A question for young readers

Now today’s post might sound like a rant, but it’s actually not (or not entirely).  It’s a sincere question.  

If you’re a young person in your early 20’s and you’re funny and want to go into comedy somehow, what current direction would you like to go in?   

Would you like to write for sitcoms?  Late night shows?  Do stand up?  Do improv hoping to get on SNL? Podcasts? Feature writing?  Playwriting?   Essays on websites like The Onion?  Acting?  Radio?  Comic novels?  Comic strips? Animation? Cartoons for the New Yorker?  Directing? Producing? Talk show host?  Game show host?  Or something else?

Usually one enters a particular field because they’re inspired by the work being done in that field.  They want to be like Bob Newhart or Mel Brooks or Norman Lear.  

When I was starting out I was inspired by everything.  It was a matter of choosing.  TV sitcoms were enjoying a golden age.  You had MASH, THE MARY TYLER MOORE SHOW, ALL IN THE FAMILY, in features you had Mel Brooks and Woody Allen, radio was filled with master funnymen like Dan Ingram, Robert W. Morgan, Lohman & Barkley, Bob & Ray, Klavin & Finch, Dick Whittington, Larry Lujack, Dale Dorman, Gary Burbank, Gary Owens.  The Comedy Store was starting to take off.  Every night you’d see Richard Pryor or David Letterman or Robin Williams.  SNL premiered and was a revelation.  Neil Simon was writing hilarious plays.  The National Lampoon was writing brilliant satire.  

I don’t mean this to sound like “back in the good old days” but I’m curious, based on what is considered comedy today, what inspires you?   What makes you say, “Yes, I know it’s hard to break in but I HAVE TO write for sitcoms/late night/the theatre, etc.”  

Obviously some of today’s comedy doesn’t resonate with me — and that’s okay, it’s not meant to — but I seriously wonder, if I were 21 today, what area of comedy would I gravitate towards?  

So if you are in that situation, I sincerely would love to know what your objectives are and why?  And what inspires you?    Thanks.

Emmys afterthought

I didn’t watch the Emmy Awards last night. I had a play performed at a theatre.  Not that there was any suspense.  TED LASSO, THE CROWN, and THE QUEEN’S GAMBIT took home most of the gold.  Glad to see HACKS and Jean Smart getting her Emmy, although if ever there was a shoe-in (if that’s the way you spell it… I’ve never seen shoe-in spelled).  In any event, the awards were deserved.  Congratulations. 

But did I miss anything (assuming any of you watched)?  

I did come home and caught the In Memoriam segment and it was shocking how many people I knew.   Of course the actors got most of the attention, but we lost some magnificent writers.  Allan Burns, William Link, Charlie Hauck, William Blinn, Ann Beatts.  How lucky we were to have them, and me especially for being friends with Allan Burns and Charlie Hauck.   Roy Christopher, who was the set designer on FRASIER, BECKER, and quite a few Emmy ceremonies, was also included and that warmed my heart.  

My other takeaway was what an embarrassment for the major broadcast networks that they were almost entirely shut out of any category that had a cable or streaming competitor.  Netflix and HBO and Apple + dominated.  Major networks aren’t even competitive.  They don’t even get nominees.  

Why these networks continue to air the show makes no sense.  First off, the ratings are horrible, and why would CBS last night want to devote three hours to how great Netflix is?   At some point the networks are going to say fuck it - let Amazon Prime carry them.  

I’ll be writing this same article next year during the Oscars when Netflix wins everything there too. 

Weekend Post

 

I talked about this yesterday -- NBC Week.  Today I thought I'd go into more depth.  

The networks are rolling out their new fall shows.

I think.

The premieres are scattered; some not even airing in their regular time slots. Or they premiere and are re-run later that same week. Or re-run on a sister cable network.

Some shows premiered in August. Others will debut after the World Series (which is now what, Christmas?).

And many shows now have two premieres. This is primarily a cable convention. A series is on for six weeks in the summer and then returns in January.

A few network series don’t even premiere on television. They get sneak previewed online. I once got a DVD of some new show in my ENTERTAINMENT WEEKLY.

And the notion of the Fall Season itself is becoming antiquated. Shows are premiering all year long. What’s a TV nerd to do?

This is understandable, of course. With the current dizzying number of channels and series, anything conventional or unconventional a network can do to scare up an audience is good programming.

But what’s lost in all of this is the “event” status that the Fall Season used to have. Back in the Pleistocene Era when there were just three networks (there’s a real good book about life in the ‘60s written by… oh wait – that’s my book). Shows premiered only twice a year – the Fall and Mid-Season (January). New programming in the summer was either “Failure Theater” (airing the pilots they didn’t pick up) and variety shows hosted by guys hoping to snare a regular slot (some like Johnny Cash made it, others like John Gary didn’t).

There was great anticipation for the Fall Season. Promos ran all summer. And by promos I mean fifteen seconds, not the movie trailers we see today.

By September we were whipped into an utter frenzy. Only two weeks left before the world premiere of CAMP RUNAMUCK! How will I last that long?  After a summer of interminable reruns, suddenly there was NEW STUFF again! Oh, the joy!

Of the three networks, no one did premieres better than NBC. First off, you have to really use your imagination to picture NBC as a major influential network but it once was. And they billed their rollout as NBC WEEK. All of their shows – new or returning – premiered over one seven-day period in mid-September. You knew the date as well as your birthday.

They also offered a written program – like a yearbook – that you could send away for. Uber geek that I was (am) I used to send away for that sucker every year. There were big color pictures of all their new shows. Wow! PLEASE DON’T EAT THE DAISIES! I would pore through those pages with awe and wonder. 90 BRISTOL COURT – three sitcoms set in the same complex. What a concept!! (Forget that two were canceled by January.)

In a way, I think the anticipation made the shows seem better than they actually were. I call this the “Dark Knight Rises Syndrome.” But there were usually enough cool new shows that NBC WEEK was never a disappointment. It’s not like the Oscars.

Today I don’t even bother to watch premieres. Most are so dreadful anyway. Kristen Bell moves into a neighborhood of space aliens. No thanks. If a show is good and gets decent buzz I will catch up with ON DEMAND or find it online. But I miss the days when the Fall Season was important to me. On the other hand, spending an afternoon studying a glossy multi-page brochure for NBC WEEK is the true definition of “Get a Life.”

Friday Questions

Your mid-September Friday Questions.

Ted starts us off.

Hey Ken, I think you might have discussed this before, but what's it like directing child actors? Do you have to make sure they don't have that annoyingly "cutesy" acting style that used to be common on TV shows? And do you find that most comedy writers are good at writing for kids, or are they too often tempted to make them sound like wisecracking junior adults?

Obviously, it depends on the child.  But with kids it’s not only their performance but their ability to concentrate.

For the most part I’ve had good luck.  The key is being patient, especially if they’re really young (5-7). Plus, they rehearse less than the other actors.  A certain portion of the day is reserved for school so 70% of the rehearsal time is dealing with their stand-ins.  

My heart goes out to child actors.  They’re in a world of adults being asked to do things that are difficult for grown-ups, much less youngsters.  My job is to make them feel as comfortable possible. 

And every so often I’ll come upon a kid with impeccable  comic timing — they instinctively in their bones know just how to get every laugh.  I’ve been lucky enough to work with one or two of those.  

As for giving acting notes, I just want them to be real -- not be cutesy to get a laugh.  The more I can get them to just act naturally, the better will be my chances that they really deliver.

