Although I don't have any particular personal attachment to New York City, it's always fun looking at the listings from the Big Apple. The local personalities are bigger names, the local movies have bigger stars. You're less likely to see local preemptions of network programs when the local affiliates are owned by the network. It gives you an honest look at what was on TV that week. Of course, that doesn't always mean you can believe what you see; WPIX shows both The Little Rascals and The Three Stooges as being in color, which I've dutifully included, but unless they're referring to wraparound studio shows or cartoons, I don't think so. WNHC shows Mike Douglas twice, but the first one was not originally listed in color - I used my initiative to make that change. Otherwise, all the mistakes are my own.
WNYE, the educational channel, broadcast classroom programming during the day and nothing else.
You're going to have to trust me on this: you would not see an article by someone like Dr. Karl Menninger in today's version of TV Guide. Back in 1968, however, TV Guide was more than open to great intellects engaging in serious discussions about television and its role in popular culture.
Dr. Karl Menninger was one of the most prominent American psychiatrists of the 20th Century, co-founder of the famed Menninger Clinic in Topeka, Kansas. His book The Human Mind, written in 1930, did much to introduce psychiatry to the American public, and he sought to educate Americans on the true nature of mental illness and other behavioral disorders. He was a harsh critic of the way the justice system dealt with mental illness; he once famously said that courts wasted their time with questions such as whether or not the accused knew the difference between right and wrong, when instead they should be asking, "What went wrong in this man's life that he is here instead of out on the road? How is it that he is in trouble with his people, his city, and his government? What is different about him from the rest of us? What do we do about his present predicament-and ours?" And yet he wasn't a mere apologist, either, as he pointed out in his book Whatever Became of Sin?, in which he discussed the role of sin when it came to guilt and responsibility. "The word 'sin' has almost disappeared from our vocabulary, but the sense of guilt remains in our hearts and minds," and while it would do no good for someone to try and repent of an illness, it is a different thing altogether to repent of a sin. I think you could probably make a good case that TV series such as Breaking Point and The Eleventh Hour wouldn't have been around were it not for Menninger and his ability to argue that psychiatry was a true science, and mental disorder. a true illness.
So, you're probably asking yourselves about now, what is Karl Menninger doing writing for TV Guide?
It's the fourth installment of a series entitled "In Defense of Television," the purpose of which is "to analyze the beneficial effects television has had on our world and its citizens." Prominent figures in public and private life have been invited to share such positive aspects, "even though they may also have some negative attitudes about television and its performance." Menninger's essay is entitled "Television - The Comforting Presence," and he begins, as he does so often, with a story, or rather, a couple of anecdotes. The first tells of a man who detested air conditioning, but nevertheless had just had a unit installed in his office "because it helped to drown out the noises of the city." The second involves a young college girl who'd been given "a turtle-shaped electric appliance which had no other function than to make a whirring sound, halfway between the sound of an electric razor and an electric fan. The sound, described as extremely soothing and reassuring, was said to be a great aid to studying in a college dormitory."
From this, Menninger postulates something that I've long felt and, to the eternal frustration of my wife, practiced - "[S]ilence is not only unattainable but not necessarily desired. Sounds - and lots of them - are an inescapable part of life in the city. Peace (for people) seems to lie not in escaping from sound but in making it acceptable, comfortable, reassuring, even noncommunicative. The sound must not have a pronounced, foot-tapping rhythm nor an arresting loudness, but should produce a feeling of intimacy and companionship. No rhythm, no melody, no racket - just a presence." In other words - the sound of a television set.
For Menninger, this was the answer to an observation he had often made, that of "homes where the television was turned on while every member of the family was engaged in some activity - playing cards, reading, sewing, studying, writing, cooking, or even using the vacuum cleaner." When queried about this, people gave him similar answers: "It helps me concentrate," "It gives me a feeling of life around me," "It's sort of scary without it." And think about it - television is, as we have observed time and time again, the most intimate of media, in which we invite total strangers into our homes, to the point that we come to see them not just as invited guests, but friends. And, as my wife as observed while I'm sitting here typing on the laptop, it's not important that we may not be conversing, or engaged in the same project. It's just enough to know that I'm here, in the same room as she is. Is that not similar to what Menninger writes?
In 1967, Richard Schickel, in an article for The Urban Review, had described television "less a means of communication ('the imparting or interchange of thoughts, opinions, and information by speech, writing or signs') than it is a form of communication ('act of sharing, or holding in common; participation, association; fellowship')." Studies that indicate the average household has the TV on for five-and-a-half hours a day fail to take into consideration that the set is not necessarily being watched for all of those five-and-a-half hours. It is a presence, waiting for a time when it is needed - for a show that someone particularly wants to watch, true, but also for a space flight, an assassination, an international crisis. "These are the hours when the television set becomes a tie that unites us with people all over the Nation, even the world. For a time we are experiencing the same scenes and sounds as thousands or millions of other concerned persons."
Beyond this, Menninger takes a look at the effect television has on people, particularly children. "One current research concludes that TV appears to have little effect, either positive or negative, upon school grades; that a child's use of TV depends upon his intelligence and his relationship with his parents; that there may be a connection between viewing violence and enacting aggressive behavior; and, perhaps most important, that TV does tend to teach beliefs about the nature of the world and the motives of people around us, and set up stereotypes and 'heroes' - often of the wrong kind." This is something I've been increasingly convinced of over the last few years, thanks to those of you who've asked the simple question: does television cause behavior or reflect it? Over this time, I've come to view television as reactive, rather than proactive; anyone who's seen the medium's painful attempts to be "hip" and "with it" in the '60s can understand how TV was far behind the curve, and the same could be said regarding every social issue from crime to abortion to divorce to homosexuality. What television is very adept at, however, is becoming an advocate once it decides on which side of the fence it stands. Recall the issue from a few weeks ago in which Edith Efron took a look at how television portrays the drug crisis. Episodes of Dragnet and Adam-12 are laughable in the way that drugs are portrayed; that's television being reactive. However, once the bit is between the teeth - well, as Efron noted, "'networks [pandered] to the leftist young, who are the primary drug consumers in white middle-class society,' by 'loading the moral decks' in the drug takers' favor." Virtually every television series today presents as normal some type of behavior which not that many years ago would have been considered unacceptable, if not immoral. But when the viewer keeps seeing the same behavior drilled into them as normal, night after night, week after week - well, what is one to think?
Menninger's conclusion as to the quality of current television is less positive; what is needed, he writes, is that "the child (and the adult, too, for that matter) should see the world and its people as clearly as possible; and that there should be less vulgarity, less soap opera and less falsification, as well as less enjoyment of other people's crimes. Television is only one of a host of influences in our society that we encourage in such vulgarization."
The role of television is complex. "For so many of the lonely it glorifies existence; for the inhibited it can enrich the imagination." Television needs to show people what goes on in the world, and how bad some parts of it are, and it can guarantee that "we can never be the same after having seen them." Ultimately, Menninger thinks television can live up to that task. The question is: has it?
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During the 60s, the Ed Sullivan Show and The Hollywood Palace were the premiere variety shows on television. Whenever they appear in TV Guide together, we'll match them up and see who has the best lineup.. Sullivan: Ed's scheduled guests include Joel Grey, star of Broadway's musical biography of George M. Cohan; the 5th Dimension; singer Jane Morgan; comedians Morey Amsterdam, London Lee and Joan Rivers; and the West Point Glee Club.
Palace: "Comedy Tonight," sung by host Milton Berle, sets the theme for guests Nanette Fabray, singer-pianist Buddy Greco, Jack Burns and Avery Schreiber, and the singing King Family. Also on hand: the Los Angeles Rams' Fearsome Foursome (Roger Brown, Deacon Jones, Lamar Lundy and Merlin Olsen) and their teammate Roosevelt Grier.
The Hollywood Palace is a rerun tonight, and I'm fairly sure I covered it the first time it was on. I don't think I was all that impressed by it back then, and I'm not much impressed by it this time, either, although it is free of the lesser-known vaudevillians that so often populate the show. Problem for The Palace is that Ed's lineup doesn't feature vaudevillians, either. Joel Grey would cop a Best Actor Tony nomination for George M!, the Broadway musical based on Cohen's life, and would recreate the role two years later for an NBC special. Morey Amsterdam, "The Human Joke Machine," is in my opinion the funniest part of The Dick Van Dyke Show. The 5th Dimension and the Glee Club provide the music, and Joan Rivers is, well, Joan Rivers. It's not decisive, but Sullivan wins the clear-cut decision.
