This week in TV Guide: May 14, 1955

It's been said that if you ever happen to find yourself in prison, the first thing to do to ensure your survival is to walk up to the biggest, toughest, meanest dude you can find in the prison yard and hit him as hard as you can. You may get the stuffing knocked out of you, but you'll have sent a message to the rest of the population that you're not going to take anything from anyone at any time. 

Now, I hope I never have to test this theory personally, but it occurs to me that the editors of TV Guide must have heard this advice themselves and taken it to heart, because this week see see them taking yet another poke at one of the biggest targets in the television world: Arthur Godfrey.

Most of you are probably aware of Godfrey's spectacular success on both television and radio, and how it all came crashing down, beginning with his on-air dismissal of Julius LaRosa in 1953. By 1955, most of Godfrey's original company of regulars, known as his "Friends," had been fired for one reason or another, often receiving prominent coverage in TV Guide. Observing this unraveling seems to have been too much even for the editors, and in this week's "As We See It" editorial, they provide a bold suggestion as to how Godfrey might be able to polish what is left of his reputation: not with new Friends, but "we rather believe that what’s really needed is a new Godfrey."

(Underlining this is an unrelated letter to the editor from Mrs. E. Gibbs of Chicago, voicing her opinion on Godfrey's recent spate of dismissals: Arthur Godfrey acted harshly in firing six of his entertainers and three writers: "I have never heard any complaints about Haleloke, Marion Marlowe or The Mariners. Could it be Arthur’s ratings have dropped because people are plain tired of him? I think The Mariners should start their own show and hire Haleloke, Marion Marlowe and Julius La Rosa.")  

As an example, they point to Milton Berle, Mr. Television himself, who arrested his sharp decline (temporarily, as it turned out), with the help of ace writer Goodman Ace and a new team of writers. Like Godfrey, Berle had been virtually a one-man show, the focal point of everything that unfolded on the tube. "But Berle had the humility to admit that he was losing his hold on the television audience. And he was willing to blame himself rather than his cast. So he had his personality changed by the writers." In real life, nothing's changed; Berle's still the boss, in charge of hiring, firing, and producing. "But on camera, he is the one who takes a ribbing, is bawled out, is made a fool of by his cast. He’s more of a fall guy than a top banana. And he’s more popular than ever."

Wouldn't it be great, the editors conclude, if Godfrey were to follow the same pattern, to hear his announcer, Tony Marvin, give him the business, or the McGuire Sisters pushing him around "instead of kowtowing?" In other words, to humanize Godfrey, to reclaim the folksy "Old Redhead" persona that people used to know and love. Today, this is probably exactly what would happen; the network would bring in a spin doctor to do emergency surgery on Godfrey's reputation, to inject him with a dose of humility (even if only for appearance's sake), to make it difficult for people to remember the headlines they read on an almost weekly basis in the pages of magazines such as TV Guide?

This didn't happen, of course, as if anyone expected it really would, and by the end of the decade Arthur Godfrey had faded to the status of a nostalgia figure, much like Milton Berle himself. It does make one wonder what if, though. But, as the editors conclude, "we can dream, can't we?"

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Another of Goodman Ace's clients is a man who might be said to be the polar opposite of Arthur Godfrey, both in terms of talent and personality: Perry Como. "Though enormously successful," the unbylined article says, "he has managed to shield himself from success. Few members of the Broadway-Hollywood axis really “dig” that." While most stars are involved in life-or-death struggles to get to the top and stay there, Como "is an affable fellow with a happy marriage, a wife of long standing, three healthy kids and no known enemies. He used to cut hair in a small mining town in Pennsylvania, and still trots out his tonsorial technique as a gag. He has a pleasant voice and an ingratiating way of underplaying himself—on TV screens and off." 

And while he doesn't act like a star, his contract with NBC, a 12-year deal for $15 million, belies that. "Before the NBC deal, he earned a million a year —give or take $100,000—and could have earned even more. 'But,' he would ask, 'what else could I buy?'" Last year he turned down a two-week gig at one of the hotels in Las Vegas, saying "I couldn't be a shill." He scoffs at the idea that he's some kind of entertainment saint; "I get as mad as the next guy, but I don’t believe in sounding off. People would say, 'Look at the star! Who does he think he is?' When I get mad, I go off by myself." (Would that today's stars had that kind of attitude.)

Meanwhile, he goes on doing the kinds of things that generate precisely the kinds of stores he laughs at: fundraising for a stained-glass window in South Hackensack (the devoutly Catholic Como quips, "Food for the soul is important, too"), talking a doorman to let a young fan in to a sold-out show, and volunteering to be the last act of a long, star-studded concert at Soldier Field in Chicago, so that the restless audience would stick around to the end and see the other acts. He's admired by his contemporaries not only for his temperament but his talent; Eddie Fisher calls him "the greatest of them all. His personal life is conducted better than anyone else’s. He has found the secret of life," and Julius LaRosa, who knows a thing or two about men with egos, says that "He gives everyone the respect due all human beings." Como's explanation is a simple one. "A man has to be more than a singer. He has to learn to become a person, too."