Final thought:  Kids aren’t easy to direct but by and large they’re way easier than professional athletes.  

Chris wonders:

Watching old sitcoms I notice that sometimes they'll use a humorous "smash cut," like switching suddenly to a new scene to contradict what a character just said, etc. The thing that surprises me is that the studio audience seems to laugh at these... But how on earth could they see the smash cut to laugh at it? Surely it takes too much time to change scenes in the actual studio to keep that laugh. Same question for camera pullout reveal jokes.

You must be talking about multi-camera sitcoms that are filmed in front of a live studio audience.  Often, to achieve that surprise, the first scene will be pre-filmed the day or two before.  The studio audience watches the scenes on monitors then the flip happens when they turn their attention to the stage and they see what happens after the cut.  

And some shows won’t go to those lengths.   They’ll just lean on the laugh box. 

Jeff asks:

Back in the day, network star(s) would often host these shows or appear in mini-skits to introduce new or returning programs. Were you or any of your colleagues ever involved in any of these (e.g. to write dialogue for an actor appearing in character as their sitcom alter ego)?

No.  To be honest, those big preview shows died out in the 70s or 80s.  Their heyday was before my time.  

Oh, for the days when fall premiers were a big deal.  For NBC Week (as they called it) you could send away over the summer to get a free handsomely mounted program saluting all the new shows.  I wish I still had my copies.  I’d send away every year.  

I think one of the networks did a preview show this year.  I rarely watch network television anymore so I couldn’t tell you which network did it.

And finally, from PolyWogg:

I was wondering about voice direction in TV scripts. For example, in Friends, Matt Perry's delivery of "Could it BE any more (blah)" only works with the right rhythm and direction in delivery. So my Q is if you have similar examples of phrases/lines that were delivered but only work through voice inflection, and how much it was in the script vs. the actor finding a way to say it?

I think it started out with Matt delivering a couple of lines in that rhythm and the producers recognizing its potential.  It’s a mixture of irony and a touch of sarcasm.  And you have to remember, when Matt started delivering lines that way it was a very fresh approach.  Now half the actors on sitcoms adopt that.

I never worked on FRIENDS so I’m hardly an authority, but I suspect when the writers saw how well he scored they started writing to that.  

We had a writer in the CHEERS room named Jerry Belson.  He was one of the funniest writers I’ve ever met.  (At one time he was Garry Marshall’s writing partner.)  He would work one day a week on CHEERS.  And he had a fantastic delivery.  He would pitch lines that had us on the floor.  We’d put them into the script and the next day at run-through most of them came back out because none of the actors could deliver the line as funny as Jerry.  

What’s your Friday Question? 

EP242: Flights from Hell

You’d think that flying charter with MLB teams would be dream travel — and often it is. But any seasoned traveler knows there are unforeseen circumstances at times. Ken relates three crazy charter flight stories from his days calling big league play-by-play. Lockdown will not seem so bad after listening to this episode.

More episodes at WAVE: https://podcasts.apple.com/us/artist/wave-podcast-network/1437831426

Listen to the Hollywood & Levine podcast!

Goodbye Larry

WARNING: Political Rant.  Red States best move on to another blog. 

I must say I take a personal glee at the outcome of the Republican attempt to recall California Governor Gavin Newsom, not just because it’s another setback for the party that advocates stupidity, the end of democracy, and the death of its members (don't wear masks, don't take vaccines, COVID is a hoax)— no, I’m thrilled because I personally know the candidate who lost — Larry Elder.

We worked together at KABC radio and may I just say I am not a fan.  And that’s not even based on issues.  Women aren’t as smart as men, there should be no minimum wage, no mask or vaccination mandates.  Those alone would be enough to despise a person.  He was always one of those talkshow hosts that took the contrarian point of view to stir up controversy.  The ultimate opportunist (as this governor run illustrates). 

Aside from all that, I just found him a dyspeptic pompous pain-in-the-ass with an ego the size of Canada. Based on... nothing.  He was not well-liked by his staff.  And for good reason.  He had the production director create wonderful comedy bits for him, which he pressed as a CD, took all the credit for it (even though he contributed nothing) and called it “the Best of Larry Elder.”   And for the record, the man has zero sense of humor. 

I was persona non grata to him.  He wouldn’t speak to me.  He wouldn’t acknowledge my existence.  Why?  Because I was hosting Dodger Talk and during Spring Training we were contracted to do an hour Dodger Talk show from 6-7 pm, which cut into one of his hours.  For whatever passive-aggressive reason, he blamed me.  Needless to say the change-overs at 6 were a barrel of laughs.  He literally ignored me.  So what I started doing was talking to him.  “Hey, Larry, how are you?  What’s going on?  Seen the new Clint Eastwood movie?  What do you think of my shirt?  What’s your favorite pie?”   You’d think one time he’d acknowledge what was happening.  I’ve worked in radio for more years than I care to mention, have changed-over with hundreds of different performers and never had that experience.   How hard would it be to just say hi?  He didn’t have to go out to dinner with me.  But that’s Larry.  He’s the king of dick moves.

Like… saying he lost the election and crying voting fraud the night BEFORE the election on his website.   A man of real integrity and scruples.  And this was the best the Republican Party could offer?

It's going to be hard to cry foul when the vote total was such a landslide -- not that that will stop 'ol Lar.  Again - scruples. He was the projected loser less than an hour after the polls closed.  He was the reason Newsom won so big.  This was projected to be a tight race until media hog Elder joined the fray.

And what did he achieve for all his efforts?  Not the shady power grab he attempted.  Once a local non-entity he became a national embarrassment.  And THAT is the "Best of Larry Elder."  

The buzz on Buzzy

This is the one week that Mike Richards will be hosting JEOPARDY.   It was supposed to be his first week as permanent and in a reversal of fortunes that saw him lose the gig and his Executive Producer job on both JEOPARDY and WHEEL OF FORTUNE and he is now out of the business.   If only Trump could have such a fall from grace.  (Actually, no -- I don't wish Mike Richards and his whole family go to prison for the rest of their lives.)  

But it puts the parent company, Sony, in a rather embarrassing situation.  Since JEOPARDY is a competition, you can't just eat five episodes. But every minute he's on camera it just reminds the audience of what a fiasco this has become and how ultimately they're responsible. 

And now we're back at square one.  Sony needs to name a permanent host -- sometime before the polar ice cap melts.  After this week Mayim Bialik, who did GREAT, will host for three weeks.  After that, I dunno.

But I found it interesting that when they re-ran the two-week TOURNAMENT OF CHAMPIONS, hosted by Buzzy Cohen, that started a groundswell of support for Buzzy.  Newsweek even calls him a new frontrunner.  

Personally, I thought he did a great job.  As for former JEOPARDY champion, Ken Jennings, I imagine he's still on the short-list although his voice is a little weak and you hear the voice constantly since the host reads the clues aloud.   

I'd be happy if Buzzy got the gig.  I also feel that some of his stiffness and nerves would iron out once he had the job and could relax.  

I'd also be thrilled if Mayim got the full-time gig. Of all the guest hosts I thought she was the best.  Just don't let Dr. Oz come within five miles of the studio. 

The Emmys have become the Grammys

What do I mean by that? 

On several occasions someone bursts upon the music scene and wins sixteen Grammys and two years later is completely forgotten.  Norah Jones, anybody?   The Emmy competition for Best Comedy is now very similar.  Shows are now really “the flavor of the month.” 