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One of the things I enjoy about these TV Guides are the occasional glimpses, intentional or unintentional, they give us into our future. Such is the case this week, beginning on Monday night when WNEW (New York) and WNHC (New Haven) preempt their entire prime-time lineup for a three-hour documentary on America's racial crisis, called "One Nation, Indivisible." It's a product of the Westinghouse Broadcasting Company and airs nationally on many Group W stations, combining national segments with local panel discussions and phone-in segments. The question, according to host Rod MacLeish, is "Whether it's possible to bridge the dreadful chasm between the American races or whether ... our days as one nation indivisible are numbered." Nearly 50 years later, we're stil asking the same question.
Also on Monday night at 10:00 ET, ABC's latest installment in its Saga of Western Man casts an ominous and, frankly, depressing look at what we now recognize as the future of the church. "In the Name of God" investigates modern missionaries, "whose goals are secular as well as spiritual. They are not out to win converts, but to help people create a better standard of living - 'and let the people determine their own lives.'" What could possibly go wrong with that? Judging by the plummeting numbers of Christians throughout the world*, if these "forward-looking" missionaries were looking forward to a future bereft of faith, I'd say they did a damn good job of it.
*Not to mention the pronouncements of a Pope who bears a striking resemblance to a character from a certain book.
On Thursday night at 8:30, WNDT (New York's NET station) portrays the plight of teenagers in the ghetto in "School's Not Enough." Efforts to increase hope for these ghetto youth include job-training programs and educational opportunities. It sounds a lot like the kinds of programs my place of employment works with. Again - what's changed? The problems are still the same, the demographics are still the same, the arguments are still the same. Meanwhile, Friday at 9:00 p.m., independent station WNYC looks at another social issue, asking the question: "Can a Mother and a Housewife Also Be a Career Woman?" The guests - a marriage counselor, a psychiatrist, and a housewife and career woman - look for answers to a question we're still debating today.
Frank McGee hosts Tomorrow's World, on Friday as well (10:00 p.m.) looking at "A New Era in Medicine." Included are studies in genetics to overcome nerve problems and mental retardation; fetal treatment that would enable surgeons to operate on unborn children; mapping individual brain cells to look at various disorders; and exploration of techniques and tools that might enable doctors to treat tumors before they form. It's part Brave New World, part Watch Mr. Wizard - and, today, mostly true.
In political news, the networks look back to the aftermath of the Indiana presidential primary, and wonder if Eugene McCarthy and Robert Kennedy might debate prior to the May 14 Nebraska primary, which would not yet have taken place as this issue went to press. In the end, there is no debate in Nebraska - but there will be one in California prior to the pivotal June 4 primary, a little over two weeks from now. And then?
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And now a brief look at the rest of the week.
On Saturday night, NBC's Tonight Show rerun looks to have been a fascinating one, as Johnny's guests are Florence Henderson, the Temptations, and Ayn Rand. What a combination. The Emmys are Sunday night at 10:00 p.m. on NBC, hosted by Frank Sinatra in New York and Dick Van Dyke in Hollywood; among the big winners are Mission: Impossible for Best Drama, Get Smart for Best Comedy, Laugh-In for Best Variety or Musical Show, and the Hallmark Hall of Fame's "Elizabeth the Queen" for Best Dramatic Special. Wednesday's NET Festival presents highlights from the Monterey Jazz Festival, with Dizzy Gillespie, Earl "Fatha" Hines, B.B. King, Richie Havens, and the Modern Jazz Quartet among the headliners. Oh, and a note at the beginning of the program section warns us that due to the Vietnam peace talks, all shows are subject to preemption.
The sports highlight is the Preakness Stakes, live from Baltimore on Saturday afternoon. (CBS, 5:00 p.m.) Forward Pass, who was handed the Kentucky Derby when Dancer's Image was disqualified for illegal drug use, defeats Out of the Way to take the second jewel of the Triple Crown; in three weeks he'll be defeated at the Belmont by Stage Door Johnny, saving everyone from a slightly tainted Triple Crown champion.
And finally, an explanation of Mike Connors' presence on the cover. The inside story isn't really about him at all - it's just an article by the owner of a large detective agency saying how real-life detective work isn't nearly as exciting as what we see every week on Mannix, how he doesn't meet all the beautiful women and doesn't get beaten up or shot at every week like Mannix does, how when a client fires him he doesn't go on investigating the case anyway, and so on. It reminds me of a story told by the novelist D. Keith Mano, who was teaching a creative writing class and slogging through some dreadful efforts by earnest would-be writers. When one, complaining about his low grade, protested, "But this is how it was," Mano replied, "Yes, and make sure it doesn't happen again." And that's why Joe Mannix's life is more interesting than yours, Mister Private Detective.
As is usually the case, we have a great assortment of pieces on classic television this week; some dealing with specific shows, others looking at the cultural implications thereof. They're all worth looking at, so let's get started.
A pair of interesting pieces from Terry Teachout, both of which hearken back to a time which both he and I are well-familiar. First, the deceptively-titled "In Praise of Drabness" looks back at the original Dragnet, why it was so revolutionary back then, and why it still holds up today. In "Putting Regional Theater on Television," he laments the absence of drama on television, and wonders if regional theaters could band together and tape various productions for TV, gaining more exposure for the legitimate theater. A very good idea, and it reminds me once again that this is what public broadcasting was supposed to do, before it sold out to the bottom line of ratings and became just another network.
Another Twilight Zone best-of list, this one from Phantom Empires, who's chosen some of the more thoughtful, meditative episodes as well as over-the-top classics. I always enjoy reading lists like these (compiled by people who know what they're writing about, as opposed to some of those lists), comparing them to choices I might make myself. And there is something about TZ that keeps people coming back to it all the time, isn't there?
The Land of Whatever offers something new: a pilot for a 1962 drama called Emergency Hospital. You might recognize it more by the name it eventually adopted, and under which it continues to this day: General Hospital. Looks a bit different from the finished product, or so I've been told.
Television's New Frontier: the 1960s takes an in-depth look at a series I've seen a few times, but just hasn't impressed me: Henry Fonda's western The Deputy, co-starring Allen Case (who was the title character and actually appeared more in the series than Fonda). The article makes the case that I probably should pay more attention to this series than I have, but I don't know if that's going to be enough to sway me. Maybe it would be different if I watched it from the beginning. Anyone else out there have an opinion?
A week or two ago, on one of the compilation videos posted at FredFlix, we saw a glimpse of a very young Annette Funicello, which reminded me of the great warmth and affection that people had for her right up to the time of her death, and how even today people feel a fondness toward her that quite surpasses most stars of that era. At Comfort TV, David reflects on his own affection for her, and why she seemed to strike that chord in so many people.
My lasting memory of Powers Boothe came during the 1980 Emmy Awards. The Screen Actors Guild was on strike at the time, and Boothe, the only actor to cross the picket lines, was one of the only winners to actually claim his award. When his name was announced, for his portrayal of the cult leader Jim Jones in Guyana Tragedy, everyone simply took it for granted that this would be yet another no-show, and it took a moment to register that this towering figure climbing the steps to the stage was, in fact, Boothe in person. It may not sound like much now, but it was actually quite a dramatic moment. Powers Boothe died this week at the age of 68; you can read about his career at Those Were the Days.
Not a lot to talk about today, which means it's time to empty out the drawer of half-thought out ideas, and see if we can come up with enough to fill up the page. Ready?
Once again, a big thank you to those who wished me a Happy Birthday last week. It was happy, and your many wishes were part of what made it so.
A thoughtful gift card also helped make the day happy, and because of that I've been able to make considerable inroads into the TV Guide stash. While I'm already filling in spots for 2018 (!), I still have three openings for this year, so if any of you have TV Guides from your area for the periods around July 29, August 12, or September 23 that have something interesting in them, or that you'd just like to share temporarily, just let me know via email, or by commenting here. As always, I promise to treat your issue like my own (you need only ask my wife to find out how fanatical I am about that); I'll write it up as soon as I get it (posting it at the appropriate time) and mail it right back. You can always check the complete list of dates on the "This Week in TV Guide" page to see if it's one that hasn't been done before.