And the only way to accomplish that is to know what you want out of life. "I don’t want to be the select singer; I’d rather be in the department store-basement class. My family life is the way I want it, too. I can do what I do because I have peace of mind." Maybe that's why Perry Como was a star for so long: why he was a regular presence on television for decades, why he could transition from the weekly grind to a series of specials, why he continued to record hits even when musical styles changed, why even the spoofs of his laid-back style were laden with affection. Perry Como knew what he wanted, and so did the audience. They wanted him.

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Perry Como and Goodman Ace

Let's see if we can get in one more Goodman Ace anecdote. The New York Teletype reports that Ace is moving on from the Berle show, his mission to remake Berle having been accomplished. He'll move on to work with many entertainers over the years, including Perry Como. Something he doesn't receive credit for, according to the always-reliable Wikipedia, is having created the CBS News radio program You Are There. It appealed to his sense of the absurd, the article says, to combine historical events of the past with modern technology and coverage by real CBS News reporters. 

Meanwhile, The Milton Berle Show continues for another season before leaving the air in 1956. As Horace Newcomb writes in The Encyclopedia of Television, "Berle's persona had shifted from the impetuous and aggressive style of the Texaco Star Theater days to a more cultivated but less distinctive personality, leaving many fans somehow unsatisfied." Easy come, easy go. Berle would return to weekly television in 1958 as host of The Kraft Music Hall, but this gig lasts only a single season as well. His replacement, who would host the show from 1959 to 1967? Perry Como.

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I've made this comment before, but I'll make it again, because 1) there is never a time when nostalgia is not in existence, and 2) it's perfectly appropriate for this story about the Little Rascals. You know, Our Gang. Well, of course you know what I'm talking about, else you wouldn't be reading here in the first place.

The Rascals have many fans, just like the Three Stooges and Laurel & Hardy, because they remind us of a simpler time, a time we like to think of as a better time, even if it wasn't. And like the Stooges and Stan and Ollie, they were the beneficiaries of a resurgence in interest in the 1950s and '60s, thanks to reruns on afternoon and weekend television. Hey that's where I learned about them. 

At this point in time, the Little Rascals are mostly all alive and well; according to Mrs. Fern Carter, who tutored them from 1921 to 1944 and kept tabs on them since, only three of thne 34 are dead: "Chubby" Chaney, Robert "Froggy" McLaughlin, and Bobbie "Wheezer" Hutchens. Meanwhile, Robert E. Johnson points out in his article, Scotty Beckett is still active, having played in Rocky Jones on television and The Jolson Story in the movies; Tommy Bond stayed in the industry and works as head property man at KTTV, Darla Hood was leading lady on The Ken Murray Show and is now a night club singer, Johnny Downs has a children's program on KFSD in San Diego, and Shirley Jean Rickert is a stripper, performing as "Gilda."* Carl "Alfalfa" Switzer is looking for roles, Nanette Fabray is a co-star on Sid Caesar's show, "Spanky" McFarland is an oil promoter in Dallas, and Jackie Condon is an IRS clerk. Jackie Cooper, who wasn't mentioned in the article, had a long and successful career as both an actor and producer; Mickey Gubitosi wasn't mentioned either, but he later changed his name to Robert Blake and was mentioned plenty, both on and off the screen. 

*Shirley Jean Rickert famously mentioned in an interview that "People are so amazed to hear I went from movies into burlesque. Well, I'll tell you, I prefer burlesque because it's not so immoral as the movie business."

Here are several of the members, in a then-and-now picture we would consider nostalgic from our point of view, and yet it was already nostalgia to those living in 1955. There's something poignant about seeing these little kids all grown up, and yet still in the bloom of life, don't you think?

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Now, instead of talking about TV, let's talk about what's on TV. 

On Sunday afternoon, NBC Opera Theater presents Gian-Carlo Menotti's latest opera, The Saint of Bleecker Street (2:30 p.m.), which opened on Broadway last December and won the Pulitzer Prize for Music two weeks ago. It is the second Pulitzer for Menotti, who also won in 1950 for The Consul. These are both underperformed operas that would be completely at home in the theater today; it's a pity that Menotti is, for the most part, known today only for Amahl and the Night Visitors, a wonderful opera in its own right, but far from the only quality work he composed.

Also on Sunday afternoon, Dr. Frank Baxter presents the first of two programs on the Greek poet Homer on Now and Then (3:00 p.m., CBS). Relevant to today's headlines, part one is devoted to Homer's epics "The Odyssey" and "The Illiad" as translated by 19th and 20th century writers such as Tennyson, T.E. Lawrence, and R.L. Montgomery. One is tempted to think that Christopher Nolan might have profited from watching this episode. Of course, the episode probably doesn't exist anymore, but then, based on some of the stories I'm hearing, Nolan might wish his movie version didn't exist, either.

