "Wait.  So you do your first draft longhand, then do a second longhand to clean it up?" He said, "No, just one draft."   

When I write in longhand I have 24 hours to get it typed up.  Between all the cross-outs, lines in the margin, arrows, and sloppy penmanship, after 24 hours Navajo Code Readers couldn't decipher my scripts.  

But check out an example of Larry's first draft of "The More I See You."  He was remarkable in so many ways.  

Friday Questions

Halfway through May.  Ready for some Friday Questions?

Dave is up first.

I've been watching a lot of Becker recently. So funny, superb writing and I like all the characters.

Last night, I saw the episode in which Kelsey Grammer guest-starred ('Because I Have Friends I Haven't Used Yet'), which aired just two days before a Frasier episode ('Daphne Does Dinner'). How could Grammer do both in the same week?

I'm guessing he maybe had to miss the read-throughs and rehearsals for Becker or they had to tape it on a different night. Or maybe his packed schedule explains why he was limited somewhat to three scenes.

Each of those shows worked on the following schedule:  Three weeks on then one week off.   And each show had a different schedule.  Kelsey guested on BECKER during a week’s hiatus from FRASIER. 

Once episodes are completed the network is able to shuffle the deck — move one episode up a week, move one back, etc.  So it’s not unusual that both episodes featuring Kelsey were shown a couple of days apart. 

From Glenn:

Ken, have you ever had an actor forced on you who turned out to be great?

No.  Never. 

However, we had one actor forced upon us that was so terrible we quit the show once the pilot was filmed.  The show didn’t get picked up, nor should it have been.  And we didn't care.  We were never going to walk onto a sound stage with that guy again. 

Chris Thomson wonders:

At what point, and what are the signs/vibes that you realize a show is basically needing to finish?

A number of signs. 

You ran out of stories three years ago but kept going anyway.

Ratings are falling.

The star is tired of doing the show and his contract is up.

With rising costs for the actors, and above-the-line people, the show is getting too expensive to produce.  Especially if you already have enough episodes for a large payday in syndication or streaming, why bother making more when it’s costing you more? 

And finally, from Poochie:

So I've been watching a series of Youtube vids where a real lawyer breaks down courts scenes on TV. As you can imagine the majority of these shows and movies get it wrong. Just totally and not remotely how it operates in the real world wrong.

My question is could these productions staff lawyers for the pure purpose of writing/dialoguing ONLY the court scenes? Is that allowed by the WGA? Would the lawyer/writers need to be credited? Residuals? Is this something remotely possible? How would it work? And why don't more productions at least try to get this remotely accurate?

Shows are allowed to hire “technical consultants.”  They’re allowed to tweak dialogue.   On MASH we had Dr. Walt Dishell.  We would write operating scenes and say things like “Nurse, hand me that frabbazabber!”  And Dr. Dishell would put in the correct term (although I think frabbazabber is the correct term).  

Technical consultants do receive a credit. 

We had a medical consultant, a military consultant, and a nurse on the set to make sure everything looked right. 

Other shows have lawyers and law enforcement consultants. 

The gray issue comes when the producers want to do something that is a little iffy.  There’s creative license, but just how far do you bend?   That’s a case by case judgement call. 

As for Dr. Dishell, there was one episode of MASH (“Life Time”) where he was so involved in the writing that he was awarded shared writing credit with Alan Alda. 

What’s your Friday Question?  

EP224: Meet Singer Extraordinaire Linda Eder

“Star Search” winner/Broadway star/recording artist/Carnegie Hall concert singer, Linda Eder has an amazing voice and career. She’s also a very fun guest.

Get Honey for FREE at JoinHoney.com/LEVINE

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Setting the record straight

A number of people have commented about the Jackie Cooper autobiography.  In that book he talks about directing early episodes of MASH and has very unkind things to say about Alan Alda, Larry Linville, and the cast in general.   Readers have asked my thoughts on the matter.

Okay, so let me set the record straight.  

NONE of the bad/diva behavior Cooper described in the book was ever evident in all the time I was on MASH.  The writers who followed me will say the same thing.   

The TV comedy writers’ grapevine is extensive and comprehensive.  Believe me, when an actor has a meltdown on just about any set, word gets around.  Quickly.   

Nowhere besides Cooper’s book did those rumors surface.  What I was told, during my tenure at MASH, was that Cooper did not get along with the cast.  Jackie Cooper and MASH showrunner Gene Reynolds were longtime friends (they were both child actors together at MGM along with Judy Garland and Mickey Rooney).  And after those first few episodes, he was never asked back.  

What’s more telling than Cooper’s account was this:  Gene Reynolds and Larry Gelbart had nothing but effusive praise for Alan and the cast.   

And that was my experience as well.  As I’ve mentioned, Alan was always respectful, and on those occasions when he came up to the room to help us rewrite, he never lorded over us.  He was the quintessential team player.  

Finally, I say don’t just take my word for it.  If you ask any of the writers or actors or directors or crew, they’ll tell you the same thing.  Most people on the crew were there for the run of the series.  Believe me, if the star or cast was a nightmare they’d be looking to go somewhere else.

Jackie Cooper was a bitter guy.   If there were clashes with Alan, who’s to say it wasn’t Cooper who was the instigator?  Same with Linville.   I personally found Larry utterly professional and fun to deal with.  

And that’s the God honest truth. 

"You're not good enough for us. But give us money."

The problem with giving donations on line is that you’re immediately put on mailing lists and are then barraged by more donation requests.  And then there are those who donated to Trump who didn’t read the fine print and thus don’t realize that they’re being billed every month.  Sometimes to the tune of thousands of dollars.  Oh well.  A fool and his money are soon parted.

I understand the need to request donations.  And we’re all hurting due to the pandemic.  (Or future legal fees and foreclosures — treason and swindling is costly.)  But how and when you ask for money is a delicate dance.

Here’s what NOT to do.

I enter plays in festivals and competitions all over the world.  I’ve enjoyed a lot of success but have also received my share of rejections.   When 400 people apply for 5 spots, if you don’t expect rejection you’re crazy. 

But occasionally I’ll get a standard rejection email that also asks me to donate to that theatre.  Now why ON EARTH would I donate to that theatre in that situation?      I at least can take comfort that their same great judgement to ask for money when shunning me probably went into evaluating scripts. 

I often do donate to theatres that select my plays.  Put me on that mailing list. 

Top 100 Sitcoms of All-Time -- Really???

 

ROLLING STONE MAGAZINE ran a real fool’s errand by trying to name the Top 100 Sitcoms.  You can find it here.  It’s impossible to get right.   You’re not just comparing apples to oranges, in some cases you’re comparing apples to table lamps.  

What they didn’t seem to take into account was the impact certain shows had.  Beyond the writing and acting — some shows made a big imprint in popular culture while others were popular at the time but quickly disappeared.   Since we’re talking about 70+ years of shows, it seems you’d need someone in their 80’s who really had an overview select the list.  On the other hand, someone in their 80’s would have no appreciation for more recent shows.    