Speaking of which, this Saturday's issue features an article by the famed psychiatrist Dr. Karl Menninger. Can you imagine today's TV Guide doing that? I mean, they couldn't tell you the difference between Menninger and meningitis, and if you told them the latter was a disease, they'd probably figure it was named after the former. So what is the good doctor writing about? You'll just have to come back on Saturday and find out. (But don't skip Friday!)
The increasingly indispensable YouTube channel Fred Flix has a collection of TV news clips from the '60s through the '80s, and in watching them I'm struck by how different news broadcasts are, and how similar the stories are that they're reporting. We still hear about conflicts in the Middle East, conflicts between Republicans and Democrats, crime, the economy; honestly, you'd think nothing had changed at all during that time.
What has changed, though, is the way it's reported. There's an emphasis on seriousness and hard news which just doesn't come across nowadays; for example, look at the NBC News Update with Tom Snyder that airs about 90 seconds into the montage. In less than a minute, Snyder is able to get off seven stories, giving you what you need to know in a sentence or two, without smirking, editorializing, or cracking jokes. (And if anyone could smirk, it was Tom Snyder.) Kids, the news used to be like this all the time.
One thing I found particularly interesting was the way CBS advertised the CBS Evening News with Walter Cronkite, emphasizing the expertise of the CBS correspondents who back up Cronkite, and ending with the tagline "Cronkite & Co." Remember, at this point Uncle Walter was America's most trusted man, yet the network wants you to know that you can trust those reporters to give you the straight dope as well. Later on, ABC has a commercial which draws attention to their correspondents and bureau chiefs as well. Back before news divisions became profit centers for the networks, those news departments were huge. They were often very good, too.
The other night, we watched an episode of Alfred Hitchcock Presents called "Cheap is Cheap," starring Dennis Day as a skinflint who decides to murder his wife when she starts spending "too much" money, but is stymied because so many of these murderous options cost money. The producers must have taken a great deal of pleasure in casing Day, who for so many years was one of the supporting players on Jack Benny's radio and television programs. The audience must have enjoyed the irony as well - this time the tables are turned, and it's Dennis who's the cheapskate! A wonderful touch
Reader Sheila Terrando has a question about the 1960s-'70s PBS program What's New, which pops up from time to time in the program listings. "It aired at 6:30 PM where I live in Edwardsville, Illinois. What was What's New about? As I remember on a What's New program, there was an episode from the TV program called: The Smithsonian, which I enjoyed very much. Do you have any details on this PBS program?"
And finally, a reminder for those of you with Showtime: the revival of Twin Peaks premieres this Sunday evening. I'll be catching it one of these days, but as much as I'd like to see it now, it isn't enough to get me to shell out my hard-earned dollars to subscribe to yet another cable channel I won't watch that much. But if you are watching it, IndieWire tells you why you need to rewatch the (brilliant) pilot beforehand.
This week we get a chance to look at the rich history of Philadelphia's childrens' shows; three of today's shows are hosted by hosted by members of the city's "Broadcast Pioneers Hall of Fame." Back then, local stations actually were television pioneers; Chicago and Philadelphia were as important to the early history of television as New York and Hollywood. As I recall, Ernie Kovacs started out in Philadelphia (where he once wrestled a jaguar on live television); Dick Clark and American Bandstand started in Philly; and of course who can forget NFL Films' "Voice of God," John Facenda, the longtime news anchorman. I'm leaving out many more, but you're more interested in getting to the listings than listening to me blather.
No, I'm not going to say anything about the fashion sense displayed on the front cover of this week's edition. It's just too easy, there's no percentage in it. Besides, it violates the number one rule around here, which is: Don't discuss things out of their cultural context. I'm sure 58 years ago people would have seen this through an entirely different lens. It is distracting, though...
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I'm in the mood for something different this week. Rather than focusing on individual nights or programs, let's just hop through the issue and see what we can find.
Here Isn't Lucy: Dwight Whitney reports that "When Lucy Ball showed up for a benefit in Oklahoma City's 12,000-seat Taft Stadium, she took one look at the sparse crowd (variously estimated at from 800 to 2400) and blew her stack. Somebody goofed, she wailed, by failing to publicize the thing. But that didn't stop Lucy from goofing herself. She refused to go on, thereby garnering some of the worst press a major TV star has yet to achieve, and leaving herself open, with good reason, to the charge that she didn't love her fans half as much as they loved Lucy."
A Song in His Heart: Ernie Kovacs returns to television in an NBC special Friday night (8:00 p.m. ET) called "Kovacs on Music." It's included in the first volume of the Ernie Kovacs Collection put out by Shout a few years ago. (And if you don't have it yet, why not?) The show is every bit as surrealistic as you'd expect from Kovacs, including an extremely abridged version of Swan Lake performed by dancers in gorilla suits, a truly weird bit about a singing commercial with Louis Jourdan as one of the singers and Andre Previn as the conductor, and a very funny skit with Edie Adams as part of an American troupe putting on a televised operetta on Italian television. But Adams, who had a beautiful voice, also sings a lovely number by Heitor Villa-Lobos, and Kovacs displays his serious knowledge of classical music. It's a good thing the show's available, though; the TV Guide listing gets several descriptions wrong, including putting the Nairobi Trio in the operetta skit. Oh well.
There are eight million stories down there.
The Naked Truth: Bob Johnson's review of The Naked City calls the police drama "a disappointing piece of theater for many reasons," chief among them the show's insistence on seeing the host city as the star of the series. "Dragnet learned how to deliver sociology as interpreted by Lt. Joe Friday and nobody else. Unless Naked City abandons its premise of featuring New York City as its star, and settles down to telling every story from [star Horace] McMahon's viewpoint, the show may swallow him up as did its former star, [John] McIntire." Of course, today's television historians view that very trait - the show's use of New York City as a living, breathing character every bit as much as its actors - as one of the main reasons Naked City is considered one of the finest police dramas of its kind. And starting in season two it's Paul Burke, not Horace McMahon, as the human star of the show.
And They're Off! Sports highlight of the week is the Preakness Stakes, second jewel in horse racing's Triple Crown, telecast live from Pimlico in Baltimore. As opposed to the marathon coverage given the races this year on NBC and NBCSN, CBS's telecast is a mere half hour (5:30 p.m. ET), with Fred Capossela calling the race, Bryan Field on color, and Chris Schenkel doing interviews from the winner's circle. Tomy Lee, the Kentucky Derby winner two weeks ago, is passing up the Preakness and the final race, the Belmont Stakes (his British handlers thought the racers were run too close together), leaving Royal Orbit, a "fast-closing fourth" in the Derby, to take the run for the Black-Eyed Susans.
Who Are You Two Again? There's a game show on NBC called Laugh Line (9:00 p.m., Thursday), its primary claim to fame being that it's hosted by Dick Van Dyke. A brief description of the show: "the panelists sit around ad-libbing captions for living cartoons pantomimed by stock-company actors. Then each panel member moves the actors around into new positions to fit his own laugh line." (It sounds like something that was done much, much better by Who's Line is it, Anyway?) The show might well have amounted to more, however, had it stuck to its original plan, which was to have, as two of the regular panelists, the comedy team of Mike Nichols and Elaine May. There's an article telling us a little more about the duo, who hit it big a year or so ago with their appearance on Omnibus, and they're looking forward to plying their trade on television. But by the time the programming section is printed up, the lineup has already changed; with Nichols and May signed for Broadway in the fall, the producers have decided to replace them with Roger Price and Pat Harrington, Jr. (as Guido Panzini) in order to create a permanent cast. Laugh Line isn't picked up for the fall, while in the meantime Mike Nichols and Elaine May, both together and separately, go on to legendary careers.
Allen vs. Sullivan: We even have a rare appearance this week of our Steve Allen vs. Ed Sullivan matchup. Both shows air Sunday nights; Steverino starts things off at 7:30 p.m. on NBC with his guests, comedian George Gobel, singers Diahann Carroll and Vaughn Monroe, the Pensacola Naval Air Training Center Cadet Choir, and the Nicholas Dancers. Ed counters at 8:00 p.m. on CBS with Louis Prima and Keeley Smith; comedians Shelley Berman, Jack Carter and Frank Libuse; singer Al Hibbler; dancer Conrad "Little Buck" Buckner; trick violinist Baron Bulka; and the United States Military Academy Cadet Choir. Both shows have good lineups tonight (aside from the probability that the country has now been left undefended due to the Army and Navy being on television), but in this case I think I'm going to have to give the edge to Sullivan due to Berman's comedy, and the talent of Louis Prima and his then-wife, Keely Smith. In case you haven't ever had the opportunity to see them, here's a clip - could well be from this very show.