Remember all the hype about GIRLS?  And then FLEABAG?   The zeitgeist has moved on.

Now partly this is because these series are not long lasting.  They make 20 episodes not 200. Also because they’re on cable or streaming platforms and don’t have the overall exposure that a broadcast network can provide. 

But I also think today’s sitcoms tends to be so of the moment that when the zeitgeist moves on they’re left by the side of the road.  That’s not a knock on them.  It’s the current trend.  But it may come with a price of standing the test of time.

For much of the 1970’s the nominees and winners were ALL IN THE FAMILY, MASH, THE MARY TYLER MOORE SHOW, SANFORD & SON, TAXI, and BARNEY MILLER.  All are beloved shows today. 

In the 1980’s the shows that battled each other year after year were CHEERS, GOLDEN GIRLS, THE COSBY SHOW, FAMILY TIES, and THE WONDER YEARS.  Pretty good for 40 years ago.

The 1990’s featured these shows that duked it out yearly: SEINFELD, CHEERS, MURPHY BROWN, THE LARRY SANDERS SHOW, HOME IMPROVEMENT, FRASIER, EVERYBODY LOVES RAYMOND, and FRIENDS.  MURPHY BROWN suffered from topical references but was still enough of a "thing" that CBS chose to reboot it. 

MODERN FAMILY dominated the ‘00s and teens but competition was LOUIE, MASTER OF NONE, GLOW, THE MARVELOUS MRS. MAISEL, RUSSIAN DOLL (why that’s a comedy I don’t know) among others.  There were stand outs like VEEP, and CURB YOUR ENTHUSIASM but again, how many of them will mean anything in another ten years?  Or three?  Some don’t mean anything already.

Obviously, when making a sitcom you don’t spend a lot of time wondering what audiences will be watching in fifty years,   But it seems there are fewer of them now, and one factor in a great sitcom is its ability to leave a mark.   I guess what I’m saying is will somebody please create the next FRIENDS?  

9-11 and David & Lynn Angel

This is my Weekend Post.  It's 9-11.  I re-post this every year on this date and always will. 

9/11 affected us all, profoundly and in many cases personally. Two of my dear friends were on flight 11. David and Lynn Angell. There hasn’t been a day I haven’t thought of them, missed them, and not felt grateful that they were in my life.

David and I worked together on CHEERS, WINGS, and FRASIER (the latter two he co-created). We used to call him the “dean”. In his quiet way he was the one we always looked to for final approval of a line or a story direction. He brought a warmth and humanity to his writing that hopefully rubbed off on the rest of us “schickmeisters”. And he could be funny – sneaky funny. During long rewrite sessions he tended to be quiet. Maybe two or three times a night he’d pitch a joke – but they were always the funniest jokes of the script.


For those of you hoping to become comedy writers yourselves, let David Angell be your inspiration. Before breaking in he worked in the U.S. Army, the Pentagon, an insurance firm, an engineering company, and then when he finally moved out to L.A. he did “virtually every temp job known to man” for five years. Sometimes even the greatest talents take awhile to be recognized.

I first met David the first season of CHEERS. He came in to pitch some stories. He had been recommended after writing a good NEWHART episode. This shy quiet man who looked more like a quantum physics professor than a comedy writer, slinked into the room, mumbled through his story pitches, and we all thought, “is this the right guy? He sure doesn’t seem funny.” Still, he was given an assignment (“Pick a con…any con”) and when the script came back everyone was just blown away. He was quickly given a second assignment (“Someone single, someone blue”) and that draft came back even better. I think the first order of business for the next season was to hire David Angell on staff.

After 9/11, David’s partners Peter Casey & David Lee called me and my partner into their office. There was a FRASIER script David Angell was about to write. (It was the one where Lilith’s brother arrived in a wheelchair and became an evangelist. Michael Keaton played the part.) Peter & David asked if we would write it and for me that was a greater honor than even winning an Emmy.

David’s wife, Lynn, was also an inspiration. She devoted her life to helping others – tirelessly working on creating a children’s library and a center that serves abused children.

My heart goes out to their families. To all of the families.

I still can’t wrap my mind around it.

So tragic, so senseless, and even twenty years later, so inconceivable.

Friday Questions

I haven’t had a Natalie Wood photo for awhile so thought I’d just sneak one in.  More FQ’s from vaccinated readers.

RyderDA is up first.

You mention how much is riding on the pilot of a series to you personally in order to keep watching for the long haul. Can you think of examples of weak pilots that turned into killer shows? How about strong pilots that became even better in Episode 2 and beyond?

The one that leaps to mind is PARKS AND RECREATION.  HAPPY DAYS is another show that really took off after its pilot.  

When characters break out, shows then take on a life of their own.  The Fonz, Alex Keaton, Urkel all were happy surprises and their shows benefited greatly.  

I’m sure you guys could name a bunch of weak pilots that became hit series.  Most shows need time to grow since it’s not uncommon.  

From Brian Phillisp:

You've mentioned favorite writers, actors and directors. Who were/are some of the favorite people you've worked with that are not one of the above?

I could list almost everyone on crews I’ve worked with.  These dedicated craftsmen are the absolute backbone of the industry and don’t get nearly the recognition they deserve.  I salute each and every one of them.  

I would like to single out writers assistants we have had, however.  David Isaacs and I wrote in a very unusual way. We dictated scripts to an assistant who took down shorthand.  That was quite a skill (probably an obsolete one today) and we had some great assistants.  So in no particular order: eternal thanks to Sue Herring, Lana Lewis, Nancy Kopang, Ruth Horne, Sherry Falk, Linda Silverthorn, Ginny Olah, Barry Zajac, Donna Wheeler, Katy Penland, and Roz Jacob.  

Mike Bloodworth wonders:

Do you have notebooks, old napkins and/or computer files with potential jokes, premises, situations, etc., that you saved because you felt that you could use them someday? Sort of the comedy version of hoarding.

Follow up. If yes, have you used any of that archived material in, for example, in any of your recent plays?

I keep a manila folder of ideas — either for plays, TV series, or movies.  Sometimes they’re rather detailed, other times they’re just a scrap of paper with one sentence.   Most of these notions will never see the light of day, but every so often I’ll come up with something and realize a notion I had stashed away would work well with this.  

But I never keep a joke file.  My jokes come from character and attitude and are customized to fit the situation.

Long ago there was a comedy writer who traveled with card catalogs.  The room would be looking for a joke on used car salesmen and he would rifle through his files to find “used car salesmen” jokes.  

One time he was hired to write on a variety show being taped in London.  His card files was in luggage that got lost.  For three days he was absolutely useless in the room until the luggage was recovered.   He's maybe the last writer I would ever hire.  

And finally, from Steve McLean:

Just as 'Cheers' was becoming a huge hit, Ted Danson took a role in the TV movie 'Something About Amelia' playing a father who has been sexually molesting his daughter. The movie did well in the ratings and Ted won a Golden Globe for his performance but do you remember if the producers or the network were initially worried about him taking such a controversial role and its potential impact on the show?

I believe he filmed that before CHEERS.  He also did a guest appearance on a show called TUCKER’S WITCH, which ran opposite CHEERS one night.  We gave him a lot of shit for that one.  

What’s your question?   And at the risk of pissing off people because I want you all to be safe and healthy — get vaccinated.