And what is considered a “sitcom?”  ROLLING STONE lists THE SIMPSONS as the number one sitcom of all-time?  THE SIMPSONS is one of the greatest television shows in the history of the medium, but do animated shows qualify as sitcoms?  Some could argue yes; others could argue no.  The fact that there’s an argument at all seems to suggest it’s not.  

With all that in mind, let me comment on the Top 10.  Throughout the 100 there are some rankings that are so absurd they’re not even worth discussing. But let’s center on the Top 10.   Setting aside taste, or bias, or anything else — the number one sitcom of all-time has to be I LOVE LUCY.  It’s not even close.  It was groundbreaking, created an art form, and has continued to run and get amazing ratings for close to 70 years.  Six generations from around the world adore that show.  And six more generations will discover and love it.    I say that and two of the shows above it (CHEERS and THE SIMPSONS) are shows I wrote.  They’re not Lucy.  

You can’t have an all-time Top 10 without including FRIENDS.  You just can’t.  That show is so globally beloved it belongs in the Top 3.  

THE DICK VAN DYKE SHOW also needs to be in the Top 10.  That show changed the direction of situation comedies, won a boatload of Emmys, and still is being seen and admired today.   The Golden Age of smart multi-camera comedy that sprung up in the 70’s and 80’s was because of THE DICK VAN DYKE SHOW.  

I love both PARKS & REC and LARRY SANDERS but both are niche shows.  LARRY SANDERS is a favorite of a smart media-savvy portion of the audience, but in the grand scheme of TV it didn’t move any Seismic Meters.  It was for “those in the know.”   PARKS & REC never got much attention, was not a ratings juggernaut, got very little Emmy love — it was a terrific well-crafted sitcom, but not worthy of the all-time Top 10.  

And as much I love CHEERS, THE MARY TYLER MOORE SHOW needs to rank above it.  MARY is where it all started.  From MARY came TAXI came CHEERS came FRASIER.  Alan Burns & Jim Brooks set a tone and created a style of excellence that led to those other wonderful series.  So points for being the first.  

MASH belongs in the Top 10.  Like LUCY and FRIENDS, it continues to do extraordinarily well in syndication and streaming.  ALL IN THE FAMILY turned this country on its ear.   SEINFELD was a sensation and inspired comedy — I don’t know how well it’s aging.  My sense is it’s fraying.  THE HONEYMOONERS is my personal all-time favorite, but would I put it in an overall Top 10?  I’m not sure.  

So those are my thoughts.  Would love to hear yours?

Weekend Post

 Hey there Lucy Lovers,

I discovered this cool film on YouTube.  It's a behind-the-scenes look at a filming of I LOVE LUCY.  It's a little staged, but you get to see things you never do.  And Desi Arnaz comes out and does the warm-up and introductions himself.   I hope those filmings were quick because seeing their bleachers for the first time, there are no chair backs.  That's got to be pretty uncomfortable after a few hours.  

 But wait!  There's more.

I posted this once before.  Someone in the audience (I'm sure illegally) took color home movies of the filming of an episode of I LOVE LUCY.  Ever wonder what the apartment set looked like in color?  Check this out.  You'll see that Lucy really was a redhead.

More on I LOVE LUCY on Monday when I discuss ROLLING STONE'S list of the Top 100 Sitcoms of All-time.

Friday Questions

Who’s up for some Friday Questions?

Pat Weldon wonders:

You've talked about sitcom writer's rooms many times.  Do procedurals have writer's rooms also?  What kind of atmosphere are they?  I can't imagine them being as much fun as a sitcom room.  Or maybe just a different kind of fun?

Hard to say since I’ve never been on staff of a procedural, but from I understand the room gets together to plot the season and break stories.  Not sure how many laughs there are on LAW & ORDER SVU, but you never know.  Scripts are assigned to individual writers who then go off and complete drafts.

I think the rewriting process depends on the show.  Sometimes the staff rewrites, other times the show runner rewrites.  

Or I’m totally wrong.  

cd1515 asks:

Friday question: loved the podcast about bad reviews, interesting how everyone’s first reaction to a bad review is to say is bullshit but of course if it’s a good review they believe it 100%.
Have you seen or heard of anyone getting a great review and saying “Gee that’s a little overboard, it wasn’t THAT good”?

We’ve had a couple overly effusive reviews like that, and although it’s lovely and fun to send to relatives, we know better than to think we’re comic geniuses.  There are one or two times we fell short.  

From Michael:

How much control do networks have over plot lines once a show has been renewed for a new season? For example, if showrunner decides wants to do long arc where married couple gets separated, can the network stop him/her, short of cancelling the show?

It all depends on the clout of the showrunner.  Unless you’re Chuck Lorre/Shonda Rhimes/Dick Wolf the network is going to have final say on stories and arcs.  Even successful shows like HOW I MET YOUR MOTHER, well into their run had to submit outlines to CBS.  

Whether streaming services are more lenient, that I don’t know.  

But networks these days generally own the studios as well, so they have all the leverage.  And use it.

And finally, from Jahn Ghalt:

A Friday Question of speculative interest:

In "The Comedy Litmus Test" (10FEB) you wrote:

Recently, I’ve been asked to assess short plays for several theatre festivals.

Do you ever read something that strikes you as potentially brilliant - but "needs work"?

And if so, would this ever inspire you to collaborate with the writer?

No.  I might contact the writer and offer suggestions if they’re open to them, but I’m not looking for partners.  

When David Isaacs and I had a production company at Paramount there were a couple of times when we mentored young writers through pilots under our banner.  But not for any theatre projects.

What’s your Friday Question?   Have you gotten vaccinated yet?  Get that second shot. 

EP223: Things that YOU hate that others love

After Ken’s list of things he hates that others love, listeners weighed in with their selections.  Audience participation podcasting!

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How to make an "Art" film

It seems at the movies we either have comic book summer tent pole flicks or “Art” films.  If you ever plan to write an art film (they’re way cheaper and you can get stars), here are some elements that appear to be in every “Art Films.”  

Cranky middle aged protagonist.   

Someone usually looks after him – wife, daughter, young neighbor.

Befriends a young person.

Lives in bleak surroundings.

Begrudgingly takes in a pet.

Is tortured by the past.

Fights with authority figures who want to take his house, tear down his art, fire him, commit him, take away his driver’s license.

Never any food in his kitchen.

There’s always a fire.

Flashbacks to horrific events.   Usually a child dies.  Usually he feels it’s his fault.

Has some skill with his hands.  Can build houses or do sculptures.

Has health problem, usually bad heart.

Is in the hospital ¾’s of the way through the movie.  Recovers but reoccurrence kills him at the end, one minute after he finally finds peace.  

Anytime anything good happens to him there is a tragedy one minute later.  