So Who Did Discharge Bilko? Since the question's on the cover, we'd better try and provide the answer. The Phil Silvers Show, originally known as You'll Never Get Rich but known colloquially as Bilko after Silvers' character, scheming Master Sergeant Ernie Bilko, has long been regarded as one of the great sitcoms of the Golden Age, and so it may come as something of a surprise to learn that the series ran only for four seasons, and 1959 marks the end of the road. What happened? According to Silvers, who perhaps protests a bit too much, it's because Camel, his main sponsor, is so closely identified with the series, even tailoring the spots to fit the platoon, that secondary sponsors ("You can't do a weekly show like ours these days without two sponsors.") never felt they were getting as good a deal. When his most recent second sponsor, Schick, left the show, CBS wasn't able to find a new one. Of course, he adds, "I don't think CBS tried too hard to sell us. But as I said, I'm not sorry. I'm tired of the role and of the constant grind." Fortunately for the network, Westinghouse just happens to have wanted to move their show, Desilu Playhouse, to the Silvers timeslot all along. So all's well that ends well, I guess.
What Else Is Worth Watching? On Friday night, ABC's Walt Disney Presents (8:00 p.m.) features two delightful cartoons based on British author Kenneth Grahame's wonderful children's stories: "The Wind in the Willows" and "The Reluctant Dragon." Basil Rathbone is among the voices for the cartoons. The long arm of the law has yet to catch up with Charles Van Doren, so he's still one of the hosts on Today each weekday morning on NBC. Alan King, Dorothy Collins, and the Dukes of Dixieland are guests on The Garry Moore Show (CBS, Tuesday, 10:00 p.m.). Claudette Colbert hosts the premiere of Woman!, a series of occasional hour-long afternoon dramas airing on NBC. Tuesday's question: Do They Marry Too Young? A Monday spectacular airing on CBS at 8:00 p.m., "America Pauses for the Merry Month of May," is hosted by Burgess Meredith and takes viewers around the country to celebrate "Maytime," including Larry Blyden in Teaneck, New Jersey; Molly Bee in Mobile, Alabama; Art Carney in Douglaston, New York, and Marion Anderston at Yosemite National Park. Finally, on the aforementioned Desilu Playhouse (still on Mondays at this point, 10:00 p.m, CBS) the aforementioned Lucille Ball plays a dancing teacher who learns she's inherited a boxer from her late uncle. Imagine her surprise when the boxer turns out to be not a dog, but a prizefighter!
Loretta Young Without That Hat! In fairness, since we started with Miss Young, we should end with her as well. Her series, The Loretta Young Show, has just wrapped up season six, and during that time she's played no fewer than 129 different characters, from farm girls to gangster's molls. During her illustrious career, she's won an Oscar (and been nominated another time), two Emmys (plus four additional nominations), and 37 other awards. She's learned a lot during that time, and not just about acting, but business as well. It turns out that her company owns the films she's made for her series, and she's not about to part with them as so many other stars have. Rumor has it she's been offered $4 million for them, to no avail. "[I]f they can make money for somebody else - well, I'd figure they could do the same for me. I'd figure, why not retain ownership? I'm just supposing, remember."
She's also no-nonsense when it comes to making the show: for years she'd been bothered when shooting stopped in order to reset the lights and move the camera in for a close-up. "Get a boom," she'd tell the director, to which the answer was always the same - it's too expensive to rent. Finally, she'd had enough, and told them to buy a boom and rent it out when they weren't using it. "Let somebody pay us rent for it." It's now paid off and bringing in extra dollars. If the show's budget can't afford a particular guest star, she tells them to take the difference out of her own salary. She gets an allowance of $20 a week in cash, and that's good enough for her. Quite a gal, all in all. But maybe we could all chip in a little more to buy her a better hat?'
With a tip of the cap to the Broadcast Archives at the University of Maryland, here's a story from The Archive of American Television on the 50th anniversary of the debut of The Joey Bishop Show, ABC's challenge to Johnny Carson's late night supremacy. It also gives us a chance to be introduced to yet another blog that discusses classic TV, Bobby Ellerbee's Eyes of a Generation.
This week's Hitchcock Project at bare-bones e-zine focuses on the 1964 Alfred Hitchcock Hour presentation of "The Rose Garden," written by James Bridges and starring Patrick O'Neal. Not only does Jack demonstrate the classic Hitchcockian twist at the end of the episode, it also shows - as we have seen many times in this series - how an accomplished writer such as Bridges can take a good short story and turn it into a very good script.
At Christmas TV History, Joanna has, as she puts in, "had my head stuck in old TV Guide magazines" looking at old Christmas movies, episodes, and animated specials. She also ran across this Christmas TV quiz from 1996- see how well you do on it. It may be 21 years old, but I can promise you the answers haven't been changed.
Television may have more sex in it today, but that doesn't necessarily mean it's sexier than it used to be, as Cult TV Blog points out when John looks at a Right Guard ad done by a mutual favorite, Patrick Macnee, which is surely as sexy as anything you'd see today. See, it doesn't have to show everything to tell everything.
Martin Grams pens a very nice obit on Don Gordon, the character actor (you'd know him if you saw him) who was in just about everything, frequently as a heavy but almost always giving a solid, occasionally excellent, performance. He died last month, but news is only getting out now; as Martin says, this kind of thing can happen with some frequency, which means we have to pay attention lest the news fly completely under the radar.
Today is my birthday, and Jon Hobden thoughtfully provided this issue from the day I was born: May 8, 1960. It's Mother's Day, and my own mother used to say that I was the best present she could have asked for. I often wish I'd lived up to that billing more that I have, but one could say the same about the programming for that day. There's nothing terribly special about what was on that day, but since I was too little to know any better (and, until 3:05 p.m. CT, I wasn't even around), it really didn't matter much to me - then or now! Let's take a look at it anyway, though.
As was the case the last time we looked at this area, the last four channels listed show only their network programs, so we really don't know much about the rest of their broadcast day. I don't have any details to add, but we'll see what network shows they carried anyway.
This week's issue comes to us once again from loyal reader and friend of the blog Jon Hobden, who provided this issue via loan.
Those two images on the cover, though, say a lot, don't they? It's the past, present and future all rolled into one; Frank Sinatra, the once and future king, with Elvis Presley, The King himself, in the middle.
That's not to say that Sinatra wasn't popular during the heyday of Elvis, nor that Presley hasn't remained big; both statements are true. But the renaissance of the Rat Pack in the '90s demonstrated that Sinatra's appeal was timeless, that fads may come and fads may go but Frank goes on forever. He's not called The Chairman for nothing, after all.
Anyway, the hook for this week's cover is Presley's appearance on Sinatra's ABC special (the singer had a series of four specials for the network, all sponsored by Timex). It's a publicist's dream, Sinatra welcoming Elvis back for his first television appearance since being discharged by the Army, and it informally becomes known as the "Welcome Home Elvis" show. Elvis sings both sides of his first single since leaving the Army, and does a duet with Frank where he sings Sinatra's "Witchcraft" while Frank sings "Love Me Tender."
So special is this week's special (Thursday at 9:30 ET), there are two articles devoted to it. One, by Alan Levy (who wrote the recent book Operation Elvis), tries to explain the Presley phenomenon, reciting the by-now familiar litany of what makes The King's fans tick ("A simple and familiar combination of escapism and substitution, to be expected in times of high emotional stress."), and recaps the many different groups who were threatened by Presley ("Freudians,...sociologists, churchmen, criminologists, politicians, anthropologists and businessmen.") On-site at the taping of the special in Miami Beach, Herb Zucker reports on the massive crowd, replete with 400 screaming youngsters, that filled every inch of the Grand Ballroom of Miami's Fontainebleau Hotel.
What I find interesting about this show is that Frank's other guests are Sammy Davis Jr., Peter Lawford, Joey Bishop, and Frank's daughter Nancy. It's almost as if Frank was reminding everyone that while Elvis might be a special guest star, it's still Frank's show. And I think that Frank Sinatra's enduring popularity, even while Elvis continues to be a legend, proves one thing: it's Frank's world, and we're just living in it.