And, lest we forget, Ed Sullivan's Toast of the Town has a top-notch lineup tonight (7:00 p.m., CBS), featuring Louis Armstrong, the Will Mastin Trio with Sammy Davis Jr., English comedian Richard Hearne, and Senor Wences. Oh, and Bing's son Gary Crosby is on the show as well. Up against that is the Colgate Comedy Hour (7:00 p.m., NBC), hosted by Gordon MacRae from March Field in Riverside, California (celebrating Armed Forces Week); among the guests are Abbott and Costello.

Speaking of opera as we were, Caesar's Hour (Monday, 7:00 p.m, NBC) features the return of the Caesaro Opera Company with one of their periodic opera spoofs. You've probably seen me link to "Gallipacci," Sid's version of Pagliacci; this time out, Gounod's Faust is the target, with Nanette Fabray, Howard Morris, and Carl Reiner joining Sid. Too bad we don't have a link to that. 

On Wednedsay, Disneyland (6:30 p.m., ABC) has a repeat of two animated adventures based on delightful stories by Kenneth Grahame: "Mr. Toad," adapted from The Wind in the Willows and narrated by Basil Rathbone (you can see a clip from it here); and "The Reluctant Dragon," from the story of the same name (and a clip here). It's a delightful, and yet depressing, reminder of the greatness that was Disney once, and maybe will be again someday.

And the odd casting note of the week is also on Wednesday, as newscaster Eric Sevareid pinch-hits for vacationing Garry Moore as host of I've Got a Secret (8:30 p.m., CBS). In later years, panelist Henry Morgan would usually handle things when Moore was on vacation. But when you've got John Daly hosting What's My Line? and Mike Wallace doing the pilot for To Tell the Truth, why not?

By the way, Buzzy Ash, of La Porte, Indiana, asks, "Is Harry Morgan who plays in December Bride any relation to Henry Morgan who is on the panel of I’ve Got a Secret?" The answer, as the editor points out, is "no."

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And here's something you'd never see in a contemporary issue of TV Guide: a guide to female singers appearing on this week's programs. Apparently there was a similar guide to male singers earlier, but the "girl singer" was always a feature of the early days of television. There are a lot of them out there; how many do you remember?

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MST3K alert: Lost Continent (1951) A plane crew finds a lost continent. Cesar Romero, Hillary Brooke. (Sunday, 11:00 a.m., WGN) I kid you not; as I'm typing these words, I'm watching this movie on MST3K. A supporting cast that includes Whit Bissell, John Hoyt, Hugh Beaumont, and Sid Melton, plus the interstitial MST3K feature, with Mike Nelson portraying Beaumont as one of the Four Horsemen of the Apocalypse! And did I mention rock climbing? Really, who could ask for anything more? TV

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Around the dial

We'll start the week at Cult TV Blog, where John continues his review of The Omega Factor with what he calls his favorite episode, "Powers of Darkness." This series continues to intrigue me. 

The announcement of NBC's reboot of The Rockford Files prompted David to look at one of television's most iconic characters in this week's Comfort TV: the original Jim Rockford, played by the inimitable James Garner. 

In this week's A-Team review at The View from the Junkyard, Roger reviews "Road Games," which strikes me as being a little like Mission: Impossible, with the bulk of the episode given over to "the execution of an extremely clever and intricate plan."

Speaking of Mr. T, as we are indirectly, Terence has a look at the very short-lived sitcom Mr. T and Tina, which starred Pat Morita and ran for five episodes in the fall of 1976. I do remember this series, though I never saw it, being captive in the World's Worst Town.

There's a UFO craze right now, which I have absolutely no interest in; one world is weird enough for me. It does, however, make this a perfect time for Paul at Mavis Movie Madness to look back at 1975's The U.F.O. Incident, the "real life" Betty and Barney Hill story. 

It's a double dose of Paul this week; over at Drunk TV, he discusses the fifth and final season of The Odd Couple, one of the great sitcoms of the decade, or even longer than that. It's a throwback to an era of adult, sophisticated, and farcical humor, which I miss. TV

If you enjoy the content here and want to support my broader creative work, please consider leaving a tip at my Ko-fi page. Any amount you contribute helps me continue writing, researching, and sharing these articles and projects. Thank you!

Farewell, CBS Radio

Back again for another go is our old friend Bill Griffiths, with another of his wonderful guest essays. This time out, he's looking back on the end of an era: the demise of CBS Radio News. Here's Bill! 

by Bill Griffiths

This guest essay will divert a bit from the usual discussions of classic television and TV Guide.  