EP241: Meet Character Actor, Paul Willson

Paul Willson has been on over 120 shows and movies, many as a recurring character, including CHEERS. He’s also been in OFFICE SPACE. It’s a unique journey through show business as told by one very funny actor.

More podcasts at WAVE: https://podcasts.apple.com/us/artist/wave-podcast-network/1437831426

Listen to the Hollywood & Levine podcast!

The greatest sign-off ever

Here’s another Friday Question that became an entire post. 

Joseph Price filed it.

Ken, I remember you told a hilarious story on your podcast about a radio DJ who attempted to prevent his firing by playing a specific song... (trying not to spoil it for your blog audience). Is it possible for you to share it on this blog? I couldn't find the story again.  

Okay, some backstory:  Radio in the ‘60s and ‘70s was a great time.  All local stations, all local DJ’s. 

But it was also very unstable.  Top 40 radio was a constant revolving door.  New program directors, bad rating books, new owners, new format, new directions — they all contributed to maybe the most insecure job on the planet.   DJ’s were nomads.  My disc jockey career, for example:  I was a jock in Bakersfield, San Bernardino, Detroit, New York, San Diego, San Francisco, Chicago, and Los Angeles. 

I’d be hard-pressed to name a jock from that era who didn’t get fired at least three times.  It was four for me.  And that’s over a period of a few years.  I was a TV writer for 40 years and was never fired once (show cancellations don’t count — that’s not personal). 

When you’re fired in radio, rarely do you have any warning.  I think my final sign-off on several stations was “See you tomorrow night.” 

If we got advance warning it was usually because we saw the trade papers advertising for our jobs, or the PD was constantly on your case.  All of a sudden you could do nothing right. 

Now, getting to Joseph's request. I believe this happened in Kansas City in the late ‘60s.  The morning DJ got wind that he was about to be fired.  Then ten minutes before his shift ended the program director stuck his head in to say “Please come to my office when you’re done with your show.”  He didn’t need tea leaves to know he was about to be canned. 

So he had ten minutes to think of something.  

Some DJ’s in that situation bad mouth the station on the air.  That usually comes back to bite them when they try for other jobs.  This gentleman was far more shrewd.

Just before his sign-off he went on the air and said this (I’m paraphrasing): “I want to end my show today by playing a record.  The management does not want me to play this record.  In all likelihood I’m going to get fired for playing this record, and this is the last time you hear my voice.  But I feel so strongly about it, that I don’t care.  Even if I do lose my job, there are certain beliefs that are more important.  So here’s the record this station does not want you to hear.”

And he played the National Anthem.

The station phone lines blew up.  There was outrage in the community.  He was still fired of course, but not before causing the station a world of grief. 

God, I miss radio.  

The present downfall of comedy

WARNING: RANT AHEAD

I was watching an HBO documentary on one of my idols, Mel Brooks.  It was actually a compilation of BBC interviews done over the years.   In an earlier interview he was talking about THE PRODUCERS and “Springtime for Hitler” and how audacious that project was.   He was saying it was a great time for comedy because there were no limits placed on your imagination.  You could go as far as you wanted to go.  

And my response to that was, “Boy, not today.”

I can’t think of a worse time for comedy.  Everybody has to be so sensitive, no one can ever be offended ever again.  The slightest slight can label you a racist.  The most innocent physical description can brand you as body shaming or sexist or objectifying.   

I showed my 5 year-old granddaughter, ALADDIN on Disney + and it now comes with a long disclaimer warning of all the horrible callous racist things this cartoon contains.  We’re not talking BIRTH OF A NATION.  We’re not talking AMOS & ANDY.  This is ALADDIN with Robin Williams.  What once was whimsy is now “inappropriate.”   But I guess not inappropriate enough since Disney still has the stage version and is raking in money hand over fist. 

On my podcast, Joe Buck asked if I still do award show reviews?  The answer is no. How do you do a snarky review when you can’t make fun of anyone’s appearance?  When you can’t make fun of any of the addled celebrity presenters?   If one of the red carpet commentators happens to be BIPOC you can’t point out any moronic thing he might say.  Even if you just transcribe word for word his idiotic question or comment you’re still a racist.   So why review them anymore?  Who needs the pushback and outrage over… well, nothing?  

Not to mention how a slightly insensitive joke or Tweet from 25 years ago can now get you fired. 

I look at the wondrous body of work we have from Mel Brooks and how today he couldn’t make any of his movies.  None.  He fearlessly made fun of everything.  He had free license to take his imagination to the farthest limit.   What young Mel Brooks is self-censoring himself today?  Or not even bothering?  

It’s not a matter of sensitivity.  It’s a matter of lightening up.  The world would be a better place if we laughed more.  Especially now.  And it wouldn’t necessarily be at the expense of embracing other cultures.   As they say to the refs in the NBA:  “Just let the boys play.” 

I miss Jerry

It began locally in New York in 1966.  THE JERRY LEWIS LABOR DAY TELETHON.  They raised over a million that first year, which is phenomenal.   Eventually it went national and shifted to Las Vegas.  Jerry called upon his show business friends to perform and the telethon really became a “thing.”  Frank Sinatra got Dean Martin to go on one year and reunite with Jerry.  Norm Crosby seemed to appear every hour. 

It was the great annual cheese event — primarily because Jerry became so supercilious and maudlin.  The best part was his treacly introductions, his oozing faux sincerity. Every performer was an “incredible human being and true humanitarian.”  Every artist was “gifted,” “irreplaceable,” “a genius,” “a giant,” “a legend.”  Norm Crosby, a genius? 

Sadly, the telethon eventually ended (as did Jerry some years later).  And I really miss it.  For kitsch there was nothing like it.  Jerry singing “Rock a Bye Your Baby with a Dixie Melody” towards the end of each show as if that were a big fucking deal.   And there was sidekick, Ed McMahon to chortle uproariously at everything Jerry did.  The amazing genius performers at 7 AM on Labor Day were usually dog acts from Circus Circus.   The big guns came later in the afternoon.  I don’t think Frank Sinatra was ever up before noon (unless he heard the woman’s husband coming home unexpectedly).

But the thing I miss most is THE JERRY LEWIS TELETHON was a shared national event.  And we have so few of those left.  

Labor Day is always bittersweet.  It marks the end of summer but the return of pumpkin-spiced Starbucks latte. 

Happy Labor Day.  Jerry, wherever you are, don’t go changin’.  Lunch sometime? Awesome.  I’ll have my people call your people, unless you don’t have people, in which I’d be happy to loan you some of mine.

Happy Labor Day, everybody.

Weekend Post

 I once related the story of my partner and I attending an awards ceremony looking like idiots in matching brown tuxedos and peach ruffled shirts. But that is not to suggest that I don't normally dress extremely well. In fact, I was in GQ.

No. Really.

Honest.

I’m serious.

Somehow GQ magazine got wind of my going off to Syracuse in 1988 to announce minor league baseball. They decided to do an article about me. My wife is still laughing. “You in GQ?”

I did the phone interview with Ron Powers who wrote the piece. Then I got a call from their photographer. They wanted to take pictures of me that Friday at a local baseball stadium. I said fine. The photographer then wanted to know what I’d be wearing. I said I didn’t know. This was only Monday and my mom usually doesn’t pick out my clothes until the night before. He asked my measurements and said he would bring something. Now I was a little pissed off. Just because I was a writer did he automatically assume I was a schlump? I can't believe he saw me on DON KIRSCHNER'S ROCK AWARDS. I told him I would bring my own wardrobe. Obviously his concern was not assuaged. He asked if I’d bring a selection.