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Let's see what's moving on the TV Teletype this week:
This goes a long way to explaining the state of big screen movies airing on television: the movie studios have announced plans to package a dozen or so of their movies to sell to the networks as specials, rather than simply flooding the market. The reason they have the inventory? "Recent settlement of the actors' strike gave the studios the right to release to TV movies made between 1948 and 1960 without residual payments to actors." Nowadays movies are sometimes available to home viewers the same day they hit the theater; we forget how big a deal it was to watch a movie on TV.
Speaking of movies, CBS will once again be airing The Wizard of Oz, this year on December 11. Curiously, however, the movie will air in black-and-white; the last two times, it was shown on color. I can think of a couple of series that actually moved from color to black-and-white during the course of their run, but it's strange that on a property as big as this, CBS would go this way.
Here's the kind of note we like to pick up on: "After publicizing Pat Buttram's Down Home series as its Thursday night replacement for Pat Boone next fall, ABC has quietly let the project die. Tentatively set for the Boone spot is Fred MacMurray's new series, My Three Sons." Good move, I'd say.
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There's a nice little note on Tuesday night that Jack Paar's Tonight will be delayed by 15 minutes so NBC can provide coverage of the West Virginia Primary. It's a lot of drama to be described in such an offhand way. For John F. Kennedy, West Virginia was a state that could make or break his candidacy; heavily Protestant, it would be a true test as to whether or not his Catholic faith would prove to be fatal to his chances.
The showdown in West Virginia revolved around two candidates: Kennedy, and Minnesota Senator Hubert Humphrey. The reporter David Broder recounts the colorful details of the campaign, which saw Humphrey spring ahead of Kennedy as voters learned of Kennedy's religion, which had remained largely in the background prior to Kennedy's victory in the Wisconsin primary.* Kennedy's secret weapon was Franklin Roosevelt Jr., son of FDR, who had been wildly popular in West Virginia.
*Famous JFK quote: "I refuse to believe that I was denied the right to be president on the day I was baptized."
In the end, Kennedy won the primary easily, defeating Humphrey 61%-39% and knocking the latter out of the race. Kennedy would only have to fend off the late challenge from Lyndon Johnson at the convention, and the nomination was his. In Houston, he would famously address a group of Protestant ministers and alleviate their concerns, essentially throwing Catholicism under the bus in the process. (Don't blame me for saying this; a number of historians, both religious and political, have said the same thing.) In November, he would defeat Richard Nixon to win the presidency. And nobody doubted that West Virginia played a pivotal role in the entire process.
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Some notable programs on this week; let's look at them.
First, there's a showdown between two of the great dancers of all time. On Monday, NBC presents a rerun of 1959's acclaimed Another Evening with Fred Astaire, in which the dancer appears with his latest partner, Barrie Chase, the Jonah Jones Quartet, Ken Nordine, and the Bill Thompson Singers. The color special is produced and directed by Bud Yorkin, who did a lot of television before teaming up with Norman Lear for several groundbreaking comedies of the 1970s.
Then, on Friday night, NBC repeats a 1959 special starring Gene Kelly, who dances to a poem recited by Carl Sandburg, who also plays the guitar. Gene also sings "For Me and My Gal" with 13-year-old Liza Minelli, whose mother, Judy Garland, sang the song with Kelly in the 1942 movie. Wonder if they knew how big a star Liza would wind up being. Maybe; her award-winning 1972 special Liza With a Z was shown on NBC, too.
Meanwhile, it's the first Saturday in May, and you know what that means: the Kentucky Derby. Chris Schenkel and Bud Palmer are on hand at Churchill Downs to present CBS's half-hour telecast of the race, which will be won by Venetian Way.
To celebrate Mother's Day on Sunday, Ethel Barrymore narrates "The World's Greatest Mother" (7 a.m., WRCV), a story of the life of Mary. Ruth Hussey appears as the Virgin, with Ann Blythe singing Marion hymns, and Loretta Young introducing Fr. Franklin Peyton, the famed "Rosary Priest," who coined the famous phrase, "The family that prays together stays together." Fr. Peyton is no stranger to the media; for many years on radio and television he hosts Family Theatre.
Also on Sunday, Ed Sullivan has a terrific lineup for his show; singers Gordon and Sheila MacRae; the comedy teams of Wayne and Shuster, Ford and Hines, and Noonan and Marshall;*, former Miss America Bess Myerson, playing the piano (her pageant talent); singer-pianist Nina Simone; the Browns, vocal group; and ventriloquist Arthur Worsley. Too bad there isn't another show to compare it to. And on G.E. Theater, current Academy Award winner Simone Signoret appears with future Academy Award winner Lee Marvin in the two-person play "Don't You Remember?"
*Peter Marshall, of The Hollywood Squares, in case you were wondering.
If your interests lay other than in politics, Tuesday's highlight may be NBC's Ford Startime presentation "Tennessee Ernie Meets King Arthur," starring Tennessee Ernie Ford and Vincent Price. What's it about? "A clause in his TV contract forces Ernie to become the guinea pig of research scientists demonstrating a time machine on television. They send him back to the England of King Arthur and the Knights of the Round Table, and Ernie is in trouble the moment he arrives." Price plays Sir Bors, Ernie's nemesis.
For more conventional viewing, there's One Step Beyond (ABC, 10 p.m.) with another two-person play entitled "The Visitor," starring past Academy Award winner Joan Fontaine and future winner Warren Beatty. Too intense? Try The Garry More Show (CBS, 10 p.m.), where Garry's guests are singer Patti Page and comedian Ed Wynn.
On Wednesday's Perry Como Show, one of Perry's guests is comedian Johnny Carson, along with singers Genevieve and Toni Arden, and pianist Roger Williams. It's always nice to have a Carson sighting, two years before he takes over The Tonight Show on his way to television immortality.
I'd think Frank and Elvis would be enough for anyone on Thursday (67% of viewers thought it was), but there's also The Ford Show with Tennessee Ernie back for another night, a live broadcast starring Johnny Cash and Homer and Jethro.* Ernie Kovacs' panel show is also on - demonstrating mostly that he's much better served with his surrealistic comedy shows.
*Although the always-reliable Wikipedia says Groucho Marx was on with Ernie as well.
Finally, suppose you've already seen that Gene Kelly special on Friday, and you're in the mood for something else. One possibility is Person to Person, on at the same time on CBS, where the guest for the entire program is 85-year-old former president Herbert Hoover.
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Steve Allen, the renaissance man. I didn't always agree with him, especially when it came to politics and religion, but I always respected his opinion. In this unsigned article, Allen acknowledges it's sometimes controversial for a celebrity to express opinions on the issues of the day ("Well, I think all human beings should [be interested in controversial activities], and I presume it's safe to say that actors are human beings." He's for a sane nuclear policy, and doesn't apologize for it. ("If I'm a pinko for having supported the United States policy of a moratorium on nuclear tests, then so are the President, the Vice President and a lot of others.")
Having moved from What's My Line? to the nightly host of Tonight to the weekly Steve Allen Show, as well as having authored more than 2,000 songs, he would seem to be a man with his hands full, and yet to him it seems he's just doing what he's always done: "playing the piano, chatting with guests and making wry and often philosophic comments on the state of the Nation and the world." "When you're living in a time when a couple of bombs can pretty well wipe out the world, I feel I should do what little I can to help keep it from happening."
It's really no surprise that Allen will go on to transcend comedy, writing dozens of books and hosting the delightfully wide-ranging program Meeting of Minds. It's no surprise that a man of generally liberal political beliefs would also be against obscenity on television. And it's no surprise that he'll be a fixture on television until his death in 2000, because Steve Allen really is an interesting man. Maybe not the most interesting man in the world, but certainly on television.
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There's something else about this issue that makes it special - but you'll have to wait until Monday to find that out. Ain't I a stinker?
This week David Hofstede takes a look at the TV books that inspiredComfort TV. It's a great list; I even have a couple of them on my own shelf. Hopefully my TV book, when it comes out, will be able to find a place on David's distinguished shelf. Now if I can only find one of his publishers...
Like Rick at Classic Film and TV Café , I've always liked James Garner's performance as Philip Marlowe in the 1969 movie of the same name. I also agree that Bogart's version of The Big Sleep, as much fun as it is, is not my favorite Marlowe movie. (Too much Bacall, to the detriment of Chandler's story. The Maltese Falcon is much better.) I would have enjoyed seeing Garner tackling that story, about the men and women sleeping the big sleep.