The National Broadcasting Company began radio operations on November 15, 1926.  A secondary NBC service known as the Blue Network was launched January 1, 1927.  In the early 1940’s, the Federal Communications Commission forced NBC to divest itself of one of its networks.  This ultimately resulted in the 1943 sale of Blue to Edward J. Noble, chairman of the Live Savers Candy Company.  Noble renamed the Blue Network to the American Broadcasting Company in 1945. On October 29, 1934 the Mutual Broadcasting System was incorporated. This was a cooperative service with affiliated stations producing and sharing programming. 

However, the network that would become NBC’s most significant rival in operations and programming began on January 27, 1927. First known as United Independent Broadcasters, this financially struggling network soon received a significant investment from the Columbia Phonograph Company and would change its name to the Columbia Phonographic Broadcasting System on September 18th of that same year.  In 1928, the name was again modified to the Columbia Broadcasting System. During the 1930’s and 1940’s, CBS—or “Columbia” as it was commonly referred to on-air—would continue to increase its number of affiliates. The quality of entertainment programming would improve. But where CBS would especially distinguish itself from the competition was in News, having launched its own division in 1934. 

Soon broadcast history will once again be made and will be one of regret. On May 22, 2026, CBS News Radio, better known as the CBS Radio Network, will cease to exist on about 700 stations. Given the continually evolving nature of media and resulting news consumption, this decision was inevitable. How many younger people listen to traditional radio, let alone watch traditional television? I admit that, on occasion, if I am in my car and the top of the hour comes around, I’ll tune in the local CBS affiliate mainly for the nostalgic reason of hearing the classic top-of-the-hour CBS Bong and familiar five-note sounder. 

The time tone dates back decades and has been a huge, if underappreciated, part of CBS history. Even while strongly identified with radio, it was heard at the start of the hour on television before being dropped sometime in the 1980’s due to advanced automation. From 1962 to 2009, CBS Radio also utilized a series of “chirp” cues as part of the Net ALERT system. For example, one chirp preceded the start of programs and as a signal if stations wanted to cut away from the network for a commercial break. Three “chirps” (later seven) signaled a closed-circuit feed only for the benefit of affiliates, nine “chirps” indicated an incoming bulletin, and ultimately, fifteen “chirps” were to be used in the event of a national emergency.  

The main news sounder itself was introduced in 1968 and by my count has been updated only four times. Other variations of the sounder were created for Sports, Public Affairs and Lifestyle reports, all since retired.  There was even a vocalization of the sounder: “C-B-S- RA-DIO”. For their part, the other major radio networks—NBC, ABC and Mutual—all used distinctive cues and themes. Who else remembers Mutual’s prominent “BEE-DOOP”? Or ABC’s different sounders when its audio offerings were restructured on January 1, 1968 into four specialized services: Information, Contemporary, Entertainment and FM? Many mornings during the 1980’s I listened to Howard Cosell’s Speaking of Sports commentary that opened and closed with the unique ABC Contemporary music. 

The ABC and CBS Radio themes have something in common: they were composed by Eric Siday and his company, Identitones. Siday pioneered the use of “electroacoustic music” in television and radio IDs. He also collaborated with Robert Moog in developing the Moog Synthesizer. Among Siday’s recognized works are the Maxwell House percolating coffee pot commercials, the 1965 CBS “In Color” bumper, the 1965-74 Screen Gems closing logo (affectionally known to aficionados as the “S from Hell”), late 1960s identifications for National Educational Television, a brief five-note jingle used in ABC television promos and IDs from the mid 1960’s through the early 1970’s and many more. Such treasured audio cues have been preserved on YouTube, Internet Archive, and other websites.

The demise of CBS Radio is a sad occasion. Ninety-nine years is a good run, yet I doubt its passing will be widely missed. Sure, some in the media community are in mourning; quite a few have expressed their anger at CBS News Editor-in-Chief Bari Weiss. Yet some reports have indicated she wanted the radio division to continue, but was overruled by upper management. Regardless, the newscasts themselves are little more than headlines with any accompanying reports lasting mere seconds. It’s a considerable decline from when news radio served as the primary source for keeping people “up to the minute” on breaking news events. When journalists and pundits criticize the state of CBS News and how it isn’t up to the stature of the days of Edward R. Murrow or Walter Cronkite, it rings hollow. That era faded away a long time ago.  

An argument could be made that the beginning of the end occurred during the 1960s and 1970s, with the transition from offering a full schedule of programming to primarily delivering newscasts and informative features; a major exception was The CBS Radio Mystery Theater, which enjoyed a successful run from January 1974 to December 1982.  Perhaps it was the decision to begin selling off individual stations in the early 2000’s, mirroring what happened with NBC Radio O&O’s in the late 1980’s. 