We watch him do boring mundane shit for half the movie.

He has comic quirks.  

At least three scenes at a cemetery. 

Misc. Takes

And now for some random thoughts:

I’m starting with a Natalie Wood photo since I haven’t posted one in a long time, and I particularly like this one.

Way more people watched the NFL Draft than the Oscars.  What does that tell ya? 

Bill Gates' wife filed for divorce.  I wonder if she had a chip implanted in his head and found out something. 

There’s a great article in THE NEW YORKER magazine profiling SIMPSONS’ writer, John Swartzwelder.  He rarely gives interviews so this is a treat.  I don’t know him that well, met him a few times when David Isaacs and I were writing for THE SIMPSONS, but he’s a good guy and one of the funniest people you’ll ever meet.   Check out the article.

Now that baseball stadiums can only be 20% filled, I hear it’s a GREAT time to go to a ballgame.  No crowds, easy in and out parking, no long lines at the concession stands.  Swear at a player and he might actually hear you.

If only the games themselves were better.  Again this year a ridiculous amount of strike outs and home runs.  

When ESPN does a stat cast game, tune in.  Jason Benetti (the next Vin Scully) calls a great game.  And you’re not bludgeoned with stats.  Just enough to enhance the game.  From time to time they slip in a stat cast game on ESPN2 when ESPN has the regular Sunday Night Baseball Game.  Watch the stat cast version.  Oh, and it means no A-Rod.  

Netflix recommendation:  BORGEN.   A political show out of Denmark that is wonderful.  

Goofy recommendation:  (I believe it’s on the YouTube Channel) THE TASKMASTER.   It’s a combination reality competition/comedy show out of the UK.  And it’s so refreshing to hear biting, funny, sarcastic lines without regard to being PC.  

Get both shots.  NOW.   

New York Governor, Andrew Cuomo (he is still governor, right?) said Broadway could reopen May 19th, although it’s more likely they’ll reopen in September.  However, Nevada brothels are reopening now.

And while you’re waiting, two of my Zoom play readings are still available.  I’m very proud of both of them.

AMERICA’S SEXIEST COUPLE —a romantic comedy starring Joely Fisher & Tim Daly.  Here’s where you can watch it.  

And OUR TIME about four young people trying to break into comedy in LA in 1975 starring Eddie Kaye Thomas, Jonah Platt, Laura Schein, and Noah Weisberg.   You can find it here.

Is Liz Cheney the only Republican who hasn’t lost their mind?

Thanks to all my podcast listeners!  I love you guys!  My episode this week centers on things I hate that the rest of the world loves, and I asked if you had any?  I received enough responses that my next episode is your responses.  It’s nice to know there are people out there.  

There will be another LAW & ORDER spin-off.  Between L&O, NCIS, and Chicago-whatever, they must account for 70% of primetime network programming.  Oh, and a CSI sequel is also on tap.  HBO should do that.  SOPRANOS: KANSAS.

Pilot season craziness

It’s pilot season.   This is the time pilots for the fall season are shot.  Invariably a few implode, or there is frantic re-casting and rewriting.  As someone who has made numerous pilots and gotten series orders for most of them, I don’t understand this.  

Unless…

The show was miscast.  Often that means being forced to take an actor the network or studio wanted but you didn’t.

The premise and/or writing was bad and never should have been picked up in the first place.  

The pilot notes sucked the life out of it.  

But otherwise, consider these factors:

You’ve had months to write this episode, not just a few days.

You’ve had weeks and sometimes months to find the people who have demonstrated they’ve made THIS material work better than any other actor.  Normally you tailor the material to the actor.  In a pilot’s case, it’s the opposite.  You find actors who can maximize the script.   You'll never hear an actor say, "My character wouldn't say this" when auditioning.  He'll bend himself into a pretzel to make work what's on the page.

There are always changes during the week of production.  When things get on their feet they sometimes don’t work or need to be adjusted.   Once you have solid actors in place you can start to write more to their voice and behavior.  Frequently, first production drafts are too long and overwritten and you see what needs to be pruned.  

But the basic script and structure should work.  

The production process always begins with a table-read.  The cast reads the script aloud, and it’s your first real indication of what you’ve got.   Those used to be intimate affairs done in a conference room around a big table.  Maybe twenty people besides the actors were in attendance — staff and a network and studio rep.  

Today, as many as 150 attend these things.  Every executive west of La Brea.  And they’re now held in huge halls with the actors sitting on a dais instead of around a table relating to each other.  It’s utterly insane.

And since the TV industry operates out of fear, to hedge their bets that the table reading will go relatively well, most studios insist on a pre-table read with only a slightly smaller number of attendees.  

I never feared table readings.  I never feared moments that didn’t work in table reading.  So what?  We’d fix them.  But our table readings always went well.  We stacked the deck with the best possible cast.  We knew what we had going in.

We did do one trick that helped, however.  Actors have to be approved by the studio and network.  So depending, these execs can hear the same scene six or eight times.  By the time they get to the table reading it’s no longer funny to them.  So we always wrote separate audition scenes that highlighted the strengths of the actors.  That way, the network was hearing the pilot for the first time at the table reading and all the jokes were fresh.  

Good luck to everyone making a pilot.  Some will come out great.  Hopefully yours.

Weekend Post

It's May Day (Weekend).  And what better way to celebrate than with John Coulton's delightful song, "First of May."  (Note:  not for the Disney Channel)   Enjoy!

Friday Questions

 

Closing out April with Friday Questions.  What’s yours?

Alan Gollom leads off.

It seems to me that generally comedic actors adapt to drama better than dramatic actors adapt to comedy? What is your opinion?

I think good comedic actors tend to transition to drama easier because underneath the comedy they’re playing real people with real dramatic problems.

You need a certain ear to play comedy.   You have to feel the rhythms and timing.  And I don’t believe that can be taught.  Some dramatic actors have it; others don’t.  

Ed Asner played heavies his entire career until landing THE MARY TYLER MOORE SHOW.  Leslie Nielsen, Alec Baldwin, Gene Hackman, Brad Pitt, Nick Colasanto, Robert Duvall, Kurtwood Smith, George Clooney, Judi Dench, Maggie Smith, Hugh Laurie, Cate Blanchett, Diane Keaton, Bryan Cranston, Meryl Streep, William H. Macy, Allison Janney, Candice Bergen — are just some of the actors who adapted well to comedy.  And there are many others.  

From Liggie:

Question for an entertainment industry veteran. Of all the movies about Hollywood ("The Player", "Day for Night", "Singin' in the Rain", etc.), which is the most accurate at depicting the day-to-day moviemaking business? Also, which of those do you enjoy watching the most?

None of the above.  My favorite Hollywood movie is THE BIG PICTURE from 1989.  It’s a small movie that came and went starring Kevin Bacon, Martin Short, Michael McKean, Jennifer Jason-Leigh, Teri Hatcher, and more.  Biting satire that’s both hilarious and somewhat chilling.  