The Twilight Zone Vortex reviews "Little Girl Lost," one of my favorite TZ episodes. I agree with the various shortcomings that Jordan mentions, but like him I'm most impressed by Charles Aidman's terrific performance as a physicist exploring a new dimension, and Bernard Herrmann's brilliant score. The Twilight Zone did very well by those two, not to mention Richard Matheson, who wrote the script.
A tip of the hat to the return of Profesor Barnhardt's Journal, which links to several Slate articles on how Twin Peaks changed television, and related topics. I'm hopeful that the new show will retain some of the magic of the original (the returning cast members certainly helps), but there's no way for people who didn't see the original series to understand how that series was unlike anything that had ever been seen on television, or at least anything I'd seen.
Ken Levine goes off-topic for a moment to explain why he no longer engages in text conversations. I'll go off-topic as well and say I agree with him! For as many times as I lament the loss of collective experiences - like watching TV - I'd be a hypocrite if I didn't give a thumbs-up to the idea that personal conversations might be a nice thing to resurrect.
Television Obscurities is taking a tour down memory lane with a look (or listen) to TV theme songs. I had two or three of those albums (when we bought albums), and I'm a sucker for those compilation videos on YouTube. Do people still feel as attached to today's themes? Not rhetorical; I really do wonder.
One thing I don't wonder about: I'l be back tomorrow with yet another TV Guide, this time taking a trip back to the 1960s for the first time in almost two months!
I want to come back to something I mentioned the other day, that throwaway line in Saturday's TV Guide about the Ironside episode in which Don Galloway's character, policeman Ed Brown, finds himself in jail and realizes that the rough treatment he's receiving from the police mirrors the way he himself has treated suspects in the past. That presented, to me, an irresistible existential dilemma for Brown in the future: whether or not he can continue as he has in the past, using the tactics which are now coming back to haunt him, or if his police methodology, of necessity, will have to change in order for him to look in the mirror each morning; and if, as a result, he can continue to be an effective lawman.
It's an appealing question to ask, particularly when it comes to the detectives populating so many of the police procedurals on TV today - say, for example, Elliot Stabler, the jackbooted, crypto-Fascist thug masquerading as a policeman on the execrable Law & Order: SVU. What if a character like Stabler were to find himself, one dark night, lying prone on the rain-slicked pavement of an alleyway in a city like Chicago, where he's been on vacation. He can't remember exactly what's happened; apparently, judging by the dull ache throbbing at the base of his skull, he's been unconscious, although for how long he can't be sure because his watch appears to be missing. As he slowly pulls himself to his knees, he feels around and discovers his wallet, with all of his identification, is missing as well. He does, however, find a gun in the pocket of his coat - his gun, a gun which, by the smell of it, has recently been fired.
It's at this point that he notices the body of a man lying next to him in the alley, a man with a trickle of blood running down his cheek from a bullet hole in the side of his head. Stabler feels quickly for a pulse and finds none; the man is dead, although not for long, since the body is still warm. It's also at this point that he notices the people up in the windows, looking at him, or standing on the sidewalk, pointing at him; he hears the sirens from the police cars that have pulled up, and sees the blue-clad officers aiming their guns at him, telling him to freeze.
(Cue Serling voiceover.) Despite all appearances, though, Elliot Stabler happens to be an innocent man, the victim of a drug-addicted prostitute who knocked him out and then used his gun to kill the man lying next to him, a man who happened to have been abusing her while keeping her addicted to heroin for his own nefarious purposes. Yes, Elliot Stabler is in for a very long evening - an evening that's set to get even longer when it's discovered that the dead man next to him happens to have been a member of Chicago's finest.
As the scene opens, we find our hero being interrogated by Chicago homicide detectives. They want to know his past contact with Johnson. They want to know how they happened to get together that night. They want to know what they were drinking, how many they had, who paid for them. They want to know what they were talking about. When they ask how the argument started, Smith protests that there was no argument. No argument? they ask incredulously. It was pretty noisy in the bar that night, and they had the games on the tube. Are you telling me you didn’t raise your voices once with all that noise?
That’s different, Stabler says. Different, the two detectives say, looking at each other knowingly and laughing sardonically. You know what I mean, Smith says. Maybe we were talking loud – Talking loud? the second detective repeats skeptically. All right, maybe we were shouting, Stabler concedes. So you’re changing your story now, the first detective points out. What other things do you want to change?
I don’t know what you’re talking about! Stabler repeats. The last thing he remembers was Johnson waiving to a couple of girls who came over to the table, and then he felt something hit the back of his neck, and the next thing he knows he’s lying on the cold wet pavement of the alleyway behind the bar, with Johnson’s body lying next to him. He reached over to check Johnson’s pulse and found none, and that’s when the uniforms showed up.
And you’re sticking with that story? the first detective says. I’m just trying to tell you what happened, Stabler snaps. But how can you tell us what happened? the second detective says. You told us yourself that you didn’t remember anything after you claim you were struck from behind. It seems to me there’s a whole lot you aren’t telling us. Like what the argument was about.
Stabler repeats his innocence and accuses the detectives of trying to frame him, of building up a case against him because Johnson was one of their own. At that, one of the detectives slaps his hand against the table with a crack. Who do you think you’re dealing with? he asks Smith. We may not be fancy cops from New York, but we know how to solve crimes here in Chicago.
When he tells them he wants a lawyer, they look at one another again and repeat his words – he wants a lawyer, he says – and they tell him he can call one, but what does he need a lawyer for if things happened the way he claims they did? He tells them that they won’t let him explain, but the first detective interrupts. You really expect us to buy that?
It’s looking pretty bad for you, the other detective chimes in. You try to deny an argument that people in the bar heard. You tell us about a couple of dames that nobody else saw. You may not believe it, Stabler repeats, but it’s the truth.
That’s not what I think, the other detective says. I don’t think it happened that way at all. I think you and he were involved in some kind of deal, and when it came time for the payoff, Johnson tried to back out, and you leaned on him. Look, we know what Johnson was like after he had a few in him. He gets loud, gets in your face a bit, maybe he even starts pushing you around. It’s instinct – all of a sudden the gun’s in your hand and the hole’s in his chest and he’s lying there with blood pumping out onto the cement.
We understand, his partner tells him, there are more than a few guys in the squad room who’d give you a medal, but you know how it is – we’ve got a job to do. If you just give it to us straight, we can talk to the DA and see what we can get. Man one, maybe, instead of murder two or even murder one. I think he might go for that, the first detective adds, But it’s going to go a lot easier for you if you just play ball. And you know how messy lawyers can make things.
Smith tells them he’s not talking anymore. Oh no, the second detective says. You’re going to have to do a lot more talking before this is all done. You’ll be talking to the DA, and then the grand jury, and then the prosecutor at the trial, and you’d better hope that mouthpiece of yours comes up with a better story than the one you’ve been trying to peddle.
Fifteen years, the first detective says. That’s what you’re looking at. Maybe the last best years of your life. What are you going to do after that, after you get out? What are you going to be in shape to do after that, pretty boy?
It's at this point that Stabler, pushed beyond his breaking point, stands up, takes a cup of cold coffee that's been sitting on the table, and flings it in the first detective's face. The detective blinks away the moisture, moves across the table with lightning speed, pushes Stabler against the wall and slugs him in the stomach. Don't try to get tough with him, pal, the second detective says as Stabler struggles to get his breath back. He's got anger issues, too.
Eventually*, everything is cleared up; the woman is arrested on a separate charge but, thinking the cops are after her for the murder, confesses all. Stabler's identity is confirmed. and he is released from custody. No hard feelings, the first detective says, we were just doing our job, after all. Adds the second detective, Even you have to admit you looked pretty guilty. Stabler glares at them, resists the impulse to start throwing punches, and leaves the precinct house, headed back to New York.
*Don't bother me to provide the details on all this; I'm not writing a spec script, after all.
OK, this might all have been a little melodramatic - and I stress that this is my own creation, not something that you've ever seen or likelhy ever will see on SVU - but the point I'm trying to illustrate, the one that I'm most interested in, is that crisis that's bound to hit Stabler, or someone like him, the next time he interrogates a suspect and resorts to the rough stuff that's apparently his default mode. Will he remember what happened to him in Chicago? Will he have flashbacks whenever he finds himself echoing the words that the detectives threw at him? Will he see the irony of the suspect's protests of innocence, when the Chicago cops laughed at his own claims?