We can also point to the November 2017 merger of CBS Radio with Intercom Communications Corporation, which rebranded on March 30, 2021 as Audacy Inc.  Then, New York’s WCBS 880AM ended its 57-year all-news format on August 26, 2024, becoming WHSQ and programming ESPN sports talk. Most recently, the CBS World News Roundup Late Edition (formally The World Tonight) and the CBS News Weekend Roundup were quietly discontinued at the end of 2025. One more indication would be the lack of actual commercial sponsorships being replaced by promos for CBS-related podcasts and television shows.  

The end of CBS Radio effectively brings the cancellation of the longest-running audio newscast: The CBS World News Roundup. Aired as a one-time special on Sunday, March 13, 1938, listeners were updated on deteriorating conditions in Europe as the continent headed towards war. Anchored by Robert Trout, a segment live from Vienna, Austria (which had been annexed by Nazi Germany the day before) marked the first time Murrow was heard on-air. The program was deemed a major success and soon other Roundup specials were being scheduled. Eventually, it would evolve into the daily The World Today and, ultimately, World News Roundup. 

Other names associated with morning and evening Roundup broadcasts through the years include John Charles Daly (who first announced the attack on Pearl Harbor at the beginning of the December 7, 1941 edition), Douglas Edwards (in my view one of the GREAT anchors of any news program), Dallas Townsend, Reid Collins, Bill Lynch, Christopher Glenn (whose distinctive voice contributed memorably to In The News segments on Saturday morning TV during the 1970’s and 1980’s), Nick Young, Bill Whitney, Dave Barrett, Pam Coulter, Peter King, Jennifer Keiper, and Steve Kathan. Whereas the Roundup was once as long as a half-hour, in its final iteration only runs for ten minutes. Many CBS affiliates carry only a portion of it.  Most do not air it at all. 

Now this essay is by no means an exhaustive tribute to the entire history of the CBS Radio Network and its countless classic shows and personalities. Other books and websites can serve that purpose.  But it is important to acknowledge its final sign-off and offer some reflection.  Over time all of us certainly listened to CBS Radio either on a regular basis or in passing.  Hopefully there will be a special broadcast similar to what was done in 1977 and again in 2017.  But more likely not much will be said. But here is an idea. When that last newscast concludes on May 22nd, these words should be the last spoken:

This WAS the CBS Radio Network.  

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Many thanks as always, Bill. This one really strikes a chord with me; not only do I have many of those same memories of the CBS radio tones, I get great pleasure out of listening to those hours of YouTube airchecks from CBS News coverage of major events. I've made the point that radio, in some ways, is even more intimate than television, and the coverage of a breaking news story can be one of those ways. So thanks to Bill, and thanks to CBS for the memories! TV

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What's on TV? Tuesday, May 14, 1968

You'll notice plenty of coverage of the Nebraska Primary tonight; NBC plans updates during the movie, and all three networks have specials scheduled following the late local news. Bobby Kennedy, fresh off his win in Indiana, needed a victory to continue his momentum. Eugene McCarthy, the glow fading from his challenge to LBJ, mobilized hundreds of volunteers to help in the cause. Meanwhile Hubert Humphrey, electing to pass up the primaries, lurked in the shadows. Kennedy scores a decisive 52-31 victory over Clean Gene, setting up a confrontation in Oregon, followed by June's winner-take-all primary in California. But that's another story. The listings are from Northern California. 

This week in TV Guide: May 11, 1968

Let's start the week with a couple of related articles on what we can expect to see on the tube this summer, and what we may or may not be seeing this fall.

There is a general sense out there that this summer may well have some television goodies in store, including a surprising number of new shows. The biggest, however, "the Most Gigantic Spectacular Three-Ring Show on Earth," is one that comes along every four years: the campaign for the Presidency of the United States—or, as it's known these days, the Baatan Death March. That wasn't always the case, though; if people weren't exactly looking forward to the presidential campaign, they did concede that it was a colorful, exciting, and often dramatic time, from the primaries through the nominating conventions to the home stretch, ending on the first Tuesday after the first Monday in November. This year promises to have more uncertainty than usual, although I don't think anyone was prepared for the amount and kind of uncertainty that we wound up with.

British cloak-and-dagger adventure stories are on hand, including Patrick McGoohan's The Prisoner, which replaces Jackie Gleason on CBS, plus Man in a Suitcase on ABC and The Champions on NBC. Red Skelton's CBS variety show will be replaced for the summer by Showtime, a revue show out of London, while NET Playhouse will offer Thirteen Against Fate, a 13-week series of British dramas based on novels by George Simenon. We'll have American-made shows as well, with Dom DeLuise filling in for Jonathan Winters and Glen Campbell taking the place of the Smothers Brothers, and the Golddiggers getting an hour-long show of their own to replace their mentor, Dean Martin. 