James asks:

Was it a conscious decision never to mention Sam's ex-wife on Cheers? She's mentioned (and fleetingly seen) in the pilot but never afterward. It seems like an ex-wife could have made for some interesting complications in Sam's life, especially in later episodes when the writers are struggling for ideas.

His ex-wife is mentioned in only the second episode of the series and basically as a punchline.  We got Donna McKechnie to play her.  

As the year unfolded the general consensus was an ex-wife only got in the way so it was swept under the rug.  I’m not sure she was ever mentioned again.  

In other words, if we had it to do over again Sam would be a lifelong bachelor.   

Remember, Sam almost remarried in an episode of FRASIER that David and I wrote.  He was engaged to Tea Leoni.  

And finally, from Saul:

Do you think it’s fair to say that audiences are becoming harder to please? Negative reviews from critics and viewers are becoming less objective and more vitriolic, and everything out there seems to generate some sort of controversy. Perhaps one could view this as tastes becoming more discerning, but shows or films people previously simply wouldn’t like are now generating outright hatred and anger towards the creators. What is your take on this?

We do live in angry times.  And that spills over into reviews. Not to mention the hate trolls (who would call Mother Teresa a whore).  

But I think the problem is the audience has gotten jaded.  Very little seems fresh to them.  Viewers are way more savvy now in how the sausage is made.   

So it takes more to surprise and delight them.   They can spot certain jokes coming a mile away.   

That’s not to say you can’t thrill and delight them; it’s just harder to do.

EP222: Things I hate that you might love

There are things universally loved in popular culture that Ken just doesn’t get. Everybody has their own list. Ken shares his. 

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Anderson Cooper on JEOPARDY

Jon Miller is the superb announcer for the San Francisco Giants.   Calls a great game, and doesn’t just have a sense of humor.  He’s FUNNY.  Early in his career he was vying for a job with the Texas Rangers.  They narrowed it down to four or five finalists and the plan was for each to call a spring training game, after which they’d decide.  Jon drew the first game.  After his broadcast they called all the other candidates and told them the job was filled.  Jon was that great.  They didn’t need to hear any of the others.

That’s how I feel about Anderson Cooper hosting JEOPARDY.  From the minute he stepped out onto the stage his very first night it was so clear he is “the guy.”  Totally relaxed, in charge, set a good pace, read the questions well, has a very pleasant voice, bantered well with the contestants, had empathy for them, has a good sense of humor, and clearly put the game above himself.  Like Alex, he has a low-key tone.  And gravitas.

There's no substitute for talent and experience.  How many hours a week is Anderson Cooper live on television?  It makes a very noticeable difference.

Now I don’t personally know Anderson Cooper.  Never met him.  Liked him on CNN and 60 MINUTES but never a huge fan.  I like Jake Tapper more.  I always feel Anderson does himself and reputation a disservice by co-hosting that stupid New Years Eve show.  But hosting JEOPARDY is the role he was meant to play.  

I’ve been in many many casting sessions.  You see people who hit all the boxes but you say, “we still haven’t found him.”  It's frustrating as hell, believe me.  Then someone comes in the room who IS the character and you instantly know it.  And you're glad you held out.  That’s Anderson Cooper.  I would tell Savannah Guthrie, Dr. Gupta, and the others "thank you and go home. "

The Rangers were right about Jon.  I’m right about this one. 

Why no one gives a shit about the Oscars

One of the reasons that the Academy Awards are such an afterthought is that movies play a much smaller role in our lives. 

In movies’ heyday, which I believe lasted until the mid ‘70s when cable was introduced and first run movies could finally be seen in their entirety — uncut and uncensored — on television, movies were a major form of entertainment.

Going to a theatre was exciting.  Movies were meant to be seen on giant screens in glorious technicolor (especially when TV was still just black-and-white).  The studios provided a variety of styles and genres.  Action, comedy, romantic comedy, horror, adaptations of novels and plays, political thrillers, drama, period pieces, sweeping scope, intimate stories, war films, fantasy, fairy tales, musicals — major studios produced them all.  Many featured big stars you could only see in the movies. 

Movies would have an impact.  They reflected society and changed society.  But in an entertaining way.  Films like THE GRADUATE spoke to an entire generation. 

Today studios only make comic book blockbusters or sequels trying to squeeze every dollar out of the only theatre-going customers they still have — young males.  Remember “date movies?”  Romantic comedies that were tolerable for both sexes on a weekend date?   Now a studio comedy is a raunchfest aimed at — you guessed it — young males. 

So the Oscars used to celebrate excellent but popular movies.  And everyone had a rooting interest.  We saw all the Best Picture nominees.  We debated them at the water cooler.    What are our choices now?  NOMADLAND and eight equally dreary depressing “art” films or box-office champ, KING KONG VS. GODZILLA? 

Yes, the pandemic has thrown a monkey wrench into going to your local cineplex.  But with higher prices, commercials, vending machines instead of concession stands, and people texting — the exodus from movie palaces was well underway prior to COVID. 

Will they come back?   Yes, once or twice for the novelty of it.  But then they’ll return home, watch movies on their big screen where the monthly subscription to Netflix is less than the cost of one ticket at an AMC.   Or they’ll watch on their phone.   We’ve gone from the big screen to five inches. 

So when no one cares who the Oscar nominees are, when movies are not an important part of our lives, who gives a shit if some actor you've never heard of (and will disappear in two years) in some movie you’ll never see and never want to see wins?  They might as well televise the Fred Sands salesmen of the year awards.   At least they have a raffle and you could win a dinner at Benihana's.  

UPDATE:  Let me respond to several readers who considered this just an old guy rant ("things were better in my day," etc.)   It's not about whether the movies were better, it's that Oscar ratings were HUGE, and now they're dismal.  My post was looking for a possible explanation.  Rating WERE better.  Interest in the Oscars WAS higher.  That's a fact, not an opinion.  If I were 25 I'd write the same post. 

And the worst Oscarcast goes to... 2021

What does it say when I agreed with the sentiments and still truly hated the Oscarcast?  What a boring, pretentious, heavy-handed slog.  The only time you saw stars was in the In Memoriam segment.  And those names whizzed by so there was more time for music trivia.  Only highlight for me was Tyler Perry.   The speeches were interminable.  And screw the Academy.  They shifted Best Picture to end with Best Actor, obviously in anticipation of Chadwick Boseman winning and ending on a big tearjerker.   Instead, Anthony Hopkins (deservedly) won, and no dummy he, he figured why schlep all the way out there to lose?  So for the big finale, the winner wasn’t present.  A fitting Wile E. Coyote ending to a tedious lecture-filled, self-congratulatory salute to movies that no one has seen or wants to see and stars that no one knows.  

Expect the ratings to absolutely crater.  And if you breakdown hour by hour.  I bet the numbers nosedived after the first hour.  