While contemporary television does a very good job of turning drama into soap opera, I think they're much less adept at having characters - especially the leads, the putative heroes of the story, truly look at their own behavior in terms of how it affects not only the people they interact with, but how it affects themselves: their souls, the meaning they attach to their own lives. Stabler has undergone counselling, though which the viewer has been able to learn the demons that plague him*, so we know that the psychological boarder has been breeched. But is there no sense of irony when Stabler then resorts to the very behavior he condemned when it was turned on him? Television does sex and violence well; conscience, not so much.
*How someone with the psychological problems he has ever got on the police force in the first place, let alone a special victims unit, is madness. If this kind of thing actually happens in real life, no wonder we have some of the problems with law enforcement that we have today.
I don't know how Ed Brown wound up dealing with this conundrum. I suspect Ironside probably used it as a learning moment, to teach Brown that suspects are people too, which may have be a bit simplistic if you're talking about a cop like Stabler, one who has no business being in a position of authority in the first place.
In writing about the id, Freud described it as "know[ing] no judgements of value: no good and evil, no morality. ... Instinctual cathexes seeking discharge—that, in our view, is all there is in the id." When the ego "attempts to mediate between id and reality, it is often obliged to cloak the [unconscious] commands of the id with its own [preconscious] rationalizations, to conceal the id's conflicts with reality, to profess ... to be taking notice of reality even when the id has remained rigid and unyielding."
In other words, someone like Stabler will probably wind up on the verge of a nervous breakdown. While he thinks he operates under a moral code that differentiates between good and evil, but in reality these are simply constructs that he has built to enable him to function in his mission, which is essentially to revenge himself against his parents, whose faces he subliminally sees every time he looks across the table at a suspect. (He could have even chosen police work not to even the score, but as a kind of unconscious death wish, a desire to destroy in himself that which he sees in others.) When such a man fails to differentiate between the actions of those he holds in contempt and his own, similar actions - or, even worse, recognizes them but rationalizes their legitimacy - then we see a disconnect that will eventually catch up with him and bring him down. Thrust into this kind of a situation, Stabler will probably find that his ego is unable to mediate the dispute between his id and his long-dormant super-ego (which, after all, Freud felt was formed by the parents), and his world will come crashing down like a house of cards.
As I said, I don't expect anyone to ever produce a script like this for any Law & Order iteration, or any other procedural that mucks up the airwaves nowadays. When you're building up a quasi-police state where anything goes and the only objective is to solve the case regardless of the consequences, all the while holding the public in contempt, you don't stop to consider things like conscience. It just gets in the way, after all. And we can't have that, can we?
What is it with you guys? Five weeks, and nobody's commented on the new format for the listings? And to think of the time and effort I put into perfecting this. Eh...
A number of interesting notes this week; I think they speak for themselves, so we'll get to it. The edition in question is the Minnesota State Edition, so of course you're treated once again to a look at KCMT, the station available in The World's Worst Town™.
This week's issue is another from my own personal collection of issues that have always belonged to me. Most of the copies of TV Guide that I now own were purchased at flea markets, antique shows, nostalgia conventions, and from online dealers, and it's a good thing I haven't purchased multiple copies of it; until recently I was able to recognize the issues I had by sight, and this particular one is missing the cover. It could have been disastrous.
You know, this cover just doesn't look familiar at all. I still remember many of the covers I got when I subscribed to the magazine, but this one doesn't ring any bells at all. Perhaps something inside will trigger a reminder as to why I hung on to it.
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Rather than saving this for the end, let's shake things up by leading off with a spin through the week's programming. We'll start on Saturday, where CBS affiliate WCCO preempts a repeat of Bridget Loves Bernie (7:30 p.m. CT) to give us a half-hour WCCO Reports story on "The Monster of Loch Ness." Description: "For more than 1,400 years, there have been reports of the legendary Loch Ness monster of Scotland. WCCO's Alan Lotsberg* interviews residents of Scotland who have reported seeing the monster, and Terrance Mitchell, a toy designer and manufacturer from Arden Hills (Minn.) who believes the Loch Ness phenomenon also exists in Lake Okangan in British Columbia, Canada. Also on Saturday, The Julie Andrews Show takes its last bows (8:00 p.m., ABC) with guests Sandy Duncan, Sergio Franchi, and the Muppets.
You'll read more about Sunday's sports extravaganza later on, so we'll focus on the non-athletic side of things. We can start with McCloud (7:30 p.m., NBC), as Dennis Weaver's fish-out-of-water cowboy cop goes to London, Paris, Rome, and Nassau in hot pursuit of a trio of thieving stewardesses. If that doesn't do it for you, William F. Buckley Jr.'s Firing Line (9:00 p.m., KTCA) features Georgia governor Jimmy Carter, a full three years before he's elected president, and a year before he even declares for the office - which, two years before the election, was considered preposterous at the time. Today, if you weren't already a candidate two years before election day, people would be wondering why you were taking so long. At 10:50 p.m., the nemesis of my teen-age years, KCMT, Channel 7, presents a live, hour-long public affairs program on tornado safety. Tornadoes are pretty scary and dangerous things, so of course you schedule a program on them to run until nearly midnight on a work/school night, in a time when there are no recording devices so you can watch it later. Of course.
Lucille Ball welcomes yet another big-name guest star to Here's Lucy (Monday, 8:00 p.m., CBS) - this time Eva Gabor, who has to deal with Lucy's star-struck friends. Opposite that, the ABC Monday Night Movie has a black-and-white movie, a rarity in 1973, almost unthinkable on network TV today (except for Miracle on 34th Street and It's a Wonderful Life). It's "Man Trap," John D. MacDonald's crime drama, starring Jeffrey Hunter, David Janssen, and Stella Stevens, and directed by Edmund O'Brien. I might recommend checking out the CBS Late Movie, "The Comedy of Terrors," starring Vincent Price and Boris Karloff, spoofing their reputations, with Peter Lore and Basil Rathbone.*
*And Orangey the cat, who starred in Rhubarb, one of the greatest cat baseball movies ever made.
Andy Griffith gets to stretch his acting muscles a bit in Tuesday's episode of Hawaii Five-O (7:30 p.m., CBS), in which he plays the patriarch of a family of con artists who wind up mistakenly conning a crime lord. Just wait until he has to deal with Steve McGarrett. And on Wednesday, it's another black-and-white movie, - apparently, it's black-and-white week on ABC - the 1948 Alfred Hitchcock classic "The Paradine Case" (7:00 p.m.) starring Gregory Peck, Ann Todd, Charles Laughton, Charles Coburn, Ethel Barrymore, Louis Jourdan, and Alida Valli. If I'm not mistaken, I believe this is Hitchcock's only courtroom drama. Also on Wednesday, music buffs will enjoy NBC's All-Star Swing Festival (9:00 p.m.), with a who's-who of music greats: Louis Armstrong, Ella Fitzgerald, Count Basie, Benny Goodman, Lionel Hampton, Dizzy Gillespie, and more.
On Thursday, another movie steals the show - literally. It's the delightful caper flick "Hot Millions" (8:00 p.m., CBS), co-written by and starring Peter Ustinov, with Maggie Smith, Karl Malden, Bob Newhart, Robert Morley, and Cesar Romero. I wouldn't recommend it, but if you feel like skipping the last hour, you can catch Zero Mostel in the musical comedy Saga of Sonora (9:00 p.m., NBC), with Vince Edwards, Jill St. John, and Don Adams heading up the supporting cast. Finally, on Friday there's an interesting coupling; first, on Room 222 (8:00 p.m., ABC), a young student who's gotten his girlfriend pregnant has to decide whether or not to marry the girl, and thereby give up an appointment to West Point. Then, at 9:00 p.m. on NBC, "The New Doctors" segment of The Bold Ones has David Hartman struggling with one of his patients, a pregnant teenager who hopes her new baby will fill a void in her life. That's up against Love, American Style on ABC - and we wonder how we get where we are.
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The Midnight Special held court over the late night rock music scene Friday nights from 1973 to 1981 on NBC. Its challenger: ABC's In Concert, which appeared every other Friday as part of the network's Wide World of Entertainment. When we're lucky, we get to match them up and see who has the best lineup.
Midnight Special: Johnny Nash hosts, with Gladys Knight and the Pips, folk-rock artist Kenny Rankin, Pop group Raspberries, singer/composer Chi Coltrane, and comic Jack Andrews.
In Concert: This three-hour concert (originally broadcast in two parts) features Alice Cooper; the Allman Brothers Band; Blood, Sweat and Tears; Curtis Mayfield; Seals and Crofts; Chuck Berry; Poco; and Bo Diddley.