If you're more in the mood for fun and games, all three of ABC's prime-time game shows, The Dating Game, The Newlywed Game, and Dream House will have first-run episodes. ABC's also cornered the market on major golf tournaments, with the U.S. Open in June, the British Open and the PGA Championship in July, and the U.S. Amateur in August. You can also get your fill of summer football, with the Coaches' All-America Game in June, and the College All-Stars taking on the Green Bay Packers in August. On a more serious note, documentaries will be in short supply, according to the editors, although we'd be overwhelmed by the numbers that the article cites, including ABC's look at Christian missionaries, CBS's three-part series on "The Cities," and a seven-part prime-time series called On Black America. NBC follows up with a Huntley-Brinkley special on "Whatever Happened to the British Empire," plus reports on the Catholic Church and the art world. 

One thing you won't be seeing more of, reports Richard K. Doan, is original drama, to the regret of CBS. To great acclaim, the network introduced an irregular presentation of taped original dramas under the umbrella title of CBS Playhouse, which I continue to consider a reboot of Playhouse 90. The four dramas presented so far have met with mostly promising reviews, and respectable if not sensational ratings; the season's final installment, Tad Mosel's "Secrets," will be aired this Wednesday at 9:30 p.m., with Arthur Hill and Barbara Bel Geddes. The network promises at least four more next season. 

Unfortunately, this hasn't caused a rush of copycat programs. NBC, of course, has its venerable Hallmark Hall of Fame (which in those days really was good), but most of their presentations are "warmed-over classics," though we might see one original this year. The network also boasts the upcoming On Stage series, sponsored by Prudential, which promises five specials, varying between an hour and 90 minutes in length. "They will be based on original scripts with contemporary themes; only time will tell whether they have more serious theatrical intent than, say 'Fame Is the Name of the Game.'" And that, as they say, is it. 

If Shakespeare wrote for TV, would people watch?

Why the lack of such prestige drama? Well, for one thing, the public doesn't seem to be interested in it; "Hundreds of CBS Playhouse viewers have cried 'More! More!' But they are not an overpowering voice. (Far greater numbers, for example, cried 'More!' for Star Trek.) With the increase in made-for-television movies, the original dramatic play doesn't stand out the way it once would have; many viewers, in fact, don't even notice the difference between the two and are perfectly content to view "Death of a Salesman" and "Dial 'M' for Murder" as movies. 

Good scripts are also hard to come by; CBS's chief programmer Mike Dann complains that sponsors haven't been able to find good scripts for proposed dramas. This, however, is not a universally accepted argument; some of the great playwrights of the Golden Age, such as Reginald Rose, Ernest Kinoy and Paddy Chayefsky, argue that "if the medium provided again the kind of wide-open market it once did for teleplays, the writers would produce them." Chayefsky complains that the networks shy away from anything that has the whiff of controversy, but Barbara Schultz, who oversees Playhouse for the network, says they'd jump at something controversial, "if it's a play." 

These shows aren't exactly cheap to air, either. GT&E paid $525,000 for the Playhouse presentation "Dear Friends"; that air time is normally worth $160,000 per hour, but after the production costs, the net for the network was a mere $75,000. The dramas also tend to be on the dark side; while Dann says that he'd "love" something from Buck Henry or Neil Simon, most of the best writers are looking to make a serious statement with their work. (Those intense dramas don't always pay off, though, as is show in this reap of NBC's "Flesh and Blood" from earlier in 1968.)

So what are we left with? Well, there will be a CBS Playhouse this coming season, and Dann insists it will continue even if it doesn't introduce a new Golden Age. But, as Doan reminds us all, "These are no days in TV for shows that don’t pay their way."

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Throughout the 60s and early 70s, TV Guide's weekly 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 shows of the era.

It's "Second Thoughts" week, where your favorite critic and mine takes another look at reviews and comments from earlier in the year. And leading off is his Unaward of the Year, "familiarly known as the Enemy," which goes to NBC for its cancellation of I Spy, with an honorable mention to the network for halting Ben Gazzara's Run for Your Life. Of I Spy, he says, "Not only has this show been—in acting, in dialog and in scenery—the best one on the air for three years, it is still, for literally millions of people, their No. 1 favorite show." And while Run for Your Life "wasn't always great, it was usually at least good." 

He heaps praise on CBS's aforementioned revival of Playhouse, minus the "90" that used to accompany it. All three of its presentations, especially "My Father and My Mother" with Gene Hackman, were "television landmarks." It was, and should continue to be, "great television." He also has high praise for ABC's evening-long documentary Africa, and the special "How Life Begins." And then there was "The Now Generation," which was nothing more than an interview with Mia Farrow, conducted by her Peyton Place costar, Ryan O'Neal. It was "on the surface charmingly natural and light but underneath made a forceful statement for all of today's youth." He particularly recalls one memorable exchange when O'Neal asks Farrow, "Are you excited about now?" She replies, "Sure, all those things that you wanted to do as a child—living as you please, doing what you please, liking whom you please, loving whom you please—it’s all accepted now." It is, indeed, as good a summary of the Sixties as you can get, for better and worse. 