They were held in a train station.  Next year, if there is one, I suggest a bus station.

Meanwhile, the Dodgers-Padres game on ESPN was great! 

Weekend Post

I had another Zoom reading of one of my plays as a benefit for the Actors Fund.  This is OUR TIME, and it's loosely autobiographical.  For many reasons it's one of my favorite plays and I'm thrilled to be able to share it with you.

1975 was an amazing year for comedy.  It was a golden age of sitcoms (MARY TYLER MOORE SHOW, ALL IN THE FAMILY, MASH), the Comedy Store was flourishing and comics like Letterman and Leno were getting on THE TONIGHT SHOW, and personality radio was still very much in vogue.   For a kid wanting to break into comedy in Los Angeles, LA was a magic place.  

This is the story of four young Boomers coming of age and trying to find their place in this inspiring new world.  I'm blessed with an amazing cast.   Eddie Kay Thomas, Jonah Platt, Noah Weisberg, and Laura Schein, with additional voices by Kevin Pollack, Madeline Franklin, and me.  With cool graphics by Howard Hoffman. Thanks to New Works Theatre for hosting it.  The Actors Fund does great work and I invite you all to support them. 

Okay, So now for a limited time, enjoy my comedy about comedy, OUR TIME.  

Friday Questions

Getting excited about the Oscars yet?  Yeah, me neither.  Here are this week’s Friday Questions.

Dave starts us off.

I've been enjoying Jenna Elfman's performance in Fear the Walking Dead and everyone loved Bryan Cranston's role in Breaking Bad. As you've worked with a lot of actors in sitcom's have you ever been surprised by an actor performing a dramatic role very well after working with them or seeing them in a sitcom/comedic role?

Oh, this is an easy one.  Margo Martindale playing a villain on JUSTIFIED, season two.  Find whoever streams it and treat yourself.  She normally plays these sweet dowdy characters.  Not here.  And she’s riveting.  Watch out if she offers you a glass of "Mama's Apple Pie." 

Ere I Saw Elba asks:

Do you think that there are shows that have good characters, actors, and directors, but just have an overall shitty premise? That is, you want to write for them but it's just impossible to advance any kind of story?

I would say AfterMASH.  

From Brian Phillips:

Musicians have favorite studios, do you have a fondness for a particular sound stage or studio when you direct?

I know it’s sentimental, but I’d have to say Paramount.  I’ve directed a lot of great shows there and have had wonderful experiences.  And for those who are scoring: Stage 25, Stage 19, Stage 32, and Stage 31. 

From Neil Weinstein:

As a lifelong Mariners fan, I always think of you fondly this time of year, especially the year you were trying to explain Passover food to Dave Niehause on the air during a spring training game back in the early 90s.

I've become hooked on The Bob Newhart Show.  Now that you have taught me to pay attention to the credits, I noticed a stable of writers in the early years that I didn't recognize, except for Jay Tarses.  In the later years (I'm on season 5), I've noticed some more familiar names like David Lloyd and James Burrows pop up into the credits. 

Since this was an MTM show, was there a go-to group of MTM writers that then expanded?  What did it take to break into this club, like David Lloyd did?  Did you and David Isaacs ever write specs for Bob Newhart? 

I loved Dave Niehaus and miss him every day.  Mariner baseball is not the same without him.  Now to your question. 

MTM in those days was like Camelot for writers.  It started with THE MARY TYLER MOORE SHOW then THE BOB NEWHART SHOW and from there grew into a powerhouse, adding RHODA, PHYLLIS, THE TONY RANDALL SHOW, THE BETTY WHITE SHOW, LOU GRANT, ST. ELSEWHERE, THE WHITE SHADOW, PAUL SANDS FRIENDS AND LOVERS, THE TEXAS WHEELERS, REMINGTON STEELE, DOC, HILL STREET BLUES, NEWHART, MARY, and I’m sure I’m forgetting six others. 

But in those early and mid-70’s days, as the shows were expanding, they were grooming writers to fill out the expanded number of script assignments on their various shows. 

Among those writers:  Earl Pomerantz, Charlotte Brown, Pat Nardo & Gloria Banta, Michael Leeson, Glen & Les Charles, Gary David Goldberg, Hugh Wilson, Lloyd Garver, Sy Rosen, and of course, David Lloyd.

David Isaacs and I joined THE TONY RANDALL SHOW and would have gotten into that mix except we left after the season to go on staff of MASH.

We never wrote a spec BOB NEWHART SHOW.  But we did write a spec MARY TYLER MOORE SHOW and spec RHODA.   Both were rejected. 

The show runner of RHODA is now my neighbor and we’re good friends.  As a running joke I’ll say to her, “Read it again.  Just once.  I think you’ll find there was stuff you missed.”

What’s your Friday Question? 

EP221: Part Two with actor/Broadway star, Chip Zien

Chip Zien has been in 13 Broadway shows, has over 65 TV and movie credits, and was the voice of Howard the Duck.  This week he talks about being HOWARD THE DUCK, acting in LES MISERABLES, UNITED 93, working with Mike Nichols, and much more.

More podcasts at WAVE!

Listen to the Hollywood & Levine podcast!

Are the Oscars dead?

When I worked on MASH, each year we had our designated “Oscar” episode.  That was our worst show of the year.  MASH was on Monday nights, and at the time, so were the Oscars.  And even though we regularly got 30 million viewers a week, we felt we could hide it because the Oscars would obliterate us.   The point is, the Oscars were a huge deal, a Super Bowl-size deal.  The World Series got big numbers but didn’t come close.  I would say probably 50 million viewers for the Academy Awards was not a bad estimate.

Ah, but that was then.

Award shows have waned in popularity.  For the Oscars, they stopped awarding popular films (due to the fact that the popular films were all comic book movies, franchises, and “tent poles”), so the audience had no rooting interest.  Most people don’t see the movies that are nominated.  There aren’t the big stars anymore the way there used to be.  And it’s un-PC to make fun of dresses, appearance, anything.  So there goes that fun snark element of watching.  

And now you have the pandemic.

This year the Golden Globes were down 62%, the SAG Awards down 52% (like I said, no larger-than-life Hollywood stars), and the Grammys dropped by 51%.

Good luck this Sunday to the Oscars.

Last year (do you even remember who won?) was the lowest watched Oscarcast ever.  It averaged only 23.6 million viewers.  Our MASH “Oscar show” probably beat that.  And if the pattern holds, and the Oscars drop another 50% — Jesus, JEOPARDY would whip its ass.  

I believe the era of high rated award shows has come to an end.   Film studios are way more concerned with feeding their streaming services than Cineplexes.  Due to the pandemic, of the few people who have seen the contenders I bet 95% of them have watched them on TV or a device.  They had no choice.