Well, well. Last week it was Midnight Special vs. Don Kirshner; this week, it's In Concert. From famine to feast, apparently. Actually, we're cheating just a little here; the In Concert program we're watching was actually taped last Friday, and is being shown on KMSP Sunday night at 11:00 p.m. (Just as they did all those years with Joey Bishop and Dick Cavett, Channel 9 still shows local movies Friday nights in place of network fare.)
No matter; it's a heavyweight shootout, but I'm afraid the knockout punch comes early. Yes, Special has Gladys Knight and Kenny Rankin, but that duo is completely overwhelmed by the powerhouse In Concert lineup, even if it did take three hours to do it. Chuck Berry on his own was probably enough to do it, but when you throw in the rest of the cast, it's no contest. In Concert takes this week's crown.
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Throughout the 60s and early 70s, TV Guide's reviews were written by the witty and acerbic Cleveland Amory. Whenever we get the chance, we'll look at Cleve's latest take on the series of the era.
A television series about doctors isn't supposed to make you sick, but then not all television series are Police Surgeon.
Police Surgeon is a syndicated drama, made to cash in on the new opportunities created by the Prime Time Access Rule, which as we know was supposed to make local stations more responsive to serving the public interest. Cleveland Amory isn't sure, however, whether any public interest is being served by Police Surgeon. It's an import, filmed in Toronto, "where it's evidently cheaper to make it." Not that cheaper programming is in the public interest either, though. "The only way [the viewer] could break even with this show would be if they gave something away with it. One episode was so sloppily shot we even saw one of the microphones. And when the villain said to one of his henchmen, "If she's up to something, kill her," he looked right into the camera. He didn't wave, though."
Police Surgeon stars Sam Groom as Dr. Simon Locke, the eponymous police surgeon of the title. He's earnest, Amory will grant him that, but "earnestness is not enough. You also need something else. And whatever it is, Groom, or his part, doesn't have it." Locke's boss is Lieutenant Palmer (Len Birman), who isn't any better. When he tells Locke during one crisis that "you're only second line. Don't become a hero," Amory remarks that "The first part of this was way too true for comfort. As for the second part, the danger was remote."
If it weren't for the fact that I actually remember this series from my time in The World's Worst Town™, I'd be inclined to doubt that such a show could possibly exist. Honestly, I laughed all the way through Amory's review; clearly, this is one of the funniest programs on television. And then I remembered it wasn't supposed to be funny. In that sense, it was a perfect fit for The World's Worst Town™.
Amory points out that the show airs in most markets in the 7:30-to-8:00 p.m. timeslot, the one recently vacated by the networks. (Where I lived, it was seen Sunday nights at 10:30 p.m.) Considering that its plots involve sons trying to commit patricide, psycho telephone callers, and drug addicts chained to bedposts, one has to wonder what the stations airing Police Surgeon could possibly have been thinking. Says Amory in conclusion, "The station in New York that puts it on calls itself 'Your Community-Minded Station.' One thing seems certain. Your community should mind this one."
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It's an interesting week in sports - significant, if not downright historic. The centerpiece event of the weekend comes on Sunday, with CBS's live broadcast of the U.S. - U.S.S.R. basketball game (2:30 p.m.) from the Los Angeles Forum. It's the first time the two countries have played since the controversial gold medal game in the 1972 Olympics, when the Soviets - let's be honest here - stole the gold from the Americans. It's also the first of an eight-game U.S. tour for the Soviet Olympians, six of the games to be played against the U.S. national team. I can't tell you how much the country seethed as a result of that 1972 game; it tends to get overshadowed because of the Olympic Massacre, but the Soviet victory has to be one of the biggest robberies since Jesse and Frank James roamed the American Midwest. These U.S. vs. Soviet showdowns always seemed to be an event, no matter what sport they took place in, and in this case we have the added ingredient of an American side thirsting for revenge.*
*It was, in fact, marketed as the "Revenge Tour."
The tour was a brutal, punishing series, marked by physical play on both sides, and numerous players fouling out in each game. Amidst name-calling by both sides and charges of aggressive play (at one point Bob Cousy, the U.S. coach, said of his center, Sven Nater, "I wish he could play 40 per cent more aggressively, and if that means 40 per cent dirtier, that's all right with me."), the United States won that first game decisively, 83-65, and took four of the six games between the two sides.
In other, less violent sports, CBS begins its Sunday sports with the opening game of the World Hockey Association finals between the Winnipeg Jets and New England Whalers, with the Whale coasting to a 7-2 victory. Over on NBC, it's Game 1 of the Stanley Cup finals, and the Montreal Canadians skate to an 8-3 victory over the Chicago Black Hawks. Not to be left out of the act, the NBA playoffs continue on ABC, with the New York Knicks defeating the Boston Celtics 94-78 in the seventh and final game of the Eastern Conference Finals. The Knicks now head to Los Angeles, where they'll defeat the Lakers to win the NBA title. Whew!
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I've neglected to mention some other things, such as the fact that Jack Paar's back on latenights, as the once-a-month host of Jack Paar Tonite, his effort to give a boost to the struggling ratings for his friend Dick Cavett. Jack's sidekick is Peggy Cass, to my knowledge the only time a woman has served that function. And, again if I remember correctly, the couch and chair were to the right of Jack's desk, rather than the traditional left side that all other shows used.
And then there's an interesting episode of Ironside in which Don Galloway's character Ed Brown finds himself on the wrong side of a jail cell, arrested for a misdemeanor while he's out of town, and he finds himself faced with an existential crisis: "the rougher he's handled, the guiltier he feels: he has treated suspects the same way." I wonder if there's anything to the fact that Raymond Burr himself directed the episode?
We have another week of deadly accuracy from the TV Teletype, which as we know is not always the case. The Hollywood edition reports that Burt Lancaster will be starring in a CBS miniseries entitled "Moses the Lawgiver" (true), and that Bill Bixby will be returning to weekly series television next season with an NBC effort called The Magician (also true). Richard Roundtree plans to reunite with his Shaft character for a CBS series in the fall (yes, every third week, but it only survived for seven episodes), and Jack Palance plans to assay the title role of CBS's movie Dracula, which does indeed come off as planned.*
*Or almost as planned, that is. According to the always-reliable Wikipedia, the movie was originally scheduled to air in October, but was preempted due to a speech by President Nixon on the resignation of Vice President Agnew. Not exactly an auspicious sign, is it? It eventually aired in February 1974, which seems like a very long delay.
The summer schedules are coming out, and NBC plans to copy ABC's success with Monday Night Football by introducing 15 weeks of Monday Night Baseball, while also bringing on Helen Reddy to replace Flip Wilson. CBS is mostly shuffling things around, and bringing in repeats of the Burt Reynolds' old ABC series, Dan August. Ozzie and Harriet are coming back after six years, in the syndicated Ozzie's Girls. And the favorites for the lead in CBS's revival of Perry Mason are said to be Robert Stack and Leslie Nielsen.
Finally, we'd be remiss if we didn't look at this week's editorial, and if you think this year's Academy Awards show was a fiasco, take a look at the 1973 show which aired just a couple of weeks previously. "It was," says the editor (Merrill Panitt?), "television's most magnificent spoof, a rib-tickling, guffaw-producing parody of all the Oscar shows that have ever been televised."
Where to start? The "high-camp: movie-set opening? The late arrival of co-host Charlton Heston, which forced Clint Eastwood to read jokes about Moses and chariot races? The off-key singing of "You Oughta Be in Pictures?" Maybe it was how "Hosts introduced co-hosts, who introduced award presenters, who introduced their co-presenters."? Presenters "who delivered the stilted dialogue while convincingly feigning fright, [and] were the essence of genial informality as they misread the cue cards."?
The most entertaining performances of the night had to be those of the Best Song nominees, "each of which carefully received the treatment it deserved." Not to be forgotten was the spectacle of Sacheen Littlefeather [real name Marie Louise Cruz], "an Indian maiden in high-fashion regalia" refusing Marlon Brando's Oscar. "And then there was the cleverness of having members of the audience boo her. A real Hollywood twist."
It was, the author concludes, "the funniest, most entertaining Oscar show in years. To those who say it was not intentional parody, we say 'Ridiculous!' It woild not be possible to put on such a flawless fiasco unless it was carefully planned." And just think, they didn't even have to use the old joke about the presenters who opened the wrong envelope.