Lest one think that Amory's got a thing for ABC, though, he saves his greatest vitriol, as always, for The American Sportsman. This show has been a perennial thorn it the side of the animal-rights activist Amory, and he speaks dismissively of the irony of Governor John Connally of Texas, survivor of the Kennedy assassination, talking about the hunting merits of "the eye shot" or "the brain shot." As well, there are the weekly appearances of "endless celebrity has-beens attempting to prove his virility." Cleve concludes the column, and his reviews for the year, by urging readers to continue to write letters of protest to the network. Their responses "are as offensive as ever—but now they are also defensive."

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Speaking of Run for Your Life as we were above, Richard K. Doan says that the network's decision to cancel the series after three seasons was not without some controversy. We, and by that I mean those of us living in today's world, have become so accustomed to "final episodes" of even marginal series, that it might seem unthinkable that Run for Your Life would end without resolving terminally ill Paul Bryan's situation. Bryan, the character portrayed by Ben Gazzara, was, you'll remember, presented to us as a man with an incurable disease, who had only a couple of years to live. And NBC wanted, very much, to have Universal Studios, the production company, wrap up the series with a two-hour climax in which Bryan would either be cured of his illness, or die. 

The studio, however, declined, "insisting this would hurt syndication of the series." Now, this was an argument that unfolded in reverse with The Fugitive, where the same arguments were made—that resolving Dr. Richard Kimble's own run for his life would hurt the show in syndicated reruns—but the final episode pressed on anyway, with record-breaking ratings. NBC made that very point with Universal, to no avail.

Now, this is an interesting argument, this idea that viewers are incapable of watching a series if they know how the premise concludes--essentially, that they can't appreciate a given episode without regarding it as anything more than a piece of the whole. Let's run with that for a minute (pardon the pun). Would you lose interest in watching an episode of Cheers because you already know Sam won't wind up with Diane? If you were a fan of Newhart, is your pleasure of seeing Larry, Darryl and Darryl diminished because they all turned out to be part of a dream? Somehow, I have a hard time believing fans would feel that way. 

On the flip side, there are series like Dexter, How I Met Your Mother, and St. Elsewhere, where the final episodes were considered by many to be less than satisfactory. If you're one of the viewers left with a sour taste in your mouth by how things wrapped up, did it keep you from wanting to revisit your favorite episodes? Maybe it did, maybe it didn't. Maybe the real answer is that if the producers nail the ending, they won't have to worry about whether or not the viewers will lose interest. A radical thought, to be sure, but worth considering all the same.

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On Tuesday, NBC preempts The Jerry Lewis Show for a World of Amimals special, "Big Cats, Little Cats." (8:00 p.m.), "A far-ranging look at the feline world, from the American alley cat to Africa's lord of the jungle," narrated by Lorne Greene. Among the cats portrayed in tonight's special is Room 8, "a feline who 'adopted' a group of sixth-graders in 1952 and has since attended classes daily." In fact, Room 8 was more than this brief description might indicate. He was about five years old when he popped in through a window at Elysian Heights Elementary School in Echo Park, California, settling down in Room 8. He'd disappear during the summer, but would always return on the first day of school in the fall, popping up when the bell rang; newspapers and television stations from around the area would show up every year on that day to watch him make his appearance.

In addition to appearing on "Big Cats, Little Cats" (you can see that segment here), Room 8 was featured in an article in Look magazine, was the subject of a piece by guitarist Leo Kottke, and had several books written about him, including the children's book A Cat Called Room 8. He would lay on desks during the day, sleeping, and enjoyed children reading to him. He died on August 13, 1968, at the age of 21; his obituary in the Los Angeles Times ran for three columns and included a photograph, and was picked up by newspapers throughout the country. Students raised money to purchase a gravestone for Room 8 at the Los Angeles Pet Memorial Park, where his grave is the most visited to this day, and a foundation named after him helps fund cat shelters. He was a little animal, but he made a big impact, and there's a lesson somewhere in there.

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Saturday begins with the fourth (and final) game of the Stanley Cup Final, with the Montreal Canadiens taking on the St. Louis Blues (Noon, CBS). Although the Canadiens sweep the expansion Blues in four games, don't be deceived: all four of the games were decided by one goal, and two of the four went into overtime. In primetime, "The Singers," an ABC News Special (preempting The Hollywood Palace!) profiles two female singers on opposite sides of the success scale: Aretha Franklin, the Queen of Soul, and up-and-coming pop singer Gloria Loring. (9:30 p.m.) You're probably familiar with Franklin's career, and you might know about Loring as well; in addition to a singing career that continues to this day, she acted on Days of Our Lives for six years, was married to Alan Thicke, and had a number of hits, including "Friends and Lovers," which made it to #2 in 1986.