Some claim that if a movie is primarily viewed on television it should qualify for an Emmy not an Oscar.  Yeah, except who makes the quality films, and small relationship films, and romantic comedies that used to be a mainstay at your local theater?  Netflix, HBO, streaming divisions of major conglomerates.  Warner Brothers is not going to bankroll romantic comedies.  Not today.  They’ll make WONDER WOMAN sequels until Gal Gadot looks stupid in the suit.  

So for real movie fans, thank God for Netflix and other streamers.  Regardless of where they show them, they’re the only ones making interesting, small, edgy, thoughtful movies.   Are they worth “Oscars?”  The bigger question is: “Will Oscars even mean anything?”   If only 12 million people watch I’m not so sure. 

Why I won't be reviewing the Oscars

It started in the late ‘90s.  For fun I wrote a snarky review of the Oscars and sent it to the folks in my address book.  The response was positive so I kept it up.  In 2005 I started this blog so the first chance I got I posted my review publicly.   More positive feedback and eventually the endeavor took on a life of its own.  At one point newspapers in Toronto and London were running my reviews.  I was guesting on various radio shows around the country.   

To make sure no one could accuse me of stealing anyone else’s material, I always wrote the reviews right after the show and posted them immediately.  That generally meant pulling an all-nighter.  

The reviews certainly resulted in increased traffic.   I transferred them to my podcast its first few years to help build an audience there.   So now we’re talking over twenty years of Oscar reviews.  (The feature became so popular that for a long while I expanded to Emmys and Golden Globes.)  

I am officially now discontinuing my Oscar reviews.  

There are a lot of reasons for it.  A big one is that no one gives a shit about the Oscars anymore.  (More on that topic tomorrow.)  

But the major reason is the current woke culture.  God forbid I offend anybody.  What good is being snarky if you’re not allowed to criticize?  And it goes beyond possibly being insensitive.  Now you’re branded as a racist.

In the privacy of our homes, part of the attraction of watching the Oscars (and especially at Oscar parties) is taking shots at the horrible gowns and stupid tuxedos and ridiculous hairdos.  What makes them so funny is how those offenders thought they were looking so glamorous and elegant.  Bringing down people who take themselves too seriously is a comedy staple.   And you may not be proud of yourself for making fun of these entitled people, but you do. 

However, if I say one despairing thing about Viola Davis’ dress I’m loudly pegged a racist.  If Penelope Cruz mangles her turn announcing the nominees and I point it out, I’m a racist.   If I’m happy for a deserving winner who happens to be white I’m a racist.  

So who needs that?  Who needs to put a target on their chest?   It’s a shame because comedy suffers.  And as a society we need comedy.  Now more than ever.  But if those who provide it have to walk on eggshells, then what’s the point?  

And that’s where we are today.  So no snarky review on Monday.  And forced apology on Tuesday.  

Stars I claimed to have discovered even though I really didn't

Anyone who has been producing TV series for any length of time will have similar stories. They can look back at actors they worked with or hired that since became big names. Here are some of mine.

Shelley Long – played a nurse once in MASH when I was there. I don’t remember much except she looked very cute in army fatigues.

Rita Wilson – same thing. Also cute in army fatigues. Worked with her again when she starred in VOLUNTEERS. Amazingly, she remembered me. I looked awful in army fatigues.

Katey Segal – From one of Bette Midler’s Harlettes to a series regular on the MARY SHOW. We knew from day one that she’d become a star. And that’s without even hearing her sing.

Leah Remini – She played one of Carla’s many daughters on CHEERS. One of my favorite episodes (written by me and David) was “Loathe & Marriage” from the final season where Leah’s character gets married. I also directed her in FIRED UP. She was funny before she was even old enough to drive.

Tim Busfield – He’ll probably cringe but one of his first acting jobs was playing a patient on AfterMASH. Yes, it was, Tim, don't deny it.

James Cromwell – Okay, he wasn’t an unknown when I worked with him but he wasn’t on anyone’s A-List either. He was pretty much a character actor who bounced around. I knew him as Jamie then. We used him on an episode of MASH as a real goofball. Couldn’t quite tell from that role that he’d go on to be nominated for an Oscar. By the way, did you know he was in both BABE and THE BABE?

David Letterman – did a cameo on an OPEN ALL NIGHT we were involved with.

Maggie Lawson – You loved her on PSYCH and seven other shows. I’ve loved her since writing and directing IT’S ALL RELATIVE.

David Ogden Stiers – Before he became Charles Winchester on MASH he was talk-show host Robert W. Cleaver on a TONY RANDALL SHOW David and I wrote. That was the episode that got huge laughs during rehearsal but silence during the filming. Later we learned that the bussed in audience spoke no English.

Annette O’Toole – had a small role on a TONY RANDALL SHOW. Tony didn’t like her at first. By show night he was pleading with us to bring her back. The English speaking audience loved her too although I must say she was beautiful in any language.

Lisa Kudrow – Did an episode of CHEERS. Very funny even in a small role. I was not surprised. She went to Taft High in Woodland Hills.

Sanaa Lathan – Directed her in LATELINE. I must’ve given her great notes on that three-page scene because she went on to become a movie queen. I went on to write a blog.

Willie Garson – Directed him in the stellar ASK HARRIET. When that show got cancelled he was free to take another assignment – SEX IN THE CITY. He also was a regular on WHITE COLLAR a few years ago.

Julie Benz – Another ASK HARRIET alum I directed. Probably best know for getting killed and chopped up in DEXTER.  Or getting killed and chopped up in SAW V.

Robert Pastorelli – Later to be a stalwart of MURPHY BROWN, but his greatest role was for us on the MARY show. He played sandwich guy, Mr. Yummy.

Jenna Elfmann – first cast in an ALMOST PERFECT as a whack-job secretary. She had no experience at the time and we knew it was a risk but there was something just so damn special about her. She killed in front of the audience. If ever there was someone I knew was going to make it besides Katey Segal it was Jenna.

And before I slap myself on the back too much for being such a great judge of talent, here are a few of the people I didn’t cast who once came in to read:

Martin Short, Kathy Bates, William H. Macy, Jane Lynch, Tea Leoni, Don Johnson, and Andrea Martin (although that was the network’s fault; we wanted her. They wanted Toni Tennille. Don't ask.),

Weekend Post

Now that more people are allowed to fly again, I want to share a personal story.  You're going to think I'm making this up, but I'm not.  Compare my flight on a commercial airliner to any you've ever been on. 

This is an excerpt from my memoir, THE ME GENERATION...BY ME (GROWING UP IN THE '60s) still available in all formats and still the perfect gift.  Order several TODAY!!!

It's 1969.  I've lived in the San Fernando Valley my entire life but always wanted to go back east, New York in particular.  So I saved my money and hit the road. 


The plan was this: Three weeks. First week in Gotham. Then meet-up with one of my radio freak buddies and drive with him to his home in Pittsburgh. Spend a day or so soaking in the wonders of the Steel City and then fly to D.C. See those sights and stop off in Louisville to visit my cousin on the way home. I had introduced him to the Sunset Strip a couple of years ago. He could return the favor and show me where they filmed some scenes from Goldfinger.