I’m the same height and size as Ted Danson. The next day I went to the CHEERS wardrobe guy and asked if I could borrow some Sam Malone shirts and slacks.

Friday afternoon I hooked up with the photographer. I think I was wearing a torn t-shirt. There was already a lump in his throat. I opened my trunk and let him examine my selection. The accompanying picture is a well...an approximation. His eyes almost popped out. “Jesus, this is great stuff!” he said, astonished. “Any one of these would be perfect.” “Well YEAH,” I said as if it couldn't be more obvious. “It might surprise you to learn that most television writers are total fashion hounds. Much of the time in writers rooms is spent discussing men’s haberdashery.”

I accepted his apology and hoped that he had a new respect for how writers really felt about wardrobe.

He went off to set up his camera while I put one of the shirts on, glad that he didn’t see the “Property of Paramount Pictures” tag that was still on the sleeve.

The article came out August 1988. I see my shirt all the time in reruns.

Friday Questions

And we are now in September already.  Yikes.  Here are questions from vaccinated readers.  What’s yours?

Stephen Cudmore is up first.

MASH had a lot of anachronisms in it, like Radar doing an impression of John Wayne from McClintock. Were these goofs, or at some point did the writers decide they were okay with the show not being set in any particular decade?

I would say that 90% of the goofs, mostly anachronisms, were unintentional.  Here's one you may not know:  In our first episode, OUT OF SIGHT/OUT OF MIND in the tag if you look closely, you’ll see one of the nurses is reading the paperback of JAWS.  

But it was tough since the show lasted 11 years and the war lasted 2.  Trying to keep a timeline was impossible.  And later in the run they did an episode that all took place over one the course of one year and the completely obliterated any timeline and the existence of Trapper, Henry, and Frank. I wasn’t with the show then.  

B Smith asks:

Perhaps I haven't looked hard enough, but I've yet to see a film or TV show that acknowledges the COVID-19 pandemic (never gets mentioned, no-one wears a mask, no restrictions or anti-vaxxers). Given that it's probably not going to disappear miraculously, do you think films and TV set in the present day ought to?

There are shows that deal with it.  Two, off the top of my head, are THE GOOD FIGHT and BULL.  I’m sure my astute readers will have other examples.

It’s a tricky dance. You want to be true to the real world, but audiences don’t like seeing it.  And I think when the idiots finally get vaccinated and this goes away (years later than it should with much more hardship that could have been avoided), there will be no nostalgia for this period.  Viewers won’t want to be reminded of it.   So for a show to dwell on the current situation does so with the understanding that their shelf life might be limited.  

How I would handle it?  It truly would depend on the show and how necessary it was to deal with the pandemic.   Bring back MASH.

From MikeN:

Why are Cheers and Frasier on Paramount instead of Peacock?

Because the shows are Paramount shows and they’re owned by Viacom, which owns CBS and Paramount +.  Although those shows aired originally on NBC, they have no hold on them and so Peacock is out of luck.  

It’s one of the main reasons why networks wanted to own their own shows.   Peacock would love to have FRIENDS.  But they’re owned by Warner Brothers so HBO Max is their home.  

And finally, Darwin's Ghost has a question about the JEOPARDY host opening.

Serious question, Ken. Why don't you audition? You've got tons of presenting experience, you're funny, and you know the show inside out. And the only thing anyone could dig up from the past is Mannequin 2, and that wasn't your fault.

Call your agent to get on it Monday morning!

Thank you for your faith in me.  I think they’re looking for someone a little younger and someone who has an actual name that people know. 

But when Vanna White retires…

EP240: Name Dropping Theater

Ken drops names and tells stories about various celebrities he has encountered. Along with some tips for those who come to LA hoping to spot stars.

Become a member today by going to https://feals.com/levine & you'll get 50% off your first order with free shipping.

More podcasts at WAVE: https://podcasts.apple.com/us/artist/wave-podcast-network/1437831426

Listen to the Hollywood & Levine podcast!

Ed Asner & Misc-takes

In no order of importance except for the first item.

I loved Ed Asner and had the pleasure of working with him three times.  I directed him twice and he graciously did a play reading of mine (see above photo).  He was a total mensch, a pleasure to work with, and had a wicked sense of humor.  The last time I saw him was just before the pandemic at another memorial and in a room filled with comedy writers he was the funniest.  I didn’t write a full tribute because I really didn’t know him all that well.  Usually, I like to share some personal stories and provide a perspective you won't find elsewhere.  But in this case, I’d just be repeating what everyone else said.  Suffice it to say, he lived a good long life and spread joy and humanity wherever he went.  I don’t know about your Facebook news feed, but mine is filled with people who all had their pictures taken with Ed. I think in 91 years he met everybody in show business.  And they all loved him.

Get vaccinated.

My heart goes out to everyone affected by Hurricane Ida.  It’s times like this you put aside politics.

Get vaccinated.

Interesting how the Mets players are turning on the fans.  And Mets fans are pussycats compared to Red Sox and Phillies fans.  

Get vaccinated.

Big shocker that Mike Richards was fired as Executive Producer of JEOPARDY and WHEEL OF FORTUNE.  I’m now waiting for the axe to fall on some of the Sony executives who let this whole fiasco happen.  

Get vaccinated.

In a new poll the Dodgers are now the most hated team in baseball.  Take that Yankees! LA rules!

Get vaccinated.

Who bets on NFL pre-season games?  Good luck with that.  

Get vaccinated.

Elaine Welteroth exits THE TALK.  Who is Elaine Welteroth? 

Get vaccinated.

Hey, the network Fall Season is about to begin!!!!  Yawn.

Get vaccinated.  

When you and your friends discuss series you’re currently watching, how many of them are broadcast network shows?  I’m guessing none.

How many idiot “COVID-is-a-hoax/anti vaxer/anti mask” radio talk show hosts have to die of COVID before people wise up?  So far, four.  

Get… you know the rest. 

The stages of watching a new show

These are the stages I go through to watch a limited series on cable or a streaming channel.  Is this just me or do you follow this basic pattern too?  

First off, there are so many shows on so many platforms I just wait for people to recommend a new show.  And of course it has to be on a platform that I can get.  

Reading subtitles off of TV is too annoying.  If it’s a foreign show I need it to be dubbed.  This can be problematic, especially if the show is Danish and everyone speaks in a Welsh accent.  That said, if the show is good I stick it out.  

I sit down and watch the first episode.  I realize it’s a first episode and they’re setting things up so I give it a certain amount of space.  Better episodes are likely coming.  But if I’m bored out of my mind, or find I just don’t like the subject matter, or hate all the characters then it’s one and done.  

When the pilot is over I ask myself whether I want to see episode two? In a few rare cases I fall in love with the series right from the get-go and I am all in.  But for most I’ll be saying, “Well, it’s kinda interesting,” “It’s sort of funny,” “I like the cast,” or “There’s gratuitous nudity” and decide to watch episode two.

Same question for episode three.  Am I getting sucked in?  Is it getting better?  Is it starting to make sense?  Has this comedy made me laugh once?

But generally after episode three comes the BIG decision.  Because here is where I either get off the train and stick it out till the end.  