ABC's Sunday Night Movie is 1963's The Leopard, winner of the Palme d'Or at the Cannes Film Festival, and while the version on ABC is the butchered, edited, and dubbed English version that was widely panned by critics, the release of the longer, classic version in 1983 established it as a classic; it's now considered one of the all-time greats. The historical epic stars Burt Lancaster, Claudia Cardinale, and Alain Delon, and was directed by Luchino Visconti, whom Lancaster considered the finest director he ever worked for. Judith Crist isn't all that impressed with it, calling it "beautifully photographed and badly dubbed," and finds it "ultimately stultifying." I'm sure she must have seen the original at one time; I wonder if it just left her cold, or if she's basing her comments on the edited edition?

A local note on Monday, but one that's not insignificant for TV news buffs: Ray Tannehill is the new anchor of KGO's 6:00 p.m. news, taking over for Roger Grimsby, who's moved to WABC in New York, where he starts a legendary run on the ABC affiliate, co-anchoring with Bill Beutel until 1986 (a news team that included Howard Cosell on sports, and Tex Antoine with the weather). Grimsby is also responsible for beginning the newscast, "I'm Roger Grimsby, here now the news," which SNL fans will recognize as the intro to Weekend Update used by Jane Curtin in honor of Grimsby. So what do you think: was he saying "here now the news" or "hear now the news"? And speaking of all-time great movies, as we were, KEMO has one at 9:00 p.m.: Ingmar Bergman's Oscar-winning Through a Glass Darkly, starring Max von Sydow and Harriet Andersson. If you're a fan of Bergman's, I need say no more.

Tuesday night the Nebraska Presidential Primary takes center stage on the national news scene, but you'll read more about that on Monday. In the meantime, The David Susskind Show (9:00 p.m., KQED) has one of those shows I'd love to have seen. Three segments: segment one features writers Rex Reed, Guy Talise, and Liz Smith discussing show-biz personalities; segment two has culinary experts James Beard and Craig Claiborne talking about food; and segment three has French Canadian politician Rene Levesque on the move for Quebec independence. I don't know how big separatism is anymore, but De Gaulle did quite a bit of rabble-rousing when he was president of France, and I remember watching the returns from a referendum in the 1980s (I think) in which the question very narrowly lost. It seems as if the Canadians have had a lot of problems holding their country together, doesn't it?

Wednesday marks the return of Emma Peel to The Avengers, but before anyone gets too excited, it's only in the form of reruns. (7:30 p.m., ABC) And besides, I think Linda Thorson, as Tara King, was a more than adequate replacement for Diana Rigg (no offense intended). On a musical note (get it?), Kraft Music Hall continues its run of "County Fair" episodes, with host Eddy Albert welcoming Buck Owens and the Buckaroos, Dana Valery, Chris and Beter Allen, and John Byner. (9:00 p.m., NBC)

Maybe the summer preview was right; there won't be as many documentaries on the air as usual. You couldn't prove it by this week, though; in addition to Saturday's ABC News Special on "The Singers" and NBC's special on cats, we've got four crammed into the final two days of this week, proving that the networks still have a "dedication to serving the public interest." And over the last couple of years, no area has been as trendy for documentaries as Africa. Hence, Thursday's NBC News Special "Man, Beast and the Land " (7:30 p.m.). It's bille as "an introduction to the importance and function of the balance of nature," and takes a close look at the Serengeti-Mara region, on the border between Kenya and Tanzania. Douglas Fairbanks Jr. narrates. The documentary preempts this week's cover stars from Daniel Boone, but don't worry; Dwight Whitney's article is mostly about Fess Parker's real estate holdings, and how he's quickly building up one of the most impressive (and most valuable) portfolios around. 

And guess what? On Friday night Douglas Fairbanks Jr. is on another documentary, this time on a different network. It's ABC's Saga of Western Man presentation "Robert Scott and the Race for the South Pole" (7:30 p.m.), narrated by John Secondari, and Fairbanks is on hand to read passages from Scott's journals. At 10:00 p.m., it's another NBC News Special, "Discover America with Jose Jimenez," in which Bill Dana plays his famous (and now-forbidden character) as he takes a whirlwind tour of America, from the Pennsylvania Amish country to forests of Northern California, and a little of everything in-between. You can see it, in segments, here.

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MST3K alert: Teen-Age Crime Wave (1955). Three dangerous juvenile delinquents take refuge in the home of a farmer and his family. Tommy Cook, Mollie McCart, Sue England. (Tuesday, 1:00 a.m. KGO in San Francisco) Let's see, so far we've had Teen-Age Caveman, Teen-Age Strangler, I Was a Teenage Werewolf, and Teenagers From Outer Space, so I suppose this would be the natural succession. Our three stars are the three teens holding the family hostage, but of course one of them has to be the weak link, allowing the plot to fail. Well, what did you expect—In Cold Blood? And if those actors are teenagers, then I'm Truman Capote.  TV

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