The airlines were all regulated back then; all required to charge the same fares. The carriers all cried that they couldn’t make money this way so in the ‘80s the government relented and dropped pricing regulations. Within months several long established airlines went bankrupt.

But in 1969 fares were standard. And all the airlines had a great deal for students. You could fly for half price. And you could get huge discounts on hotel rooms if you were a student. So for maybe a couple hundred bucks I booked all my flights and reserved a room in New York at the prestigious Statler Hilton across the street from Madison Square Garden for $9.50 a night.

My how traveling has changed. I checked in my suitcase (for free) and my family escorted me right to the gate. People dressed nice to fly on airplanes. You didn’t see one “SHIT HAPPENS” t-shirt.

I flew TWA. This was one of the major carriers, equivalent to United or American – now dead (yeah, deregulation was a GREAT idea). Once in the air they distributed free headsets so we could listen to seven channels of music. Moments later, carts were wheeled down the aisles and we were all served a hot breakfast – omelets or French toast. And the utensils were genuine metal! Then a big screen was lowered and they showed a free movie (Support Your Local Sheriff with James Garner). But that was nothing. Here’s the kicker: I’ve never seen this on any other flight I’ve ever taken – they set up a big brunch buffet. We all lined up down the aisle and helped ourselves to lox, bagels, cold cuts, and fruit and various salads.

And this was coach!

The guys in First Class must’ve been getting blowjobs.

Landed at JFK around 4:00 and taxied into the city, getting my first look at that Manhattan skyline. Wow! The Doris Day/Rock Hudson movies didn’t do it justice. I was Jon Voight in Midnight Cowboy – a wide-eyed rube taking in the “big city” for the first time. This was a world unlike any I had ever witnessed. Just the sheer number of WIGS stores was staggering to me. How many New Yorkers need wigs?

Was deposited at my hotel, a grand old structure of stature and grace, and then shown to my elegant $9.50 a night room. It was the size of litter box. There was one single bed, a window that looked out at the back of the Gimbels’ Department Store neon flashing sign, and a TV that was so old it said “the Dumont Network” above channel 5. But I didn’t care. I was really in New York. I turned on my transistor radio and there was Dan Ingram on WABC trashing some sponsor’s frozen clam dip.

I just walked around that first night. Saw the Empire State Building, Macy’s, seventeen WIGS stores. I had dinner at Howard Johnson’s. I didn’t feel self-conscious that I was eating alone because everyone there was eating alone.

After dinner I wandered into Madison Square Garden. There was a Billy Graham Crusade that week. Billy Graham was a charismatic TV evangelist who rose to great prominence with lavish stage extravaganzas… I mean, religious services. But admission was free (donation cups were passed around like joints) so I checked it out. I didn’t find God but I did see where the Knicks and Rangers played.

Friday Questions

Since just about anybody can now get the vaccine, GET THE VACCINE!  Here are some Friday Questions while you wait fifteen minutes after getting the shot.

maxdebryn starts us off.

Ken, a few of the other movie/TV/pop culture sites that I read have floated the idea that they will become "pay" sites (ie: subscribers/readers would have to pay upwards of $10 per month in order to access the sites). What do you think about paying to read online content ?

That’s fine for them, but I don’t plan on charging people.  Part of why I do this blog is I feel I’ve been incredibly fortunate in my career, was blessed with amazing mentors, and this blog is a small way of paying it forward.  

Besides, I’d have to write way better to charge $10 for this drivel.  

Bob Paris asks:

Ken: In the past, if an actor got signed to a series they would be working on at least 22 episodes a season. Now an actor may sign for a series where as few as eight to ten episodes are shot for the year. Are these "exclusive" deals where the actor is precluded from taking other work? Makes you wonder if attaching yourself to a series that makes a very limited number of episodes per season makes economic sense.

You’re right.  Since there are fewer episodes produced, the deals tend to be more flexible these days.  Case in point:  Kelsey Grammer is attached to a sitcom project for ABC also starring Alec Baldwin.  At the same time it’s been announced there will be a reboot of FRASIER sometime in the future.   I have zero details on either of the deals other than to surmise he’s permitted to do both.  (I’m actually looking forward to both of them.)  

Ere I Saw Elba queries:

This is a Friday question that is somewhat related to your recent podcast on changes in the TV biz:

When did Standards and Practices become a common part of network television, and how much do they continue to affect the content of shows? Also, do the same network standards and FCC regulations apply to internet streaming?

Standards & Practices have been around since the dawn of television.  It’s just that the restrictions have changed.  But as far back as the ’50’s married couples couldn’t sleep in the same bed.  And when Lucy was pregnant they weren’t allowed to say that word on CBS.  

In the ‘70s ALL IN THE FAMILY got away with racial slurs they could never say today.  But back then they were very prudish about sex.  Now you have shows like 2 BROKE GIRLS that would have no jokes at all if they couldn’t say vagina.

Over-the-air TV stations are held to much higher standards because there are only so many channels and the license holders are obligated to broadcast  in “the public’s interest.”   Not so with cable and other platforms.  I believe their only obligation is to post warnings at the beginning of shows alerting the audience to violence, nudity, or vagina jokes.  

And finally, from Bob Gassel:

Have you ever seen a situation where a writer (or team) has pitched an idea that the showrunner liked, but then assigned it to someone else, thinking it was more suited to their style?

They’re not allowed to do that in the strict sense.  If a writer pitches a story and the show runner wants to do it, he’s obligated to  at least buy him out, if not let him write it.  

However, if a writing staff is sitting around a table just spitballing ideas and random notions, a show runner might say, writer X might be better at writing that one but the guy who pitched it will be given an assignment as well, maybe one he’s more suited for.

Then there are the Chuck Lorre rooms where everything is room written, and in that case credit is just assigned and rotated.  The show that you pitched won’t have your name on it, but another that you had little to do with will.

What’s your Friday Question?

EP220: Meet actor/Broadway star, Chip Zien

Chip Zien has been in 13 Broadway shows, has over 65 TV and movie credits, and was the voice of Howard the Duck.  He starred in INTO THE WOODS and discusses working with Stephen Sondheim along with many great showbiz tales.  Chip is a great storyteller and has great funny stories to tell.

More podcasts at Wave!

Listen to the Hollywood & Levine podcast!

Welcome to Mayberry

To the surprise of no one (except maybe networks), vintage sitcoms are seeing a renaissance during the pandemic.   In the same way that oldies stations are flourishing on radio, TV audiences are flocking to comfort food comedy.  Call it nostalgia, call it an escape to a more innocent time — but whatever draws them to these chestnuts, one thing is clear — they’re funny.  