And if I’m still in, there’s one more question: It’s 11:30 PM.  I’ve got to get up early the next morning.  An episode ends. Do I watch one more?   If the answer is yes, then THAT’S a series I love.   Most series  I can cheerfully watch an episode a night, but when I’m totally engrossed I have to burn through it.  Those are the shows I tell others about so they can go through the same line of questions. 

CHEERS to the jokes we didn't use

I saw a CHEERS episode recently (no, it wasn’t one we wrote) and noticed a certain joke was missing.  Not worth telling you the joke; you’d have to know the context.  But it was probably cut in syndication so they could squeeze in more reverse mortgage ads.  

But it got me to thinking.  There were so many jokes over the course of a season of CHEERS that never made it to air.  Not because they were bad (well some of them were), but because the story shifted or time constraints or we just thought of better ones.  

Let’s take a typical episode.  The writer works with the staff to lay out the story.  Along the way the staff pitches possible jokes. These are transcribed and the writer may use them when writing his outline.  He uses a few, meaning a bunch are washed ashore.  He writes alternate and new jokes.

He meets with the staff again to get notes on the outline.  More jokes are offered.  Sometimes the decision is made to change whole chunks of the story.  So all the jokes in the discarded chunks now don’t apply.  

The writer composes the first draft, adding a lot of new jokes along the way.  He gets notes, more jokes are cut, new story elements are introduced and other jokes are left by the side of the road.  

Once the writer turns in his second draft it goes to the staff for the rewrite.  Scripts can change from 10-100%.  Jokes and sometimes whole storylines are thrown out.  

Once the script goes into production, there are table readings or run-throughs every day and those require rewrites.  More jokes crash and burn.  

The show is filmed and generally is too long.  Editing eliminates even more jokes, sometimes really good jokes, but you never want to sacrifice story for jokes.  

And then there’s editing for syndication.

Now imagine this happening 25 times a season.  That’s a shit-ton of jokes that never make it to air.  But we always considered that was part of the job.  To be on staff you had to be prolific.  It’s not like a comic strip where you’re required to come up with seven jokes a week.  If you were on a staff of CHEERS (and this goes for most sitcoms I’m sure), you needed to churn out seven jokes every twenty minutes.  It can be a grind, but boy, you laugh a lot.  The jokes just keep coming.  If you've got to spend twelve hours a day in a room, there are worse ones I can think of.

Happy Birthday, Annie!

Today is my lovely daughter, Annie's birthday.   She and her husband, Jonathan, are comedy writers, currently Co-Executive Producers of THE UPSHAWS on Netflix.  I thought to celebrate her birthday I would re-post an essay she and Jon wrote for this blog in 2013 about another birthday and the charming gift she received.  I think she entered the right field.  Happy Birthday, Annie.  I love you.

Everyone likes to think their coworkers respect them…

Mine bought me a Groupon to a pole dancing class for my birthday. (Based on the average age of my coworkers, I chose to take this as a sign of admiration for my functional hips.)

I didn't plan to actually use the thing until my dad demanded I do a blog post about it. Most parents tend to discourage their children entering the world of erotic dancing. Mine bought me kneepads and offered to drive.

I'm lucky to have found the place at all. There was no sign out front, no mention on any directory, absolutely no distinguishing marks of any kind. Areola 51.

I finally discovered the way in and was rewarded for my perseverance with a dimly lit studio whose windows were blacked out by feather boas. It was like stumbling into RuPaul's doomsday bunker.

The class was called Pole Diva (Level 1) and the teacher was a pocket-sized Latina woman who kept criticizing everybody's "sexy pushups."

For the uninitiated, "sexy pushups" are when you caress your body before Shamu sliding along the hardwood and pulling yourself back up. Making sure to rub your hips again for good measure. Based on how my classmates looked doing them, I think "sexy pushup" is meant to be one of those ironic terms like "FOX comedy."

Not that everyone was bad at it. The woman in front of me was clearly the star pupil, and by the end of class even I was throwing her a few singles.

The humiliation of the "sexy pushup" (thoughtfully enhanced by the floor to ceiling mirrors we performed in front of) finally came to an end. It was time to strap on our kneepads (thanks again, Dad!) and pick our pole.

They offered us bottles of alcohol to disinfect the poles before use. I requested penicillin.

We learned a few different spins over the course of the hour. They all had fun names like "the sunburst" and "the firefly." Each one a new way to wind up with my ass on the floor and legs spread wide. The actual spinning was fun, though, until my teacher scolded me for yelling, "Wheeee!"

A large part of pole dancing seems to be walking around the pole, doing a sort of Igor foot drag. I pictured Martha Graham spinning in her grave every time this was referred to as choreography.

By the end of class, I was so black and blue my dancer name would have been Hematoma. (In actuality, I would choose something a little more exotic if I ever entered the profession. Right now the top candidate is Treif Magnifique.)

The staff knew most of us were only in it for the one class. Still, they kept pressuring us to come back. On our way out, they made sure we knew that they were available for parties. I'm still not clear if they were talking about the studio or the instructors.

I'm sure if I kept at it, I could graduate to Pole Vixen (Level 2). I would love to see that ceremony. No gowns or mortarboards; just the tassels.

That said, I think it's safe to say pole dancing is not going to be added to my list of hobbies. I'd much rather bake the cake than jump out of it.

Weekend Post

I've told this story before.  But it's one of my favorites.  

It wasn’t a long meeting. But it was memorable.

Winter 1973. I’m an engineer at KABC and KLOS radio in Los Angeles. Essentially I worked as a board op for KLOS. That meant I played the records and commercials. Union rules prohibited the disc jockeys from doing anything other than turning on and off their microphoness. Oh, and they could talk. They got that concession.

It was a cool job. KLOS played what today we call “classic rock.” Album cuts and Layla. I loved the music and the jocks were all terrific dudes. I’m still friends with Jim Ladd, Marc Driscoll, and Dion Jackson from that talented staff.

Occasionally I would have to go across the hall and handle KABC talk shows. That was fun too. Talk radio in those days welcomed different points of view, not just one. Imagine such a concept – a balance of ideas. I know. It was crazy.

I’m working one Saturday night on KLOS. I’m on my break. It’s about 9:45. The 10:00 KABC talk show host was Elliott Mintz. There was a long hallway at KABC/KLOS that led to the side entrance. I step out of our studio and happen to glance down the hallway. Holy shit! There’s John Lennon and Yoko Ono buzzing to be let in. They were Elliott’s scheduled guests. ( Elliott is still Yoko’s publicist, by the way.)

I duck my head into the KABC control room and say I’ll get them. Then I barrel down the hall and usher them in. I introduce myself and shake hands with them both. Yoko’s handshake is firmer than John’s.

He’s wearing a blue jean shirt and khakis. She’s wearing a huge black fur that must weigh sixty pounds.

I’ve got about twenty seconds alone with John & Yoko as I lead them down this long hall. What do you say to them?

At the time there was a very popular album by the National Lampoon that featured a very funny send-up of John called “Magical Misery Tour.” In that song he’s forever yelling, “I’m a fuckin’ genius!”

I don’t know what possessed me but I say to John, “So… what’s it like being a fuckin’ genius?” Without breaking stride he gives me a big grin and says, “Pretty nice, actually!”

That was it. We arrive at the studio and Elliott takes it from there. I couldn’t even hang back to watch the interview. I was due back at KLOS at 10:00.

But it brings up an interesting question. If you get to meet someone you idolize and you have time to ask him just one thing, what would it be? I’m sure had I known in advance that I would be meeting John I would have prepared something a little less – how should I say it? – obnoxious, but I just had the sense he would take the question in the spirit it was asked and in fact he did.