Is there a current sitcom on the air funnier than THE GOLDEN GIRLS?  And just know, I never worked on THE GOLDEN GIRLS.  Or FRIENDS.  Or THE OFFICE.  Or ROSEANNE. But those shows really delivered.  

And then there’s THE ANDY GRIFFITH SHOW from the early ‘60s.  Talk about a show that hits just the right tone of humor and warmth and Americana — it’s the folks in Mayberry.  Over the last year, its audience has grown by 29% to 58.3 billion viewing moments.   Pretty good for a sixty year old show I'd say. 

I have another theory as to why THE ANDY GRIFFITH SHOW has struck such a chord.  People are nice to each other.  There is a level of caring the characters share for one another.  I think subconsciously that’s what we’re really nostalgic for in these polarized hate-filled times.  Yes, it feels dated (the show is not even in color), but the sensibility is what we crave — now more than ever.  

So let’s look at the formula — humanity, kindness, and really funny.  Seems like a proven winning combination.  Why do they have to be vintage sitcoms?   Development season begins in a few months.  Are there lessons to be learned? 

New meaning to the expression "dead air"

There’s a recent article that says that Rush Limbaugh’s syndicator is going to keep his voice on his radio show even though he passed away (happily not until learning that Biden is now president).  That may sound a little ghoulish to keep his voice on the air, but at least they’re acknowledging he’s dead.

Back when XM and Sirius were two competing satellite radio providers (i.e.. the good old days), XM had Wolfman Jack shows they were playing nightly.  You’d think they were live because they included phone calls.  And I don’t recall any disclaimer explaining that Wolfman Jack had long since shuttled his mortal coil.  

But the weirdest one I can remember started in the ‘60s.  

There was literally a ma and pap radio station called KCHJ 1010 in Delano, California.  Carl & Jean Johns owned the station.  Carl had done a ton of voice tracks for the morning show including weather reports, intros to songs, good morning wishes for Monday and Thursday and Easter, whatever.  

He died in a car accident in 1968 and  they kept playing his voice tracks in the morning.  His loyal audience never knew he was dead.  This went on until 1991 when Jean sold the station.   It’s a good thing they didn’t bill themselves as “the new music station.”  But how weird is that? 

Aaron Rodgers on JEOPARDY

What does it say when a complete amateur hosts JEOPARDY and is still way better than Dr. Oz?  

I like Aaron Rodgers.  He’s a truly great quarterback in the toughest league there is, and he seems like a very decent guy.  It’s very clear he’s taking this hosting job seriously and really giving it his all.  But I’m sorry, it’s like there was a contest and one lucky viewer got to host JEOPARDY.  

For the same reason you don’t just decide you want to play football and they let you be the QB of the Green Bay Packers, you can’t come in off the street and host a major franchise like JEOPARDY.   There’s a reason Aaron played football in high school and college before breaking into the NFL.   

If you want to host the world’s most popular national game show you need to get in some reps in local markets, hosting… anything.  Being on camera, learning how to read the teleprompter, developing a presence, feeling comfortable, being in total control (even when it’s just a facade for chaos).   And you need to get your on-the-job training in a less pressurized situation.  

That said, I admire his willingness to take on such a challenge.  Most former athletes get into broadcasting as analysts, and they may not be very polished but they’re experts in what they’re analyzing.  Rodgers is a smart guy, but he’s not being asked to read the defense.  

This is pretty much the reverse of PAPER LION.   PAPER LION was a book by journalist George Plimpton.  He worked out a deal with the Detroit Lions to go to training camp in 1966 and become a quarterback.  Eventually in a pre-season exhibition game he was allowed to QB for one set of downs.  I don’t have to tell you how well it worked out for him.  It’s actually a terrific book and later there was a movie version with Alan Alda playing Plimpton.   At least Rodgers won’t get a concussion hosting JEOPARDY (which wouldn’t be his first).

Next week someone else will run the game.   Eventually they’ll find the right person.  He or she will know how to move the chat section along, keep the pace up so clues aren’t left on the board, be supportive and helpful to the contestants, have a sense of humor, be able to pronounce obscure foreign words, put the home audience completely at ease, and be ready to handle any technical curveball that is hurled their way.  

Six or seven other candidates will get their shot in the next few months, plus I understand some “surprise” guest hosts are also being booked.  

But I will say this — the more you see other people trying to host JEOPARDY the more you realize how amazing Alex Trebek was.   Of course if he we were asked to quarterback the Green Bay Pakcers he’d be carried out on a stretcher his first play. 

Wanna watch a Zoom reading of my new play?

UPDATE: Hello theatergoers with no theater to go to.  My new play, SMOKE GETS IN YOUR HOUSE had a Zoom reading on Sunday, April 11th.  For a limited time you can watch it on YouTube.  It starts about 4 minutes in.   There's also a tiny glitch about 15 minutes in where it freezes for five seconds.  Otherwise, it's good to go.  SMOKE GETS IN YOUR HOUSE is a comedy about two couples in LA having to evacuate during a brush fire.  

Weekend Post

Here's another bizarre casting story.   And it has nothing to do with a cat.

Mid ‘90s, doing ALMOST PERFECT starring Nancy Travis. In the show she’s supposed to be the showrunner of a fictional cop show. We wanted to do the scene where she has to fire her first person. And we thought it would be fun to give the fire-ee the worst possible reaction. So we created a character of an incompetent writers’ assistant. And when Nancy finally has to fire her she has a complete and utter meltdown. She screams, “NO!!!!!!!!!!!!!” and just goes ballistic – wailing and shrieking and pleading and crying. All the while, poor Nancy is having to react to this. (Believe it or not, there is a real art to being able to cry funny.  Three of the best: Mary Tyler Moore, Kirstie Alley, and of course, Lucy.)

So we set up a casting session.

We had our own little bungalow right in the center of the Paramount lot. On the appointed day, maybe ten girls came in to audition. Now you have to picture it:

Passerby on a lazy Tuesday morning and from this bungalow they hear girls screaming and crying at the top of their lungs. They hear, “Please don’t! I’ll do anything you ask! ANYTHING!” They wail uncontrollably.

Oh, and that’s another thing – we thought it would be amusing if they just kept on shrieking. It was the storm that never passed. So folks were treated to young women crying relentlessly.

Talk about the worst boss in history. It sounded like we were horsewhipping these ingénues.

One gallant individual actually entered the building to offer assistance. Once he saw six other girls in the foyer holding script sides he knew it was either a casting session or Joseph Stalin had set up shop with a production deal at the studio.

But someone must have notified Human Resources. Later that day we were paid a very stern visit by an H & R person. “That is NOT the way we do things here at Paramount!” she told us, and then was appalled when we reacted by laughing hysterically.

We explained the situation, she harrumphed and left. I always regret not having our secretary then scream bloody murder just as she stepped out of the bungalow.

By the way, the part went to Jenna Elfman, one of her first acting gigs. And she was hilarious. One of our very best hires...and fires.