I didn’t have time to ask Yoko a question. Which is probably good. I don’t think she would have seen the whimsy in “What dead animal is that?”

So there’s my twenty second brush with greatness… and his wife.

Here's Magical Misery Tour.

 

 

Friday Questions

If you’re vaccinated I’d love to answer your Friday Question.  Here are this week’s:

Brandon in Virginia starts us off.

In watching a lot of MeTV over the years, I noticed Paramount and MTM used supporting cast members or character actors on other shows a lot. Off the top of my head, Tom Hanks did Taxi, Happy Days, and Family Ties a few months after Bosom Buddies's cancellation. Another is Christopher Lloyd as an artist on Cheers.

Were actors simply kept in a "database" for different shows, or did producers keep actors like Tom in mind, since they were probably on the same soundstage at Paramount?

Not so much a database as the writers from all those various shows knowing each other.  We all had a pipeline and would pass along names of actors who worked out well for us.  

We also admired each other’s shows so watched them ourselves.  And we’d make note of a guest actor who really impressed us.

In the case of Christopher Lloyd doing CHEERS, the Charles Brothers and Jimmy all worked on TAXI and knew him.  So, in that case, they just picked up the phone.  

From Call Me Mike:

After recently watching a "very special episode" of WKRP in Cincinnati, "In Concert," which addressed the Who concert disaster of 1979 and the dangers of festival seating, I realized Cheers never really did an issue episode such as that. Were you ever asked to write one? Did the network ever push for it?

CHEERS was not an issue-oriented show.  I guess you could say “Boys in the Bar” was an issue episode, but we made no big deal of it.  

We were more interested in relationships.  Besides, there was Normal Lear to do all the issue shows.  It’s not like we needed to fill a void.  

To their credit, NBC never pressed us.  In fact, they totally left us alone in regards to stories.  And in those days, stories did not have to be approved by the network.

Those “very special episodes” always sounded incredibly pretentious to me.  And most of the time it was the networks who branded these episodes as “special,” not the show runner.  

Kyle Burress asks:

During the course of your career what actor/actress that you worked with surprised you the most by their performance? Who far exceeded your expectations? On a similar note, who do you think grew and developed the most over the course of time that you worked with them?  

We knew Nancy Travis was good but were blown away by how spectacular she was.  

The actress who developed the most would be Kirstie Alley, but part of that was our fault.  As originally conceived, “Rebecca Howe” was a martinet.  It was only when we discovered she was funny when she was a mental wreck that her character really took off. And she just got better and better.  

And finally, from Puck:

What is the most egregious unprofessional behavior you've seen from an actor, both a regular and guest star? How did you as a writer/showrunner/director deal with those kinds of situations?

Hard to top this one.  On CHEERS a guest actor freaked out after the dress rehearsal, got in his car, drove off the lot, and never came back for the filming.   I don’t have to tell you that was the last TV acting gig he ever got.  Remember that pipeline?

We recast the role and filmed those scenes the following week. 

EP239: Beware of Agents!

Ken has had some “unpleasant" encounters with Hollywood agents. Not many, but enough to fill an entertaining episode of dish.

More podcasts at WAVE: https://podcasts.apple.com/us/artist/wave-podcast-network/1437831426

Listen to the Hollywood & Levine podcast!

Misc - Takes

In no order of importance…

Since Pfizer has been fully approved by the FDA you now need to be vaccinated to read this blog.  

Hey, it’s football season again.  Quick!  Name the team that lost this year’s Super Bowl.  

THE HISTORY OF THE SITCOM is mercifully over.  Preston Beckman, who was a network executive for over 25 years, including many moons at NBC where he did the scheduling during the Must-See TV era, wrote a dead-on review of THE HISTORY OF THE SITCOM in his blog.  Check it out.   Hint: He hated it even more than I did... and I didn't think that was possible. 

As if things aren’t scary enough in the world comes this headline from the CNN website:  McDonalds runs out of milkshakes in the UK.  

Just give the damn JEOPARDY hosting job to Mayim and be done with it.  

Joe Buck got one of the highest ratings of guest hosts.  I’d like to think it’s due to my podcast.  (Okay, I’m the only one thinking that.)

Preston Beckman was also on my podcast, if you’re interested.  

THE HISTORY OF THE SITCOM considered EIGHT IS ENOUGH as a situation comedy.  If so, then PETTICOAT JUNCTION was a gripping drama.

It’s a seller’s market if you got a late model car to unload.  

I’m still waiting for the movie to come out that would get me back into a movie theatre.  

Remember when “Pennant Races” were the thing to watch once you got to the Dog Days of Summer?  Now they’re meh because the team that just falls short gets into the playoffs anyway.  So the real drama comes in the Wild Card races.  And this year’s American League Wild Card chase is the fun thing to follow.  Interesting stat: The Mariners have a run differential of -60 and yet are only 3 games back.  

It used to be just billboards for TV shows vying for Emmys.  “For Your Consideration” billboards dotted the LA landscape.  And now, in addition, there are actual commercials on local stations pleading for your votes.  

Now I know why Andrew Cuomo was so reluctant to give up his office as NY governor — The TV Academy has rescinded his International Emmy.  

Waited an hour for my food at Baltaire in Brentwood, California Tuesday night.  Meanwhile, one of the women from FBOY ISLAND was at the next table and got free champagne.  Her food came right away and she didn’t eat a bite of it.  Why didn’t they screw up her order instead?  

Every time I do these “Misc-Take” posts, they’re a tribute to the great Allan Mallamud of the Los Angeles Herald-Examiner and later the Times.  

Since Dexter is coming back and was set in Florida, could he stop by the governor’s office?

The comments from yesterday’s post make it very clear — folks are quite content to miss shows, even if they’re good, if it means paying for too many services.  Streaming services are beginning to remind me of radio in the past.  If you were on a station with a strong signal (ie Netflix) people paid attention.  If you were on a station with a weaker signal (ie Paramount +) you were talking to yourself no matter how good the product.  

What I don’t understand is why Paramount + doesn’t show ALMOST PERFECT.  They own it and it’s 34 episodes.  And it's not like they've got a super great library anyway.

The hurricane couldn’t wait until Barry Manilow finished his song?  

Get vaccinated! 

THE GOOD FIGHT deserves better

For some reason, some shows never get the recognition (i.e. Emmy love) that they deserve.  One such show is THE GOOD FIGHT on Paramount +.  One reason may be that it’s on Paramount +.  If it were on Netflix or HBO Max there would be more subscribers to watch it.  Unless you're one of those people who've signed up for five or six platforms I imagine you don't subscribe to Paramount + (or Peacock).

Not to take anything away from other very excellent dramas, and because of all the platforms there is a plethora of them, but THE GOOD FIGHT seems left out of the conversation when Emmy noms are handed out.   

It’s just not in the Zeitgest, which is a little odd because I can’t think of a recent drama that references the current politics and news events as much as THE GOOD FIGHT does.  From the election to insurrection, cancel culture, inclusion, pandemic — they’re all addressed but in a human way that illustrates just how these events affect us personally.  

Episode 4 of the new season is a whole take down on how overly sensitive we are to jokes.  Among the many jokes presented, as a throwaway, was Selena Gomez and her kidney transplant.  And wouldn't you know, Selena Gomez was outraged and Twitter blew up.  See tomorrow's post when I touch more on this topic.

As for this season, I will say I miss Delroy Lindo and Cush Jumbo who left this season, but new addition Mandy Patinkin is a hoot, and Sarah Steele “steals” the show.  

The storylines are always compelling, they take big swings at the plate, and the dashes of humor are generally laugh-out-loud funny.  There are creative touches including animation and songs. They somehow manage to combine stark realism with utter absurdity.   For my money it’s the best written drama on whatever is considered television these days.  

THE GOOD FIGHT has everything but buzz.  And I guess you need that more than anything else.  Too bad they didn't set the show in Hawaii. 

"Do not try this at home."

Needless to say I received lots of comments on my weekend post about Mike Richards.  The cancel culture will actually be the recurring theme in these next few posts.  

Yes, the things Richards said in those podcast episodes were offensive.  But I have a theory I’ve yet to see mentioned anywhere else.  

People say stupid things when they try to be funny and they’re inherently not funny.  And that includes racist remarks and sexist remarks.  

They hear Howard Stern pull it off, or Don Rickles, or Richard Pryor and they think they can too.   But they can’t.  

And let’s be honest, sexist, racist jokes are easy.  Instead of displaying real wit they go after easy targets.  

We all know these people.  They’re the insufferable ones we run from at parties, usually after a few drinks (post 9:00 PM).  Women must get this a lot; nimrods trying to impress them with their dazzling sense of humor.  Inappropriate lines just spew out.  

But at least they’re not broadcasting.

When you go on a podcast you are not only broadcasting, you’re broadcasting to the entire world.  And unlike radio where you say something once and it’s gone in the ether, podcast content remains, sometimes forever.   

Same is true for posting on Facebook or Twitter or any social media site.  You may think just three of your friends are seeing your Tweet but that’s always the case.  It’s a form of broadcasting.  

Especially now, that we’re all so hyper sensitive, we all have to be careful and exhibit good judgement, and that could be a problem for unfunny people who think they’re funny because their judgement is already cloudy.   Leave the comedy to the pros.  

Reminder: No comments by anonymous or unknown readers will be posted. Leave a name.

Weekend Post

So the Mike Richards era of hosting JEOPARDY is over.  That lasted… one day of taping.  My question is who vets these guys?  If websites are able to turn up this info, why can’t Sony put a few drones on the case to check out someone’s background before you give him the keys to your Rolls Royce and say, “Sure, go off-roading”?    It’s just nuts.

So the show goes a whole year with guest hosts, some painful like Dr. Oz, getting the audience all stirred up.  And it ends like this. 

All along it was a Faustian contract because all the attention you get from the on-air audition process comes back to bite you when you ultimately make a decision and 50% or 70% of your fans are pissed because they wanted someone else.   Like I said last week, had they just installed a new host after Alex died there would have been an adjustment period and eventually the new guy would just be “the guy.”  

TV networks used to air all their failed pilots in the summer.  They had paid for them and this allowed them to recoup something while filling summer space.   We in the industry used to call it “Failure Theatre.”  One of the reasons networks discontinued the practice was people were complaining that the failed pilots were better than the shows they picked up.  Networks learned not to air their dirty laundry.

So now we get more guest hosts.  Here are my suggestions, Sony:  OJ Simpson, Bill Cosby, Andrew Cuomo, and R Kelly. 

Good luck Sony, when Pat Sajak leaves WHEEL OF FORTUNE.  Maybe Harvey Weinstein could be let out for a work program? 

Friday Questions

Working our way through August FQ’s.  You have to be vaccinated to submit one. 

UPDATE:  I will discuss the Mike Richards one-day fall from grace for my weekend post. Stay tuned. 

Chris Dahl gets us started.

I was reading a blog other than your own (hard to believe, but I do read other blogs) and in the comments section of this different blog a conversation evolved around the timing of episode releases.  Netflix is famous for dropping entire seasons at once to allow for bingeing and initially people seem to have enjoyed this. It was almost a selling point for the streaming services.

But it seems a trend is starting, at least on Disney+, to now drop new series episodes weekly just like in the good old network TV days.  The argument is that it retains the best of both worlds, allowing excitement/buzz to build over a period of time promoting the series while also allowing newcomers to catch up and join the fun.  Thoughts or comments?

I can see advantages to both.  It’s very appealing to have viewers return every week instead of one time only for an extended period of time.  Once someone is on your site they’re more apt to see what else they offer and stay longer.  But there is an additional burden placed on these shows.  Are they compelling enough that viewers are willing to wait a week to watch a new episode?   Especially when so many show are dropped in batches.  

The advantage of dropping a whole series at once is that it’s something only streamers can do.  Broadcast and cable networks can’t compete with that.  And viewing habits have changed.  With so much product out there it’s nice to find a show you like and immerse yourself in it for two or three nights then move onto something different when it concludes.  

What I find interesting about binge-watching is this:  According to viewer research, people will re-binge shows they like — occasionally multiple times.  I guess it’s like hearing your favorite song over and over except the song is ten hours long.

From Rory W:

When you were a baseball announcer, did you get approached to do local radio or TV ads?

I was listening to the radio broadcast of my hometown Cleveland baseball team when Jim "Rosie" Rosenhaus did an ad for Rose Pest Control and was wondering how sponsors approach announcers?

Do you just get a random call from someone saying, "Hey, do you want to do an ad for Neverwet Basement Waterproofing in Syracuse, NY?"

I did a couple of ads when I was with the Orioles in Baltimore.   I was the voice of some Lexus dealer (for which I was given a new Lexus to drive during the season), and my partner,  Jon Miller and I went to Washington DC to record spots for Food Giant or some market in the region.  The car dealer just called me.  He probably did that a lot — free spokesman for a loaner car (and for me, free car for an hour’s recording), and Jon got the call for the market.

I never had an agent.  In the case of the Lexus dealer, the agent’s commission would be what, the trunk?

Steve McLean has a two-part question.

I recently heard an interview with actor/director Peter Bonerz who said, "I always made the argument for the laugh track...sitting at home you become part of a larger audience." (Interesting since he is probably best known for his role on 'The Bob Newhart Show' which did not have one.)

THE BOB NEWHART SHOW did use a laugh-track to supplement the live studio audience.

That’s the network's rationale for the laugh-track.  When you go to a theatre the laughter is a shared experience and can be contagious.  But just sitting at home alone things might not seem as funny.   That’s the theory, but I think it’s bullshit.  Hearing real audience laughter is one thing.  Hearing fake laughter is insulting.  As a viewer I resent being “told” when something is funny.  Let me decide on my own.  

And the second point I'm interested in your thoughts on, Peter said that when directing later sitcoms, "The audiences come in so hot, they have been warmed up to such a degree, that they overlaugh the show. They literally laugh at anything.”

He’s absolutely right.  Audiences of hit sitcoms come in so primed to laugh because they love these characters and are so excited to be there.  

On CHEERS we really had to fight against that.  We knew that certain laughs the last couple of seasons were not earned.  We made a conscious decision to ignore that and keep our standards high because we knew the show was going into syndication, and that after a few years new viewers would join and hold the show to its highest quality.   

A hit show can be a trap the last few “beloved” years.  And it’s easy to let down knowing you’re still going to get huge laughs.   We took enormous pride in our work, and I believe it’s one of the reasons CHEERS still holds up so well today.

What’s your Friday Question?  Again, you must be vaxxed.